-
-@c Note:
+@c Note: -*-texinfo-*-
@c
-@c A menu is needed before every deeper *section nesting of @nodes
-@c Run M-x texinfo-all-menus-update
-@c to automagically fill in these menus
-@c before saving changes
+@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
+@c FIXME: singular vs. plural: Beams/Beam
-@
@macro refbugs
@strong{BUGS}
@end macro
+@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
@c .{Reference Manual}
@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
* Chords::
* Writing parts::
* Custodes::
+* Figured bass::
* Tuning output::
* Page layout::
* Output formats::
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
cis' d' e' cis' c'? d' e' c'!
@end lilypond
+The grob for a note head is called @internalsref{NoteHead}.
+
@c . {Pitches}
@node Pitches
\pitch @var{scmpitch}
@end example
-@var{scmpitch} is a pitch scheme object, see @ref{Pitch data type}.
+@var{scmpitch} is a pitch scheme object.
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
@subsection Rests
@cindex Rests
-Rests are entered like notes, with note name `@code{r}'. The grob is
-@code{Rest}. Whole bar rests centered in the bar are specified using
-@code{R}, see @ref{Multi measure rests}.
+A rest is entered like a note, with note name `@code{r}':
+
+@lilypond[singleline,verbatim]
+r1 r2 r4 r8
+@end lilypond
+
+The grob is @internalsref{Rest}. Whole bar rests centered in the bar are
+specified using @code{R}, see @ref{Multi measure rests}.
+
+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.
+
+@lilypond[singleline,verbatim]
+a'4\rest d'4\rest
+@end lilypond
@c . {Skips}
+@c FIXME: naming.
@node Skips
@subsection Skips
@cindex Skip
+@cindex Invisible rest
+@cindex Space note
+An invisible rest, or skip, can be entered like a note with note name
+`@code{s}':
-@example
- \skip @var{duration}
- s@var{duration}
-@end example
-@cindex @code{\skip}
+@lilypond[singleline,verbatim]
+a2 s4 a4 s1 a4
+@end lilypond
+
+Actually, this is a shorthand for the @code{\skip} command, and it is
+only available in Note mode and Chord mode.
+
+@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
+
+The unabbreviated `@code{\skip} @var{duration}' also works outside of
+note mode:
+
+@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.
-Skips the amount of time specified by @var{duration}. If no other music
-is played, a gap will be left for the skipped time without any notes
-printed. The shorthand is only available in Note and Chord mode.
@c . {Durations}
@node Durations
@example
\duration @var{scmduration}
@end example
-Here, @var{scmduration} is a Scheme object of type @code{Duration}. See
-@ref{Duration} for more information.
+Here, @var{scmduration} is a Scheme object of type @code{Duration}.
In Note, Chord, and Lyrics mode, durations may be designated by numbers
@lilypond[]
\score {
\notes \relative c'' {
- a\breve \autoBeamOff
+ a\breve \autoBeamOff
a1 a2 a4 a8 a16 a32 a64 a64
r\longa r\breve
r1 r2 r4 r8 r16 r32 r64 r64
\time 3/4 c'2. c'2 ~ c'4
@end lilypond
-The name of the tie grob is @code{Voice.Tie}.
+The name of the tie grob is @internalsref{Tie}, and it is created in the
+@internalsref{Voice} context.
@refbugs
@lilypond[fragment, relative, singleline, verbatim]
\property Voice.tupletSpannerDuration = #(make-moment 1 4)
-\times 2/3 { c''8 c c c c c }
+\times 2/3 { c'8 c c c c c }
@end lilypond
The format of the number is determined by the property
@cindex @code{tupletNumberFormatFunction}
@cindex tuplet formatting
-Tuplet brackets are printed as @code{TupletBracket} grobs
+Tuplet brackets are printed as @internalsref{TupletBracket} grobs, most
+often in the @internalsref{Voice} context.
@c . {Defining pitch names}
@node Defining pitch names
@lilypond[singleline,verbatim]
\include "paper23.ly"
\score {
- \notes { c'2 e'4 f' | g'1 }
- \paper { \translator { \EasyNotation } }
+ \notes { c'2 e'4 f' | g'1 }
+ \paper { \translator { \EasyNotation } }
}
@end lilypond
-Note that @code{EasyNotation} overrides a @code{Score} context. You
+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}.
