-@c -*-texinfo-*-
+@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
+@c to automagically fill in these menus before saving changes
-@node Reference Manual
-@chapter Reference Manual
+@c FIXME: singular vs. plural: Beams/Beam
-@menu
-* Overview:: Overview
-* Top level:: Top level
-* Pitch names:: Pitch names
-* Lexical conventions:: Lexical conventions
-* Other languages:: Note names in various languages
-* Lexical modes:: modes
-* Types:: Types
-* Assignments:: Assignments
-* Music expressions:: Music expressions
-* Atomic music expressions:: Atomic music expressions
-* Note specification:: notedesc
-* barlines:: barlines
-* Manual beams:: Manual beam
-* stem tremolo:: tremolo
-* Compound music expressions:: Compound music expressions
-* relative:: relative
-* Repeats:: Repeats
-* transpose:: transpose
-* Ambiguities:: Ambiguities
-* Notation conversion specifics:: Notation conversion specifics
-* Automatic Beaming:: Automatic Beaming
-* Chord Names:: Chord Names
-* lyricprint:: lyricprint
-* Notation Contexts:: Notation Contexts
-* Properties:: Changing formatting
-* Page layout:: Layout
-* contextdefs:: contextdefs
-* Sound output:: Sound output
-* midilist:: midilist
-* Pre-defined Identifiers:: Pre-defined Identifiers
-* Point and click:: Quik edit using Point and Click
-* Interpretation contexts:(lilypond-internals)LilyPond interpretation contexts.
-* Engravers:(lilypond-internals)LilyPond engravers.
-* Backend:(lilypond-internals)LilyPond backend.
-@end menu
+@macro refbugs
+@strong{BUGS}
+@end macro
-@node Overview
-@section Overview
+@ifhtml
+@macro internalsref{NAME}
+@uref{../lilypond-internals/\NAME\.html,\NAME\}
+@cindex \NAME\
+@end macro
+@macro seeinternals{NAME}
+See @internalsref{\NAME\}
+@end macro
+@end ifhtml
+
+
+@ifnothtml
+@macro seeinternals{NAME}
+@end macro
+@macro internalsref{NAME}
+\NAME\
+@cindex \NAME\
+@end macro
+@end ifnothtml
-[todo: pedals]
+@c .{Reference Manual}
-This document
-describes the the GNU LilyPond input format This format represents a
-piece of music in an elegant way, but contains enough information for
-both automatic typesetting and automatic performances.
+@node Reference Manual
+@chapter Reference Manual
+
+@html
+<!--- @@WEB-TITLE@@=Reference Manual --->
+@end html
+
+This document describes GNU LilyPond and its input format. The last
+revision of this document was made for LilyPond 1.4.1. It supposes a
+passing familiarity with how LilyPond input works. New users are
+encouraged to study the tutorial first.
-This document has been revised for LilyPond 1.3.125
+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.
-[todo: ]
+@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::
+@end menu
+
+@c . {Overview}
+@node Overview
+@section Overview
-There are two things to note here. The format contains musical
-concepts like pitches and durations, instead of symbols and positions:
-the input format tries to capture the meaning of @emph{music}, and not
-notation. Second, the format tries to be @emph{context-free}:
-a note will sound the same regardless of the current time signature,
-the key, etc.
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 esthetic decisions. All
-symbols and their placement is @emph{generated} from a high-level musical
-description. In other words, LilyPond would be best
-described by `music compiler' or `music to notation compiler'.
-
+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++.
-LilyPond input can be classified into three types:
+When lilypond is run to typeset sheet music, the following happens:
@itemize @bullet
- @item musical expressions: a musical expression is some combination of
-rest, notes, lyrics
- @item output definitions: recipes for translating those musical
-expressions into performances (MIDI) or graphics (eg. PostScript).
-
- @item declarations: by declaring and naming musical expressions, you
-can enter and edit them in manageable chunks.
+@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
-@node Top level
-@section Top level
+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.
-This section describes what you may enter at top level.
+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
-@unnumberedsubsec Score definition
-@cindex score definition
+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 output is generated combining a music expression with an output
-definition. A score block has the following syntax:
+
+@menu
+* Notes::
+* Pitches::
+* Rests::
+* Skips::
+* Durations::
+* Ties::
+* Tuplets::
+* Defining pitch names::
+* Easy Notation note heads ::
+@end menu
+
+@c . {Notes}
+@node Notes
+@subsection Notes
+
+A note specification has the form
@example
- \score @{ @var{musicexpr} @var{outputdefs} @}
+ @var{pitch}[!][?][@var{duration}]
@end example
-@var{outputdefs} are zero or more output definitions. If no output
-definition is supplied, the default @code{\paper} block will be added.
+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'!
+@end lilypond
+
+The grob for a note head is called @internalsref{NoteHead}.
-@unnumberedsubsec Header definition
-@cindex headers
-@cindex @code{\header}
+@c . {Pitches}
+@node Pitches
+@subsection Pitches
-The syntax is
+@cindex Pitch names
+@cindex Note specification
+@cindex pitches
+@cindex entering notes
+The verbose syntax for pitch specification is
+
+@cindex @code{\pitch}
@example
- \header @{ @var{key1} = @var{val1};
-@cindex @code{ly2dvi}
- @var{key2} = @var{val2}; @dots{} @}
+ \pitch @var{scmpitch}
@end example
+@var{scmpitch} is a pitch scheme object.
-A header describes the file's contents. It can also appear in a
-@code{\score} block. Tools like @code{ly2dvi} can use this
-information for generating titles. Key values that are used by
-@code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
-metre, arranger, piece and tagline.
+In Note and Chord mode, pitches may be designated by names. The default
+names are the Dutch note names. The notes are specified by the letters
+@code{a} through @code{g} (where the octave is formed by 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.
-It is customary to put the @code{\header} at the top of the file.
+@cindex note names, Dutch
-@unnumberedsubsec Default output
+In 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}. @code{aes}
+and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
+both forms are accepted.
-A @code{\midi} or @code{\paper} block at top-level sets the default
-paper block for all scores that lack an explicit paper block.
+LilyPond has predefined sets of note names for various other languages.
+To use them, simply include the language specific init file. For
+example: @code{\include "english.ly"}. The available language files and
+the names they define are:
-@unnumberedsubsec Scheme statements
+@example
+ Note Names sharp flat
+nederlands.ly c d e f g a bes b -is -es
+english.ly c d e f g a bf b -s/-sharp -f/-flat
+deutsch.ly c d e f g a b h -is -es
+norsk.ly c d e f g a b h -iss/-is -ess/-es
+svenska.ly c d e f g a b h -iss -ess
+italiano.ly do re mi fa sol la sib si -d -b
+catalan.ly do re mi fa sol la sib si -d/-s -b
+@end example
-Scheme statements maybe issued to produce interesting side-effects.
+@cindex @code{'}
+@cindex @code{,}
-@node Pitch names
-@section Pitch names
+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.
-@unnumberedsubsec Pitch name definition
-@cindex pitch names
+@lilypond[fragment,verbatim,center]
+ c' c'' es' g' as' gisis' ais'
+@end lilypond
-@cindex note names
-@cindex chord modifier names
+@c . {Rests}
+@node Rests
+@subsection Rests
+@cindex Rests
-Note names and chord modifiers can be customised for nationalities.
-languages and conventions. The syntax is as follows.
-@cindex @code{\pitchnames}
-@cindex @code{\chordmodifiers}
+A rest is entered like a note, with note name `@code{r}':
-@example
- \pitchnames @var{scheme-alist}
- \chordmodifiers @var{scheme-alist}
-@end example
+@lilypond[singleline,verbatim]
+r1 r2 r4 r8
+@end lilypond
-See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
-specific examples how to do this. tables can be tailored specified
-using. Some national note names have been provided, see
-section @ref{Other languages}.
-A @code{\paper} block at top level sets the default paper block. A
-@code{\midi} block at top level works similarly.
+The grob is @internalsref{Rest}. Whole bar rests centered in the bar are
+specified using @code{R}, see @ref{Multi measure rests}.
-@unnumberedsubsec Assignments
-@cindex assignments
-@cindex @code{#}
+For polyphonic music, it can be convenient to specify the rest position
+directly. You can do that by entering a note, with the keyword
+@code{\rest} appended, e.g. Rest collisions will leave these rests alone.
-Identifier assignments may appear at top level. @ref{Assignments}
+@lilypond[singleline,verbatim]
+a'4\rest d'4\rest
+@end lilypond
-@node Lexical conventions
-@section Lexical conventions
+@c . {Skips}
+@c FIXME: naming.
+@node Skips
+@subsection Skips
+@cindex Skip
+@cindex Invisible rest
+@cindex Space note
-@cindex lexical conventions
+An invisible rest, or skip, can be entered like a note with note name
+`@code{s}':
+@lilypond[singleline,verbatim]
+a2 s4 a4 s1 a4
+@end lilypond
-@unnumberedsubsec Comments
+Actually, this is a shorthand for the @code{\skip} command, and it is
+only available in Note mode and Chord mode.
-@cindex comment
-@cindex @code{%}
+@c FIXME: in lyrics mode, we have " " and _
+In Lyrics mode, you can use `@code{" "}' and `@code{_}':
+@lilypond[singleline,verbatim]
+<
+ \context Lyrics \lyrics { lah2 di4 " " dah2 _4 di }
+ \notes\relative c'' { a2 a4 a a2 a4 a }
+>
+@end lilypond
-A one line comment is introduced by a @code{%} character.
-Block comments are started by @code{%@{} and ended by `@code{%@}}'.
-They cannot be nested.
+The unabbreviated `@code{\skip} @var{duration}' also works outside of
+note mode:
-@unnumberedsubsec Scheme
+@lilypond[singleline,verbatim]
+\score {
+ \context Staff <
+ { \time 4/8 \skip 2 \time 4/4 }
+ \notes\relative c'' { a2 a1 }
+ >
+}
+@end lilypond
+Note that the skip does not produce any output, not even transparent output.
+@c . {Durations}
+@node Durations
+@subsection Durations
-@cindex Scheme
-@cindex GUILE
-@cindex Scheme, in-line code
+@cindex duration
+@cindex @code{\duration}
-LilyPond contains a Scheme interpreter (the GUILE library) for
-internal use. In some places Scheme expressions also form valid syntax:
-whereever it is allowed,
-@example
- #@var{scheme}
-@end example
-evaluates the specified Scheme code. If this is used at toplevel, then
-the result is discarded. Example:
+The syntax for a verbose duration specification is
@example
- \property Staff.TestObject \override #'foobar = #(+ 1 2)
+ \duration @var{scmduration}
@end example
+Here, @var{scmduration} is a Scheme object of type @code{Duration}.
-@code{\override} expects two Scheme expressions, so there are two Scheme
-expressions. The first one is a symbol (@code{foobar}), the second one
-an integer (namely, 3).
-Scheme is a full-blown programming language, and a full discussion is
-outside the scope of this document. Interested readers are referred to
-the website @uref{http://www.schemers.org/} for more information on
-Scheme.
+In Note, Chord, and Lyrics mode, durations may be designated by numbers
+and dots: durations are entered as their reciprocal values. For notes
+longer than a whole you must use identifiers.
-@unnumberedsubsec Keywords
-@cindex keyword
+@example
+ c'\breve
+c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
+r\longa r\breve
+r1 r2 r4 r8 r16 r32 r64 r64
+@end example
-Keywords start with a backslash, followed by a number of lower case
-alphabetic characters. These are all the keywords.
+@lilypond[]
+\score {
+ \notes \relative c'' {
+ a\breve \autoBeamOff
+ a1 a2 a4 a8 a16 a32 a64 a64
+ r\longa r\breve
+ r1 r2 r4 r8 r16 r32 r64 r64
+ }
+ \paper {
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Staff_symbol_engraver"
+ \remove "Time_signature_engraver"
+ \consists "Pitch_squash_engraver"
+ }
+ }
+}
+@end lilypond
-@example
-apply arpeggio autochange spanrequest commandspanrequest
-simultaneous sequential accepts alternative bar breathe
-char chordmodifiers chords clef cm consists consistsend
-context denies duration dynamicscript elementdescriptions
-font grace header in lyrics key mark pitch
-time times midi mm name pitchnames notes outputproperty
-override set revert partial paper penalty property pt
-relative remove repeat addlyrics partcombine score
-script stylesheet skip textscript tempo translator
-transpose type
-@end example
+ 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.
-@unnumberedsubsec Integers
+@lilypond[fragment,singleline,verbatim]
+ \property Voice.NoteHead \set #'style = #'mensural
+ a'\longa
+@end lilypond
-@cindex integers
-@cindex @code{+}
-@cindex @code{-}
-@cindex @code{*}
-@cindex @code{/}
+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
+duration can be followed by dots (`@code{.}') to obtain dotted note
+lengths.
+@cindex @code{.}
-Formed from an optional minus sign followed by digits. Arithmetic
-operations cannot be done with integers, and integers cannot be mixed
-with reals.
+@lilypond[fragment,verbatim,center]
+ a'4. b'4.. c'8.
+@end lilypond
+@cindex @code{r}
+@cindex @code{s}
-@unnumberedsubsec Reals
-@cindex real numbers
+You can alter the length of duration by a fraction @var{N/M} by
+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.
+@node Ties
+@subsection Ties
-Formed from an optional minus sign and a sequence of digits followed
-by a @emph{required} decimal point and an optional exponent such as
-@code{-1.2e3}. Reals can be built up using the usual operations:
-`@code{+}', `@code{-}', `@code{*}', and
-`@code{/}', with parentheses for grouping.
+@cindex Tie
+@cindex ties
+@cindex @code{~}
-@cindex @code{\mm},
-@cindex @code{\in}
-@cindex @code{\cm}
-@cindex @code{\pt}
-@cindex dimensions
+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 real constant can be followed by one of the dimension keywords:
-@code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
-points, inches and centimeters, respectively. This converts the number
-to a real that is the internal representation of dimensions.
+@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:
+@lilypond[fragment,verbatim,center]
+ \property Voice.sparseTies = ##t
+ <c' e' g'> ~ <c' e' g'>
+@end lilypond
-@unnumberedsubsec Strings
-@cindex string
-@cindex concatenate
+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.
+@c
+@lilypond[fragment, singleline]
+\time 3/4 c'2. c'2 ~ c'4
+@end lilypond
-Begins and ends with the @code{"} character. To include a @code{"}
-character in a string write @code{\"}. Various other backslash
-sequences have special interpretations as in the C language. A string
-that contains no spaces can be written without the quotes. See
-@ref{Lexical modes} for details on unquoted strings; their interpretation varies
-depending on the situation. Strings can be concatenated with the
-@code{+} operator.
+The name of the tie grob is @internalsref{Tie}, and it is created in the
+@internalsref{Voice} context.
-The tokenizer accepts the following commands. They have no grammatical
-function, hence they can appear anywhere in the input.
+@refbugs
-@unnumberedsubsec Main input
+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.
-@cindex @code{\maininput}
+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.
-The @code{\maininput} command is used in init files to signal that the
-user file must be read. This command cannot be used in a user file.
-@unnumberedsubsec File inclusion
-@cindex @code{\include}
-@example
- \include @var{filename}
-@end example
+@node Tuplets
+@subsection Tuplets
-Include @var{filename}. The argument @var{filename} may be a quoted string (an
-unquoted string will not work here!) or a string identifier. The full
-filename including the @file{.ly} extension must be given,
+@cindex tuplets
+@cindex triplets
+@cindex @code{\times}
-@unnumberedsubsec Version information
-@cindex @code{\version}
+Tuplets are made out of a music expression by multiplying all duration
+with a fraction.
+
+@cindex @code{\times}
@example
- \version @var{string} ;
+ \times @var{fraction} @var{musicexpr}
@end example
-Specify the version of LilyPond that a file was written for. The
-argument is a version string in quotes, for example @code{"1.2.0"}.
-This is used to detect invalid input, and to aid
-@code{convert-ly} a tool that automatically upgrades input files. See
-See @ref{convert-ly} for more information on @code{convert-ly}.
+The duration of @var{musicexpr} will be multiplied by the fraction.
+In print, the fraction's denominator will be printed over the notes,
+optionally with a bracket. The most common tuplet is the triplet in
+which 3 notes have the length of 2, so the notes are 2/3 of
+their written length:
-@cindex convert-ly
+@lilypond[fragment,verbatim,center]
+ 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, thus saving typing work.
-@node Lexical modes
-@section Lexical modes
-@cindex Lexical modes
-@cindex modes
+@lilypond[fragment, relative, singleline, verbatim]
+\property Voice.tupletSpannerDuration = #(make-moment 1 4)
+\times 2/3 { c'8 c c c c c }
+@end lilypond
+The format of the number is determined by the property
+@code{tupletNumberFormatFunction}. The default prints only the
+denominator, but if you set it to the Scheme function
+@code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
+instead.
+
+The typesetting of brackets and numbers is controlled by the properties
+@code{tuplet-bracket-visibility} and @code{tuplet-number-visibility}.
+
+@lilypond[fragment, relative, singleline, verbatim]
+\property Voice.TupletBracket \set #'tuplet-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
+\times 2/3{c d e} \times 2/3{d4 e8}
+\property Voice.TupletBracket \set #'tuplet-bracket-visibility = ##f
+\times 2/3{c d e} \times 2/3{d4 e8}
+\property Voice.TupletBracket \set #'tuplet-number-visibility = ##f
+\times 2/3{c d e} \times 2/3{d4 e8}
+\property Voice.TupletBracket \set #'tuplet-number-visibility = #'if-no-beam
+\times 2/3{c d e} \times 2/3{d4 e8}
+@end lilypond
-To simplify entering notes, lyrics, and chords, LilyPond has three
-special input modes on top of the default mode. In each mode, words
-are identified on the input. If @code{"word"} is encountered, it is
-treated as a string. If @code{\word} is encountered, it is treated as
-a keyword or as an identifier. The behavior of the modes differs in
-two ways: Different modes treat unquoted words differently, and
-different modes have different rules for deciding what is a word.
-
-@table @asis
-@item Normal mode.
-@cindex normal mode
-
-At the start of parsing, LilyPond is in Normal mode. In Normal
-mode, a word is an alphabetic character followed by alphanumeric
-characters. If @code{word} is encountered on the input it is
-treated as a string.
+@cindex @code{tupletNumberFormatFunction}
+@cindex tuplet formatting
-@item Note mode.
-@cindex note mode
+Tuplet brackets are printed as @internalsref{TupletBracket} grobs, most
+often in the @internalsref{Voice} context.
-@cindex @code{\notes}
-Note mode is introduced by the keyword
-@code{\notes}. In Note mode, words can only
-contain alphabetic characters. If @code{word} is encountered,
-LilyPond first checks for a notename of @code{word}. If no
-notename is found, then @code{word} is treated as a string.
+@c . {Defining pitch names}
+@node Defining pitch names
+@subsection Defining pitch names
-Since combinations of numbers and dots are used for indicating
-durations, it is not possible to enter real numbers in this mode.
+@cindex defining pitch names
+@cindex pitch names, defining
-@item Chord mode.
-@cindex chord mode
+Note names and chord modifiers can be customized for nationalities. The
+syntax is as follows.
-Chord mode is introduced by the keyword
-@code{\chords}. It is similar to Note mode, but
-words are also looked up in a chord modifier table (containing
-@code{maj}, @code{dim}, etc).
+@cindex @code{\pitchnames}
+@cindex @code{\chordmodifiers}
+@example
+ \pitchnames @var{scheme-alist}
+ \chordmodifiers @var{scheme-alist}
+@end example
-Since combinations of numbers and dots are used for indicating
-durations, you can not enter real numbers in this mode. Dashes
-and carets are used to indicate chord additions and subtractions,
-so scripts can not be entered in Chord mode.
+See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
+specific examples on how to do this.
-@item Lyrics mode.
-@cindex lyric mode
-@cindex @code{\lyrics}
-Lyrics mode is introduced by the keyword @code{\lyrics}. This mode has
-rules that make it easy to include punctuation and diacritical marks in
-words: The purpose of Lyrics mode is that you can enter lyrics in @TeX{}
-format or a standard encoding without needing quotes. The precise
-definition of this mode is ludicrous, and this will remain so until the
-authors of LilyPond acquire a deeper understanding of character
-encoding, or someone else steps up to fix this.
-
-A word in Lyrics mode begins with: an alphabetic character, @code{_},
-@code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
-through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
-any 8-bit character with ASCII code over 127, or a two-character
-combination of a backslash followed by one of @code{`}, @code{'},
-@code{"}, or @code{^}.
-
-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{@}}', which may be confusing. However, LilyPond will
-issue a warning. Any @code{_} character which appears in an unquoted
-word is converted to a space. This provides a mechanism for introducing
-spaces into words without using quotes. Quoted words can also be used
-in Lyrics mode to specify words that cannot be written with the above
-rules. Here are some examples. Not all of these words are printable by
-@TeX{}.
+@node Easy Notation note heads
+@subsection Easy Notation note heads
-@example
-Ah! % a word
-2B_||_!2B % not a word because it starts with a digit
-``Hello'' % not a word because it starts with `
-_ _ _ _ % 4 words, each one a space
-@end example
+@cindex easy notation
+@cindex Hal Leonard
-Since combinations of numbers and dots are used for indicating
-durations, you can not enter real numbers in this mode.
-@end table
+A entirely different type of note head is the "easyplay" note head: a
+note head that includes a note name. It is used in some publications by
+Hal-Leonard Inc. music publishers.
-[todo: include short table showing differences]
+@lilypond[singleline,verbatim]
+\include "paper23.ly"
+\score {
+ \notes { c'2 e'4 f' | g'1 }
+ \paper { \translator { \EasyNotation } }
+}
+@end lilypond
-@node Types
-@section Types
+Note that @internalsref{EasyNotation} overrides a @internalsref{Score} context. You
+probably will want to print it with magnification to make it more
+readable, see @ref{Output scaling}.
-@cindex Identifiers
-All of the information in a LilyPond input file, is represented as a
-Scheme value. In addition to normal Scheme data types (such as pair,
-number, boolean, etc.), LilyPond has a number of specialized data types,
+@cindex Xdvi
+@cindex ghostscript
-@itemize @bullet
-@item Input
-@item c++-function
-@item Music: see @ref{Music expressions}
-@item Identifier
-@item Translator_def:
-See section @ref{contextdefs} for more information
-@item Duration
-@item Pitch
-@item Score
-@item Music_output_def
-@item Moment (rational number)
-@end itemize
+If you view the result with Xdvi, then staff lines will show through the
+letters. Printing the postscript file obtained either by using dvips or
+the @code{-f ps} option of lilypond produces the correct result.
-LilyPond also includes some transient object types. Objects of these
-types are built during a LilyPond run, and do not `exist' per se within
-your input file. These objects are created as a result of your input
-file, so you can include commands in the input to manipulate them,
-during a lilypond run.
-@itemize @bullet
-@item Grob: short for Graphical object. See @ref{Grobs}.
-@item Molecule: device-independent page output object,
-including dimensions. Produced by some Grob functions
-See @ref{Molecules}
-@item Translator: object that produces audio objects or Grobs. This is
-not yet user accessible.
-@item Font_metric: object representing a font. (See @ref{Font metrics})
-@c @item Audio_element: (todo, smobme)
-@end itemize
-@node Assignments
-@unnumberedsubsec Assignments
+@node Staff notation
+@section Staff notation
-Identifiers allow objects to be assigned to names during the parse
-stage. To assign an identifier, you use @var{name}@code{=}@var{value}
-and to refer to an identifier, you preceed its name with a backslash:
-`@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
-the input-types listed above. Identifier assignments can appear at top
-level in the LilyPond file, but also in @code{\paper} blocks.
+@cindex Staff notation
-Semicolons are forbidden after top level assignments, but mandatory in
-other places. The rules about semicolons and assignments are very
-confusing, but when LilyPond input evolves more towards Scheme, we hope
-that this problem will grow smaller.
+@menu
+* Key signature::
+* Clef::
+* Time signature::
+* Unmetered music::
+* Bar lines::
+@end menu
-An identifier can be created with any string for its name, but you will
-only be able to refer to identifiers whose names begin with a letter,
-being entirely alphanumeric. It is impossible to refer to an identifier
-whose name is the same as the name of a keyword.
+@c . {Key}
+@node Key signature
+@subsection Key signature
+@cindex Key
-The right hand side of an identifier assignment is parsed completely
-before the assignment is done, so it is allowed to redefine an
-identifier in terms of its old value, e.g.
+@cindex @code{\key}
+Setting or changing the key signature is done with the @code{\key}
+command.
@example
-foo = \foo * 2.0
+ @code{\key} @var{pitch} @var{type}
@end example
-When an identifier is referenced, the information it points to is
-copied. For this reason, an identifier reference must always be the
-first item in a block.
-@example
-\paper @{
-foo = 1.0
-\paperIdent % wrong and invalid
-@}
-
-\paper @{
-\paperIdent % correct
-foo = 1.0
-@}
-@end example
+@cindex @code{\minor}
+@cindex @code{\major}
+@cindex @code{\minor}
+@cindex @code{\ionian}
+@cindex @code{\locrian}
+@cindex @code{\aeolian}
+@cindex @code{\mixolydian}
+@cindex @code{\lydian}
+@cindex @code{\phrygian}
+@cindex @code{\dorian}
+Here, @var{type} should be @code{\major} or @code{\minor} to get
+@var{pitch}-major or @var{pitch}-minor, respectively.
+The standard mode names @code{\ionian},
+@code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
+@code{\phrygian}, and @code{\dorian} are also defined.
