-
-@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
-@ignore
- TODO:
- fix all FIXMEs
+@macro refbugs
+@strong{BUGS}
- Rhythm staff (clef, x-notehead)
+@end macro
-@end ignore
+@ifhtml
+@macro internalsref{NAME}
+@uref{../lilypond-internals/\NAME\.html,\NAME\}
+@cindex \NAME\
+@end macro
+@macro seeinternals{NAME}
+See @internalsref{\NAME\}
+@end macro
+@end ifhtml
-@macro refbugs
-@unnumberedsubsec Bugs
+@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 for LilyPond 1.3.136.
+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.
+The reference manual is ordered according to different tasks.
+More details on the property setting mechanisms and context handling is
+provided in @ref{Tuning output} and @ref{Interpretation context}. The
+syntactical details are described at the end of the manual.
@menu
* Overview::
* 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::
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.
+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. The
-Scheme library provides the glue that holds together the low-level
-routines and separate modules general, which are C++
+LilyPond is linked to GUILE, GNU's Scheme library for extension
+programming. The Scheme library provides the glue that holds together
+the low-level routines and separate modules which are written in C++.
When lilypond is run to typeset sheet music, the following happens:
@itemize @bullet
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.
+order in which notes are played. The result of this step is a typesetting
+specification.
@item typesetting:
-in this step, the results of the interpretation, a typesetting
-specification, is solved.
+The typesetting specification is solved: positions and formatting is
+calculated.
-@item the visible results ("virtual ink") is written to the output file.
+@item the visible results ("virtual ink") are written to the output file.
@end itemize
During these stages different types of data play the the main role:
during parsing, @strong{Music} objects are created. During the
-interpretation, @strong{context} is constructed, and with this context
-af network of @strong{graphical objects} (``grobs'') is created. 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
These threemanship of tasks (parsing, translating, typesetting) and
data-structures (music, context, graphical objects) permeates the entire
-design of the program. This manual is ordered in terms of user
-tasks. With each concept will be explained to which of the three parts
-it belongs.
-
+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
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 obligotary lint such as @code{\score} blocks and
+brevity we omit obligatory lint such as @code{\score} blocks and
@code{\paper} declarations.
@menu
+* Notes::
* Pitches::
-* Defining pitch names::
+* Rests::
+* Skips::
* Durations::
-* Notes::
+* Ties::
+* Tuplets::
+* Defining pitch names::
* Easy Notation note heads ::
-* Tie::
-* Rests::
-* Skip::
-* Note mode::
@end menu
+@c . {Notes}
+@node Notes
+@subsection Notes
+
+A note specification has the form
+
+@example
+ @var{pitch}[!][?][@var{duration}]
+@end example
+
+The alteration refers to what note is heard, not to whether an
+accidental is printed. This is done depending on the key and context.
+A reminder accidental
+@cindex reminder accidental
+@cindex @code{?}
+can be forced by adding an exclamation mark @code{!} after the pitch. A
+cautionary accidental,
+@cindex cautionary accidental
+@cindex parenthesized accidental
+i.e., an accidental within parentheses can be obtained by adding the
+question mark `@code{?}' after the pitch.
+
+@lilypond[fragment,verbatim,center]
+ cis' d' e' cis' c'? d' e' c'!
+@end lilypond
+
+The grob for a note head is called @internalsref{NoteHead}.
+
+
@c . {Pitches}
@node Pitches
@subsection 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
@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
+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.
@cindex note names, Dutch
In 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
+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.
-LilyPond has predefined sets of notenames for various other languages.
+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:
c' c'' es' g' as' gisis' ais'
@end lilypond
-@c . {Defining pitch names}
-@node Defining pitch names
-@subsection Defining pitch names
+@c . {Rests}
+@node Rests
+@subsection Rests
+@cindex Rests
-@cindex defining pitch names
-@cindex pitch names, defining
+A rest is entered like a note, with note name `@code{r}':
-Note names and chord modifiers can be customised for nationalities. The
-syntax is as follows.
+@lilypond[singleline,verbatim]
+r1 r2 r4 r8
+@end lilypond
-@cindex @code{\pitchnames}
-@cindex @code{\chordmodifiers}
-@example
- \pitchnames @var{scheme-alist}
- \chordmodifiers @var{scheme-alist}
-@end example
+The grob is @internalsref{Rest}. Whole bar rests centered in the bar are
+specified using @code{R}, see @ref{Multi measure rests}.
-See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
-specific examples how to do this.
+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}':
+
+@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.
@c . {Durations}
@example
\duration @var{scmduration}
@end example
-Here, @var{scmduration} is a Scheme object of type 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
and dots: durations are entered as their reciprocal values. For notes
-longer than a whole note, use identifiers.
-
-@quotation
+longer than a whole you must use identifiers.
@example
-c'\longa c'\breve
+ 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
@lilypond[]
\score {
\notes \relative c'' {
- a\longa 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
\paper {
\translator {
\StaffContext
- \remove "Clef_engraver";
- \remove "Staff_symbol_engraver";
- \remove "Time_signature_engraver";
- \consists "Pitch_squash_engraver";
+ \remove "Clef_engraver"
+ \remove "Staff_symbol_engraver"
+ \remove "Time_signature_engraver"
+ \consists "Pitch_squash_engraver"
}
}
}
@end lilypond
-@end quotation
-As you can see, the longa is not printed. To get a longa note head, you
-have to use a mensural note heads. This is done accomplished by setting
-the @code{style} property of the NoteHead grob to @code{mensural}.