This command sets the context property @code{Staff.keySignature}.
Non-standard key signatures can be specified by setting this property
-directly, see the generated documentation for @rgrob{KeySignature}.
+directly.
-The printed signature is a @code{KeySignature} grob.
+The printed signature is a @internalsref{KeySignature} grob, typically
+created in @internalsref{Staff} context.
@cindex @code{keySignature}
@example
\property Staff.clefGlyph = @var{glyph associated with clefname}
\property Staff.clefPosition = @var{clef Y-position for clefname}
+ \property Staff.centralCPosition = @var{position for central C}
\property Staff.clefOctavation = @var{extra transposition of clefname}
@end example
-Any change in these properties creates a clef (a @code{Clef} grob).
+
+Any change in these properties creates a clef (A @internalsref{Clef} grob).
Supported clef-names include
@end table
By adding @code{_8} or @code{^8} to the clef name, the clef is
-transposed one octave down or up, respectively.
+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
Supported associated glyphs (for @code{Staff.clefGlyph}) are:
generated.
Changing the value of @code{timeSignatureFraction} also causes a
-fraction to be printed. This grob is @code{TimeSignature}.
+fraction to be printed. This grob is @internalsref{TimeSignature}.
The actual symbol that's printed can be customized with the style
property.
@code{\bar }. These settings take precedence over the automatic
@code{whichBar} settings.
-@code{BarLine} grobs are created by the @code{Bar_engraver}.
+@internalsref{BarLine} grobs are created by the @code{Bar_engraver}.
@c . {Polyphony}
@node Polyphony
@cindex polyphony
Polyphonic parts, i.e. parts with more than one voice on a staff can be
-typeset with LilyPond. To use this, instantiate a separate Voice
-context for each part, and assign a stem direction to each part.
+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[verbatim,fragment]
+\context Voice = VA \apply #voicify-music \relative c'' {
+ c4 < { f d e } \\ { b c2 } > c4 < g' \\ c, \\ f \\ d >
+}
+@end lilypond
+
+The function @code{voicify-music} instantiates @internalsref{Voice}
+contexts, bearing the names @code{"1"}, @code{"2"}, etc.
+
+To explicity typeset polyphonic music, instantiate a separate Voice
+context for each part, and assign a stem direction to each part.
+@c
@lilypond[fragment,verbatim]
\context Staff
< \context Voice = VA { \stemUp b'4 a' g' f' e' }
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 @code{NoteColumn}).
+in @internalsref{NoteColumn}).
@lilypond[fragment, verbatim]
\context Staff \notes\relative c''<
@end lilypond
Note head collisions (horizontal shifting of note heads) are handled by
-the @code{NoteCollision} grob. @code{RestCollision} handles vertical
-shifting of rests.
+the @internalsref{NoteCollision} grob. @internalsref{RestCollision}
+handles vertical shifting of rests.
+
+
-@cindex @code{NoteCollision}
-@cindex @code{RestCollision}
@refbugs
The value of @code{autoBeamSettings} is changed using
@code{\override} and unset using @code{\revert}:
@example
-\property Voice.autoBeamSettings \override #'(@var{BE} @var{N} @var{M} @var{P} @var{Q}) = @var{dur}
-\property Voice.autoBeamSettings \revert #'(@var{BE} @var{N} @var{M} @var{P} @var{Q})
+\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{N}/@var{M} refers to a time signature (wildcards, `@code{* *}' may
-be entered to designate all time signatures), @var{P}/@var{Q} refers to
-the length of the beamed notes (and `@code{* *}' designates notes of any
-length).
+@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:
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 first asterisks by @var{N} and @var{M}. For example, a
+replacing the second asterisks by @var{N} and @var{M}. For example, a
rule for 6/8 time exclusively looks like
@example
\property Voice.autoBeamSettings \override
- #'(begin 6 8 * *) = ...
+ #'(begin * * 6 8) = ...
@end example
If you want a rule to apply to certain types of beams, you can use the
-second pair of asterisks. Beams are classified according to the shortest
+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)}.