-@node Music expressions
-@section Music expressions
+This command sets the context property @code{Staff.keySignature}.
+Non-standard key signatures can be specified by setting this property
+directly.
-@cindex music expressions
+The printed signature is a @internalsref{KeySignature} grob, typically
+created in @internalsref{Staff} context.
-Music in LilyPond is entered as a music expression. Notes, rests,
-lyric syllables are music expressions (the atomic
-expressions),
-@cindex atomic music expressions
-and you can combine music expressions to form new ones. This example
-forms a compound expressions out of the quarter @code{c} note and a
-@code{d} note:
+@cindex @code{keySignature}
-@example
-\sequential @{ c4 d4 @}
-@end example
+@c . {Clef}
+@node Clef
+@subsection Clef
+@cindex @code{\clef}
-The meaning of this compound expression is to play the @code{c}
-first, and then the @code{d} (as opposed to playing them
-simultaneously, for instance).
+The clef can be set or changed with the @code{\clef} command.
+@example
+ \clef @var{clefname}
+@end example
-Atomic music expression are discussed in
-subsection @ref{Atomic music expressions}. Compound music expressions are
-discussed in subsection @ref{Compound music expressions}.
+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
-@node Atomic music expressions
-@section Atomic music expressions
+Any change in these properties creates a clef (A @internalsref{Clef} grob).
+Supported clef-names include
+@c Moved standard clefs to the top /MB
+@table @code
+@item treble, violin, G, G2
+G clef on 2nd line
+@item alto, C
+ C clef on 3rd line
+@item tenor
+ C clef on 4th line
+@item bass, F
+ F clef on 4th line
+@item french
+ G clef on 1st line, so-called French violin clef
+@item soprano
+ C clef on 1st line
+@item mezzosoprano
+ C clef on 2nd line
+@item baritone
+ C clef on 5th line
+@item varbaritone
+ F clef on 3rd line
+@item subbass
+ F clef on 5th line
+@item percussion
+ percussion clef
+@end table
+By adding @code{_8} or @code{^8} to the clef name, the clef is
+transposed one octave down or up, respectively. Note that you have to
+enclose @var{clefname} in quotes if you use underscores or digits in the
+name. For example,
+@example
+ \clef "G_8"
+@end example
-@cindex pitch
+Supported associated glyphs (for @code{Staff.clefGlyph}) are:
-The syntax for pitch specification is
+@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
-@cindex @code{\pitch}
-@example
- \pitch @var{scmpitch}
-@end example
+@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.''
-@var{scmpitch} is a pitch scheme object, see @ref{Pitch}.
+@cindex Vaticana, Editio
+@cindex Medicaea, Editio
+@cindex hufnagel clefs
-In Note and Chord mode, pitches may be designated by names. See
-section @ref{Other languages} for pitch names in different languages.
-@cindex duration
-@cindex @code{\duration}
+@c . {Time signature}
+@node Time signature
+@subsection Time signature
+@cindex Time signature
+@cindex meter
+@cindex @code{\time}
-The syntax for duration specification is
+The time signature is set or changed by the @code{\time}
+command. Syntax:
@example
- \duration @var{scmduration}
+ \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
-In Note, Chord, and Lyrics mode, durations may be designated by
-numbers and dots.
-
-
-@node Note specification
-@section Note specification
-@cindex Note specification
+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}.
+
+The actual symbol that's printed can be customized with the style
+property.
+@lilypond[fragment, verbatim, singleline]
+\time 3/4 s2
+\property Staff.TimeSignature \override #'style = #'C
+\time 4/4 s2
+\property Staff.TimeSignature \override #'style = #'()
+\time 4/4 s2
+\property Staff.TimeSignature \override #'style = #'C
+\time 2/2 s2
+@end lilypond
-@cindex pitches
+There are many more options for the layout of this grob. They are
+selected through the @code{style} grob property.
-@cindex entering notes
+@c FIXME: this isn't documented except in example?
+See
+@file{input/test/time.ly} for examples.
-A note specification has the form
+@c . {Partial}
+@subsection Partial
+@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
+@code{\partial} command:
@example
- @var{pitch}[@var{octavespec}][!][?][@var{duration}]
+ \partial @var{duration}
@end example
-The pitch of the note is specified by the note's name.
+Internally, this is a shortcut for
+@example
+ \property Score.measurePosition = -@var{length of duration}
+@end example
+@cindex @code{|}
-The default names are the Dutch note names. The notes are specified
-by the letters @code{c} through @code{b}, where @code{c} is an
-octave below middle C and the letters span the octave above that C.
-In Dutch,
-@cindex note names, Dutch
-a sharp is formed by adding @code{-is} to the end of a pitch name. A
-flat is formed by adding @code{-es}. Double sharps and double flats are
-obtained by adding @code{-isis} or @code{-eses}. @code{aes} and
-@code{ees} are contracted to @code{as} and @code{es} in Dutch, but both
-forms will be accepted.
+The property @code{measurePosition} contains a rational number
+indicating how much of the measure has passed at this point.
-LilyPond has predefined sets of notenames for various other languages.
-To use them, simply include the language specific init file. For
-example: @code{\include "english.ly"}. The available language files and
-the names they define are:
-@example
- Note Names sharp flat
-nederlands.ly c d e f g a bes b -is -es
-english.ly c d e f g a bf b -s/-sharp -f/-flat
-deutsch.ly c d e f g a b h -is -es
-norsk.ly c d e f g a b h -iss/-is -ess/-es
-svenska.ly c d e f g a b h -iss -ess
-italiano.ly do re mi fa sol la sib si -d -b
-catalan.ly do re mi fa sol la sib si -d/-s -b
-@end example
-@cindex @code{'}
-@cindex @code{,}
+@node Unmetered music
+@subsection Unmetered music
-Pitch names can be redefined using the @code{\pitchnames} command, see
-@ref{Pitch names}.
+Bar lines and bar numbers are calculated automatically. For unmetered
+music (e.g. cadenzas), this is not desirable. The property
+@code{Score.timing} can be used to switch off this automatic timing
+@lilypond[fragment,relative,singleline,verbatim]
+c'2.
+\property Score.timing = ##f
+c2
+\property Score.timing = ##t
+c4 c4 c4
+@end lilypond
+The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used as
+shortcuts.
-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.
-@lilypond[fragment,verbatim,center]
- c' d' e' f' g' a' b' c''
-@end lilypond
+@c . {Bar lines}
+@node Bar lines
+@subsection Bar lines
+@cindex Bar lines
-@lilypond[fragment,verbatim,center]
- cis' dis' eis' fis' gis' ais' bis'
-@end lilypond
+@cindex @code{\bar}
+@cindex measure lines
+@cindex repeat bars
-@lilypond[fragment,verbatim,center]
- ces' des' es' fes' ges' as' bes'
-@end lilypond
+@example
+ \bar @var{bartype}
+@end example
-@lilypond[fragment,verbatim,center]
- cisis' eisis' gisis' aisis' beses'
+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 "" c
+\bar "|:" c
+\bar "||" c
+\bar ":|" c
+\bar ".|" c
+\bar ".|." c
+\bar "|."
@end lilypond
-@lilypond[fragment,verbatim,center]
- ceses' eses' geses' ases' beses'
-@end lilypond
-LilyPond will determine what accidentals to typeset depending on the key
-and context, so alteration refer to what note is heard, not to whether
-accidentals are printed. 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
+You are encouraged to use @code{\repeat} for repetitions. See
+@ref{Repeats}.
-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'!
-@end lilypond
+@cindex Bar_line_engraver
+@cindex whichBar
+@cindex repeatCommands
+@cindex defaultBarType
+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.
-@cindex duration
+@code{whichBar} can also be set directly, using @code{\property} or
+@code{\bar }. These settings take precedence over the automatic
+@code{whichBar} settings.
-Durations are entered as their reciprocal values. For notes longer
-than a whole note, use identifiers.
+@internalsref{BarLine} grobs are created by the @code{Bar_engraver}.
-@quotation
+@c . {Polyphony}
+@node Polyphony
+@section Polyphony
+@cindex polyphony
-@example
-c'\longa c'\breve
-c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
-r\longa r\breve
-r1 r2 r4 r8 r16 r32 r64 r64
-@end example
+Polyphonic parts, i.e. parts with more than one voice on a staff can be
+typeset with LilyPond.
+The easiest way to enter such fragments, is the Scheme function
+@code{voicify-music}. It will split chords using the separator
+@code{\\}, to make multiple voices. You can use it for small,
+short-lived voices (make a chord of voices) or for single chords:
-@lilypond[]
-\score {
- \notes \relative c'' {
- a\longa a\breve \autoBeamOff
- a1 a2 a4 a8 a16 a32 a64 a64
- r\longa r\breve
- r1 r2 r4 r8 r16 r32 r64 r64
- }
- \paper {
- \translator {
- \StaffContext
- \remove "Clef_engraver";
- \remove "Staff_symbol_engraver";
- \remove "Time_signature_engraver";
- \consists "Pitch_squash_engraver";
- }
- }
+@lilypond[verbatim,fragment]
+\context Voice = VA \apply #voicify-music \relative c'' {
+ c4 < { f d e } \\ { b c2 } > c4 < g' \\ c, \\ f \\ d >
}
@end lilypond
-@end quotation
-As you can see, the longa is not printed. To get a longa note head, you
-have to use a different style of note heads. See [TODO].
+The function @code{voicify-music} instantiates @internalsref{Voice}
+contexts, bearing the names @code{"1"}, @code{"2"}, etc.
-@cindex @code{.}
+To explicity typeset polyphonic music, instantiate a separate Voice
+context for each part, and assign a stem direction to 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' } >
+@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}).
+
+@lilypond[fragment, verbatim]
+ \context Staff \notes\relative c''<
+ \context Voice=one {
+ \shiftOff \stemUp e4
+ }
+ \context Voice=two {
+ \shiftOn \stemUp cis
+ }
+ \context Voice=three {
+ \shiftOnn \stemUp ais
+ }
+ \context Voice=four {
+ \shiftOnnn \stemUp fis
+ }
+ >
+@end lilypond
-If the duration is omitted then it is set equal to the previous duration
-entered. At the start of parsing there is no previous duration, so then
-a quarter note is assumed. The duration can be followed by a dot
-(`@code{.}') to obtain dotted note lengths.
+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.
-Rests are entered like notes, with note name `@code{r}'.
-There is also a note name
-`@code{s}', which produces a space of the specified
-duration.
+@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[fragment,verbatim,center]
- a'4. b'4.
+@lilypond[verbatim,fragment,singleline]
+ \context Staff <
+ \context Voice = VA { \voiceOne
+ 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] }
+ >
@end lilypond
-@cindex @code{r}
-@cindex @code{s}
-You can alter the length of duration by writing `@code{*}@var{fraction}'
-after it. This will not affect the appearance of note heads or rests.
+LilyPond also vertically shifts rests that are opposite of a stem.
-@unnumberedsubsec Multi measure rests
+@lilypond[singleline,verbatim]
+\context Staff <
+\context Voice { \stemUp c''4 }
+\context Voice =VB { r4 }
+>
+@end lilypond
-@cindex @code{R}
+Note head collisions (horizontal shifting of note heads) are handled by
+the @internalsref{NoteCollision} grob. @internalsref{RestCollision}
+handles vertical shifting of rests.
-Multi_measure_rest are entered using `@code{R}'. It is specifically
-meant for entering parts: the rest can expand to fill a score with
-rests, or it can be printed as a single multimeasure rest This expansion
-is controlled by the property @code{Score.skipBars}. If this is set to true,
-Lily will not expand empty measures, and the multimeasure rests
-automatically adds the appropriate number.
-@lilypond[fragment]
- \time 3/4; R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
-@end lilypond
-Note that there is currently no way to condense multiple rests into a
-single multimeasure rest.
-@unnumberedsubsec Lyrics
-@cindex lyrics expressions
+@refbugs
-Syllables are entered like notes, with pitches replaced by text. For
-example, @code{Twin-4 kle4 twin-4 kle4} enters four syllables, each
-with quarter note duration. Note that the hyphen has no special
-meaning for lyrics, and does not introduce special symbols. See
-section @ref{Lexical modes} for a description of what is interpreted as
-lyrics.
+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.
-Spaces can be introduced into a lyric either by using quotes
-(@code{"}) or by using an underscore without quotes: @code{He_could4
-not4}. All unquoted underscores are converted to spaces. Printing
-lyrics is discussed in section @ref{lyricprint}.
+@node Beaming
+@section Beaming
-[explain automatic phrasing]
+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.
-@cindex properties
-@unnumberedsubsec Translation property
-@cindex @code{\property}
-@example
- \property @var{contextname}.@var{propname} = @var{value}
-@end example
+@c . {Automatic beams}
+@subsection Automatic beams
+
+@cindex @code{Voice.autoBeamSettings}
+@cindex @code{(end * * * *)}
+@cindex @code{(begin * * * *)}
-Sets the @var{propname} property of the context @var{contextname} to
-the specified @var{value}. All three arguments are strings.
-Depending on the context, it may be necessary to quote the strings or
-to leave space on both sides of the dot.
-@cindex translator switches
-@unnumberedsubsec Translator switches
+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,
+or at durations specified by the properties in
+@code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
+are defined in @file{scm/auto-beam.scm}.
-@cindex @code{\translator}
+The value of @code{autoBeamSettings} is changed using
+@code{\override} and unset using @code{\revert}:
@example
- \translator @var{contexttype} = @var{name}
+\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})
@end example
+Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
+whether the rule applies to begin or end-points. The quantity
+@var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
+*}' designates notes of any length), @var{N}/@var{M} refers to a time
+signature (wildcards, `@code{* *}' may be entered to designate all time
+signatures).
+
+For example, if you want automatic beams to end on every quarter note,
+you can use the following:
+@example
+\property Voice.autoBeamSettings \override
+ #'(end * * * *) = #(make-moment 1 4)
+@end example
+Since the duration of a quarter note is 1/4 of a whole note, it is
+entered as @code{(make-moment 1 4)}.
-A music expression indicating that the context which is a direct
-child of the a context of type @var{contexttype} should be shifted to
-a context of type @var{contexttype} and the specified name.
-
-Usually this is used to switch staffs in Piano music, e.g.
-
+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
+\property Voice.autoBeamSettings \override
+ #'(end * * * *) = #(make-moment 3 8)
+@end example
+In 4/4 time signature, this means that automatic beams could end only on
+3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
+3/8 has passed within the measure).
+
+You can also restrict rules to specific time signatures. A rule that
+should only be applied in @var{N}/@var{M} time signature is formed by
+replacing the second asterisks by @var{N} and @var{M}. For example, a
+rule for 6/8 time exclusively looks like
@example
- \translator Staff = top @var{Music}
+\property Voice.autoBeamSettings \override
+ #'(begin * * 6 8) = ...
@end example
+If you want a rule to apply to certain types of beams, you can use the
+first pair of asterisks. Beams are classified according to the shortest
+note they contain. For a beam ending rule that only applies to beams
+with 32nd notes (and no shorter notes), you would use @code{(end 1
+32 * *)}.
-@cindex output properties
-@unnumberedsubsec Output properties
+@c not true
+@c Automatic beams can not be put on the last note in a score.
-These allow you to tweak what is happening in the back-end
-directly. If you want to control every detail of the output
-formatting, this is the feature to use. The downside to this is that
-you need to know exactly how the backend works. Example:
+If a score ends while an automatic beam has not been ended and is still
+accepting notes, this last beam will not be typeset at all.
+@cindex automatic beam generation
+@cindex autobeam
+@cindex @code{Voice.noAutoBeaming}
-@lilypond[fragment,verbatim]
-\relative c'' { c4
- \context Staff \outputproperty
- #(make-type-checker 'note-head-interface)
- #'extra-offset = #'(5.0 . 7.5)
-<c8 e g> }
-@end lilypond
+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.
-This selects all note heads occurring at current staff level, and sets
-the @code{extra-offset} of those heads to @code{(5,7.5)}, shifting them
-up and right.
+@refbugs
-Use of this feature is entirely on your own risk: if you use this, the
-result will depend very heavily on the implementation of the backend,
-which we change regularly and unscrupulously.
+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'll have to specify manual beams to get:
+@lilypond[fragment,singleline,relative]
+ \property Voice.autoBeamSettings
+ \override #'(end * * * *) = #(make-moment 3 8)
+ \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
+@end lilypond
-@unnumberedsubsec Key signature
-@cindex @code{\key}
+It is not possible to specify beaming parameters that act differently in
+different parts of a measure. This means that it is not possible to use
+automatic beaming in irregular meters such as @code{5/8}.
-@example
- @code{\key} @var{pitch} @var{type} @code{;}
-@end example
-@cindex @code{\minor}
-@cindex @code{\major}
-@cindex @code{\minor}
-@cindex @code{\ionian}
-@cindex @code{\locrian}
-@cindex @code{\aeolian}
-@cindex @code{\mixolydian}
-@cindex @code{\lydian}
-@cindex @code{\phrygian}
-@cindex @code{\dorian}
+@c . {Manual beams}
+@cindex Automatic beams
+@subsection Manual beams
+@cindex beams, manual
+@cindex @code{]}
+@cindex @code{[}
-Change the key signature. @var{type} should be @code{\major} or
-@code{\minor} to get @var{pitch}-major or @var{pitch}-minor,
-respectively. The second argument is optional; the default is major
-keys. The @var{\context} argument can also be given as an integer,
-which tells the number of semitones that should be added to the pitch
-given in the subsequent @code{\key} commands to get the corresponding
-major key, e.g., @code{\minor} is defined as 3. The standard mode names
-@code{\ionian}, @code{\locrian}, @code{\aeolian}, @code{\mixolydian},
-@code{\lydian}, @code{\phrygian}, and @code{\dorian} are also defined.
-
-@unnumberedsubsec Rehearsal marks
-@cindex rehearsal marks
-@cindex mark
-@cindex @code{\mark}
-@example
- \mark @var{unsigned};
-@cindex @code{Mark_engraver}
- \mark @var{string};
-@end example
+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:
-Prints a mark over or under the staff.
+@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.
-@unnumberedsubsec barlines
+@cindex @code{stemLeftBeamCount}
-@cindex @code{\bar}
-@cindex measure lines
-@cindex repeat bars
+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.
-@example
- \bar @var{bartype};
-@end example
+@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}
-This is a short-cut for doing
-@example
- \property Score.whichBar = @var{bartype}
-@end example
+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.
-You are encouraged to use @code{\repeat} for repetitions. See
-@ref{Repeats}, and the documentation of @code{whichBar} in
-@ref{(lilypond-internals)LilyPond context properties}.
+Set @code{height} to zero, to get horizontal beams:
-[FIXME]
+@lilypond[fragment,relative,verbatim]
+ \property Voice.Beam \set #'direction = #1
+ \property Voice.Beam \set #'height = #0
+ [a'8 e' d c]
+@end lilypond
-@unnumberedsubsec Time signature
-@cindex meter
-@cindex time signature
-@cindex @code{\time}
-@example
- \time @var{numerator}@code{/}@var{denominator} @code{;}
-@end example
+Here's how you'd specify a weird looking beam that instead of being
+horizontal, falls two staff spaces:
-A short-cut for doing
-@example
- \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
-@end example
-See the documentation of @code{timeSignatureFraction}
+[FIXME]
-@unnumberedsubsec Tempo
-@cindex beats per minute
-@cindex metronome marking
-@cindex @code{\tempo}
-@example
- \tempo @var{duration} = @var{perminute} @code{;}
-@end example
-Used to specify the tempo. For example, @code{\tempo 4 = 76;} requests
-output with 76 quarter notes per minute.
+@lilypond[fragment,relative,verbatim]
+ \property Voice.Beam \set #'staff-position = #4
+ \property Voice.Beam \set #'height = #-4
+ [c8 c]
+@end lilypond
-@unnumberedsubsec Partial measures
-@cindex anacrusis
-@cindex upstep
-@cindex partial measure
-@cindex measure, partial
-@cindex shorten measures
-@cindex @code{\partial}
-@example
- \partial @var{duration} @code{;}
-@end example
+[TODO: doc autokneeing ? ]
-Short cut for
+@c TODO -> why this ref? Document?
+@cindex @code{neutral-direction}
-@example
- \property Score.measurePosition = @var{length of duration}
-@end example
-@cindex @code{|}
+@node Expressive marks
+@section Expressive marks
-See the documentation of @code{measurePosition}.
+@c . {Slurs}
+@menu
+* Slurs ::
+* Phrasing slurs::
+* Breath marks::
+* Tempo::
+* Text spanners::
+@end menu
-@unnumberedsubsec Bar check
+@node Slurs
+@subsection Slurs
+@cindex slurs
-@cindex bar check
-@cindex @code{barCheckNoSynchronize}
-@cindex @code{|}
+A slur indicates that notes are to be played bound or @emph{legato}.
+They are entered using parentheses:
+@lilypond[fragment,verbatim,center]
+ f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
+@end lilypond
-Bar checks help you find errors in the input: Whenever one is
-encountered during interpretation, a warning message is issued if it
-doesn't fall at a measure boundary. Depending on the value of
-@code{barCheckNoSynchronize}, the beginning of the measure will be
-relocated, so this can also be used to shorten measures.
-A bar check is entered using the bar symbol, @code{|}
+Slurs avoid crossing stems, and are generally attached to note heads.
+However, in some situations with beams, slurs may be attached to stem
+ends. If you want to override this layout you can do this through the
+grob-property @code{attachment} of @internalsref{Slur} in
+@internalsref{Voice} context It's value is a pair of symbols, specifying
+the attachment type of the left and right end points.
-This can help you finding errors in the input.
+@lilypond[fragment,relative,verbatim]
+ \property Voice.Slur \set #'direction = #1
+ \property Voice.Stem \set #'length = #5.5
+ g'8(g)g4
+ \property Voice.Slur \set #'attachment = #'(stem . stem)
+ g8(g)g4
+@end lilypond
-@unnumberedsubsec Line break penalty.
-@cindex @code{\penalty}
+If a slur would strike through a stem or beam, the slur will be moved
+away upward or downward. If this happens, attaching the slur to the
+stems might look better:
-@example
- \penalty @var{int} @code{;}
-@end example
+@lilypond[fragment,relative,verbatim]
+ \property Voice.Stem \set #'direction = #1
+ \property Voice.Slur \set #'direction = #1
+ d32( d'4 )d8..
+ \property Voice.Slur \set #'attachment = #'(stem . stem)
+ d,32( d'4 )d8..
+@end lilypond
-Discourage or encourage line breaks. See @ref{Page layout}.
-@unnumberedsubsec Clef change
-@cindex @code{\clef}
-@example
- \clef @var{clefname} @code{;}
-@end example
+Similarly, the curvature of a slur is adjusted to stay clear of note
+heads and stems. When that would increase the curvature too much, the
+slur is reverted to its default shape. The threshold for this decision
+is in @internalsref{Slur}'s grob-property @code{beautiful}. It is loosely
+related to the enclosed area between the slur and the notes. Usually,
+the default setting works well, but in some cases you may prefer a
+curved slur when LilyPond decides for a vertically moved one. You can
+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
+ c16( a' f' a a f a, )c,
+ c( a' f' a a f d, )c
+ \property Voice.Slur \override #'beautiful = #5.0
+ c( a' f' a a f d, )c
+@end lilypond
-Short-cut for
+@refbugs
-@example
- \property Clef.clefGlyph = @var{symbol associated with clefname}
- \property Clef.clefPosition = @var{clef Y-position for clefname}
- \property Clef.clefOctavation = @var{extra pitch of clefname}
-@end example
+@code{beautiful} is an arbitrary parameter in the slur formatter.
+Useful values can only be determined by trial and error.
-Supported clef-names include
+@cindex Adjusting slurs
-[todo]
+@node Phrasing slurs
+@subsection Phrasing slurs
-@unnumberedsubsec Skip
-@example
- \skip @var{duration} @code{;}
-@end example
-@cindex @code{\skip}
+@cindex phrasing slurs
+@cindex phrasing marks
-Skips the amount of time specified by @var{duration}. If no other
-music is played, a gap will be left for the skipped time with no
-notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
-this has the same effect as the spacer rest.
+A phrasing slur (or phrasing mark) connects chords and is used to
+indicate a musical sentence. It is started using @code{\(} and @code{\)}
+respectively.
+@lilypond[fragment,verbatim,center,relative]
+ \time 6/4 c' \( ( d ) e f ( e ) \) d
+@end lilypond
-@node Manual beams
-@unnumberedsubsec Manual beams
+Typographically, the phrasing slur behaves almost exactly like a normal
+slur. The grob associated with it is @internalsref{PhrasingSlur}, in
+@internalsref{Voice} context.
-@cindex beams, manual
-@cindex @code{]}
-@cindex @code{[}
+@node Breath marks
+@subsection Breath marks
-A beam is specified by surrounding the beamed notes with brackets
-`@code{[}' and `@code{]}'.
+Breath marks are entered using @code{\breathe}. The result is a
+@internalsref{BreathingSign} grob in @internalsref{Voice} context.
-@lilypond[fragment,verbatim,center]
- [a'8 a'] [a'16 a' a' a']
- [a'16 <a' c''> c'' <a' c''>]
- \times 2/3 { [e'8 f' g'] }
+@lilypond[fragment,relative]
+c'4 \breathe d4
@end lilypond
-Beaming can be generated automatically; see section @ref{Automatic Beaming}.
-@cindex @code{-}@code{-}
-@unnumberedsubsec Lyric extender
-@cindex extender
-@cindex lyric extender
-@cindex hyphen
-The syntax for an extender mark is @code{__}. This syntax can only
-be used within lyrics mode.
+@refbugs
-@unnumberedsubsec Lyric hyphens
+The current layout of the default comma style breath marks
+could be improved and more optional symbols should be added to the
+font.
-The syntax for a spanning hyphen (i.e., a hyphen that will be printed
-between two lyric syllables) is `@code{-}@code{-}'.
-@unnumberedsubsec Ties
-@cindex ties
-@cindex @code{~}
+@c . {Tempo}
+@node Tempo
+@subsection Tempo
+@cindex Tempo
+@cindex beats per minute
+@cindex metronome marking
-A tie connects two adjacent note heads of the same pitch. When used
-with chords, it connects all of 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, a
-warning message will appear and no ties will be created.
+Metronome settings can be entered as follows:
-@lilypond[fragment,verbatim,center]
- e' ~ e' <c' e' g'> ~ <c' e' g'>
+@cindex @code{\tempo}
+@example
+ \tempo @var{duration} = @var{perminute}
+@end example
+
+For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
+per minute.
+
+@refbugs
+
+The tempo setting is not printed, but is only used in the MIDI
+output. You can trick lily into producing a metronome mark,
+though. Details are in @ref{Text markup}.
+
+
+
+@node Text spanners
+@subsection Text spanners
+@cindex Text spanners
+
+Some textual indications, e.g. rallentando or accelerando, often extend
+over many measures. This is indicated by following the text with a
+dotted line. You can create such texts using text spanners. The syntax
+is as follows:
+@example
+\spanrequest \start "text"
+\spanrequest \stop "text"
+@end example
+LilyPond will respond by creating a @internalsref{TextSpanner} grob (typically
+in @internalsref{Voice} context). The string to be printed, as well as the
+style is set through grob properties.
+
+An application---or rather, a hack---is to fake octavation indications.
+@lilypond[fragment,relative,verbatim]
+ \relative c' { a''' b c a
+ \property Voice.TextSpanner \set #'type = #'dotted-line
+ \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
+ \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
+ \property Staff.centralCPosition = #-13
+ a\spanrequest \start "text" b c a \spanrequest \stop "text" }
@end lilypond
-[sparseTies]
-@unnumberedsubsec Articulation
+@c . {Ornaments}
+@node Ornaments
+@section Ornaments
+@cindex Ornaments
+@menu
+* Articulations::
+* Text scripts::
+* Grace notes::
+* Glissando ::
+* Dynamics::
+@end menu
+
+@c . {Articulation}
+@node Articulations
+@subsection Articulations
+@cindex Articulations
+
@cindex articulations
@cindex scripts
@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} and @file{script.scm}. 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 above notes, with the
-name of the corresponding symbol appearing underneath.
+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.
@lilypond[]
-
\score {
- < \notes {
- \property Score.LyricSyllable \override #'font-family =
-#'typewriter
- \property Score.LyricSyllable \override #'font-shape = #'upright
- c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
+ <
+ \property Score.LyricSyllable \override #'font-family =#'typewriter
+ \property Score.LyricSyllable \override #'font-shape = #'upright
+ \context Staff \notes {
+ c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
c''-\rtoe c''-\turn c''-\open c''-\flageolet
c''-\reverseturn c''-\trill c''-\prall c''-\mordent
c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
- c''-\thumb c''-\segno c''-\coda
+ c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup
+ c''-\lineprall c''-\thumb c''-\segno c''-\coda
}
\context Lyrics \lyrics {
accent__ marcato__ staccatissimo__ fermata
rtoe__ turn__ open__ flageolet
reverseturn__ trill__ prall__ mordent
prallprall__ prallmordent__ uprall__ downprall
- thumb__ segno__ coda
+ upmordent__ downmordent__ pralldown__ prallup__
+ lineprall__ thumb__ segno__ coda
}
>
\paper {
- linewidth = 5.875\in;
- indent = 0.0;
+ linewidth = 5.875\in
+ indent = 0.0
}
}
-
@end lilypond
-@unnumberedsubsec Text scripts
-
-In addition, it is possible to place arbitrary strings of text or
-@TeX{} above or below notes by using a string instead of an
-identifier: @code{c^"text"}. Fingerings
-can be placed by simply using digits. All of these note ornaments
-appear in the printed output but have no effect on the MIDI rendering of
-the music.
-
-@cindex fingering
-
-To save typing, fingering instructions (digits 0 to 9 are
-supported) and single characters shorthands exist for a few
-common symbols
-
-@lilypond[]
+To save typing work, some shorthands are available:
+@lilypond[singleline]
\score {
\notes \context Voice {
\property Voice.TextScript \set #'font-family = #'typewriter
c''4-|_"c-|" s4
c''4->_"c->" s4
c''4-^_"c-\\^{ }" s4
- c''4-1_"c-1" s4
- c''4-2_"c-2" s4
- c''4-3_"c-3" s4
- c''4-4_"c-4" s4
- }
- \paper {
- linewidth = 5.875 \in;
- indent = 0.0;
}
}
+@end lilypond
+@cindex fingering
+
+Fingering instructions can also be entered in this shorthand. For
+changes, some markup texts would be needed:
+@lilypond[verbatim, singleline, fragment]
+ c'4-1 c'4-2 c'4-3 c'4-4
+ c^#'(finger "2-3")
@end lilypond
-@cindex @code{\textscript}
+@cindex @code{\script}
+@cindex scripts
+@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
-
- \textscript @var{text} @var{style}
+ \script @var{alias}
@end example
-Defines a text to be printed over or under a note. @var{style} is a
-string that may be one of @code{roman}, @code{italic}, @code{typewriter},
-@code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.
+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}.
-You can attach a general textscript request using this syntax:
+@refbugs
-@quotation
+All of these note ornaments appear in the printed output but have no
+effect on the MIDI rendering of the music.
-@example
-c4-\textscript "6" "finger"
-c4-\textscript "foo" "normal"
-@end example
+Unfortunately, there is no support for adding fingering instructions or
+ornaments to individual note heads. Some hacks exist, though. See
+@file{input/test/script-horizontal.ly}.
+
+
+@c . {Text scripts}
+@node Text scripts
+@subsection Text scripts
+@cindex Text scripts
+
+In addition, it is possible to place arbitrary strings of text or markup
+text (see @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
+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 }
+@end lilypond
+
+Text scripts are created in form of @internalsref{TextScript} grobs, in
+@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
-@end quotation
-This is equivalent to @code{c4-6 c4-"foo"}.
-@cindex @code{\script}
-@cindex scripts
+
+
+
+@cindex Grace music
+@cindex @code{\grace}
+@cindex ornaments
+@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.
@example
+ \grace @var{musicexpr}
+@end example
- \script @var{alias}
+Unbeamed eighth notes and shorter by default have a slash through the
+stem.
+
+@lilypond[fragment,verbatim]
+\relative c'' \context Voice {
+ \grace c8 c4 \grace { [c16 c16] } c4
+ \grace {
+ \property Voice.Stem \override #'flag-style = #'()
+ c16
+ \property Voice.Stem \revert #'flag-style
+ } c4
+}
+@end lilypond
+
+A grace note expression has duration 0; the next real note is assumed to
+be the main note. If you want the note to appear after the main note,
+set @code{Voice.graceAlignPosition} to @code{1}.
+
+@refbugs
+
+Nesting @code{\grace} notes is not supported. The following may cause
+run-time errors: @example
+ @code{\grace @{ \grace c32 c16 @} c4}
@end example
-@cindex @code{\script}
+Since the meaning of such a construct is unclear, we don't consider this
+a loss. Similarly, juxtaposing two @code{\grace} sections is
+syntactically valid, but makes no sense and may cause runtime errors.
+Ending a staff or score with grace notes may also generate a run-time
+error, since there will be no main note to attach the grace notes to.
-Prints a symbol above or below a note. The argument is a string which
-points into the script-alias table defined in @file{scm/script.scm}, for
-information on how to add scripts, read the comments in that file.
-Usually the @code{\script} keyword is not used directly. Various
-helpful identifier definitions appear in @file{script.ly}.
+@menu
+* Glissando ::
+* Dynamics::
+@end menu
+
+
+
+@c . {Glissando}
+@node Glissando
+@subsection Glissando
+@cindex Glissando
+
+@cindex @code{\glissando}
+
+A glissando line (grob @internalsref{Glissando}) can be requested by
+attaching a @code{\glissando} to a notte:
+
+@lilypond[fragment,relative,verbatim]
+ c'-\glissando c'
+@end lilypond
+
+@refbugs
+
+Printing of an additional text (such as @emph{gliss.}) must be done
+manually.
-@unnumberedsubsec Dynamics
+@c . {Dynamics}
+@node Dynamics
+@subsection Dynamics
+@cindex Dynamics
+
+
@cindex @code{\ppp}
@cindex @code{\pp}
@cindex @code{\spp}
@cindex @code{\sfz}
@cindex @code{\rfz}
-@cindex crescendo
+
+
+Absolute dynamic marks are specified using an identifier after a
+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}.
+
+@lilypond[verbatim,singleline,fragment,relative]
+ c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
+ c2\sf c\rfz
+@end lilypond
+
@cindex @code{\cr}
@cindex @code{\rc}
@cindex @code{\decr}
@cindex @code{\>}
@cindex @code{\"!}
-Dynamic marks are specified by using an identifier after a note:
-@code{c4-\ff} (the dash is optional for dynamics: `@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}.
-
A crescendo mark is started with @code{\cr} and terminated with
-@code{\rc}, the textual reverse of @code{cr}. A decrescendo mark is
+@code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
started with @code{\decr} and terminated with @code{\rced}. 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{\!}. Note that @code{\!} must go before
the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
after the last note. Because these marks are bound to notes, if you
-want to get several marks during one note, you must use spacer notes.
+want several marks during one note, you have to use spacer notes.
@lilypond[fragment,verbatim,center]
c'' \< \! c'' d'' \decr e'' \rced
- < f''1 { s4 \< \! s2 \> \! s4 } >
+ < f''1 { s4 s4 \< \! s4 \> \! s4 } >
@end lilypond
-[todo: text cr]
-
-@unnumberedsubsec Slurs
-@cindex slur
+You can also use a text saying @emph{cresc.} instead of hairpins. Here
+is an example how to do it:
-Slurs connects chords and try to avoid crossing stems. A slur is
-started with @code{(} and stopped with @code{)}. The
-starting @code{(} appears to the right of the first note in
-the slur. The terminal @code{)} appears to the left of the
-first note in the slur. This makes it possible to put a note in
-slurs from both sides:
+@cindex crescendo
+@cindex decrescendo
-@lilypond[fragment,verbatim,center]
- f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
+@lilypond[fragment,relative,verbatim]
+ \context Voice {
+ \property Voice.crescendoText = "cresc."
+ \property Voice.crescendoSpanner = #'dashed-line
+ a'2\mf\< a a \!a
+ }
@end lilypond
+For everyday use, we recommend the identifiers @code{\cresc},
+@code{endcresc}, @code{\dim} and @code{\enddim}.
-@unnumberedsubsec Spanners
-@cindex @code{\spanrequest}
-
-@example
- \spanrequest @var{startstop} @var{type}
-@end example
-@cindex @code{\start}
-@cindex @code{\stop}
+@cindex diminuendo
-Define a spanning request. The @var{startstop} parameter is either -1
-(@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
-describes what should be started. Supported types are @code{crescendo},
-@code{decrescendo}, @code{beam}, @code{slur}. This is an internal
-command. Users should use the shorthands which are defined in the
-initialization file @file{spanners.ly}.
+Dynamics are grobs of @internalsref{DynamicText} and
+@internalsref{Hairpin}. Vertical positioning of these symbols is handled
+by the @internalsref{DynamicLineSpanner} grob. If you want to adjust
+padding or vertical direction of the dynamics, you must set properties
+for the @internalsref{DynamicLineSpanner} grob. Predefined identifiers
+to set the vertical direction are \dynamicUp and \dynamicDown.
-You can attach a (general) span request to a note using
+@cindex direction, of dynamics
+@cindex @code{\dynamicDown}
+@cindex @code{\dynamicUp}
-@lilypond[fragment,verbatim,center]
- c'4-\spanrequest \start "slur"
- c'4-\spanrequest \stop "slur"
-@end lilypond
+@c . {Repeats}
+@node Repeats
+@section Repeats
-The slur syntax with parentheses is a shorthand for this.
-@node Stem tremolo
-@section Stem tremolo
-@cindex tremolo marks
-@cindex @code{tremoloFlags}
+@cindex repeats
+@cindex @code{\repeat}
-[FIXME: should be \repeat]
+To specify repeats, use the @code{\repeat} keyword. Since repeats
+should work differently when played or printed, there are a few
+different variants of repeats.
-Tremolo marks can be printed on a single note by adding
-`@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 the last value is
-used, or the value of the @code{tremoloFlags} property if there was
-no last value.
+@table @asis
+@item unfold
+Repeated music is fully written (played) out. Useful for MIDI
+output, and entering repetitive music.
-@lilypond[verbatim,fragment,center]
- c'2:8 c':32
-@end lilypond
+@item volta
+This is the normal notation: Repeats are not written out, but
+alternative endings (voltas) are printed, left to right.
-@section Arpeggio
-@cindex argepeggio
+@item fold
+Alternative endings are written stacked. This has limited use but may be
+used to typeset two lines of lyrics in songs with repeats, see
+@file{input/star-spangled-banner.ly}.
-@cindex broken arpeggio
-@cindex @code{\arpeggio}
+@item tremolo
+Make tremolo beams.
-You can specify an @rgrob{Arpeggio} sign on a chord by issuing an
-@c FIXME
-@c @code{\arpeggio} request:
-@code{\arpeggio} request:
+@item percent
+Make beat or measure repeats. These look like percent signs.
+@end table
-@quotation
-@lilypond[fragment,relative,verbatim]
- \context Voice <c'\arpeggio e g c>
-@end lilypond
-@end quotation
+@menu
+* Repeat syntax::
+* Repeats and MIDI::
+* Manual repeat commands::
+* Tremolo repeats::
+* Tremolo subdivisions::
+* Measure repeats::
+@end menu
-Typesetting of simultanious chords with arpeggios can be controlled with
-the property @code{PianoStaff.connectArpeggios} @footnote{ FIXME:
-connectArpeggios. Can't find the English terms for two kinds of
-arpeggio (Dutch: gebroken arpeggio vs doorlopend arpeggio).} By
-default, LilyPond prints broken arpeggios; when set to true, one
-extended arpeggio sign is printed.
+@node Repeat syntax
+@subsection Repeat syntax
-@quotation
-@lilypond[fragment,relative,verbatim]
- \context PianoStaff <
- \property PianoStaff.connectArpeggios = ##t
- \context Staff \context Voice <c''\arpeggio e g c>
- \context Staff=other \context Voice <c,\arpeggio e g>
- >
-@end lilypond
-@end quotation
+The syntax for repeats is
-@section Glissando
-@cindex glissando
-@cindex @code{\glissando}
+@example
+ \repeat @var{variant} @var{repeatcount} @var{repeatbody}
+@end example
-A @rgrob{Glissando} line can be requested by issuing a
-@c FIXME
-@c @code{\glissando} request:
-@code{\glissando} request:
+If you have alternative endings, you may add
+@cindex @code{\alternative}
+@example
+ \alternative @code{@{} @var{alternative1}
+ @var{alternative2}
+ @var{alternative3} @dots{} @code{@}}
+@end example
+where each @var{alternative} is a music expression.
+Normal notation repeats are used like this:
+@lilypond[fragment,verbatim]
+ c'1
+ \repeat volta 2 { c'4 d' e' f' }
+ \repeat volta 2 { f' e' d' c' }
+@end lilypond
-@quotation
-@lilypond[fragment,relative,verbatim]
- c'' \glissando c'
+With alternative endings:
+@lilypond[fragment,verbatim]
+ c'1
+ \repeat volta 2 {c'4 d' e' f'}
+ \alternative { {d'2 d'} {f' f} }
@end lilypond
-@end quotation
-Printing of the additional text @samp{gliss.} must be done manually.
+Folded repeats look like this:
-@subsection Follow Thread
-@cindex follow thread
-@cindex staff switching
-@cindex cross staff
+@lilypond[fragment,verbatim]
+ c'1
+ \repeat fold 2 {c'4 d' e' f'}
+ \alternative { {d'2 d'} {f' f} }
-@c Documented here because it looks like a glissando...
-@cindex @code{followThread}
-A glissando-like line can be printed to connect notes whenever a thread
-switches to another staff. This is enabled if the property
-@code{PianoStaff.followThread} is set to true:
+@end lilypond
-@quotation
-@lilypond[fragment,relative,verbatim]
- \context PianoStaff <
- \property PianoStaff.followThread = ##t
- \context Staff \context Voice {
- c'1
- \translator Staff=two
- b2 a
- }
- \context Staff=two {\clef bass; \skip 1*2;}
- >
+If you don't give enough alternatives for all of the repeats, then
+the first alternative is assumed to be repeated often enough to equal
+the specified number of repeats.
+
+@lilypond[fragment,verbatim]
+\context Staff {
+ \relative c' {
+ \partial 4
+ \repeat volta 4 { e | c2 d2 | e2 f2 | }
+ \alternative { { g4 g g } { a | a a a a | b2. } }
+ }
+}
@end lilypond
-@end quotation
-@node Compound music expressions
-@section Compound music expressions
+@node Repeats and MIDI
+@subsection Repeats and MIDI
-@cindex compound music expressions
+@cindex expanding repeats
-Music expressions are compound data structures. You can nest music
-expressions any way you like. This simple example shows how three
-chords can be expressed in two different ways:
+For instructions on how to unfoldi repeats for MIDI output, see
+the example file @file{input/test/unfold-all-repeats.ly}.
-@lilypond[fragment,verbatim,center]
- \notes \context Staff {
- <a c'> <b d' > <c' e'>
- < { a b c' } { c' d' e' } >
- }
-@end lilypond
+@refbugs
-@cindex @code{\context}
-@cindex context selection
+Notice that 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}. Slurs or ties
+are also not repeated.
+
+It is possible to nest @code{\repeat}s, although this probably is only
+meaningful for unfolded repeats.
+Folded repeats offer little more over simultaneous music. However, it
+is to be expected that more functionality -- especially for the MIDI
+backend -- will be implemented at some point in the future.
+
+Volta repeats are printed over all staves in a score. You must turn them
+off explicitly, for example by doing
@example
- \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
+ \property Staff.VoltaBracket = \turnOff
@end example
+in all but the top staff.
-Interpret @var{musicexpr} within a context of type @var{contexttype}.
-If the context does not exist, it will be created. The new context
-can optionally be given a name.
+@node Manual repeat commands
+@subsection Manual repeat commands
-@cindex input modes
+@cindex @code{repeatCommands}
-@cindex mode switch
+The property @code{repeatCommands} can be used to control the layout of
+repeats. Its value is a Scheme list of repeat commands, where each repeat
+command can be
-@cindex @code{\notes}
-@cindex @code{\chords}
-@cindex @code{\lyrics}
+@table @code
+@item 'start-repeat
+ Print a |: bar line
+@item 'stop-repeat
+ Print a :| bar line
+@item (volta . @var{text})
+ Print a volta bracket saying @var{text}.
+@item (volta . #f)
+ Stop a running volta bracket
+@end table
-Mode switching keywords form compound music expressions: @code{\notes}
-@var{musicexpr}, @code{\chords} @var{musicexpr},
-and @code{\lyrics} @var{musicexpr}. These
-expressions do not add anything to the meaning of their arguments. They
-are just a way to indicate that the arguments should be parsed in
-indicated mode. See @ref{Lexical modes} for more information on modes.
+@lilypond[verbatim, fragment]
+ c''4
+ \property Score.repeatCommands = #'((volta "93") end-repeat)
+ c''4 c''4
+ \property Score.repeatCommands = #'((volta #f))
+ c''4 c''4
+@end lilypond
-[to lexer modes?]
-@unnumberedsubsec Sequential music
-@cindex @code{\sequential}
-@cindex sequential music
+Repeats brackets are @internalsref{VoltaBracket} grobs.
-@example
- \sequential @code{@{} @var{musicexprlist} @code{@}}
-@end example
+@node Tremolo repeats
+@subsection Tremolo repeats
+@cindex tremolo beams
-This means that list should be played or written in sequence, i.e.,
-the second after the first, the third after the second. The duration
-of sequential music is the the sum of the durations of the elements.
-There is a shorthand, which leaves out the keyword:
+To place tremolo marks between notes, use @code{\repeat} with tremolo
+style.
+@lilypond[verbatim,center,singleline]
+\score {
+ \context Voice \notes\relative c' {
+ \repeat "tremolo" 8 { c16 d16 }
+ \repeat "tremolo" 4 { c16 d16 }
+ \repeat "tremolo" 2 { c16 d16 }
+ \repeat "tremolo" 4 c16
+ }
+}
+@end lilypond
-@example
-@cindex @code{<}
-@cindex @code{>}
+Tremolo beams are @internalsref{Beam} grobs. Single stem tremolos are
+@internalsref{StemTremolo}.
- @code{@{} @var{musicexprlist} @code{@}}
-@end example
+@refbugs
+At present, the spacing between tremolo beams is not regular, since the
+spacing engine does not notice that not all notes are printed.
-@unnumberedsubsec Simultaneous music
-@cindex simultaneous music
-@cindex @code{\simultaneous}
+@node Tremolo subdivisions
+@subsection Tremolo subdivisions
+@cindex tremolo marks
+@cindex @code{tremoloFlags}
-@example
- \simultaneous @code{@{} @var{musicexprlist} @code{@}}
-@end example
+Tremolo marks can be printed on a single note by adding
+`@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.
-It constructs a music expression where all of its arguments start at
-the same moment. The duration is the maximum of the durations of the
-elements. The following shorthand is a common idiom:
+@lilypond[verbatim,fragment,center]
+ c'2:8 c':32 | c': c': |
+@end lilypond
-@example
- @code{<} @var{musicexprlist} @code{>}
-@end example
+@refbugs
-If you try to use a chord as the first thing in your score, you might
-get multiple staffs instead of a chord.
-@lilypond[verbatim,center]
- \score {
- \notes <c''4 e''>
- \paper {
- linewidth = -1.;
- }
- }
-@end lilypond
+Tremolos in this style do not carry over into the MIDI output.
-This happens because the chord is interpreted by a score context.
-Each time a note is encountered a default Voice context (along with a
-Staff context) is created. The solution is to explicitly instantiate
-a Voice context:
-@lilypond[verbatim,center]
- \score {
- \notes\context Voice <c''4 e''>
- \paper {
- linewidth = -1.;
- }
- }
-@end lilypond
+@node Measure repeats
+@subsection Measure repeats
+@cindex percent repeats
+@cindex measure repeats
+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.
+@lilypond[verbatim,singleline]
+ \context Voice { \repeat "percent" 4 { c'4 }
+ \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
+}
+@end lilypond
-@node Relative octaves
-@section Relative octaves
-@cindex relative octave specification
+The signs are represented by these grobs: @internalsref{RepeatSlash} and
+@internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
-It is easy to get confused by octave changing marks and accidentally
-putting a pitch in the wrong octave. A much better way of entering a
-note's octave is `the relative octave' mode.
+@refbugs
-@cindex @code{\relative}
-@example
- \relative @var{startpitch} @var{musicexpr}
-@end example
+You can not nest percent repeats, e.g. by filling in the first measure
+with slashes, and repeating that measure with percents.
-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.@footnote{The interval is determined without regarding
-accidentals. A @code{fisis} following a @code{ceses} will be put above
-the @code{ceses}.} The octave changing marks @code{'} and @code{,}
-can then 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}.
+@node Rhythmic music
+@section Rhythmic music
-Entering scales is straightforward in relative mode.
-@lilypond[fragment,verbatim,center]
- \relative c' {
- c d e f g a b c c,
+@menu
+* Rhythmic staves::
+@end menu
+
+@node Rhythmic staves
+@subsection Rhythmic staves
+
+Sometimes you might want to show only the rhythm of a melody. This can
+be done with the rhythmic staff. All pitches of notes on such a staff
+are squashed, and the staff itself looks has a single staff line:
+
+@lilypond[fragment,relative,verbatim]
+ \context RhythmicStaff {
+ \time 4/4
+ c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
}
@end lilypond
-And 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
+@c . {Piano music}
+@node Piano music
+@section Piano music
-If the preceding item is a chord, the first note of the chord is used
-to determine the first note of the next chord. But other notes
-within the second chord are determined by looking at the immediately
-preceding note.
+Piano music is an odd type of notation. Piano staves are two normal
+staves coupled with a brace. The staves are largely independent, but
+sometimes voices can cross between the two staves. The
+@internalsref{PianoStaff} is especially built to handle this cross-staffing
+behavior. In this section we discuss the @internalsref{PianoStaff} and some
+other pianistic peculiarities.
-@lilypond[fragment,verbatim,center]
- \relative c' {
- c <c e g>
- <c' e g>
- <c, e' g>
- }
-@end lilypond
-@cindex @code{\notes}
+@menu
+* Automatic staff changes::
+* Manual staff switches::
+* Pedals::
+* Arpeggio::
+* Voice follower lines::
+@end menu
-The pitch after the @code{\relative} contains a notename. To parse
-the pitch as a notename, you have to be in note mode, so there must
-be a surrounding @code{\notes} keyword (which is not
-shown here).
-The relative conversion will not affect @code{\transpose} or
-@code{\relative} sections in its argument. If you want to use
-relative within transposed music, you must place an additional
-@code{\relative} inside the @code{\transpose}.