+with 32nd notes (and no shorter notes), you would use @code{(end 1
+32 * *)}.
@c not true
@c Automatic beams can not be put on the last note in a score.
@lilypond[fragment,relative,verbatim]
\context Staff {
- r4 [r8 g'' a r8] r8 [g | a] r8
+ r4 [r8 g' a r8] r8 [g | a] r8
}
@end lilypond
Whenever an manual beam is busy, the automatic beamer will not produce
@lilypond[fragment,relative,verbatim]
\context Staff {
- [f'8 r16 f g a]
+ [f8 r16 f g a]
[f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
}
@end lilypond
@cindex @code{stemRightBeamCount}
-The beam symbol (grob @code{Voice.Beam}, 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.
-
+The beam symbol (grob @internalsref{Beam} in @internalsref{Voice}
+context), both for automatic and manual beams) can be tweaked through
+grob-properties @code{height} and @code{staff-position}. These specify
+vertical location and vertical span. Both are measured in half
+staff-spaces, @code{staff-position=0} corresponds to the middle staff
+line.
Set @code{height} to zero, to get horizontal beams:
@lilypond[fragment,relative,verbatim]
\property Voice.Beam \set #'direction = #1
\property Voice.Beam \set #'height = #0
- [a''8 e' d c]
+ [a'8 e' d c]
@end lilypond
Here's how you'd specify a weird looking beam that instead of being
horizontal, falls two staff spaces:
+
+[FIXME]
+
+
@lilypond[fragment,relative,verbatim]
\property Voice.Beam \set #'staff-position = #4
\property Voice.Beam \set #'height = #-4
- [c'8 c]
+ [c8 c]
@end lilypond
-@cindex @code{default-neutral-direction}
+
+[TODO: doc autokneeing ? ]
+
+@c TODO -> why this ref? Document?
+@cindex @code{neutral-direction}
@node Expressive marks
@section Expressive marks
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
-@code{Voice.Slur}'s grob-property @code{attachment}. It's value is a
-pair of symbols, specifying the attachment type of the left and right end points.
+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.
@lilypond[fragment,relative,verbatim]
\property Voice.Slur \set #'direction = #1
\property Voice.Stem \set #'length = #5.5
- g''8(g)g4
+ g'8(g)g4
\property Voice.Slur \set #'attachment = #'(stem . stem)
g8(g)g4
@end lilypond
@lilypond[fragment,relative,verbatim]
\property Voice.Stem \set #'direction = #1
\property Voice.Slur \set #'direction = #1
- d'32( d'4 )d8..
+ d32( d'4 )d8..
\property Voice.Slur \set #'attachment = #'(stem . stem)
d,32( d'4 )d8..
@end lilypond
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 @code{Voice.Slur}'s grob-property @code{beautiful}. It is loosely
+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
@lilypond[verbatim,singleline,relative]
\property Voice.Beam \override #'direction = #-1
\property Voice.Slur \override #'direction = #1
- c'16( a' f' a a f a, )c,
+ 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
respectively.
@lilypond[fragment,verbatim,center,relative]
- \time 6/4 c'' \( ( d ) e f ( e ) \) d
+ \time 6/4 c' \( ( d ) e f ( e ) \) d
@end lilypond
Typographically, the phrasing slur behaves almost exactly like a normal
-slur. The grob associated with it is @code{Voice.PhrasingSlur}.
+slur. The grob associated with it is @internalsref{PhrasingSlur}, in
+@internalsref{Voice} context.
@node Breath marks
@subsection Breath marks
Breath marks are entered using @code{\breathe}. The result is a
-@code{Voice.BreathingSign} grob.
+@internalsref{BreathingSign} grob in @internalsref{Voice} context.
@lilypond[fragment,relative]
c'4 \breathe d4
@refbugs
- Currently, only tick marks are supported, not comma style breath marks.
+The current layout of the default comma style breath marks
+could be improved and more optional symbols should be added to the
+font.
+
@c . {Tempo}
\spanrequest \start "text"
\spanrequest \stop "text"
@end example
-LilyPond will respond by creating a @code{Voice.TextSpanner} grob. The
-string to be printed, as well as the style is set through grob
-properties.