+@c . {Automatic staff changes}
+@node Automatic staff changes
+@subsection Automatic staff changes
+@cindex Automatic staff changes
+
+Voices can switch automatically between the top and the bottom
+staff. The syntax for this is
+@example
+ \autochange @var{contexttype} \context @var{childcontexttype}
+ @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 <
+ \context Staff = "up" {
+ \autochange Staff \context Voice = VA < \relative c' {
+ g4 a b c d r4 a g } > }
+ \context Staff = "down" {
+ \clef bass
+ s1*2
+} > }
+@end lilypond
+
+Note how spacer rests are used to prevent the bottom staff from
+terminating too soon.
-It is strongly recommended to use relative pitch mode: less work,
-less error-prone, and more readable.
-@node Entering named chords
-@unnumberedsubsec named chords
+@node Manual staff switches
+@subsection Manual staff switches
-Chord names are a way to generate simultaneous music expressions that
-correspond with traditional chord names. It can only be used in
-Chord mode (see section @ref{Lexical modes}).
+@cindex manual staff switches
+@cindex staff switch, manual
+Voices can be switched between staves manually, using the following command:
@example
-
- @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
+ \translator Staff = @var{staffname} @var{music}
@end example
+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
+@code{"down"}.
-@var{tonic} should be the tonic note of the chord, and @var{duration}
-is the chord duration in the usual notation. There are two kinds of
-modifiers. One type is @emph{chord additions}, which are obtained by
-listing intervals separated by dots. An interval is written by its
-number with an optional @code{+} or @code{-} to indicate raising or
-lowering by half a step. Chord additions has two effects: It adds
-the specified interval and all lower odd numbered intervals to the
-chord, and it may lower or raise the specified interval. Intervals
-must be separated by a dot (@code{.}).
+The formal definition of this construct is obtuse, but for the sake of
+completeness we give it here.
+@cindex @code{\translator}
+@example
+ \translator @var{contexttype} = @var{name}
+@end example
+Formally, this construct is a music expression indicating
+that the context which is a direct child of the context of type
+@var{contexttype} should be shifted to a context of type
+@var{contexttype} and the specified name.
-Throughout these examples, chords have been shifted around the staff
-using @code{\transpose}.
+@c . {Pedals}
+@node Pedals
+@subsection Pedals
+@cindex Pedals
+Piano pedal instruction can be expressed using
+@code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
+@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
-@quotation
+These identifiers are shorthands for spanner commands of the types
+@internalsref{Sustain}, @internalsref{UnaCorda} and @internalsref{Sostenuto}:
@lilypond[fragment,verbatim]
-\transpose c'' {
- \chords {
- c1 c:3- c:7 c:8
- c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
- }
-}
-
+c''4 \spanrequest \start "Sustain" c''4
+c''4 \spanrequest \stop "Sustain"
@end lilypond
-@end quotation
-@cindex @code{aug}
-@cindex @code{dim}
-@cindex @code{maj}
-@cindex @code{sus}
+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
+@rgrob{SustainPedal}, for example, for more information.
-The second type of modifier that may appear after the @code{:} is a
-named modifier. Named modifiers are listed in the file
-@file{chord-modifiers.ly}. The available modifiers are @code{m} and
-@code{min} which lower the 3rd half a step, `@code{aug}' which
-raises the 5th, `@code{dim}' which lowers the 5th,
-`@code{maj}' which adds a raised 7th, and `@code{sus}'
-which replaces the 5th with a 4th.
+Pedals can also be indicated by a sequence of brackets, by setting the
+@code{pedal-type} property of SustainPedal grobs:
-@quotation
+@lilypond[fragment,verbatim]
+\property Staff.SustainPedal \override #'pedal-type = #'bracket
+c''4 \sustainDown d''4 e''4 a'4 \sustainUp \sustainDown f'4 g'4 a'4 \sustainUp
+@end lilypond
+
+A third style of pedal notation is a mixture of text and brackets,
+obtained by setting @code{pedal-type} to @code{mixed}:
@lilypond[fragment,verbatim]
-\transpose c'' {
- \chords {
- c1:m c:min7 c:maj c:aug c:dim c:sus
- }
-}
+\property Staff.SustainPedal \override #'pedal-type = #'mixed
+c''4 \sustainDown d''4 e''4 c'4 \sustainUp \sustainDown f'4 g'4 a'4 \sustainUp
+@end lilypond
+The default '*Ped' style for sustain and damper pedals corresponds to
+@code{\pedal-type = #'text}. However, @code{mixed} is the default style
+for a sostenuto pedal:
+
+@lilypond[fragment,verbatim]
+c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
@end lilypond
-@end quotation
-
-Chord subtractions are used to eliminate notes from a chord. The
-notes to be subtracted are listed after a @code{^} character,
-separated by dots.
+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} grobs (see the detailed documentation of
+@rgrob{PianoPedalBracket}) can be modified. For example, the bracket
+may be extended to the end of the note head.
-@lilypond[fragment,verbatim,center]
- \transpose c'' {
- \chords {
- c1^3 c:7^5.3 c:8^7
- }
- }
-@end lilypond
-@cindex @code{/}
+@lilypond[fragment,verbatim]
+\property Staff.PianoPedalBracket \override #'shorten-pair = #'(0 . -1.0)
+c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
+@end lilypond
-Chord inversions can be specified by appending `@code{/}' and
-the name of a single note to a chord. This has the effect of
-lowering the specified note by an octave so it becomes the lowest
-note in the chord. If the specified note is not in the chord, a
-warning will be printed.
-@lilypond[fragment,verbatim,center]
- \transpose c''' {
- \chords {
- c1 c/e c/g c:7/e
- }
- }
-@end lilypond
-@cindex @code{/+}
+@c . {Arpeggio}
+@node Arpeggio
+@subsection Arpeggio
+@cindex Arpeggio
-Bass notes can be added by `@code{/+}' and
-the name of a single note to a chord. This has the effect of
-adding the specified note to the chord, lowered by an octave,
-so it becomes the lowest note in the chord.
+@cindex broken arpeggio
+@cindex @code{\arpeggio}
-@lilypond[fragment,verbatim,center]
- \transpose c''' {
- \chords {
- c1 c/+c c/+g c:7/+b
- }
- }
+You can specify an arpeggio sign on a chord by attaching an
+@code{\arpeggio} to a note of the chord.
-@end lilypond
-The most interesting application is printing chords using chord names,
-See @ref{Chord names}.
+@lilypond[fragment,relative,verbatim]
+ \context Voice <c\arpeggio e g c>
+@end lilypond
-You should not combine @code{\relative} with named chords. [FIXME]
+When an arpeggio crosses staves in piano music, you attach an arpeggio
+to the chords in both staves, and set
+@code{PianoStaff.connectArpeggios}.
+@lilypond[fragment,relative,verbatim]
+ \context PianoStaff <
+ \property PianoStaff.connectArpeggios = ##t
+ \context Voice = one { <c'\arpeggio e g c> }
+ \context Voice = other { \clef bass <c,,\arpeggio e g>}
+ >
+@end lilypond
-@unnumberedsubsec Tuplets
-@cindex tuplets
+This command creates @internalsref{Arpeggio} grobs. Cross staff arpeggios
+are @code{PianoStaff.Arpeggio}.
-Tuplets are made out of a music expression by multiplying their
-duration with a fraction.
+To add an arrow head to explicitly specify the direction of the
+arpeggio, you should set the arpeggio grob property
+@code{arpeggio-type}.
-@cindex @code{\times}
-@example
- \times @var{fraction} @var{musicexpr}
-@end example
+@lilypond[fragment,relative,verbatim]
+ \context Voice {
+ \property Voice.Arpeggio \override #'arpeggio-direction = #1
+ <c\arpeggio e g c>
+ \property Voice.Arpeggio \override #'arpeggio-direction = #-1
+ <c\arpeggio e g c>
+ }
+@end lilypond
-The duration of @var{musicexpr} will be multiplied by the fraction.
-In print, the fraction's denominator will be printed over the notes,
-optionally with a bracket. The most common tuplet is the triplet in
-which 3 notes have the length of 2, so the notes are 2/3 of
-their written length:
+A square bracket on the left indicates that the player should not
+arpeggiate the chord. To draw these brackets, set the
+@code{molecule-callback} property of @code{Arpeggio} or
+@code{PianoStaff.Arpeggio} grobs to @code{\arpeggioBracket}, and use
+@code{\arpeggio} statements within the chords as before.
-@lilypond[fragment,verbatim,center]
- g'4 \times 2/3 {c'4 c' c'} d'4 d'4
+@lilypond[fragment,relative,verbatim]
+ \context PianoStaff <
+ \property PianoStaff.connectArpeggios = ##t
+ \property PianoStaff.Arpeggio \override #'molecule-callback = \arpeggioBracket
+ \context Voice = one { <c'\arpeggio e g c> }
+ \context Voice = other { \clef bass <c,,\arpeggio e g>}
+ >
@end lilypond
-@cindex @code{\grace}
-@unnumberedsubsec Grace notes
+@refbugs
-@cindex ornaments
-@cindex grace notes
-@cindex @code{graceAlignPosition}
+It is not possible to mix connected arpeggios and unconnected arpeggios
+at the same time.
-@example
- \grace @var{musicexpr}
-@end example
-A grace note expression has duration 0; the next real note is
-assumed to be the main note.
-You cannot have the grace note after the main note, in terms of
-duration, and main notes, but you can typeset the grace notes to the
-right of the main note using the property
-@code{graceAlignPosition}.
-@cindex @code{flagStyle}
+@node Voice follower lines
+@subsection Voice follower lines
-When grace music is interpreted, a score-within-a-score is set up:
-@var{musicexpr} has its own time bookkeeping, and you could (for
-example) have a separate time signature within grace notes. While in
-this score-within-a-score, you can create notes, beams, slurs, etc.
-Unbeamed eighth notes and shorter by default have a slash through the
-stem. This behavior can be controlled with the
-@code{flagStyle} property.
+@cindex follow voice
+@cindex staff switching
+@cindex cross staff
-@quotation
-@lilypond[fragment,verbatim]
-\relative c'' {
- \grace c8 c4 \grace { [c16 c16] } c4
- \grace { \property Grace.flagStyle = "" c16 } c4
-}
+@cindex @code{followVoice}
+Whenever a voice switches to another staff a line connecting the notes
+can be printed automatically. This is enabled if the property
+@code{PianoStaff.followVoice} is set to true:
+
+@lilypond[fragment,relative,verbatim]
+ \context PianoStaff <
+ \property PianoStaff.followVoice = ##t
+ \context Staff \context Voice {
+ c1
+ \translator Staff=two
+ b2 a
+ }
+ \context Staff=two {\clef bass \skip 1*2 }
+ >
@end lilypond
-@end quotation
-@cindex @code{\grace}
-At present, nesting @code{\grace} notes is not supported. The following
-may cause run-time errors:
-@example
- @code{\grace @{ \grace c32 c16 @} c4}
-@end example
-Since the meaning of such a construct is unclear, we don't consider
-this a loss. Similarly, juxtaposing two @code{\grace} sections is
-syntactically valid, but makes no sense and may cause runtime errors.
+The associated grob is @internalsref{VoiceFollower}.
-Ending a staff or score with grace notes may also generate a run-time
-error, since there will be no main note to attach the grace notes to.
-The present implementation is not robust and generally kludgy. We expect
-it to change after LilyPond 1.4
+@node Lyrics
+@section Lyrics
-@node Repeats
-@section Repeats
-@cindex repeats
+@menu
+* Lyrics mode::
+* Printing lyrics::
+* Automatic syllable durations::
+* More stanzas::
+@end menu
-@cindex @code{\repeat}
+@c . {Lyrics mode}
+@node Lyrics mode
+@subsection Lyrics mode
+@cindex Lyrics mode
-In order to specify repeats, use the @code{\repeat}
-keyword. Since repeats look and sound differently when played or
-printed, there are a few different variants of repeats.
+To print lyrics, you must first make a music expression from the lyric
+text. That music expression can be printed by selecting an appropriate
+context.
-@table @asis
-@item unfolded
-Repeated music is fully written (played) out. Useful for MIDI
-output.
+@cindex lyric mode
+@cindex @code{\lyrics}
-@item volta
-This is the normal notation: Repeats are not written out, but
-alternative endings (voltas) are printed, left to right.
+You can enter lyrics in a special input mode of LilyPond. This mode is
+called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
+The purpose of this mode is that you can enter lyrics as plain text,
+punctuation and accents without any hassle.
-@item folded
-Alternative endings are written stacked. Which is unfortunately not
-practical for anything right now.
+Syllables are entered like notes, with pitches replaced by text. For
+example, @code{Twin- kle twin- kle} enters four syllables. Note that
+the hyphen has no special meaning for lyrics, and does not introduce
+special symbols.
-@item tremolo
-Make tremolo beams.
-@end table
+Spaces can be introduced into a lyric either by using quotes:
+@code{"He could"4 not4} or by using an underscore without quotes:
+@code{He_could4 not4}. All unquoted underscores are converted to
+spaces.
-The syntax for repeats is
+The precise definition of this mode can be found in @ref{Lyrics mode
+definition}.
-@example
- \repeat @var{variant} @var{repeatcount} @var{repeatbody}
-@end example
+@c . {Printing lyrics}
+@node Printing lyrics
+@subsection Printing lyrics
+@cindex lyrics
-If you have alternative endings, you may add
+Lyrics are printed by interpreting them in the @internalsref{Lyrics} context.
-@cindex @code{\alternative}
-@example
- \alternative @code{@{} @var{alternative1}
- @var{alternative2}
- @var{alternative3} @dots{} @code{@}}
-@end example
+@c Maybe more pedagogical to avoid \addlyrics in this first example? /MB
+@c Add tied and beamed melismata too.
+@lilypond[verbatim,singleline]
+\addlyrics
+ \notes \relative c' {
+ \time 7/4
+ \property Staff.automaticMelismata = ##t
+ d'2 c4 b16 ( a g a b a b ) c a2
+ b2 c4 b8 ( a16 g ) a4 g2 }
+ \context Lyrics \lyrics {
+ Join us now __ and
+ share the soft -- ware; }
+@end lilypond
-where each @var{alternative} is a Music expression.
-Normal notation repeats are used like this:
-
-@quotation
-
-@lilypond[fragment,verbatim]
- c'1
- \repeat volta 2 { c'4 d' e' f' }
- \repeat volta 2 { f' e' d' c' }
-
-@end lilypond
-@end quotation
-
-With alternative endings:
-
-@quotation
-
-@lilypond[fragment,verbatim]
- c'1
- \repeat volta 2 {c'4 d' e' f'}
- \alternative { {d'2 d'} {f' f} }
-
-@end lilypond
-@end quotation
-
-Folded repeats look like this:@footnote{Folded repeats offer little
-more over simultaneous music. However, it is to be expected that
-more functionality -- especially for the MIDI backend -- will be
-implemented.}
-
-@quotation
-
-@lilypond[fragment,verbatim]
- c'1
- \repeat fold 2 {c'4 d' e' f'}
- \alternative { {d'2 d'} {f' f} }
-
-@end lilypond
-@end quotation
-
-@quotation
-
-@lilypond[fragment,verbatim]
-\context Staff {
- \relative c' {
- \partial 4;
- \repeat volta 2 { e | c2 d2 | e2 f2 | }
- \alternative { { g4 g g } { a | a a a a | b1 } }
- }
-}
-
-@end lilypond
-@end quotation
-
-If you don't give enough alternatives for all of the repeats, then
-the first alternative is assumed to be repeated often enough to equal
-the specified number of repeats.
-
-@quotation
-@lilypond[fragment,verbatim]
-\context Staff {
- \relative c' {
- \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | }
- \alternative { { g4 g g }
- {\partial 1; e4 e e }
- {\partial 1; a a a a | b1 } }
- }
-}
-@end lilypond
-@end quotation
-
-As you can see, LilyPond doesn't remember the timing information, nor
-are slurs or ties repeated. We hope to fix this after 1.4.
-
-It is possible to nest @code{\repeat}. This is not entirely
-supported: the notes will come be in the right places, but the repeat
-bars will not.
-
-To place tremolo marks between notes, use @code{\repeat} with tremolo
-style.
-@cindex tremolo beams
-To create tremolo beams on a single note, simply attach
-`@code{:}@var{length}' to the note itself.
-
-@lilypond[fragment,verbatim,center]
- \repeat "tremolo" 8 { c16 d16 }
- \repeat "tremolo" 4 { c16 d16 }
-@end lilypond
-@cindex @code{__}
-
-@lilypond[fragment,verbatim,center]
-
- c'4:32
-@end lilypond
+Notes and syllable durations are matched automatically. This is
+accomplished using @code{\addlyrics}, which is documented in
+@ref{Automatic syllable durations}. Setting @code{automaticMelismata} in
+the melody staff will cause tied, slurred or beamed notes to be
+interpreted as melismata.
+The Lyric syllables are @code{LyricsVoice.LyricSyllable} grobs.
+@cindex extender
+@cindex lyric extender
+@cindex melisma
+As you can see, extender lines are entered as @code{__}. This will
+create an extender, a line that extends over the entire duration of the
+lyric. This line will run all the way to the start of the next lyric,
+so you may want to shorten it by using a blank lyric (using @code{_}).
+The grob for this symbol is @code{LyricsVoice.LyricExtender}.
-@node transpose
-@section Transposition
-@cindex transposition of pitches
-@cindex @code{\transpose}
-
-A music expression can be transposed with @code{\transpose}. The syntax
-is
-@example
- \transpose @var{pitch} @var{musicexpr}
-@end example
-
-This means that middle C in @var{musicexpr} is transposed to
-@var{pitch}.
-
-@code{\transpose} distinguishes between enharmonic pitches: both
-@code{\transpose cis'} or @code{\transpose des'} will transpose up half
-a tone. The first version will print sharps and the second version
-will print flats.
+@cindex hyphen
-@quotation
-@lilypond[fragment,verbatim]
-\context Staff {
- \clef "F";
- { \key e \major; c d e f }
- \clef "G";
- \transpose des'' { \key e \major; c d e f }
- \transpose cis'' { \key e \major; c d e f }
-}
+If you want to have hyphens centered between syllables (rather than
+attached to the end of the first syllable) you can use the special
+`@code{-}@code{-}' lyric as a separate word between syllables. This
+will result in a hyphen whose length varies depending on the space
+between syllables. It will be centered between the syllables. The grob
+for this symbol is @code{LyricsVoice.LyricHyphen}.
-@end lilypond
-@end quotation
+@cindex Lyric hyphen
-If you want to use both @code{\transpose} and @code{\relative}, then
-you must use @code{\transpose} first. @code{\relative} will have no
-effect music that appears inside a @code{\transpose}.
+@node Automatic syllable durations
+@subsection Automatic syllable durations
+@cindex Automatic syllable durations
-@unnumberedsubsec Adding melodies to lyrics
@cindex automatic lyric durations
@cindex @code{\addlyrics}
-If you have lyrics that are set to a melody, you can import the rhythm
+If you have lyrics that are set to a melody, you can copy the rhythm
of that melody into the lyrics using @code{\addlyrics}. The syntax for
this is
@example
\addlyrics @var{musicexpr1 musicexpr2}
@end example
-This means that both @var{musicexpr1} and @var{musicexpr2} are
-interpreted, but that every non-command atomic music expression
-(``every syllable'') in @var{musicexpr2} is interpreted using timing
-of @var{musicexpr1}.
+Both @var{musicexpr1} and @var{musicexpr2} are interpreted, but every
+music event (``every syllable'') in @var{musicexpr2} is interpreted only
+when there are events in @var{musicexpr1}.
+
@cindex @code{automaticMelismata}
If the property @code{automaticMelismata} is set in the
context of @var{musicexpr1}, no lyrics will be put on slurred or tied
notes.
-@quotation
@lilypond[verbatim,fragment]
\addlyrics
\transpose c'' {
\context Lyrics \lyrics {
do4 re mi fa }
@end lilypond
-@end quotation
-You should use a single rhythm melody, and single rhythm lyrics (a
-constant duration is the obvious choice). If you do not, you will get
-undesired effects when using multiple stanzas:
+If you want the lyric lines to be above the melody staff, or in some
+other, more complex configuration, then build that configuration first
+using simultaneous music, and use @code{\addlyrics} after that.
+
+@lilypond[verbatim, singleline]
+\notes <
+ \context Lyrics = LA { s1 }
+ \context Staff = SA { s1 }
+ \addlyrics
+ \context Staff = SA \relative c' { c4 e g g }
+ \context Lyrics = LA \lyrics { geen ge -- don -- der } >
+@end lilypond
+
+For @code{\addlyrics} you should use a single rhythm melody, and single
+rhythm lyrics (a constant duration is the obvious choice). If you do
+not, you can get undesired effects when using multiple stanzas:
-@quotation
@lilypond[verbatim,fragment]
\addlyrics
\transpose c'' {
c8 () cis d8. e16 f2
}
\context Lyrics \lyrics
-< { do4 re mi fa }
- { do8 re mi fa } >
-
+< { do4 re fa sol }
+ { do8 re fa sol } >
@end lilypond
-@end quotation
It is valid (but probably not very useful) to use notes instead of
lyrics for @var{musicexpr2}.
-@node Transforming music
-@unnumberedsubsec Apply
-@unnumberedsubsec Transforming music
+@node More stanzas
+@subsection More stanzas
-Apply allows a Scheme-function to operate directly on the internal
-representation of music.
-@example
- \apply #@var{func} @var{music}
-@end example
-The function takes two arguments, being a function and an musical
-argument for that function. The function should return a music
-expression.
+@cindex phrasing
-This example replaces the text string of a script. It also shows a dump
-of the music it processes.
-@lilypond[verbatim]
-#(define (testfunc x)
- (if (eq? (ly-get-mus-property x 'text) "foo")
- (ly-set-mus-property x 'text "bar"))
- ;; recurse
- (ly-set-mus-property x 'elements
- (map testfunc (ly-get-mus-property x 'elements)))
- (display x)
- x
-)
-\score { \notes
- \apply #testfunc { c4_"foo" }
-}
+If you have multiple stanzas printed underneath each other, the vertical
+groups of syllables should be aligned around punctuation. LilyPond can
+do this if you tell it which lyric lines belong to which melody.
+
+To this end, give the Voice context an identity, and set the LyricsVoice
+to a name starting with that identity followed by a dash.
+In the following example, the Voice
+identity is @code{duet}, and the identities of the LyricsVoices are
+@code{duet-1} and @code{duet-2}.
+
+
+@lilypond[singleline,verbatim]
+\score {
+\addlyrics
+ \notes \relative c'' \context Voice = duet { \time 3/4
+ g2 e4 a2 f4 g2. }
+ \lyrics \context Lyrics <
+ \context LyricsVoice = "duet-1" {
+ \property LyricsVoice . stanza = "Bert"
+ Hi, my name is bert. }
+ \context LyricsVoice = "duet-2" {
+ \property LyricsVoice . stanza = "Ernie"
+ Ooooo, ch\'e -- ri, je t'aime. }
+ >
+}
@end lilypond
-For more information on what is possible, see the @ref{Tricks} and the
-automatically generated documentation.
+You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
+first system) and @code{LyricsVoice.stz} for the following
+systems. Notice how you must surround dots with spaces in @code{\lyrics}
+mode.
-@node Ambiguities
-@section Ambiguities
-@cindex ambiguities
-@cindex grammar
-The grammar contains a number of ambiguities. We hope to resolve them at
-some time.
+@cindex stanza numbering
-@itemize @bullet
- @item The assignment
- @example
-foo = bar
-@end example
+@c . {Chords}
+@node Chords
+@section Chords
+@cindex Chords
- can be interpreted as making a string identifier @code{\foo}
- containing @code{"bar"}, or a music identifier @code{\foo}
- containing the syllable `bar'.
+LilyPond has support for both entering and printing chords. Chords are
+characterized by a set of pitches. They are
+internally stored as simultaneous music expressions. This means you can
+enter chords by name and print them as note head, enter them as notes
+and print them as chord names, or (the most common case) enter them by
+name, and print them as name.
- @item The assignment
- @example
-foo = -6
-@end example
+@lilypond[verbatim,singleline]
+twoWays = \notes \transpose c'' {
+ \chords {
+ c1 f:sus4 bes/f
+ }
+ <c e g>
+ <f bes c'>
+ <f bes d'>
+ }
- can be interpreted as making an integer identifier
- containing -6, or a Request identifier containing the
- fingering `6' (with neutral direction).
+\score {
+ < \context ChordNames \twoWays
+ \context Voice \twoWays > }
+@end lilypond
- @item If you do a nested repeat like
+Note that this example also shows that the chord printing routines do
+not attempt to be intelligent. If you enter @code{f bes d}, it does not
+interpret this as an inversion.
- @quotation
+@menu
+* Chords mode::
+* Printing named chords::
+@end menu
-@example
-\repeat @dots{}
-\repeat @dots{}
-\alternative
-@end example
+@c . {Chords mode}
+@node Chords mode
+@subsection Chords mode
+@cindex Chords mode
- @end quotation
+Chord mode is a mode where you can input sets of pitches using common
+names. It is introduced by the keyword @code{\chords}. It is similar
+to note mode, but words are also looked up in a chord modifier table
+(containing @code{maj}, @code{dim}, etc).
- then it is ambiguous to which @code{\repeat} the
- @code{\alternative} belongs. This is the classic if-then-else
- dilemma. It may be solved by using braces.
+Dashes and carets are used to indicate chord additions and subtractions,
+so articulation scripts can not be entered in Chord mode.