+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]
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 {
@cindex fingering
-Fingering instructions can also be entered in this shorthand.
+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
Usually the @code{\script} keyword is not used directly. Various
helpful identifier definitions appear in @file{script.ly}.
-Grobs for these objects are @code{Script} and @code{Fingering}.
+Grobs for these objects are @internalsref{Script} and @internalsref{Fingering}.
@refbugs
\relative c' { c4^"longtext" \fatText c4_"longlongtext" c4 }
@end lilypond
-Text scripts are created in form of @code{Voice.TextScript} grobs.
+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.
\grace @var{musicexpr}
@end example
-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 the 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.
@lilypond[fragment,verbatim]
-\relative c'' {
+\relative c'' \context Voice {
\grace c8 c4 \grace { [c16 c16] } c4
- \grace { \property Grace.Stem \override #'flag-style = #'() 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
-At present, slurs or ties from the grace notes to the following notes
-are not supported. Also, nesting @code{\grace} notes is not
-supported. The following may cause run-time errors:
-@example
+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
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 of grace notes is not robust and generally
-kludgey. We expect it to change after LilyPond 1.4. Syntax changes might
-also be implemented.
-
@menu
* Glissando ::
* Dynamics::
@cindex @code{\glissando}
-A glissando line (grob @code{Voice.Glissando}) can be requested by attaching a
-@code{\glissando} to a note:
+A glissando line (grob @internalsref{Glissando}) can be requested by
+attaching a @code{\glissando} to a notte:
@lilypond[fragment,relative,verbatim]
- c''-\glissando c'
+ c'-\glissando c'
@end lilypond
@refbugs
@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
+ c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
c2\sf c\rfz
@end lilypond
\context Voice {
\property Voice.crescendoText = "cresc."
\property Voice.crescendoSpanner = #'dashed-line
- a''2\mf\< a a \!a
+ a'2\mf\< a a \!a
}
@end lilypond
@cindex diminuendo
-Dynamics are grobs of @code{Voice.DynamicText} and
-@code{Voice.Hairpin}. They are put together on
-@code{Voice.DynamicLineSpanner} to align them vertically.
+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.
+@cindex direction, of dynamics
+@cindex @code{\dynamicDown}
+@cindex @code{\dynamicUp}
@c . {Repeats}
@node Repeats
@menu
* Repeat syntax::
+* Repeats and MIDI::
* Manual repeat commands::
* Tremolo repeats::
* Tremolo subdivisions::
}
@end lilypond
+@node Repeats and MIDI
+@subsection Repeats and MIDI
+
+@cindex expanding repeats
+
+For instructions on how to unfoldi repeats for MIDI output, see
+the example file @file{input/test/unfold-all-repeats.ly}.
+
+
@refbugs
Notice that timing information is not remembered at the start of an
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 staffs in a score. You must turn them
+Volta repeats are printed over all staves in a score. You must turn them
off explicitly, for example by doing
@example
\property Staff.VoltaBracket = \turnOff
@end lilypond
-Repeats brackets are @code{Staff.VoltaBracket} grobs.
+Repeats brackets are @internalsref{VoltaBracket} grobs.
@node Tremolo repeats
@subsection Tremolo repeats
}
@end lilypond
-Tremolo beams are @code{Voice.Beam} grobs. Single stem tremolos are
-@code{Voice.StemTremolo}.
+Tremolo beams are @internalsref{Beam} grobs. Single stem tremolos are
+@internalsref{StemTremolo}.
@refbugs
\context Voice { \repeat "percent" 4 { c'4 }
\repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
}
-@end lilypond
+@end lilypond
-The signs are represented by these grobs: @code{Voice.RepeatSlash} and
-@code{Voice.PercentRepeat} and @code{Voice.DoublePercentRepeat}.
+The signs are represented by these grobs: @internalsref{RepeatSlash} and
+@internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
@refbugs
@menu
-* Rhythmic staffs::
+* Rhythmic staves::
@end menu
-@node Rhythmic staffs
-@subsection Rhythmic staffs
+@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
@node Piano music
@section Piano music
-Piano music is an odd type of notation. Piano staffs are two normal
-staffs coupled with a brace. The staffs are largely independent, but
-sometimes voices can cross between the two staffs. The
-@code{PianoStaff} is especially built to handle this cross-staffing
-behavior. In this section we discuss the @code{PianoStaff} and some
+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.