- @item (an as yet unidentified ambiguity :-)
-@end itemize
+The syntax for named chords is as follows:
+@example
+ @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
+@end example
+@var{tonic} should be the tonic note of the chord, and @var{duration} is
+the chord duration in the usual notation. There are two kinds of
+modifiers. One type is formed by @emph{chord additions}. Additions are
+obtained by listing intervals separated by dots. An interval is written
+by its number with an optional @code{+} or @code{-} to indicate raising
+or lowering by half a step. Chord additions have two effects: they adds
+the specified interval and all lower odd numbered intervals to the
+chord, and they may lower or raise the specified interval.
+Throughout these examples, chords have been shifted around the staff
+using @code{\transpose}.
-@node Automatic Beaming
-@section Automatic Beaming
-@cindex automatic beam generation
-@cindex autobeam
+@lilypond[fragment,verbatim]
+\transpose c'' {
+ \chords {
+ c1 c:3- c:7 c:8
+ c:9 c:9-.5+.7+ c:3-.5-
+ }
+}
+@end lilypond
-@cindex @code{Voice.noAutoBeaming}
+@cindex @code{aug}
+@cindex @code{dim}
+@cindex @code{maj}
+@cindex @code{sus}
-By default, LilyPond will generate beams automatically. This feature
-can be disabled by setting the @code{Voice.noAutoBeaming} property to
-true. It can be overridden for specific cases by specifying explicit
-beams.
+The second type of modifier that may appear after the @code{:} is a
+named modifier. Named modifiers are listed in the file
+@file{chord-modifiers.ly}. The available modifiers are @code{m} and
+@code{min} which lower the 3rd half a step, `@code{aug}' which
+raises the 5th, `@code{dim}' which lowers the 5th,
+`@code{maj}' which adds a raised 7th, and `@code{sus}'
+which replaces the 5th with a 4th.
-@cindex @code{Voice.autoBeamSettings}
-@cindex @code{(end * * * *)}
-@cindex @code{(begin * * * *)}
+@lilypond[fragment,verbatim]
+\transpose c'' {
+ \chords {
+ c1:m c:min7 c:maj c:aug c:dim c:sus
+ }
+}
+@end lilypond
+
-A large number of Voice properties are used to decide how to generate
-beams. Their default values appear in @file{scm/auto-beam.scm}. In
-general, beams can begin anywhere, but their ending location is
-significant. Beams can end on a beat, or at durations specified by the
-properties in
-@code{Voice.autoBeamSettings}.
-To end beams every quarter note, for example, you could set the property
-@code{(end * * * *)} to @code{(make-moment 1
-4)}. To end beams at every three eighth notes you would set
-it to @code{(make-moment 1 8)}.
-The same syntax can be used to specify beam
-starting points using
-@code{(begin * * * *)}, eg:
-@quotation
-@example
-\property Voice.autoBeamSettings \override
- #'(end * * * *) = #(make-moment 1 4)
-\property Voice.autoBeamSettings \override
- #'(begin * * * *) = #(make-moment 1 8)
-@end example
-@end quotation
+Chord subtractions are used to eliminate notes from a chord. The
+notes to be subtracted are listed after a @code{^} character,
+separated by dots.
+
+@lilypond[fragment,verbatim,center]
+ \transpose c'' {
+ \chords {
+ c1^3 c:7^5.3 c:8^7
+ }
+ }
+@end lilypond
+@cindex @code{/}
+
+Chord inversions can be specified by appending `@code{/}' and the name
+of a single note to a chord. In a chord inversion, the inverted note is
+transposed down until it is the lowest note in the chord. If the note
+is not in the chord, a warning will be printed.
+
+@lilypond[fragment,verbatim,center]
+ \transpose c''' {
+ \chords {
+ c1 c/e c/g c:7/e
+ }
+ }
+
+@end lilypond
+@cindex @code{/+}
+
+Bass notes can be added by `@code{/+}' and
+the name of a single note to a chord. This has the effect of
+adding the specified note to the chord, lowered by an octave,
+so it becomes the lowest note in the chord.
+
+@lilypond[fragment,verbatim,center]
+ \transpose c''' {
+ \chords {
+ c1 c/+c c/+g c:7/+b
+ }
+ }
-To allow different settings for different time signatures, instead of
-the first two asterisks @code{* *} you can specify a time signature; use
-@code{(end N M * *)} to restrict the definition to
-`@var{N}@code{/}@var{M}' time. For example, to specify beams ending
-only for 6/8 time you would use the property @code{(end 6 8 * *)}.
+@end lilypond
-To allow different endings for notes of different durations, instead of
-th last two asterisks you can specify a duration; use @code{(end * * N
-M)} to restrict the definition to beams that contain notes of
-`@var{N}@code{/}@var{M}' duration.
+@refbugs
-For example, to specify beam endings for beams that contain 32nd notes,
-you would use @code{(end * * 1 32)}.
+Implementation details are quite gory. For example @code{c:4} not only
+adds a fourth, but also removes the third.
+@c . {Printing named chords}
@node Printing named chords
-@section Printing named chords
+@subsection Printing named chords
+
+@cindex printing chord names
@cindex chord names
@cindex chords
-@cindex printing!chord names
-@cindex @code{ChordNames}
-@cindex @code{ChordNameVoice}
+For displaying printed chord names, use the @internalsref{ChordNames} context.
+The chords may be entered either using the notation described above, or
+directly using simultaneous music.
-For displaying printed chord names, use the @code{ChordNames} and
-@code{ChordNameVoice} contexts. The chords may be entered either using
-the notation described above, or directly using simultaneous music.
-
-@quotation
-@lilypond[verbatim]
+@lilypond[verbatim,singleline]
scheme = \notes {
\chords {a1 b c} <d f g> <e g b>
}
\score {
\notes<
- \context ChordNamesVoice \scheme
+ \context ChordNames \scheme
\context Staff \transpose c'' \scheme
>
- \paper { linewidth = -1.; }
}
@end lilypond
-@end quotation
-You can make the chord changes stand out more by setting property
+You can make the chord changes stand out by setting
@code{ChordNames.chordChanges} to true. This will only display chord
-names when there's a change in the chords scheme, but always display the
-chord name after a line break:
+names when there's a change in the chords scheme and at the start of a
+new line.
-@c bug
-@quotation
@lilypond[verbatim]
scheme = \chords {
- c1:m \break c:m c:m c:m d
+ c1:m c:m \break c:m c:m d
}
-
\score {
\notes <
- \context ChordNames \scheme
+ \context ChordNames {
+ \property ChordNames.chordChanges = ##t
+ \scheme }
\context Staff \transpose c'' \scheme
- >
- \paper{
- linewidth = 40 * \staffspace;
- \translator {
- \ChordNamesContext
- chordChanges = ##t
- }
- }
-}
+ > }
@end lilypond
-@end quotation
-
-
-LilyPond examines chords specified as lists of notes to determine a
-name to give the chord. LilyPond will not try to
-identify chord inversions or added base, which may result in strange
-chord names when chords are entered as a list of pitches:
+LilyPond examines chords specified as lists of notes to determine a name
+to give the chord. LilyPond will not try to identify chord inversions or
+an added bass note, which may result in strange chord names when chords
+are entered as a list of pitches:
-@quotation
-@lilypond[verbatim,center]
+@lilypond[verbatim,center,singleline]
scheme = \notes {
<c'1 e' g'>
<e' g' c''>
\score {
<
- \context ChordNamesVoice \scheme
+ \context ChordNames \scheme
\context Staff \scheme
>
- \paper { linewidth = -1.; }
}
@end lilypond
-@end quotation
-To specify chord inversions, append @code{/<notename>}. To specify an
-added bass note, append @code{/+<notename}:
-@quotation
-@lilypond[verbatim,center]
+By default, a chord name system proposed by Harald Banter (See
+@ref{Literature}) is used. The system is very regular and predictable.
+Typical American style chord names may be selected by setting the
+@code{style} property of the @code{ChordNames.ChordName} grob to
+@code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
+
+Routines that determine the names to be printed are written in Scheme,
+and may be customized by the user. The code can be found in
+@file{scm/chord-name.scm}. Here's an example showing the differences in
+chord name styles:
+
+@c too long?
+@c maybe just junk verbatim option?
+@lilypond[verbatim,singleline]
scheme = \chords {
- d1 d/a d/+gis
+ c1 c:5^3 c:4^3 c:5+
+ c:m7+ c:m5-.7
+ c:5-.7 c:5+.7
+ c:9^7
}
\score {
\notes <
- \context ChordNames \scheme
+ \context ChordNames = banter \scheme
+ \context ChordNames = american {
+ \property ChordNames.ChordName \override
+ #'style = #'american \scheme }
+ \context ChordNames = jazz {
+ \property ChordNames.ChordName \override
+ #'style = #'jazz \scheme }
\context Staff \transpose c'' \scheme
>
- \paper { linewidth = -1.; }
}
@end lilypond
-@end quotation
-The chord names that LilyPond should print are fully customizable. The
-code to print chord names is written in Scheme. It can be found in
-@file{scm/chord-name.scm}. Chord names are based on Banter style
-naming, which is unambiguous and has a logical structure. Typical
-American style chord names are implemented as a variation on Banter
-names, they can be selected by setting property @code{ChordName.style}
-to @code{american}:
-@quotation
-@lilypond[verbatim]
-\include "english.ly"
+@node Writing parts
+@section Writing parts
-scheme = \chords {
- c % Major triad
- cs:m % Minor triad
- df:m5- % Diminished triad
- c:5^3 % Root-fifth chord
- c:4^3 % Suspended fourth triad
- c:5+ % Augmented triad
- c:2^3 % "2" chord
- c:m5-.7- % Diminished seventh
- c:7+ % Major seventh
- c:7.4^3 % Dominant seventh suspended fourth
- c:5+.7 % Augmented dominant seventh
- c:m5-.7 % "Half" diminished seventh
- c:5-.7 % Dominant seventh flat fifth
- c:5-.7+ % Major seventh flat fifth
- c:m7+ % Minor-major seventh
- c:m7 % Minor seventh
- c:7 % Dominant seventh
- c:6 % Major sixth
- c:m6 % Minor sixth
- c:9^7 % Major triad w/added ninth
- c:6.9^7 % Six/Nine chord
- c:9 % Dominant ninth
- c:7+.9 % Major ninth
- c:m7.9 % Minor ninth
-}
+Orchestral music involves some special notation, both in the full score,
+as in the individual parts. This section explains how to tackle common
+problems in orchestral music.
-\score {
- \notes <
- \context ChordNames \scheme
- \context Staff \transpose c'' \scheme
- >
- \paper {
- \translator {
- \ChordNamesContext
- ChordName \override #'word-space = #1
- ChordName \override #'style = #'american
- }
- }
-}
-@end lilypond
-@end quotation
-Similarly, Jazz style chord names are implemented as a variation on
-American style names:
-@quotation
-@lilypond[verbatim]
-scheme = \chords {
- % major chords
- c
- c:6 % 6 = major triad with added sixth
- c:maj % triangle = maj
- c:6.9^7 % 6/9
- c:9^7 % add9
-
- % minor chords
- c:m % m = minor triad
- c:m.6 % m6 = minor triad with added sixth
- c:m.7+ % m triangle = minor major seventh chord
- c:3-.6.9^7 % m6/9
- c:m.7 % m7
- c:3-.9 % m9
- c:3-.9^7 % madd9
-
- % dominant chords
- c:7 % 7 = dominant
- c:7.5+ % +7 = augmented dominant
- c:7.5- % 7b5 = hard diminished dominant
- c:9 % 7(9)
- c:9- % 7(b9)
- c:9+ % 7(#9)
- c:13^9.11 % 7(13)
- c:13-^9.11 % 7(b13)
- c:13^11 % 7(9,13)
- c:13.9-^11 % 7(b9,13)
- c:13.9+^11 % 7(#9,13)
- c:13-^11 % 7(9,b13)
- c:13-.9-^11 % 7(b9,b13)
- c:13-.9+^11 % 7(#9,b13)
-
- % half diminished chords
- c:m5-.7 % slashed o = m7b5
- c:9.3-.5- % o/7(pure 9)
-
- % diminished chords
- c:m5-.7- % o = diminished seventh chord
-}
+@c . {Transpose}
+@menu
+* Rehearsal marks::
+* Bar numbers::
+* Instrument names::
+* Transpose::
+* Sound output for transposing instruments::
+* Multi measure rests::
+* Automatic part combining::
+* Hara kiri staves::
+@end menu
-\score {
- \notes <
- \context ChordNames \scheme
- \context Staff \transpose c'' \scheme
- >
- \paper {
- \translator {
- \ChordNamesContext
- ChordName \override #'word-space = #1
- ChordName \override #'style = #'jazz
- }
- }
+@c . {Rehearsal marks}
+@node Rehearsal marks
+@subsection Rehearsal marks
+@cindex Rehearsal marks
+@cindex mark
+@cindex @code{\mark}
+
+
+@example
+ \mark @var{unsigned}
+ \mark @var{string}
+ \mark \default
+@end example
+
+This command prints a rehearsal mark above the system. You can provide
+a number, a string or a markup text as argument. If you use
+@code{\default}, the value of property @code{rehearsalMark} is used and
+automatically incremented.
+
+@lilypond[fragment,verbatim]
+\relative c'' {
+ c1 \mark "A2"
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark "12"
+ c1 \mark #'(music "scripts-segno")
+ c1
}
@end lilypond
-@end quotation
+The grob is @internalsref{RehearsalMark} in @internalsref{Score} context. See
+@code{input/test/boxed-molecule.ly} if you need boxes around the marks.
-@node Printing lyrics
-@section lyricprint
-@cindex lyrics
+@node Bar numbers
+@subsection Bar numbers
+
+
+@cindex bar numbers
+@cindex measure numbers
+@cindex currentBarNumber
-@cindex printing!lyrics
+Bar numbers are @internalsref{BarNumber} grobs. They are printed at the
+start of the line. The number itself is a property that can be set by
+modifying the @code{currentBarNumber} property, i.e.
+@example
+ \property Score.currentBarNumber = #217
+@end example
+If you want boxed bar numbers, see the example file
+@code{input/test/boxed-molecule.ly}.
-Lyric syllables must be interpreted within a @code{Lyrics} context
+@refbugs
-@cindex context!Lyrics
- for printing them.
+It is not possible to have bar numbers printed at regular intervals
+only.
-Here is a full example:
+@node Instrument names
+@subsection Instrument names
-@quotation
-@lilypond[verbatim]
-\score {
- <
- \notes \transpose c'' {
- c d e c | c d e c |
- e f g2 | e4 f g2 \bar "|.";
- }
- \context Lyrics \lyrics {
- Va-4 der Ja- cob Va- der Ja- cob
- Slaapt gij nog?2 Slaapt4 gij nog?2
- }
- >
-}
+You can specify an instrument name for a staff by setting
+@code{Staff.instrument} and @code{Staff.instr}. This will print a string
+before the start of the staff. For the first start, @code{instrument} is
+used, for the next ones @code{instr} is used.
+@lilypond[verbatim,singleline]
+ \property Staff.instrument = "ploink " { c''4 }
@end lilypond
-@end quotation
-You may want a continuous line after the syllables to show melismata.
-To achieve this effect, add a @code{__} lyric as a separate word
-after the lyric to be extended. This will create an extender, a line
-that extends over the entire duration of the lyric. This line will
-run all the way to the start of the next lyric, so you may want to
-shorten it by using a blank lyric (using @code{_}).
+You can also use markup texts to construct more complicated instrument
+names:
-@quotation
-@lilypond[verbatim]
-\score {
- <
- \notes \relative c'' {
- a4 () b () c () d | c () d () b () a | c () d () b () a
- }
- \context Lyrics \lyrics {
- foo1 __ | bar2. __ _4 | baz1 __
- }
- >
-}
+@lilypond[verbatim,singleline]
+#(define text-flat
+ '((font-relative-size . -2 ) (music "accidentals--1")))
+\score { \notes {
+ \property Staff.instrument = #`((kern . 0.5) (lines
+ "2 Clarinetti" (columns " (B" ,text-flat ")")))
+ c'' 4 }
+}
@end lilypond
-@end quotation
-
-If you want to have hyphens centered between syllables (rather than
-attached to the end of the first syllable) you can use the special
-`@code{-}@code{-}' lyric as a separate word between syllables. This
-will result in a hyphen which length varies depending on the space
-between syllables, and which will be centered between the syllables.
-For example:
-@quotation
+@refbugs
-@lilypond[verbatim]
-\score {
- <
- \notes \transpose c'' {
- c d e c | c d e c |
- e f g2 | e4 f g2 \bar "|.";
- }
- \context Lyrics \lyrics {
- Va4 -- der Ja -- cob | Va -- der Ja -- cob |
- Slaapt gij nog?2 | Slaapt4 gij nog?2
- }
- >
+When you put a name on a grand staff or piano staff the width of the
+brace is not taken into account. You must add extra spaces to the end of
+the name to avoid a collision.
+
+@node Transpose
+@subsection Transpose
+@cindex Transpose
+@cindex transposition of pitches
+@cindex @code{\transpose}
+
+A music expression can be transposed with @code{\transpose}. The syntax
+is
+@example
+ \transpose @var{pitch} @var{musicexpr}
+@end example
+
+This means that middle C in @var{musicexpr} is transposed to
+@var{pitch}.
+
+@code{\transpose} distinguishes between enharmonic pitches: both
+@code{\transpose cis'} or @code{\transpose des'} will transpose up half
+a tone. The first version will print sharps and the second version
+will print flats.
+
+@lilypond[fragment,verbatim]
+\context Staff {
+ \clef "F"
+ { \key e \major c d e f }
+ \clef "G"
+ \transpose des'' { \key e \major c d e f }
+ \transpose cis'' { \key e \major c d e f }
}
+@end lilypond
+
+If you want to use both @code{\transpose} and @code{\relative}, then
+you must use @code{\transpose} first. @code{\relative} will have no
+effect music that appears inside a @code{\transpose}.
+
+@node Sound output for transposing instruments
+@subsection Sound output transposing instruments
+
+When you want to make a MIDI file from a score containing transposed and
+untransposed
+instruments, you have to instruct LilyPond the pitch offset (in
+semitones) for the transposed instruments. This is done using the
+@code{transposing} property. It does not affect printed output.
+
+@cindex @code{transposing}
+
+@example
+ \property Staff.instrument = #"Cl. in B-flat"
+ \property Staff.transposing = #-2
+@end example
+
+@c . {Multi measure rests}
+@node Multi measure rests
+@subsection Multi measure rests
+@cindex Multi measure rests
+
+@cindex @code{R}
+
+Multi measure rests are entered using `@code{R}'. It is specifically
+meant for full bar rests and for entering parts: the rest can expand to
+fill a score with
+rests, or it can be printed as a single multimeasure rest This expansion
+is controlled by the property @code{Score.skipBars}. If this is set to true,
+Lily will not expand empty measures, and the appropriate number is added
+automatically.
+@lilypond[fragment,verbatim]
+ \time 3/4 r2. | R2. | R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
@end lilypond
-@end quotation
+Notice that the @code{R2.} is printed as a whole rest, centered in the
+measure.
+@cindex whole rests for a full measure
-@node Notation Contexts
-@section Notation Contexts
+The grob for this object is @internalsref{MultiMeasureRest}.
-@cindex notation contexts
+@refbugs
-Notation contexts are objects that only exist during a run of
-LilyPond. During the interpretation phase of LilyPond, the Music
-expression contained in a @code{\score} block is interpreted in time
-order. This is the order in which humans read, play, and write
-music.
+Currently, there is no way to automatically condense multiple rests into
+a single multimeasure rest.
-A context is an object that holds the reading state of the
-expression; it contains information like
+@cindex condensing rests
-@itemize @bullet
- @item What notes are playing at this point?
- @item What symbols will be printed at this point?
- @item In what style will they printed?
- @item What is the current key signature, time signature, point within
- the measure, etc.?
-@end itemize
+@node Automatic part combining
+@subsection Automatic part combining
+@cindex automatic part combining
+@cindex part combiner
-Contexts are grouped hierarchically: A @code{Voice} context is
-contained in a @code{Staff} context (because a staff can contain
-multiple voices at any point), a @code{Staff} context is contained in
-a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
-these can all contain multiple staffs).
-Contexts associated with sheet music output are called @emph{notation
-contexts}, those for sound output are called performance contexts.
+Automatic part combining is used to merge two parts of music onto a
+staff in an intelligent way. It is aimed primarily at typesetting
+orchestral scores. When the two parts are identical for a period of
+time, only one is shown. In places where the two parts differ, they are
+typeset as separate voices, and stem directions are set automatically.
+Also, solo and @emph{a due} parts can be identified and marked.
-Contexts are created either manually or automatically. Initially, the
-top level music expression is interpreted by the top level context (the
-@code{Score} context). When a atomic music expression (i.e. a note, a
-rest, etc.), a nested set of contexts is created that can process these
-atomic expressions, as in this example:
+The syntax for part combining is
@example
-\score @{ \notes @{ c4 @} @}
-@end example
+ \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
+@end example
+where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
+combined into one context of type @var{context}. The music expressions
+must be interpreted by contexts whose names should start with @code{one}
+and @code{two}.
+
+The most useful function of the part combiner is to combine parts into
+one voice, as common for wind parts in orchestral scores:
+
+@lilypond[verbatim,singleline,fragment]
+ \context Staff <
+ \context Voice=one \partcombine Voice
+ \context Thread=one \relative c'' {
+ g a () b r
+ }
+ \context Thread=two \relative c'' {
+ g r4 r f
+ }
+ >
+@end lilypond
+
+Notice that the first @code{g} appears only once, although it was
+specified twice (once in each part). Stem, slur and tie directions are
+set automatically, depending whether there is a solo or unisono. The
+first part (with context called @code{one}) always gets up stems, and
+`solo', while the second (called @code{two}) always gets down stems and
+`Solo II'.
+
+If you just want the merging parts, and not the textual markings, you
+may set the property @var{soloADue} to false.
+
+@lilypond[verbatim,singleline,fragment]
+ \context Staff <
+ \property Staff.soloADue = ##f
+ \context Voice=one \partcombine Voice
+ \context Thread=one \relative c'' {
+ b4 a c g
+ }
+ \context Thread=two \relative c'' {
+ d,2 a4 g'
+ }
+ >
+@end lilypond
-The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
-context. When the note @code{c4} itself is interpreted, a set of
-contexts is needed that will accept notes. The default for this is a
-@code{Voice} context, contained in a @code{Staff} context. Creation of
-these contexts results in the staff being printed.
+There are a number of other properties that you can use to tweak the
+behavior of part combining, refer to the automatically generated
+documentation of @reng{Thread_devnull_engraver} and
+@reng{Voice_devnull_engraver}. Look at the documentation of the
+responsible engravers, @code{Thread_devnull_engraver},
+@code{Voice_devnull_engraver} and @code{A2_engraver}.
-@cindex context
+@refbugs
-You can also create contexts manually, and you probably have to do so
-if you want to typeset complicated multiple part material. If a
-`@code{\context} @var{name} @var{musicexpr}' expression is encountered
-during the interpretation phase, the @var{musicexpr} argument will be
-interpreted with a context of type @var{name}. If you specify a name,
-the specific context with that name is searched.
+In @code{soloADue} mode, when the two voices play the same notes on and
+off, the part combiner may typeset @code{a2} more than once in a
+measure.
-[type vs id]
+@lilypond[fragment,singleline]
+ \context Staff <
+ \context Voice=one \partcombine Voice
+ \context Thread=one \relative c'' {
+ c b c b c a c a
+ }
+ \context Thread=two \relative c'' {
+ b b b b f a f a
+ }
+ >
+@end lilypond
-If a context of the specified type and name can not be found, a new
-one is created. For example,
+@cindex @code{Thread_devnull_engraver}
+@cindex @code{Voice_engraver}
+@cindex @code{A2_engraver}
-@quotation
+@node Hara kiri staves
+@subsection Hara kiri staves
+
+In orchestral scores, staff lines that only have rests are usually removed.
+This saves some space. LilyPond also supports this through the hara
+kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
+the Japanese Samourai warriors.} staff. This staff commits suicide when
+it finds itself to be empty after the line-breaking process. It will
+not disappear when it contains normal rests, you must use multi measure
+rests.
+
+The hara kiri staff is specialized version of the @internalsref{Staff}
+context. It is available as the context identifier
+@code{\HaraKiriStaffContext}. Observe how the second staff in this
+example disappears in the second line.
@lilypond[verbatim]
-\score {
- \notes \relative c'' {
- c4 <d4 \context Staff = "another" e4> f
+\score {
+ \notes \relative c' <
+ \context Staff = SA { e4 f g a \break c1 }
+ \context Staff = SB { c4 d e f \break R1 }
+ >
+ \paper {
+ linewidth = 6.\cm
+ \translator { \HaraKiriStaffContext }
}
}
+@end lilypond
+
+
+
+@c . {Custodes}
+@node Custodes
+@section Custodes
+@cindex Custos
+@cindex Custodes
+A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
+staff context symbol that appears at the end of a staff line. It
+anticipates the pitch of the first note(s) of the following line and
+thus helps the player or singer to manage line breaks during
+performance, thus enhancing readability of a score.
+
+@lilypond[verbatim]
+\score {
+ \notes { c'1 \break
+ \property Staff.Custos \set #'style = #'mensural
+ d' }
+ \paper {
+ \translator {
+ \StaffContext
+ \consists Custos_engraver
+ }
+ }
+}
@end lilypond
-@end quotation
-In this example, the @code{c} and @code{d} are printed on the
-default staff. For the @code{e}, a context Staff called
-@code{another} is specified; since that does not exist, a new
-context is created. Within @code{another}, a (default) Voice context
-is created for the @code{e4}. When all music referring to a
-context is finished, the context is ended as well. So after the
-third quarter, @code{another} is removed.
+Custodes were frequently used in music notation until the 17th century.
+There were different appearances for different notation styles.
+Nowadays, they have survived only in special forms of musical notation
+such as via the @emph{editio vaticana} dating back to the beginning of
+the 20th century.
-Almost all music expressions inherit their interpretation context
-from their parent. In other words, suppose that the syntax for a
-music expression is
+For typesetting custodes, just put a @code{Custos_engraver} into the
+@internalsref{Staff} context when declaring the @code{\paper} block. In this
+block, you can also globally control the appearance of the custos symbol
+by setting the custos @code{style} property. Currently supported styles
+are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
+@code{mensural}.
@example
+\paper @{
+ \translator @{
+ \StaffContext
+ \consists Custos_engraver
+ Custos \override #'style = #'mensural
+ @}
+@}
+@end example
+
+The property can also be set locally, for example in a @code{\notes}
+block:
- \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
+@example
+\notes @{
+ \property Staff.Custos \override #'style = #'vaticana
+ c'1 d' e' d' \break c' d' e' d'
+@}
@end example
-When the interpretation of this music expression starts, the context
-for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
-expression.
-Lastly, you may wonder, why this:
+@c . {Figured bass}
+@node Figured bass
+@section Figured bass
-@quotation
+@cindex Basso continuo
-@example
-\score @{
- \notes \relative c'' @{
- c4 d4 e4
- @}
-@}
-@end example
+TODO. see figured-bass.ly
-@end quotation
+@c . {Tuning output}
+@node Tuning output
+@section Tuning output
-doesn't result in this:
+LilyPond tries to take as much formatting as possible out of your
+hands. Nevertheless, there are situations where it needs some help, or
+where you want to override its decisions. In this section we discuss
+ways to do just that.
-@lilypond[]
+Formatting is internally done by manipulating so called grobs (graphic
+objects). Each grob carries with it a set of properties (grob
+properties) specific to that object. For example, a stem grob has
+properties that specify its direction, length and thickness.
- \score {
- \notes \relative c'' {
- <c4> <d4> <e4>
- }
- }
+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 a certain type of grob, thus
+affecting a whole set of objects. Second, you can select one specific
+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::
+@end menu
+@node Tuning groups of grobs
+@subsection Tuning groups of grobs
+
+@cindex grob description
+
+
+
+A grob definition is a Scheme association list, that is stored in a
+context property. By assigning to that property (using plain
+@code{\property}), you can change the resulting grobs.
+
+@lilypond[verbatim, fragment]
+c'4 \property Voice.Stem = #'((meta . ((interfaces . ())))) c'4
@end lilypond
-For the @code{c4}, a default @code{Staff} (with a contained
-@code{Voice}) context is created. After the @code{c4} ends, no
-music refers to this default staff, so it would be ended, with the
-result shown. To prevent this inconvenient behavior, the context to
-which the sequential music refers is adjusted during the
-interpretation. So after the @code{c4} ends, the context of the
-sequential music is also the default @code{Voice} context.
-The @code{d4} gets interpreted in the same context
-as @code{c4}.
+The @code{\property} assignment effectively empties the definition of
+the Stem object. One of the effects is that the recipe of how it should be
+printed is erased, with the effect of rendering it invisible. The above
+assignment is available as a standard identifier, for the case that you
+find this useful:
-Properties that are set in one context are inherited by all of the
-contained contexts. This means that a property valid for the
-@code{Voice} context can be set in the @code{Score} context (for
-example) and thus take effect in all @code{Voice} contexts.
+@example
+ \property Voice.Stem = \turnOff
+@end example
-Properties can be preset within the @code{\translator} block
-corresponding to the appropriate context. In this case, the syntax
-is
+@cindex \override
+@cindex \revert
+@cindex \set
+
+This mechanism is fairly crude, since you can only set, but not modify,
+the definition of a grob. For this reason, there is a more advanced
+mechanism.
+
+The definition of a grob is actually a list of default grob
+properties. For example, the definition of the Stem grob (available in
+@file{scm/grob-description.scm}), defines the following values for
+@internalsref{Stem}
@example
- @var{propname} @code{=} @var{value}
+ (thickness . 0.8)
+ (beamed-lengths . (0.0 2.5 2.0 1.5))
+ (Y-extent-callback . ,Stem::height)
+ @var{...}
@end example
-This assignment happens before interpretation starts, so a
-@code{\property} expression will override any predefined settings.
+You can add a property on top of the existing definition, or remove a
+property, thus overriding the system defaults:
+@lilypond[verbatim]
+c'4 \property Voice.Stem \override #'thickness = #4.0
+c'4 \property Voice.Stem \revert #'thickness
+c'4
+@end lilypond
+You should balance @code{\override} and @code{\revert}. If that's too
+much work, you can use the @code{\set} shorthand. It performs a revert
+followed by an override. The following example gives exactly the same
+result as the previous one.
+@lilypond[verbatim]
+c'4 \property Voice.Stem \set #'thickness = #4.0
+c'4 \property Voice.Stem \set #'thickness = #0.8
+c'4
+@end lilypond
+If you use @code{\set}, you must explicitly restore the default.
+
-The property settings are used during the interpretation phase. They
-are read by the LilyPond modules where interpretation contexts are
-built of. These modules are called @emph{translators}. Translators for
-notation are called @emph{engravers}, and translators for sound are
-called @emph{performers}.
+Formally the syntax for these constructions is
+@example
+\property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
+\property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
+\property @var{context}.@var{grobname} \revert @var{symbol}
+@end example
+Here @var{symbol} is a Scheme expression of symbol type, @var{context}
+and @var{grobname} are strings and @var{value} is a Scheme expression.
-@mbinclude properties.itely
+If you revert a setting which was not set in the first place, then it
+has no effect. However, if the setting was set as a system default, it
+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.
-@node Page layout
-@section Page layout
+These are examples of correct nesting of @code{\override}, @code{\set},
+@code{\revert}.
-@subsection Paper block
+A clumsy but correct form:
+@example
+ \override \revert \override \revert \override \revert
+@end example
-The most important output definition is the @code{\paper} block, for
-music notation. The syntax is
+Shorter version of the same:
+@example
+ \override \set \set \revert
+@end example
+A short form, using only @code{\set}. This requires you to know the
+default value:
@example
- @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
+ \set \set \set \set @var{to default value}
@end example
-where each of the items is one of
+If there is no default (i.e. by default, the grob property is unset),
+then you can use
+@example
+ \set \set \set \revert
+@end example
-@itemize @bullet
- @item An assignment. The assignment must be terminated by a
- semicolon.
+For the digirati, the grob description is an Scheme association
+list. Since a Scheme list is a singly linked list, we can treat it as a
+stack, and @code{\override} and @code{\revert} are just push and pop
+operations. This pushing and popping is also used for overriding
+automatic beaming settings.
- @item A context definition. See section @ref{contextdefs} for
- more information on context definitions.
+@refbugs
-@ignore
+LilyPond will hang or crash if @var{value} contains cyclic references.
+The backend is not very strict in type-checking grob properties. If you
+@code{\revert} properties that are expected to be set by default,
+LilyPond may crash.
- FIXME
+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
+@code{\property Staff.StaffSymbol}. At the moment that @code{\property
+Staff} is interpreted, a Staff context is made, and the StaffSymbol is
+created before any @code{\override} is effective. You can deal with this
+either overriding properties in a @code{\translator} definition, or by
+using @code{\outputproperty}.
- @item
-
- A margin shape declaration. The syntax is
-@cindex @code{\shape}
- @example
- \shape @var{indent1}@code{,} @var{width1}@code{,}
- @var{indent2}@code{,} @var{width2} @dots{} @code{;}
- @end example
-
+@node Tuning per grob
+@subsection Tuning per grob
- Each pair of @var{indent} and @var{width} values is a dimension
- specifying how far to indent and how wide to make the line.
- The indentation and width of successive lines are specified by
- the successive pairs of dimensions. The last pair of
- dimensions will define the characeristics of all lines beyond
- those explicitly specified.
-@end ignore
+@cindex \outputproperty
- @item \stylesheet declaration. Its syntax is
- @example
- \stylesheet @var{alist}
- @end example
+A second way of tuning grobs is the more arcane @code{\outputproperty}
+feature. The syntax is as follows:
+@example
+\outputproperty @var{predicate} @var{symbol} = @var{value}
+@end example
+Here @code{predicate} is a Scheme function taking a grob argument, and
+returning a boolean. This statement is processed by the
+@code{Output_property_engraver}. It instructs the engraver to feed all
+grobs that it sees to @var{predicate}. Whenever the predicate returns
+true, the grob property @var{symbol} will be set to @var{value}.
- See @file{font.scm} for details of @var{alist}.
-@end itemize
+You will need to combine this statement with @code{\context} to select
+the appropriate context to apply this to.
+Here are some random examples.
-@subsection Paper variables
-The paper block has some variables you may want to use or change:
+In the following example, all note heads occurring at current staff
+level, are shifted up and right by setting their @code{extra-offset}
+property.
-@table @code
-@cindex @code{indent}
- @item @code{indent}
- The indentation of the first line of music.
-@cindex @code{staffspace}
+@lilypond[fragment,verbatim,singleline]
+\relative c'' { c4
+ \context Staff \outputproperty
+ #(make-type-checker 'note-head-interface)
+ #'extra-offset = #'(0.5 . 0.75)
+ <c8 e g> }
+@end lilypond
- @item @code{staffspace}
- The distance between two staff lines, calculated from the center
- of the lines. You should use either this or @code{rulethickness}
- as a unit for distances you modify.
-
-@cindex @code{linewidth}
- @item @code{linewidth}
- Sets the width of the lines. If set to -1.0, a single
- unjustified line is produced. If you use this variable, you
- probably want to define it in staff spaces, ie
- @example
- linewidth = 30 * \staffspace;
- @end example
-@cindex @code{textheight}
+@cindex @code{extra-offset}
- @item @code{textheight}
- Sets the total height of the music on each page. Only used by
- ly2dvi.
-@cindex @code{interscoreline}
+In this example, the predicate checks the @code{text} grob property, to
+shift only the `m.d.' text, but not the fingering instruction "2".
+@lilypond[verbatim,singleline]
+#(define (make-text-checker text)
+ (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
- @item @code{interscoreline}
- Sets the spacing between the score lines. Defaults to 16 pt.
-@cindex @code{interscorelinefill}
+\score {
+ \notes\relative c''' {
+ \property Voice.Stem \set #'direction = #1
+ \outputproperty #(make-text-checker "m.d.")
+ #'extra-offset = #'(-3.5 . -4.5)
+ a^2^"m.d."
+ }
+}
+@end lilypond
- @item @code{interscorelinefill}
- If set to a positive number, the distance between the score
- lines will stretch in order to fill the full page. In that
- case @code{interscoreline} specifies the minimum spacing.
- Defaults to 0.
-@cindex @code{stafflinethickness}
+@refbugs
- @item @code{stafflinethickness}
- Determines the thickness of staff lines, and also acts as a scaling
- parameter for other line thicknesses.
-@end table
+If possible, avoid this feature: the semantics are not very clean, and
+the syntax and semantics are up for rewrite.
-@subsection Line breaks
-@cindex line breaks
-@cindex breaking lines
-Line breaks are normally computed automatically. They are chosen such
-that the resulting spacing has low variation, and looks neither cramped
-nor loose.
+@node What to tune?
+@subsection What to tune?
-Occasionally you might want to override the automatic breaks; you can do
-this by specifying @code{\break} (see also @ref{Pre-defined
-Identifiers}). This will force a line break at this point. Do remember
-that line breaks can only occur at places where there are barlines. If
-you want to have a line break where there is no barline, you can force a
-barline by entering @code{\bar "";}.
+This all tells you how to tune grobs, but you don't know what variables
+to set? The question is not answered in this part of the manual
+(although you may encounter some examples.).
+Grob properties are tied directly to the implementation of LilyPond, and
+they are thus a moving target. Documentation of such variables is in the
+automatically generated documentation. Description of properties are
+generated from the source code for each version. This documentation is
+therefore more up to date. It should be available from the same place
+where you got this manual.
-@subsection Page breaks
+To decide how to tune a grob, you need to find the following information
+@itemize @bullet
+@item
+which grob to modify
+@item
+which property to modify
+@item
+which context the grob comes from.
+@end itemize
-Page breaks are normally computed by @TeX{}, so they are not under direct
-control. However, you can insert a commands into the .tex output to
-instruct @TeX{} where to break pages. For more details, see the
-example file @file{input/test/between-systems.ly}
+Included with the automatically generated documentation is a master list
+of grobs. Selecting a grob will take you to an overview of the
+properties available for that grob.
+There is also a master list of contexts. Selecting one takes you to an
+overview of that context which lists which grob types are created there.
-@cindex page breaks
-@cindex breaking pages
+@node Font selection
+@subsection Font selection
-@subsection Font size
+Most graphics in LilyPond are composed of characters of fonts. You can
+alter the characteristics of the font by setting certain grob
+properties. The mechanism that is used for this resembles La@TeX{}'s New
+Font Selection Scheme. Within this scheme, a font is entirely
+characterized by its font name.
-@cindex font size
+For each grob that uses fonts (in other words, each grob that supports
+@code{font-interface}) a font-name must be selected before it can be
+printed. The font name is selected by looking at a number of grob
+properties:
-The Feta font provides musical symbols at six different sizes. These
-fonts are 11 point, 13 point, 16 point, 20 point,
-23 point, and 26 point. The point size of a font is the
-height of the five lines in a staff when displayed in the font.
+@table @code
+@item font-family
+ A symbol indicating the general class of the typeface. Supported are
+@code{roman} (Computer Modern), @code{braces} (for piano staff braces),
+@code{music} (the standard music font), @code{dynamic} (font for dynamic
+signs) and @code{typewriter}
-Definitions for these sizes are the files @file{paperSZ.ly}, where
-@code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
-these files, the identifiers @code{paperEleven}, @code{paperThirteen},
-@code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
-@code{paperTwentysix} are defined respectively. The default
-@code{\paper} block is also set.
+@item font-shape
+ A symbol indicating the shape of the font, there are typically several
+ font shapes available for each font family. Choices are @code{italic},
+ @code{caps} and @code{upright}
-The font definitions are generated using a Scheme function. For more
-details, see the file @file{font.scm}.
+@item font-series
+A symbol indicating the series of the font. There are typically several
+font series for each font family and shape. Choices are @code{medium}
+and @code{bold}.
-@subsection Paper size
+@item font-relative-size
+ A number indicating the size relative the standard size. For example,
+ with 20pt staff height, relative size -1 corresponds to 16pt staff
+ height, and relative size +1 corresponds to 23 pt staff height.
-@cindex paper size
-@cindex page size
-@cindex @code{papersize}
+@item font-design-size
+A number indicating the design size of the font.
-To change the paper size, you must first set the
-@code{papersize} variable at top level. Set it to
-the strings @code{a4}, @code{letter}, or @code{legal}. After this
-specification, you must set the font as described above. If you want
-the default font, then use the 20 point font. The new paper size will
-not take effect if the font is not loaded and selected afterwards.
+This is a feature of the Computer Modern Font: each point size has a
+slightly different design. Smaller design sizes are relatively wider,
+which enhances readability. Scalable type faces such TrueType and Adobe
+Type1 usually come as ``one design fits all sizes''.
-@example
- papersize = "a4"
- \include "paper16.ly"
+@item font-name
+ The name of the font, without the design size, e.g. @code{cmr},
+@code{cmti}, etc. Setting this overrides font-family, font-shape and
+font-series.
- \score @{
- ...
- \paper @{ \paperSixteen @}
- @}
+
+@end table
+
+
+The font is selected by taking the first font that satisfies all
+qualifiers specified. You can override any of these fields through
+@code{\override} and @code{\revert}. The special value @code{*} matches
+any value for that qualifier.
+
+@example
+ \property Lyrics.LyricText \override #'font-series = #'bold
+ \property Lyrics.LyricText \override #'font-shape = #'*
@end example
-The file "paper16.ly" will now include a file named @file{a4.ly}, which
-will set the paper variables @code{hsize} and @code{vsize} (used by
-@code{ly2dvi})
+@cindex @code{font-style}
-@node Context definitions
-@section Context definitions
+There are also pre-cooked font selection qualifiers. These are selected
+through the grob property @code{font-style}. For example, the style
+@code{finger} selects family @code{number} and relative size @code{-3}.
+Styles available include @code{volta}, @code{finger}, @code{tuplet},
+@code{timesig}, @code{mmrest}, @code{script}, @code{large}, @code{Large}
+and @code{dynamic}.
-@cindex context definition
-@cindex translator definition
-@cindex engraver hacking
+The style sheets and tables for selecting fonts are located in
+@file{scm/font.scm}. Refer to this file for more information.
-A notation contexts is defined by the following information
+Setting @code{font-name} overrides all other qualifiers. The value for
+this property should be a string, the file name of the font. You may use
+this to use special fonts, which are not a part of the style sheet, or
+which have special encodings.
-@enumerate 1
- @item A name.
+The size of the font may be set with the grob property
+@code{font-magnification}. It is the size of font, relative to its
+standard size. For example, @code{1.0} is normal size.
- @item The LilyPond modules that do the actual conversion of music to
- notation. Each module is a so-called
- @emph{engraver}
-@cindex engraver
-.
+@refbugs
- @item How these modules should cooperate, i.e. which ``cooperation
- module'' should be used. This cooperation module is a special
- type of engraver.
+Relative size is not linked to any real size.
- @item What other contexts the context can contain,
+There is no style sheet provided for other fonts besides the @TeX{}
+family.
- @item What properties are defined.
-@end enumerate
+@cindex font selection
+@cindex font magnification
+@cindex @code{font-interface}
-A context definition has this syntax:
-@example
+@node Text markup
+@subsection Text markup
+@cindex text markup
+@cindex markup text
- \translator @code{@{}
- @var{translatorinit} @var{translatormodifierlist}
- @code{@}}
-@end example
+LilyPond has an internal mechanism to typeset texts. You can
+form text markup expressions by composing scheme expressions
+in the following way.
-@var{translatorinit} can be an identifier or of the form
+@lilypond[verbatim, singleline]
+ \relative c' {
+ \fatText
+ a^#"upright"
+ b_#'(bold "bold")
+ c^#'(italic "italic")
+ d_#'((bold italic) "ff")
+ e^#'(dynamic "ff")
+ f_#'(lines "one" (bold "two"))
+ g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
+ }
+@end lilypond
-@example
+Normally, the Scheme markup text is stored in the @code{text} property
+of a grob. Formally, it is defined as follows:
- \type @var{typename} @code{;}
+@example
+text: string | (head? text+)
+head: markup | (markup+)
+markup-item: property | abbrev
+property: (@var{key} . @var{value})
+abbrev: @code{columns lines roman music bold italic named super sub}
+ @code{overstrike text finger volta timesig mmrest mark script}
+ @code{large Large dynamic}
@end example
-@var{typename} is one of
+The markup is broken down and converted into a list of grob properties,
+which are prepended to the property list. The @var{key}-@var{value}
+pair is a grob property. A list of properties available is included in
+the generated documentation for @rint{Text_interface}.
+The following abbreviations are currently defined:
@table @code
-@cindex @code{Engraver_group_engraver}
- @item @code{Engraver_group_engraver}
- The standard cooperation engraver.
-@cindex @code{Score_engraver}
+@item columns
+ horizontal mode: set all text on one line (default)
+@item lines
+ vertical mode: set every text on a new line
+@item roman
+ select roman font
+@item music
+ selects the Feta font (the standard font for music notation glyphs),
+and uses named lookup
+
+@item bold
+ select bold series
+@item italic
+ select italic shape
+@item named
+ lookup by character name
+@item text
+ plain text lookup (by character value)
+@item super
+ superscript
+@item sub
+ subscript
+@item overstrike
+ the next text or character overstrikes this one
+@item finger
+ select fingering number fontstyle
+@item volta
+ select volta number fontstyle
+@item timesig
+ select time signature number fontstyle
+@item mmrest
+ select multi measure rest number fontstyle
+@item mark
+ select mark number fontstyle
+@item script
+ select scriptsize roman fontstyle
+@item large
+ select large roman fontstyle
+@item Large
+ select Large roman fontstyle
+@item dynamic
+ select dynamics fontstyle
+@end table
- @item @code{Score_engraver}
- This is cooperation module that should be in the top level context.
-@cindex @code{Grace_engraver_group}
- @item @code{Grace_engraver_group}
- This is a special cooperation module (resembling
- @code{Score_engraver}) that is used to created an embedded
- `miniscore'.
-@end table
+@cindex metronome mark
-@var{translatormodifierlist} is a list of items where each item is
-one of
+One practical application of complicated markup is to fake a metronome
+marking:
-@itemize @bullet
- @item @code{\consists} @var{engravername} @code{;}
- Add @var{engravername} to the list of modules in this context.
- The order of engravers added with @code{\consists} is
- significant.
-
- @item @code{\consistsend} @var{engravername} @code{;}
- Analogous to @code{\consists}, but makes sure that
- @var{engravername} is always added to the end of the list of
- engravers.
+@lilypond[verbatim]
+#(define note '(columns
+ (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
+#(define eight-note `(columns ,note ((kern . -0.1)
+ (music ((raise . 3.5) "flags-u3")))))
+#(define dotted-eight-note
+ `(columns ,eight-note (music "dots-dot")))
- Some engraver types need to be at the end of the list; this
- insures they are put there, and stay there, if a user adds or
- removes engravers. This command is usually not needed for
- end-users.
-
- @item @code{\accepts} @var{contextname} @code{;}
- Add @var{contextname} to the list of context this context can
- contain. The first listed context is the context to create by
- default.
+\score {
+ \notes\relative c'' {
+ a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
+ }
+ \paper {
+ linewidth = -1.
+ \translator{
+ \ScoreContext
+ TextScript \override #'font-shape = #'upright
+ }
+ }
+}
+@end lilypond
- @item @code{\denies}. The opposite of @code{\accepts}. Added for
-completeness, but is never used in practice.
-
-
- @item @code{\remove} @var{engravername} @code{;}
- Remove a previously added (with @code{\consists}) engraver.
-
- @item @code{\name} @var{contextname} @code{;}
- This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
- the name is not specified, the translator won't do anything.
+@node Invisible grobs
+@subsection Invisible grobs
+@cindex invisible grobs
- @item @var{propname} @code{=} @var{value} @code{;}
- A property assignment. It is allowed to use reals for
- @var{value}.
-@end itemize
+@ignore
-In the @code{\paper} block, it is also possible to define translator
-identifiers. Like other block identifiers, the identifier can only
-be used as the very first item of a translator. In order to define
-such an identifier outside of @code{\score}, you must do
+ben nog steeds niet kapot van de informatiedichtheid hier.
-@quotation
+--hwn
-@example
-\paper @{
- foo = \translator @{ @dots{} @}
-@}
-\score @{
- \notes @{
- @dots{}
- @}
- \paper @{
- \translator @{ \foo @dots{} @}
- @}
-@}
-@end example
+@end ignore
-@end quotation
+You can imagine a number of situations where you would want to make
+certain grobs not show up in the output. There may be aesthetic
+reasons, to make the output resemble an (old) manuscript as close as
+possible, or to make lessons or exercises for students.
+Grobs can be made invisible in a number of ways:
-@cindex paper types, engravers, and pre-defined translators
+Here's an example with blanked-out notes and stems:
+@lilypond[singleline,verbatim]
+blanknotes = {
+ \property Voice.NoteHead \override
+ #'transparent = ##t
+ \property Voice.Stem \override
+ #'transparent = ##t }
+
+unblanknotes = {
+ \property Voice.NoteHead \revert #'transparent
+ \property Voice.Stem \revert #'transparent }
-Some pre-defined identifiers can simplify modification of
-translators. The pre-defined identifiers are:
+\score {
+ \notes\relative c'' {
+ \time 6/4
+ a b c b \blanknotes c \unblanknotes d
+ }
+}
+@end lilypond
+This method makes the grobs invisible but they still take the normal space.
+To remove all traces of the grob, you can redefine the function
+typesetting them:
+@lilypond[verbatim]
+\score {
+ \notes\relative c'' {
+ \key c \minor
+ \time 6/4
+ as bes c bes c d \break
+ \property Staff.KeySignature \override #'molecule-callback = #'()
+ as bes c bes c d
+ }
+ \paper{linewidth=5.0\cm indent=0}
+}
+@end lilypond
-@table @code
-@cindex @code{StaffContext}
- @item @code{StaffContext}
- Default Staff context.
-@cindex @code{RhythmicStaffContext}
+A very rigorous way of removing grobs from the whole score is to remove
+the engraver that creates them. For example,
- @item @code{RhythmicStaffContext}
- Default RhythmicStaff context.
-@cindex @code{VoiceContext}
+@lilypond[singleline,verbatim]
+\score {\notes { c'4 d'8 e'8 g2 }
+ \paper { \translator {
+ \VoiceContext
+ \remove Stem_engraver
+ } }
+}
+@end lilypond
- @item @code{VoiceContext}
- Default Voice context.
-@cindex @code{ScoreContext}
+@node Dirty tricks
+@subsection Dirty tricks
+@cindex embedded tex
- @item @code{ScoreContext}
- Default Score context.