@menu
Voices can switch automatically between the top and the bottom
staff. The syntax for this is
@example
- \autochange @var{contexttype} @var{musicexp}
+ \autochange @var{contexttype} \context @var{childcontexttype}
+ @var{musicexp}
@end example
-This will switch the interpretation context of @var{musicexp} between a
-@var{contexttype} named @code{up} and @code{down}. Typically, you use
-@code{Staff} for @var{contexttype}. 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.
+@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 <
@cindex manual staff switches
@cindex staff switch, manual
-Voices can be switched between staffs manually, using the following command:
+Voices can be switched between staves manually, using the following command:
@example
\translator Staff = @var{staffname} @var{music}
@end example
@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
These identifiers are shorthands for spanner commands of the types
-@code{Sustain}, @code{UnaCorda} and @code{Sostenuto}:
+@internalsref{Sustain}, @internalsref{UnaCorda} and @internalsref{Sostenuto}:
@lilypond[fragment,verbatim]
c''4 \spanrequest \start "Sustain" c''4
@end lilypond
The symbols that are printed can be modified by setting
-@code{pedal@var{X}Strings}, where @var{X} is one of the pedal
-types. Refer to the generated documentation of @rgrob{PianoPedal} for
-more information.
+@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.
-@refbugs
+Pedals can also be indicated by a sequence of brackets, by setting the
+@code{pedal-type} property of SustainPedal grobs:
+@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]
+\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
+
+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]
+\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
-Currently, brackets are not supported, only text markings (i.e. `*Ped'
-style).
@c . {Arpeggio}
@lilypond[fragment,relative,verbatim]
- \context Voice <c'\arpeggio e g c>
+ \context Voice <c\arpeggio e g c>
@end lilypond
-When an arpeggio crosses staffs in piano music, you attach an arpeggio
-to the chords in both staffs, and set
+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 = one { <c'\arpeggio e g c> }
\context Voice = other { \clef bass <c,,\arpeggio e g>}
>
@end lilypond
-This command creates @code{Voice.Arpeggio} grobs. Cross staff arpeggios
+This command creates @internalsref{Arpeggio} grobs. Cross staff arpeggios
are @code{PianoStaff.Arpeggio}.
+To add an arrow head to explicitly specify the direction of the
+arpeggio, you should set the arpeggio grob property
+@code{arpeggio-type}.
+
+@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
+
+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,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
+
+
@refbugs
It is not possible to mix connected arpeggios and unconnected arpeggios
\context PianoStaff <
\property PianoStaff.followVoice = ##t
\context Staff \context Voice {
- c'1
+ c1
\translator Staff=two
b2 a
}
>
@end lilypond
-The associated grob is @code{Voice.VoiceFollower}.
+The associated grob is @internalsref{VoiceFollower}.
@node Lyrics
@subsection Printing lyrics
@cindex lyrics
-Lyrics are printed by interpreting them in the @code{Lyrics} context.
+Lyrics are printed by interpreting them in the @internalsref{Lyrics} context.
@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; }
+\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
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 slurs to be interpreted as melismata.
+the melody staff will cause tied, slurred or beamed notes to be
+interpreted as melismata.
The Lyric syllables are @code{LyricsVoice.LyricSyllable} grobs.
@cindex printing chord names
@cindex chord names
@cindex chords
-@cindex @code{ChordNames}
-
-For displaying printed chord names, use the @code{ChordNames} context.
+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.
* Sound output for transposing instruments::
* Multi measure rests::
* Automatic part combining::
-* Hara kiri staffs::
+* Hara kiri staves::
@end menu
@c . {Rehearsal marks}
@cindex Rehearsal marks
@cindex mark
@cindex @code{\mark}
-@cindex @code{Mark_engraver}
+
@example
\mark @var{unsigned}
}
@end lilypond
-The grob is @code{Score.RehearsalMark}. See
+The grob is @internalsref{RehearsalMark} in @internalsref{Score} context. See
@code{input/test/boxed-molecule.ly} if you need boxes around the marks.