-@cindex @code{ScoreWithNumbers}
+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 won't work with direct PostScript output (see @ref{PostScript
+output}).
- @item @code{ScoreWithNumbers}
- Score context with numbering at the Score level.
-@cindex @code{BarNumberingStaffContext}
+@lilypond[fragment,relative,verbatim]
+ a'^"3 $\\times$ \\`a deux"
+@end lilypond
- @item @code{BarNumberingStaffContext}
- Staff context with numbering at the Staff level.
-@cindex @code{HaraKiriStaffContext}
+You can also use raw PostScript commands embedded in text scripts. This
+offers ultimate flexibility, but requires you to learn PostScript.
+Currently, embedded PostScript will @strong{not} work with direct
+PostScript output. Note that all dimensions that you use are in staff
+space.
- @item @code{HaraKiriStaffContext}
- Staff context that does not print if it only contains rests.
- Useful for orchestral scores.@footnote{Harakiri, also called
- Seppuku, is the ritual suicide of the Japanese Samourai warriors.}
-@cindex @code{OrchestralPartStaffContext}
+@lilypond[verbatim]
+\score {
+ \notes \relative c'' {
+ a-#"\\embeddedps{3 4 moveto 5 3 rlineto stroke}"
+ -#"\\embeddedps{ [ 0 1 ] 0 setdash 3 5 moveto 5 -3 rlineto stroke}"
+ b-#"\\embeddedps{3 4 moveto 0 0 1 2 8 4 20 3.5 rcurveto stroke}"
+ s2
+ a'1
+ }
+ \paper { linewidth = 70*\staffspace }
+}
+@end lilypond
- @item @code{OrchestralPartStaffContext}
-@cindex @code{OrchestralScoreContext}
- @item @code{OrchestralScoreContext}
-@end table
+@c . {Page layout}
+@node Page layout
+@section Page layout
+@cindex Page layout
-Using these pre-defined values, you can remove or add items to the
-translator:
+The page layout is the combined product of LilyPond formatting notation,
+and (La)@TeX{} putting the notation on a page, including page breaks.
+The part of LilyPond is documented here.
-@quotation
+@menu
+* Paper block::
+* Paper variables::
+* Font Size::
+* Paper size::
+* Line break::
+* Page break::
+* Output scaling::
+@end menu
-@example
-\paper @{
- \translator @{
- \StaffContext
- \remove Some_engraver;
- \consists Different_engraver;
- @}
-@}
-@end example
+@c . {Paper block}
+@node Paper block
+@subsection Paper block
+@cindex Paper block
-@end quotation
+The most important output definition is the @code{\paper} block, for
+music notation. The syntax is
-
-@node Sound output
-@section Sound output
+@example
+ @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
+@end example
-The MIDI block is analogous to the paper block, but it is somewhat
-simpler. The @code{\midi} block can contain:
-@cindex MIDI block
+where each of the items is one of
@itemize @bullet
- @item a @code{\tempo} definition
- @item context definitions
+ @item An assignment.
+
+ @item A context definition. See @ref{Interpretation context} for
+ more information on context definitions.
+
+ @item \stylesheet declaration. Its syntax is
+ @example
+ \stylesheet @var{alist}
+ @end example
+
+ See @file{scm/font.scm} for details of @var{alist}.
+ @item an @code{\elementdescriptions} declaration.
+ @example
+ \elementdescriptions @var{alist}
+ @end example
+ See @file{scm/grob-description.scm} for details of
+@var{alist}. This command is not user-serviceable.
+
@end itemize
-Assignments in the @code{\midi} block are not allowed.
+@c . {Paper variables}
+@node Paper variables
+@subsection Paper variables
+@cindex Paper variables
+The paper block has some variables you may want to use or change:
+@table @code
+@cindex @code{indent}
+ @item @code{indent}
+ The indentation of the first line of music.
+@cindex @code{staffspace}
-@cindex context definition
+ @item @code{staffspace}
+ The distance between two staff lines, calculated from the center
+ of the lines.
-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}.
+@cindex @code{linewidth}
+ @item @code{linewidth}
+ Sets the width of the lines.
+If set to a negative value, a single unjustified line is produced.
+@c rename to singleLinePaper ?
+The shorthand @code{\singleLine} defines a default paper block that
+produces a single line.
+@cindex @code{textheight}
-@node midilist
-@section MIDI instrument names
-@cindex instrument names
-@cindex @code{Staff.midiInstrument}
-@cindex @code{Staff.instrument}
+ @item @code{textheight}
+ Sets the total height of the music on each page. Only used by
+@code{ly2dvi}.
-The MIDI instrument name is set by the @code{Staff.midiInstrument}
-property or, if that property is not set, the @code{Staff.instrument}
-property. The instrument name should be chosen from the following list.
-If the selected string does not exactly match, then LilyPond uses the
-default piano.
+@cindex @code{interscoreline}
+
+ @item @code{interscoreline}
+ Sets the spacing between systems. The default is 16pt.
+
+@cindex @code{interscorelinefill}
-[FIXME: to appendix ]
+ @item @code{interscorelinefill}
+ If set to a positive number, the distance between the score
+ lines will stretch in order to fill the full page. In that
+ case @code{interscoreline} specifies the minimum spacing.
-@c @quotation
+ Not set by default.
-@example
-"acoustic grand" "contrabass" "lead 7 (fifths)"
-"bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
-"electric grand" "pizzicato strings" "pad 1 (new age)"
-"honky-tonk" "orchestral strings" "pad 2 (warm)"
-"electric piano 1" "timpani" "pad 3 (polysynth)"
-"electric piano 2" "string ensemble 1" "pad 4 (choir)"
-"harpsichord" "string ensemble 2" "pad 5 (bowed)"
-"clav" "synthstrings 1" "pad 6 (metallic)"
-"celesta" "synthstrings 2" "pad 7 (halo)"
-"glockenspiel" "choir aahs" "pad 8 (sweep)"
-"music box" "voice oohs" "fx 1 (rain)"
-"vibraphone" "synth voice" "fx 2 (soundtrack)"
-"marimba" "orchestra hit" "fx 3 (crystal)"
-"xylophone" "trumpet" "fx 4 (atmosphere)"
-"tubular bells" "trombone" "fx 5 (brightness)"
-"dulcimer" "tuba" "fx 6 (goblins)"
-"drawbar organ" "muted trumpet" "fx 7 (echoes)"
-"percussive organ" "french horn" "fx 8 (sci-fi)"
-"rock organ" "brass section" "sitar"
-"church organ" "synthbrass 1" "banjo"
-"reed organ" "synthbrass 2" "shamisen"
-"accordion" "soprano sax" "koto"
-"harmonica" "alto sax" "kalimba"
-"concertina" "tenor sax" "bagpipe"
-"acoustic guitar (nylon)" "baritone sax" "fiddle"
-"acoustic guitar (steel)" "oboe" "shanai"
-"electric guitar (jazz)" "english horn" "tinkle bell"
-"electric guitar (clean)" "bassoon" "agogo"
-"electric guitar (muted)" "clarinet" "steel drums"
-"overdriven guitar" "piccolo" "woodblock"
-"distorted guitar" "flute" "taiko drum"
-"guitar harmonics" "recorder" "melodic tom"
-"acoustic bass" "pan flute" "synth drum"
-"electric bass (finger)" "blown bottle" "reverse cymbal"
-"electric bass (pick)" "skakuhachi" "guitar fret noise"
-"fretless bass" "whistle" "breath noise"
-"slap bass 1" "ocarina" "seashore"
-"slap bass 2" "lead 1 (square)" "bird tweet"
-"synth bass 1" "lead 2 (sawtooth)" "telephone ring"
-"synth bass 2" "lead 3 (calliope)" "helicopter"
-"violin" "lead 4 (chiff)" "applause"
-"viola" "lead 5 (charang)" "gunshot"
-"cello" "lead 6 (voice)"
-@end example
-@c @end quotation
+@cindex @code{stafflinethickness}
+ @item @code{stafflinethickness}
+ Determines the thickness of staff lines, and also acts as a scaling
+ parameter for other line thicknesses.
+@end table
-@node Pre-defined Identifiers
+You may enter these dimension using units (@code{cm}, @code{in},
+@code{mm}, @code{pt}), or relative to another dimension
+@example
+ linewidth = 20.0 * \staffspace
+ indent = 0.5 \cm
+@end example
-@section Pre-defined Identifiers
-@cindex pre-defined identifiers
+@c . {Font size}
+@node Font Size
+@subsection Font size
+@cindex font size, setting
+@cindex staff size, setting
+@cindex @code{paper} file
+The Feta font provides musical symbols at six different sizes. These
+fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and 26
+point. The point size of a font is the height of the five lines in a
+staff when displayed in the font.
-Various identifiers are defined in the initialization files to
-provide shorthands for some settings. Most of them are in
-@file{ly/declarations.ly} and @file{ly/property.ly}.
+Definitions for these sizes are the files @file{paperSZ.ly}, where
+@code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
+these files, the identifiers @code{paperEleven}, @code{paperThirteen},
+@code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
+@code{paperTwentysix} are defined respectively. The default
+@code{\paper} block is also set. These files should be imported at toplevel, i.e.
+@example
+ \include "paper26.ly"
+ \score @{ ... @}
+@end example
-@table @code
-@cindex @code{\break}
- @item @code{\break}
- Force a line break in music by using a large argument for the
- keyword @code{\penalty}.
-
-@cindex @code{\nobreak}
- @item @code{\nobreak}
- Prevent a line break in music by using a large negative argument
- for the keyword @code{\penalty}.
-
-@cindex @code{\shiftOff}
- @item @code{\shiftOff}
- Disable horizontal shifting of note heads that collide.
-
-@cindex @code{\shiftOn}
- @item @code{\shiftOn}
- Enable note heads that collide with other note heads to be
- shifted horiztonally. Also @code{\shiftOnn} and @code{\shiftOnnn}
-set different shift values.
-
-@cindex @code{\stemBoth}
- @item @code{\stemBoth}
- Allow stems, beams, and slurs to point either upwards or
- downwards, decided automatically by LilyPond.
-
-@cindex @code{\stemDown}
- @item @code{\stemDown}
- Force stems, beams, and slurs to point down.
-
-@cindex @code{\stemUp}
- @item @code{\stemUp}
- Force stems, beams and slurs to point up.
+The font definitions are generated using a Scheme function. For more
+details, see the file @file{scm/font.scm}.
-@end table
+
+
+@c . {Paper size}
+@node Paper size
+@subsection Paper size
+@cindex Paper size
+
+@cindex paper size
+@cindex page size
+@cindex @code{papersize}
+
+To change the paper size, you must first set the
+@code{papersize} paper variable variable. Set it to
+the strings @code{a4}, @code{letter}, or @code{legal}. After this
+specification, you must set the font as described above. If you want
+the default font, then use the 20 point font.
+
+@example
+ \paper@{ papersize = "a4" @}
+ \include "paper16.ly"
+@end example
+
+The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
+will set the paper variables @code{hsize} and @code{vsize} (used by
+Lilypond and @code{ly2dvi})
+
+@c . {Line break}
+@node Line break
+@subsection Line break
+
+@cindex line breaks
+@cindex breaking lines
+
+Line breaks are normally computed automatically. They are chosen such
+that it looks neither cramped nor loose, and that consecutive lines have
+similar density.
+
+Occasionally you might want to override the automatic breaks; you can do
+this by specifying @code{\break}. This will force a line break at this
+point. Do remember that line breaks can only occur at places where there
+are bar lines. If you want to have a line break where there is no
+bar line, you can force an invisible bar line by entering @code{\bar
+""}. Similarly, @code{\noBreak} forbids a line break at a certain point.
+
+If you want linebreaks at regular intervals, you can use the following:
+@example
+
+< \repeat 7 unfold @{ s1 * 4 \break @}
+ @emph{real music}
+>
+@end example
+This makes the following 28 measures (assuming 4/4 time) be broken every
+4 measures.
+
+
+@cindex @code{\penalty}
+
+The @code{\break} and @code{\noBreak} commands are defined in terms of
+the penalty command:
+@example
+ \penalty @var{int}
+@end example
+
+This encourages or discourages LilyPond to make a line break at this
+point.
+
+@refbugs
+
+The scaling of the @code{\penalty} argument is not well-defined. The
+command is rather kludgey, and slated for rewriting.
+
+@c . {Page break}
+@node Page break
+@subsection Page break
+
+@cindex page breaks
+@cindex breaking pages
+
+Page breaks are normally computed by @TeX{}, so they are not under
+direct control of LilyPond. However, you can insert a commands into the
+@file{.tex} output to instruct @TeX{} where to break pages, by inserting
+the command @code{\newpage}
+@cindex @code{\newpage}
+
+@example
+ \newpage
+@end example
+
+@c why do so difficult?
+@c maybe should explain contents of between-system.ly,
+@c but not now, we're talking about page breaks here.
+@c For more
+@c details, see the example file @file{input/test/between-systems.ly}
+
+
+@c . {Output scaling}
+@node Output scaling
+@subsection Output scaling
+
+[TODO]
+
+@example
+dvips ...
+@end example
+
+@example
+pstops ...
+@end example
+
+
+@refbugs
+
+There is no mechanism to select magnification of particular fonts,
+meaning that you don't have access to continuously scaled fonts.
+
+
+
+@c . {Output formats}
+@node Output formats
+@section Output formats
+
+LilyPond can output processed music in different output formats.
+
+@menu
+* TeX output::
+* PostScript output::
+* Scheme output::
+* ASCIIScript output::
+@end menu
+
+@node TeX output
+@subsection TeX output
+@cindex TeX output
+
+LilyPond will use @TeX{} by default. Even if you want to produce
+PostScript output for viewing or printing, you should normally have
+LilyPond produce @TeX{} first. The .tex output must be processed by
+@TeX{} (@strong{not} La@TeX{}) to generate a .dvi. Then, @file{Dvips}
+is used to generate PostScript. Alternatively, @file{ly2dvi} can be
+used to generate the .dvi for you.
+
+@refbugs
+
+Titling is not generated unless you use @file{ly2dvi}.
+
+
+@node PostScript output
+@subsection PostScript output
+@cindex PostScript output
+@cindex direct PostScript output
+
+LilyPond can produce PostScript directly, without going through @TeX{}.
+Currently, this is mainly useful if you cannot use TeX, because direct
+PostScript output has some problems; see Bugs below.
+
+@example
+$ lilypond -fps foo.ly
+GNU LilyPond 1.3.144
+Now processing: `foo.ly'
+Parsing...
+Interpreting music...[3]
+Preprocessing elements...
+Calculating column positions...
+paper output to foo.ps...
+
+$ cat /usr/share/lilypond/pfa/feta20.pfa foo.ps | lpr
+@end example
+
+
+@refbugs
+
+Text font selection is broken.
+
+The .ps file does not contain the .pfa font files. To print a .ps
+created through direct postscript output, you should prepend the
+necessary .pfa files to LilyPond's .ps output, or upload them to the
+printer before printing.
+
+The line height calculation is broken, you must set @var{lineheight} in
+the paperblock if you have more than one staff in your score, e.g.
+
+@example
+ ...
+ \paper @{
+ % Set line height to 40 staff spaces
+ lineheight = 40
+ @}
+@end example
+
+@node Scheme output
+@subsection Scheme output
+@cindex Scheme output
+
+In the typesetting stage, LilyPond builds a page description, which is
+then written to disk in postscript, @TeX{} or ASCII art. Before it is
+written, the page description is represented as Scheme expressions. You
+can also dump these Scheme expressions to a file, which may be
+convenient for debugging output routines. This is done with the Scheme
+output format
+
+@example
+$ lilypond -fscm foo.ly
+GNU LilyPond 1.3.144
+Now processing: `foo.ly'
+Parsing...
+Interpreting music...[3]
+Preprocessing elements...
+Calculating column positions...
+paper output to foo.scm...
+
+$ head -4 foo.scm
+;;; Usage: guile -s x.scm > x.tex
+ (primitive-load-path 'standalone.scm)
+; (scm-tex-output)
+ (scm-ps-output)
+
+$ guile -s foo.scm > foo.tex
+@end example
+
+
+@node ASCIIScript output
+@subsection ASCIIScript output
+@cindex ASCIIScript output
+@cindex ascii script
+@cindex ascii art
+
+LilyPond can output ASCII Art. This is a two step process, LilyPond
+produces an ASCII description file, dubbed ASCIIScript (extension
+@file{.as}). ASCIIScript has a small and simple command set that
+includes font selection, character and string printing and line drawing
+commands. The program @file{as2text} is used to translate an .as file
+to text.
+
+To produce ASCII Art, you must include an ASCII Art paper definition
+file in your .ly, one of:
+@example
+\include "paper-as5.ly"
+\include "paper-as9.ly"
+@end example
+
+Here's an example use for ASCII Art output (the example file
+@file{as-email.ly} is included in the LilyPond distribution), the staff
+symbol has been made invisible:
+
+@example
+$ lilypond -fas as-email.ly
+GNU LilyPond 1.3.144
+Now processing: `as-email.ly'
+Parsing...
+Interpreting music...[3]
+Preprocessing elements...
+Calculating column positions... [2]
+paper output to as-email.as...
+
+$ as2text as-email.as 2>/dev/null
+ |\
+ |/ |##|##| | | | | |
+ /| | | | | |\ |\ |\ |\ |\ |
+ / |_ 3 | | | | 5 | )| )| )| )| )|
+ | /| \ 8 * * * | 8 * * * * * |
+ \_|_/ | |
+ *_|
+
+ lily
+@end example
+
+
+@refbugs
+
+The ASCII Art fonts are far from complete and not very well designed.
+It's easy to change the glyphs, though; if you think you can do better,
+have a look at @file{mf/*.af}.
+
+Lots of resizable symbols such as slurs, ties and tuplets are missing.
+
+The poor looks of most ASCII Art output and its limited general
+usefulness gives ASCII Art output a low priority; it may be
+dropped in future versions.
+
+@c . {Sound}
+@node Sound
+@section Sound
+@cindex Sound
+
+LilyPond can produce MIDI output. The performance lacks lots of
+interesting effects, such as swing, articulation, slurring, etc., but it
+is good enough for proof-hearing the music you have entered. Ties,
+dynamics and tempo changes are interpreted.
+
+Dynamic marks, crescendi and decrescendi translate into MIDI volume
+levels. Dynamic marks translate to a fixed fraction of the available
+MIDI volume range, crescendi and decrescendi make the the volume vary
+linearly between their two extremities. The fractions be adjusted by
+overriding the @code{absolute-volume-alist} defined in
+@file{scm/midi.scm}.
+
+For each type of musical instrument (that MIDI supports), a volume range
+can be defined. This gives you basic equalizer control, which can
+enhance the quality of the MIDI output remarkably. You can add
+instruments and ranges or change the default settings by overriding the
+@code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
+
+Both loudness controls are combined to produce the final MIDI volume.
+
+
+@refbugs
+
+It is currently not possible to use the percussion channel (generally
+channel 10 of a MIDI file).
+
+@menu
+* MIDI block::
+* MIDI instrument names::
+@end menu
+
+@c . {MIDI block}
+@node MIDI block
+@subsection MIDI block
+@cindex MIDI block
+
+
+The MIDI block is analogous to the paper block, but it is somewhat
+simpler. The @code{\midi} block can contain:
+@cindex MIDI block
+
+@itemize @bullet
+ @item a @code{\tempo} definition
+ @item context definitions
+@end itemize
+
+Assignments in the @code{\midi} block are not allowed.
+
+
+
+@cindex context definition
+
+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}.
+
+
+@node MIDI instrument names
+@subsection MIDI instrument names
+
+@cindex instrument names
+@cindex @code{Staff.midiInstrument}
+@cindex @code{Staff.instrument}
+
+The MIDI instrument name is set by the @code{Staff.midiInstrument}
+property or, if that property is not set, the @code{Staff.instrument}
+property. The instrument name should be chosen from the list in
+@ref{MIDI instruments}.
+
+@refbugs
+
+If the selected string does not exactly match, then LilyPond uses the
+default (Grand Piano). It is not possible to select an instrument by
+number.
+
+
+
+
+
+
+
+
+@c FIXME: Note entry vs Music entry at top level menu is confusing.
+@c . {Music entry}
+@node Music entry
+@section Music entry
+@cindex Music entry
+@menu
+* Relative::
+* Bar check::
+* Point and click::
+@end menu
+
+When entering music with LilyPond, it is easy to introduce errors. This
+section deals with tricks and features that help you enter music, and
+find and correct mistakes.
+
+@c . {Relative}
+@node Relative
+@subsection Relative
+@cindex Relative
+@cindex relative octave specification
+
+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. To prevent these
+errors, LilyPond features octave entry.
+
+@cindex @code{\relative}
+@example
+ \relative @var{startpitch} @var{musicexpr}
+@end 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
+@code{fisis} following a @code{ceses} will be put above the
+@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
+predecessor of the first note of @var{musicexpr}.
+
+Entering music that changes octave frequently is easy in relative mode.
+@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.
+@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.
+
+@lilypond[fragment,verbatim,center]
+ \relative c' {
+ c <c e g>
+ <c' e g>
+ <c, e' g>
+ }
+@end lilypond
+@cindex @code{\notes}
+
+The pitch after the @code{\relative} contains a note name. To parse
+the pitch as a note name, you have to be in note mode, so there must
+be a surrounding @code{\notes} keyword (which is not
+shown here).
+
+The relative conversion will not affect @code{\transpose},
+@code{\chords} or @code{\relative} sections in its argument. If you
+want to use relative within transposed music, you must place an
+additional @code{\relative} inside the @code{\transpose}.
+
+
+@c . {Bar check}
+@node Bar check
+@subsection Bar check
+@cindex Bar check
+
+@cindex bar check
+@cindex @code{barCheckNoSynchronize}
+@cindex @code{|}
+
+
+Whenever a bar check is encountered during interpretation, a warning
+message is issued if it doesn't fall at a measure boundary. This can
+help you find errors in the input. Depending on the value of
+@code{barCheckNoSynchronize}, the beginning of the measure will be
+relocated, so this can also be used to shorten measures.
+
+A bar check is entered using the bar symbol, @code{|}:
+@example
+ \time 3/4 c2 e4 | g2.
+@end example
+
+
+
+@cindex skipTypesetting
+
+Failed bar checks are most often caused by entering incorrect
+durations. Incorrect durations often completely garble up the score,
+especially if it is polyphonic, so you should start correcting the score
+by scanning for failed bar checks and incorrect durations. To speed up
+this process, you can use @code{skipTypesetting} (See @ref{Skipping
+corrected music})). Bar
+
+
+@c . {Point and click}
+@node Point and click
+@subsection Point and click
+
+Point and click lets you find notes in the input by clicking on them in
+the Xdvi window. This makes it very easy to find input that causes some
+error in the sheet music.
+
+To use it, you need the following software
+
+@unnumberedsubsec Installation
+
+@itemize @bullet
+@item
+@uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
+Xdvi} version 22.36 or newer.
+
+ Note that most @TeX{} distributions ship with xdvik, which is a
+ different and less well maintained program. To find out which xdvi you
+ are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
+@item emacs
+@end itemize
+
+Xdvi must be configured to find the TeX fonts and music
+fonts. Refer to the Xdvi documentation for more information.
+
+
+@unnumberedsubsec Using it
+
+Add one of these lines to the top of your .ly file. The first one is for
+line location only. The second one is more convenient, but requires
+patching @code{emacsclient} and @code{server.el}.
+
+@example
+#(set! point-and-click line-location)
+@end example
+
+In the emacs startup file (usually @file{~/.emacs}), add the following
+@example
+(server-start)
+@end example
+
+Make sure that the environment variable @code{XEDITOR} is set
+to
+@example
+emacsclient --no-wait +%l %f
+@end example
+The second one, that also specifies the column, only works if you have
+patched your emacsclient and server, and have compiled your @code{.ly}
+file using the @code{line-column-location} setting.
+
+When viewing, control-mousebutton 1 will take you to the originating
+spot in the @file{.ly} file. Control-mousebutton 2 will show all
+clickable boxes.
+
+
+@unnumberedsubsec Column location
+
+If you want emacs to jump to the exact spot (and not just the line) on a
+click, you must enable column positioning. To do so, you need to patch
+emacsclient. Apply @file{emacsclient.patch} (included with the source
+package) to @file{emacsclient.c} and @file{server.el} from the emacs
+source code. Recompile and stick the recompiled emacsclient into a bin
+directory, and put @file{server.el} into a elisp directory
+(e.g. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
+init file, before invoking server-start.
+
+@example
+ (setq load-path (cons "~/usr/share/emacs" load-path))
+@end example
+
+Set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}
+
+At the top of the @code{ly} file, replace the @code{set!} line with the
+following line
+@example
+#(set! point-and-click line-column-location)
+@end example
+
+One final hint: if you correct large files with point-and-click, then
+start correcting at the end of the file. When you start at the top, and
+insert one line, all subsequent locations will be off by a line.
+
+
+@refbugs
+
+When you convert the @TeX{} file to PostScript using @code{dvips}, it
+will complain about not finding @code{src:X:Y} files. Those complaints
+are harmless, and can be ignored.
+
+@node Skipping corrected music
+@section Skipping corrected music
+
+The property @code{Score.skipTypesetting} can be used to switch on and
+off typesetting completely during the interpretation phase. When
+typesetting is switched off, the music is processed much more quickly.
+You can use this to skip over the parts of a score that you have already
+checked for errors.
+
+@lilypond[fragment,singleline,verbatim]
+\relative c'' { c8 d
+\property Score.skipTypesetting = ##t
+ e f g a g c, f e d
+\property Score.skipTypesetting = ##f
+c d b bes a g c2 }
+@end lilypond
+
+
+@node Interpretation context
+@section Interpretation context
+
+@menu
+* Creating contexts::
+* Default contexts::
+* Context properties::
+* Engravers and performers::
+* Changing context definitions::
+* Defining new contexts::
+@end menu
+
+
+Interpretation contexts are objects that only exist during a run of
+LilyPond. During the interpretation phase of LilyPond (when it prints
+"interpreting music"), the music expression in a @code{\score} block is
+interpreted in time order. This is the same order that humans hear and
+play the music.
+
+During this interpretation, the interpretation context holds the
+state for the current point within the music. It contains information
+like
+
+@itemize @bullet
+ @item What notes are playing at this point?
+ @item What symbols will be printed at this point?
+ @item What is the current key signature, time signature, point within
+ the measure, etc.?
+@end itemize
+
+Contexts are grouped hierarchically: A @internalsref{Voice} context is
+contained in a @internalsref{Staff} context (because a staff can contain
+multiple voices at any point), a @internalsref{Staff} context is contained in
+@internalsref{Score}, @internalsref{StaffGroup}, or @internalsref{ChoirStaff} context.
+
+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.
+
+
+@node Creating contexts
+@subsection Creating contexts
+
+@cindex @code{\context}
+@cindex context selection
+
+Contexts for a music expression can be selected manually, using the
+following music expression.
+
+@example
+ \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
+@end example
+
+This instructs lilypond to interpret @var{musicexpr} within the context
+ of type @var{contexttype} and with name @var{contextname}. If this
+context does not exist, it will be created.
+
+@lilypond[verbatim,singleline]
+\score {
+ \notes \relative c'' {
+ c4 <d4 \context Staff = "another" e4> f
+ }
+}
+
+@end lilypond
+
+In this example, the @code{c} and @code{d} are printed on the
+default staff. For the @code{e}, a context Staff called
+@code{another} is specified; since that does not exist, a new
+context is created. Within @code{another}, a (default) Voice context
+is created for the @code{e4}. When all music referring to a
+context is finished, the context is ended as well. So after the
+third quarter, @code{another} is removed.
+
+
+
+@node Default contexts
+@subsection Default contexts
+
+Most music expressions don't need an explicit @code{\context}
+declaration: they inherit the
+notation context from their parent. Each note is a music expression, and
+as you can see in the following example, only the sequential music
+enclosing the three notes has an explicit context.
+
+@lilypond[verbatim,singleline]
+\score { \notes \context Voice = goUp { c'4 d' e' } }
+@end lilypond
+
+There are some quirks that you must keep in mind when dealing with
+defaults:
+
+First, every top level music is interpreted by the Score context, in other
+words, you may think of @code{\score} working like
+@example
+ \score @{
+ \context Score @var{music}
+ @}
+@end example
+
+Second, contexts are created automatically to be able to interpret the
+music expressions. Consider the following example.
+
+@lilypond[verbatim, singleline]
+\score { \context Score \notes { c'4 ( d' )e' } }
+@end lilypond
+
+The sequential music is interpreted by the Score context initially
+(notice that the @code{\context} specification is redundant), but when a
+note is encountered, contexts are setup to accept that note. In this
+case, a Thread, Voice and Staff are created. The rest of the sequential
+music is also interpreted with the same Thread, Voice and Staff context,
+putting the notes on the same staff, in the same voice.
+
+This is a convenient mechanism, but do not expect opening chords to work
+without @code{\context}. For every note, a separate staff is
+instantiated.
+
+@cindex explicit context
+@cindex starting with chords
+@cindex chords, starting with
+
+@lilypond[verbatim, singleline]
+\score { \notes <c'4 es'> }
+@end lilypond
+
+Of course, if the chord is preceded by a normal note in sequential
+music, the chord will be interpreted by the Thread of the preceding
+note:
+@lilypond[verbatim,singleline]
+\score { \notes { c'4 <c'4 es'> } }
+@end lilypond
+
+
+
+@node Context properties
+@subsection Context properties
+
+Notation contexts have properties. These properties are from
+the @file{.ly} file using the following expression:
+@cindex @code{\property}
+@example
+ \property @var{contextname}.@var{propname} = @var{value}
+@end example
+
+Sets the @var{propname} property of the context @var{contextname} to the
+specified Scheme expression @var{value}. All @var{propname} and
+@var{contextname} are strings, which are typically unquoted.
+
+Properties that are set in one context are inherited by all of the
+contained contexts. This means that a property valid for the
+@internalsref{Voice} context can be set in the @internalsref{Score} context (for
+example) and thus take effect in all @internalsref{Voice} contexts.
+
+Properties can be unset using the following expression:
+@example
+ \property @var{contextname}.@var{propname} \unset
+@end example
+
+@cindex properties, unsetting
+@cindex @code{\unset}
+
+This removes the definition of @var{propname} in @var{contextname}. If
+@var{propname} was not defined in @var{contextname} (but was inherited
+from a higher context), then this has no effect.
+
+
+@refbugs
+
+The syntax of @code{\unset} is asymmetric: @code{\property \unset} is not
+the inverse of @code{\property \set}.
+
+@node Engravers and performers
+@subsection Engravers and performers
+
+[TODO]
+
+Basic building blocks of translation are called engravers; they are
+special C++ classes.
+
+
+
+@c . {Context definitions}
+@node Changing context definitions
+@subsection Changing context definitions
+
+@cindex context definition
+@cindex translator definition
+
+The most common way to define a context is by extending an existing
+context. You can change an existing context from the paper block, by
+first initializing a translator with an existing context identifier:
+@example
+\paper @{
+ \translator @{
+ @var{context-identifier}
+ @} @}
+@end example
+Then you can add and remove engravers using the following syntax:
+@example
+ \remove @var{engravername}
+ \consists @var{engravername}
+@end example
+
+
+Here @var{engravername} is a string, the name of an engraver in the
+system.
+
+
+@lilypond[verbatim,singleline]
+\score { \notes {
+ c'4 c'4 }
+ \paper {
+ \translator { \StaffContext
+ \remove Clef_engraver
+ } } }
+@end lilypond
+
+@cindex engraver
+
+You can also set properties in a translator definition. The syntax is as
+follows:
+@example
+ @var{propname} = @var{value}
+ @var{propname} \set @var{grob-propname} = @var{pvalue}
+ @var{propname} \override @var{grob-propname} = @var{pvalue}
+ @var{propname} \revert @var{grob-propname}
+@end example
+@var{propname} is a string, @var{grob-propname} a symbol, @var{value}
+and @code{pvalue} are Scheme expressions. These type of property
+assignments happen before interpretation starts, so a @code{\property}
+command will override any predefined settings.
+
+
+ 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}.
+
+@node Defining new contexts
+@subsection Defining new contexts
+
+If you want to build a context from scratch, you must also supply the
+following extra information:
+@itemize @bullet
+ @item A name, specified by @code{\name @var{contextname}}.
+
+ @item A cooperation module. This is specified by @code{\type
+@var{typename}}.
+@end itemize
+
+This is an example:
+@example
+\translator @code{
+ \type "Engraver_group_engraver"
+ \name "SimpleStaff"
+ \alias "Staff"
+ \consists "Staff_symbol_engraver"
+ \consists "Note_head_engraver"
+ \consistsend "Axis_group_engraver"
+}@
+@end example
+
+The argument of @code{\type} is the name for a special engraver that
+handles cooperation between simple engravers such as
+@code{Note_head_engraver} and @code{Staff_symbol_engraver}. Alternatives
+for this engraver are the following:
+@table @code
+@cindex @code{Engraver_group_engraver}
+ @item @code{Engraver_group_engraver}
+ The standard cooperation engraver.
+
+@cindex @code{Score_engraver}
+
+ @item @code{Score_engraver}
+ This is cooperation module that should be in the top level context,
+and only the top level context.
+
+@cindex @code{Grace_engraver_group}
+
+ @item @code{Grace_engraver_group}
+ This is a special cooperation module (resembling
+ @code{Score_engraver}) that is used to create an embedded
+ `miniscore'.
+@end table
+
+Other modifiers are
+
+@itemize @bullet
+ @item @code{\alias} @var{alternate-name}
+ This specifies a different name. In the above example,
+@code{\property Staff.X = Y} will also work on @code{SimpleStaff}s
+
+ @item @code{\consistsend} @var{engravername}
+ Analogous to @code{\consists}, but makes sure that
+ @var{engravername} is always added to the end of the list of
+ engravers.
+
+ Some engraver types need to be at the end of the list; this
+ insures they stay there even if a user adds or removes engravers.
+End-users generally don't need this command.
+
+ @item @code{\accepts} @var{contextname}
+ Add @var{contextname} to the list of contexts this context can
+ contain in the context hierarchy. The first listed context is the
+ context to create by default.
+
+ @item @code{\denies}. The opposite of @code{\accepts}. Added for
+completeness, but is never used in practice.
+
+
+ @item @code{\name} @var{contextname}
+ This sets the type name of the context, e.g. @internalsref{Staff},
+ @internalsref{Voice}. If the name is not specified, the translator won't do
+ anything.
+@end itemize
+
+In the @code{\paper} block, it is also possible to define translator
+identifiers. Like other block identifiers, the identifier can only
+be used as the very first item of a translator. In order to define
+such an identifier outside of @code{\score}, you must do
+
+@quotation
+@example
+\paper @{
+ foo = \translator @{ @dots{} @}
+@}
+\score @{
+ \notes @{
+ @dots{}
+ @}
+ \paper @{
+ \translator @{ \foo @dots{} @}
+ @}
+@}
+@end example
+
+@end quotation
+
+
+@cindex paper types, engravers, and pre-defined translators
+
+
+
+
+
+
+@c . {Syntactic details}
+@node Syntactic details
+@section Syntactic details
+@cindex Syntactic details
+
+This section describes details that were too boring to be put elsewhere.
+
+@menu
+* Top level::
+* Identifiers::
+* Music expressions::
+* Manipulating music expressions::
+* Assignments::
+* Lexical modes::
+* Ambiguities::
+@end menu
+
+@c . {Top level}
+@node Top level
+@subsection Top level
+@cindex Top level
+
+This section describes what you may enter at top level.
+
+
+@c . {Score}
+@subsubsection Score
+@cindex Score
+
+@cindex score definition
+
+The output is generated combining a music expression with an output
+definition. A score block has the following syntax:
+
+@example
+ \score @{ @var{musicexpr} @var{outputdefs} @}
+@end example
+
+@var{outputdefs} are zero or more output definitions. If none is
+supplied, the default @code{\paper} block will be added.
+
+
+
+@c . {Default output}
+@subsubsection Default output
+
+Default values for the @code{\paper} and @code{\midi} block are set by
+entering such a block at the top level.
+
+@c . {Header}
+@subsubsection Header
+@cindex Header
+@cindex @code{\header}
+
+
+A header describes bibliographic information of the file's contents. It
+can also appear in a @code{\score} block. Tools like @code{ly2dvi} can
+use this information for generating titles. Key values that are used by
+@code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
+meter, arranger, piece and tagline.
+
+@cindex @code{ly2dvi}
+
+The syntax is
+@example
+ \header @{ @var{key1} = @var{val1}
+ @var{key2} = @var{val2} @dots{} @}
+@end example
+
+It is customary to put the @code{\header} at the top of the file.
+
+@subsubsection Default output
+
+A @code{\midi} or @code{\paper} block at top level sets the default
+paper block for all scores that lack an explicit paper block.
+
+@c . {Identifiers}
+@node Identifiers
+@subsection Identifiers
+@cindex Identifiers
+
+@ignore
+ What has this section got to do with identifiers?
+ It seems more appropriate in the introduction to Chapter 4,
+ "Internals".
+
+ /MB
+@end ignore
+
+All of the information in a LilyPond input file, is internally
+represented as a Scheme value. In addition to normal Scheme data types
+(such as pair, number, boolean, etc.), LilyPond has a number of
+specialized data types,
+
+@itemize @bullet
+@item Input
+@item c++-function
+@item Music
+@item Identifier
+@item Translator_def
+@item Duration
+@item Pitch
+@item Score
+@item Music_output_def
+@item Moment (rational number)
+@end itemize
+
+LilyPond also includes some transient object types. Objects of these
+types are built during a LilyPond run, and do not `exist' per se within
+your input file. These objects are created as a result of your input
+file, so you can include commands in the input to manipulate them,
+during a lilypond run.
+
+@itemize @bullet
+@item Grob: short for Graphical object. See @ref{Grobs}.
+@item Molecule: device-independent page output object,
+including dimensions. Produced by some Grob functions
+See @ref{Molecules}
+@item Translator: object that produces audio objects or Grobs. This is
+not yet user accessible.
+@item Font_metric: object representing a font.
+@end itemize
+
+
+@node Music expressions
+@subsection Music expressions
+
+@cindex music expressions
+
+Music in LilyPond is entered as a music expression. Notes, rests, lyric
+syllables are music expressions, and you can combine music expressions
+to form new ones, for example by enclosing a list of expressions in
+@code{\sequential @{ @}} or @code{< >}. In the following example, a
+compound expression is formed out of the quarter note @code{c} and a
+quarter note @code{d}:
+
+@example
+\sequential @{ c4 d4 @}
+@end example
+
+@cindex Sequential music
+@cindex @code{\sequential}
+@cindex sequential music
+@cindex @code{<}
+@cindex @code{>}
+@cindex Simultaneous music
+@cindex @code{\simultaneous}
+
+The two basic compound music expressions are simultaneous and
+sequential music.
+
+@example
+ \sequential @code{@{} @var{musicexprlist} @code{@}}
+ \simultaneous @code{@{} @var{musicexprlist} @code{@}}
+@end example
+For both, there is a shorthand:
+@example
+ @code{@{} @var{musicexprlist} @code{@}}
+@end example
+for sequential and
+@example
+ @code{<} @var{musicexprlist} @code{>}
+@end example
+for simultaneous music.
+In principle, the way in which you nest sequential and simultaneous to
+produce music is not relevant. In the following example, three chords
+are expressed in two different ways:
+
+@lilypond[fragment,verbatim,center]
+ \notes \context Voice {
+ <a c'> <b d' > <c' e'>
+ < { a b c' } { c' d' e' } >
+ }
+@end lilypond
+
+
+Other compound music expressions include
+@example
+ \repeat @var{expr}
+ \transpose @var{pitch} @var{expr}
+ \apply @var{func} @var{expr}
+ \context @var{type} = @var{id} @var{expr}
+ \times @var{fraction} @var{expr}
+@end example
+
+
+@c . {Manipulating music expressions}
+@node Manipulating music expressions
+@subsection Manipulating music expressions
+
+The @code{\apply} mechanism gives you access to the internal
+representation of music. You can write Scheme-functions that operate
+directly on it. The syntax is
+@example
+ \apply #@var{func} @var{music}
+@end example
+This means that @var{func} is applied to @var{music}. The function
+@var{func} should return a music expression.
+
+This example replaces the text string of a script. It also shows a dump
+of the music it processes, which is useful if you want to know more
+about how music is stored.
+
+@lilypond[verbatim,singleline]
+#(define (testfunc x)
+ (if (equal? (ly-get-mus-property x 'text) "foo")
+ (ly-set-mus-property x 'text "bar"))
+ ;; recurse
+ (ly-set-mus-property x 'elements
+ (map testfunc (ly-get-mus-property x 'elements)))
+ (display x)
+ x
+)
+\score { \notes
+ \apply #testfunc { c'4_"foo" }
+}
+@end lilypond
+
+For more information on what is possible, see the automatically
+generated documentation.
+
+
+Directly accessing internal representations is dangerous: the
+implementation is subject to changes, so you should avoid this feature
+if possible.
+
+A final example is a function that reverses a piece of music in time:
+
+@lilypond[verbatim,singleline]
+#(define (reverse-music music)
+ (let* ((elements (ly-get-mus-property music 'elements))
+ (reversed (reverse elements))
+ (span-dir (ly-get-mus-property music 'span-direction)))
+ (ly-set-mus-property music 'elements reversed)
+ (if (dir? span-dir)
+ (ly-set-mus-property music 'span-direction (- span-dir)))
+ (map reverse-music reversed)
+ music))
+
+music = \notes { c'4 d'4( e'4 f'4 }
+
+\score { \context Voice {
+ \music
+ \apply #reverse-music \music
+ }
+}
+@end lilypond
+
+More examples are given in the distributed example files in
+@code{input/test/}.
+
+@c . {Span requests}
+@menu
+* Span requests::
+@end menu
+
+@node Span requests
+@subsubsection Span requests
+@cindex Span requests
+
+Notational constructs that start and end on different notes can be
+entered using span requests. The syntax is as follows:
+
+
+@example
+ \spanrequest @var{startstop} @var{type}
+@end example
+
+
+@cindex @code{\start}
+@cindex @code{\stop}
+
+This defines a spanning request. The @var{startstop} parameter is either
+-1 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
+describes what should be started. Much of the syntactic sugar is a
+shorthand for @code{\spanrequest}, for example,
+
+@lilypond[fragment,verbatim,center]
+ c'4-\spanrequest \start "slur"
+ c'4-\spanrequest \stop "slur"
+@end lilypond
+
+Among the supported types are @code{crescendo}, @code{decrescendo},
+@code{beam}, @code{slur}. This is an internal command. Users are
+encouraged to use the shorthands which are defined in the initialization
+file @file{spanners.ly}.
+
+
+@c . {Assignments}
+@node Assignments
+@subsection Assignments
+@cindex Assignments
+
+Identifiers allow objects to be assigned to names during the parse
+stage. To assign an identifier, you use @var{name}@code{=}@var{value}
+and to refer to an identifier, you precede its name with a backslash:
+`@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
+the input-types listed above. Identifier assignments can appear at top
+level in the LilyPond file, but also in @code{\paper} blocks.
+
+An identifier can be created with any string for its name, but you will
+only be able to refer to identifiers whose names begin with a letter,
+being entirely alphabetical. It is impossible to refer to an identifier
+whose name is the same as the name of a keyword.
+
+The right hand side of an identifier assignment is parsed completely
+before the assignment is done, so it is allowed to redefine an
+identifier in terms of its old value, e.g.
+
+@example
+foo = \foo * 2.0
+@end example
+
+When an identifier is referenced, the information it points to is
+copied. For this reason, an identifier reference must always be the
+first item in a block.
+@example
+\paper @{
+ foo = 1.0
+ \paperIdent % wrong and invalid
+@}
+
+\paper @{
+ \paperIdent % correct
+ foo = 1.0 @}
+@end example
+
+
+@c . {Lexical modes}
+@node Lexical modes
+@subsection Lexical modes
+@cindex Lexical modes
+@cindex input mode
+@cindex mode, input
+@cindex @code{\notes}
+@cindex @code{\chords}
+@cindex @code{\lyrics}
+
+To simplify entering notes, lyrics, and chords, LilyPond has three
+special input modes in addition to the default mode: note, lyrics and
+chords mode. These input modes change the way that normal, unquoted
+words are interpreted: for example, the word @code{cis} may be
+interpreted as a C-sharp, as a lyric syllable `cis' or as a C-sharp
+major triad respectively.
+
+A mode switch is entered as a compound music expression
+@example
+@code{\notes} @var{musicexpr}
+@code{\chords} @var{musicexpr}
+@code{\lyrics} @var{musicexpr}.
+@end example
+
+In each of these cases, these expressions do not add anything to the
+meaning of their arguments. They just instruct the parser in what mode
+to parse their arguments. The modes are treated in more detail in
+@ref{Lyrics} and @ref{Chords}.
+
+Different input modes may be nested.
+
+@c . {Ambiguities}
+@node Ambiguities
+@subsection Ambiguities
+@cindex ambiguities
+@cindex grammar
+
+
+The grammar contains a number of ambiguities. We hope to resolve them at
+some time.
+
+@itemize @bullet
+ @item The assignment
+
+@example
+foo = bar
+@end example
+ is interpreted as the string identifier assignment. However,
+it can also be interpreted as making a string identifier @code{\foo}
+ containing @code{"bar"}, or a music identifier @code{\foo}
+ containing the syllable `bar'.
+
+ @item If you do a nested repeat like
+
+ @quotation
+
+@example
+\repeat @dots{}
+\repeat @dots{}
+\alternative
+@end example
+
+ @end quotation
+
+ then it is ambiguous to which @code{\repeat} the
+ @code{\alternative} belongs. This is the classic if-then-else
+ dilemma. It may be solved by using braces.
+
+ @item The parser is not sophisticated enough to distinguish at the
+right time between
+ @code{c4*2 / 3 } and @code{c4*2 / g} (in chord mode).
+
+[checkme]
+
+@end itemize
+
+
+@c . {Lexical details}
+@node Lexical details
+@section Lexical details
+
+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::
+@end menu
+
+
+@node Comments
+@subsection Comments
+
+@cindex comments
+@cindex block comment
+@cindex line comment
+
+@cindex @code{%}
+
+A one line comment is introduced by a @code{%} character.
+Block comments are started by @code{%@{} and ended by @code{%@}}.
+They cannot be nested.
+
+@node Direct Scheme
+@subsection Direct Scheme
+
+@cindex Scheme
+@cindex GUILE
+@cindex Scheme, in-line code
+
+
+LilyPond contains a Scheme interpreter (the GUILE library) for
+internal use. In some places, Scheme expressions also form valid syntax:
+wherever it is allowed,
+@example
+ #@var{scheme}
+@end example
+evaluates the specified Scheme code. Example:
+@example
+ \property Staff.TestObject \override #'foobar = #(+ 1 2)
+@end example
+@code{\override} expects two Scheme expressions, so there are two Scheme
+expressions. The first one is a symbol (@code{foobar}), the second one
+an integer (namely, 3).
+
+In-line scheme may be used at the top level. In this case the result is
+discarded.
+
+Scheme is a full-blown programming language, and a full discussion is
+outside the scope of this document. Interested readers are referred to
+the website @uref{http://www.schemers.org/} for more information on
+Scheme.
+
+
+@node Keywords
+@subsection Keywords
+@cindex Keywords
+
+
+Keywords start with a backslash, followed by a number of lower case
+alphabetic characters. These are all the keywords.
+
+@example
+apply arpeggio autochange spanrequest commandspanrequest
+simultaneous sequential accepts alternative bar breathe
+char chordmodifiers chords clef cm consists consistsend
+context denies duration dynamicscript elementdescriptions
+font grace header in lyrics key mark pitch
+time times midi mm name pitchnames notes outputproperty
+override set revert partial paper penalty property pt
+relative remove repeat addlyrics partcombine score
+script stylesheet skip textscript tempo translator
+transpose type
+@end example
+
+@node Integers
+@subsection Integers
+
+@cindex integers
+@cindex @code{+}
+@cindex @code{-}
+@cindex @code{*}
+@cindex @code{/}
+
+Formed from an optional minus sign followed by digits. Arithmetic
+operations cannot be done with integers, and integers cannot be mixed
+with reals.
+
+@node Reals
+@subsection Reals
+@cindex real numbers
+
+
+
+
+
+Formed from an optional minus sign and a sequence of digits followed
+by a @emph{required} decimal point and an optional exponent such as
+@code{-1.2e3}. Reals can be built up using the usual operations:
+`@code{+}', `@code{-}', `@code{*}', and
+`@code{/}', with parentheses for grouping.
+
+@cindex @code{\mm},
+@cindex @code{\in}
+@cindex @code{\cm}
+@cindex @code{\pt}
+@cindex dimensions
+
+A real constant can be followed by one of the dimension keywords:
+@code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
+points, inches and centimeters, respectively. This converts the number
+a number that is the internal representation of that dimension.
+
+
+@node Strings
+@subsection Strings
+@cindex string
+@cindex concatenate
+
+Begins and ends with the @code{"} character. To include a @code{"}
+character in a string write @code{\"}. Various other backslash
+sequences have special interpretations as in the C language. A string
+that contains no spaces can be written without the quotes. Strings can
+be concatenated with the @code{+} operator.
+
+
+@node Main input
+@subsection Main input
+@cindex Main input
+
+@cindex @code{\maininput}
+
+The @code{\maininput} command is used in init files to signal that the
+user file must be read. This command cannot be used in a user file.
+
+@node File inclusion
+@subsection File inclusion
+@cindex @code{\include}
+@example
+ \include @var{filename}
+@end example
+
+Include @var{filename}. The argument @var{filename} may be a quoted string (an
+unquoted string will not work here!) or a string identifier. The full
+filename including the @file{.ly} extension must be given,
+
+
+@node Version information
+@subsection Version information
+@cindex @code{\version}
+@example
+ \version @var{string}
+@end example
+
+Specify the version of LilyPond that a file was written for. The
+argument is a version string in quotes, for example @code{"1.2.0"}.
+This is used to detect invalid input, and to aid
+@code{convert-ly} a tool that automatically upgrades input files. See
+See @ref{convert-ly} for more information on @code{convert-ly}.
+
+@cindex convert-ly
-@node Point and click
-@section Point and click
-[todo]
+@c broken with emacs-21
+@c {Local emac s vars}
+@c Local varia bles:
+@c mode: texi nfo
+@c minor-mod e: font-lock
+@c minor-mo de: outline
+@c outline -layout: (-1 : 0)
+@c outlin e-use-mode-specific-leader: "@c \."
+@c outli ne-primary-bullet: "{"
+@c outli ne-stylish-prefixes: nil
+@c outli ne-override-protect: t
+@c End:
projects / lilypond.git / blobdiff