@node Bar numbers
@subsection Bar numbers
-Bar numbers (grob: @code{BarNumber}) are printed at the start of the
-line. See @code{input/test/boxed-molecule.ly} for boxed bar numbers.
+
+@cindex bar numbers
+@cindex measure numbers
+@cindex currentBarNumber
+
+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}.
@refbugs
@cindex whole rests for a full measure
+The grob for this object is @internalsref{MultiMeasureRest}.
+
@refbugs
Currently, there is no way to automatically condense multiple rests into
@cindex @code{Voice_engraver}
@cindex @code{A2_engraver}
-@node Hara kiri staffs
-@subsection Hara kiri staffs
+@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
not disappear when it contains normal rests, you must use multi measure
rests.
-The hara kiri staff is specialized version of the Staff context. It is
-available as the context identifier @code{\HaraKiriStaffContext}.
-Observe how the second staff in this example disappears in the second
-line.
+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 {
the 20th century.
For typesetting custodes, just put a @code{Custos_engraver} into the
-@code{StaffContext} when declaring the @code{\paper} block. In this
+@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
@}
@end example
+
+@c . {Figured bass}
+@node Figured bass
+@section Figured bass
+
+@cindex Basso continuo
+
+TODO. see figured-bass.ly
+
@c . {Tuning output}
@node Tuning output
@section Tuning output
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
-@code{Stem}
+@internalsref{Stem}
@example
(thickness . 0.8)
@code{cmti}, etc. Setting this overrides font-family, font-shape and
font-series.
+
@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
The style sheets and tables for selecting fonts are located in
@file{scm/font.scm}. Refer to this file for more 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.
+
+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.
+
@refbugs
Relative size is not linked to any real size.
-There is no mechanism to select magnification of particular fonts,
-meaning that you don't have access to continuously scaled fonts. You
-can scale the entire output, of course, see @ref{Output scaling}.
-
There is no style sheet provided for other fonts besides the @TeX{}
family.
output}).
@lilypond[fragment,relative,verbatim]
- a''^"3 $\\times$ \\`a deux"
+ a'^"3 $\\times$ \\`a deux"
@end lilypond
You can also use raw PostScript commands embedded in text scripts. This
@c . {Font size}
@node Font Size
@subsection Font size
-@cindex 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.
+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.
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.
+@code{\paper} block is also set. These files should be imported at toplevel, i.e.
+@example
+ \include "paper26.ly"
+ \score @{ ... @}
+@end example
The font definitions are generated using a Scheme function. For more
details, see the file @file{scm/font.scm}.
@cindex @code{papersize}
To change the paper size, you must first set the
-@code{papersize} variable at top level. Set it to
+@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
- papersize = "a4"
+ \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
-@code{ly2dvi})
+Lilypond and @code{ly2dvi})
@c . {Line break}
@node Line break
@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.
+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
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
@refbugs
+
There is no mechanism to select magnification of particular fonts,
meaning that you don't have access to continuously scaled fonts.
-
+@c FIXME: Note entry vs Music entry at top level menu is confusing.
@c . {Music entry}
@node Music entry
@section Music entry
\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
#(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
will complain about not finding @code{src:X:Y} files. Those complaints
are harmless, and can be ignored.
-When using @code{line-column-location}, the cursor will be one off; it
-will not jump to the exact note that you clicked, but to the next one.
-
-[FIXME]
-
@node Skipping corrected music
@section Skipping corrected music
the measure, etc.?
@end itemize
-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
-@code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context.
+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
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
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.
+@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
@item @code{\name} @var{contextname}
- This sets the type name of the context, e.g. @code{Staff},
- @code{Voice}. If the name is not specified, the translator won't do
+ 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
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})
-
+@item Font_metric: object representing a font.
@end itemize
-
-@c .{Local emacs vars}
-@c Local variables:
-@c mode: texinfo
-@c minor-mode: font-lock
-@c minor-mode: outline
-@c outline-layout: (-1 : 0)
-@c outline-use-mode-specific-leader: "@c \."
-@c outline-primary-bullet: "{"
-@c outline-stylish-prefixes: nil
-@c outline-override-protect: t
+@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