+ To get a longa note head, you have to use mensural note heads. This
+is accomplished by setting the @code{style} property of the
+NoteHead grob to @code{mensural}. There is also a note head style
+@code{baroque} which gives mensural note heads for @code{\longa} and
+@code{\breve} but standard note heads for shorter notes.
+
+@lilypond[fragment,singleline,verbatim]
+ \property Voice.NoteHead \set #'style = #'mensural
+ a'\longa
+@end lilypond
If the duration is omitted then it is set to the previous duration
entered. At the start of parsing a quarter note is assumed. The
-duration can be followed by a dot (`@code{.}') to obtain dotted note
+duration can be followed by dots (`@code{.}') to obtain dotted note
lengths.
@cindex @code{.}
@cindex @code{r}
@cindex @code{s}
-You can alter the length of duration by appending
-`@code{*}@var{fraction}'. This will not affect the appearance of the
-notes or rests produced.
-
-@c . {Notes}
-@node Notes
-@subsection Notes
-
-A note specification has the form
-
-@example
- @var{pitch}[@var{octavespec}][!][?][@var{duration}]
-@end example
-
-LilyPond will determine what accidentals to typeset depending on the key
-and context. The alteration refers to what note is heard, not to whether
-an accidental is 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
-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
-
-
-@node Easy Notation note heads
-@subsection Easy Notation note heads
-
-@cindex easy notation
-@cindex Hal Leonard
-
-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.
+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.
-@lilypond[singleline,verbatim]
-\include "paper26.ly"
-\score {
- \notes { c'2 e'4 f' | g'1 }
- \paper { \translator { \EasyNotation } }
-}
-@end lilypond
-Note that @code{EasyNotation} overrides a @code{Score} context. You
-probably will want to print it with magnification to make it better
-readable.
-@cindex Xdvi
-@cindex ghostscript
-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 will produce the desired result.
-
-
-@node Tie
-@subsection Tie
+@node Ties
+@subsection Ties
@cindex Tie
@cindex ties
@cindex @code{~}
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.
+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.
@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{Thread.sparseTies} to true, resulting in a smaller number of
+@code{Voice.sparseTies} to true, resulting in a smaller number of
ties:
@lilypond[fragment,verbatim,center]
- \property Thread.sparseTies = ##t
+ \property Voice.sparseTies = ##t
<c' e' g'> ~ <c' e' g'>
@end lilypond
In its meaning a tie is just a way of extending a note duration, similar
-to the augmentation dot: the following example are three ways of notating
+to the augmentation dot: the following example are two ways of notating
exactly the same concept.
+@c
@lilypond[fragment, singleline]
-c'2 c'4 ~ c'4
+\time 3/4 c'2. c'2 ~ c'4
@end lilypond
+The name of the tie grob is @internalsref{Tie}, and it is created in the
+@internalsref{Voice} context.
+
@refbugs
At present, the tie is implemented as a separate thing, temporally
between tied notes, dotted notes and plain notes.
Tieing only a subset of the note heads of a chord is not supported in a
-simple way. It can be achieved by moving the tie-engraver into Thread
-context and turning off ties per Thread.
+simple way. It can be achieved by moving the tie-engraver into the Thread
+context and turning on and off ties per Thread.
-@c . {Tuplets}
-@menu
-* Tuplets::
-@end menu
-
@node Tuplets
-@subsubsection Tuplets
-@cindex Tuplets
-@cindex Times
+@subsection Tuplets
+
+@cindex tuplets
+@cindex triplets
+@cindex @code{\times}
-Tuplets are made out of a music expression by multiplying their duration
+Tuplets are made out of a music expression by multiplying all duration
with a fraction.
@cindex @code{\times}
g'4 \times 2/3 {c'4 c' c'} d'4 d'4
@end lilypond
-[todo: document tupletSpannerDuration]
-
+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.
+@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
-@c . {Rests}
-@node Rests
-@subsection Rests
-@cindex Rests
+@cindex @code{tupletNumberFormatFunction}
+@cindex tuplet formatting
-Rests are entered like notes, with note name `@code{r}'.
+Tuplet brackets are printed as @internalsref{TupletBracket} grobs, most
+often in the @internalsref{Voice} context.
+@c . {Defining pitch names}
+@node Defining pitch names
+@subsection Defining pitch names
-@c . {Skip}
-@node Skip
-@subsection Skip
-@cindex Skip
+@cindex defining pitch names
+@cindex pitch names, defining
+Note names and chord modifiers can be customized for nationalities. The
+syntax is as follows.
+@cindex @code{\pitchnames}
+@cindex @code{\chordmodifiers}
@example
- \skip @var{duration} @code{;}
- s@var{duration}
+ \pitchnames @var{scheme-alist}
+ \chordmodifiers @var{scheme-alist}
@end example
-@cindex @code{\skip}
-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. The short hand is only available in Note and Chord mode.
+See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
+specific examples on how to do this.
+@node Easy Notation note heads
+@subsection Easy Notation note heads
+
+@cindex easy notation
+@cindex Hal Leonard
-@node Note mode
-@subsection Note mode
+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.
+@lilypond[singleline,verbatim]
+\include "paper23.ly"
+\score {
+ \notes { c'2 e'4 f' | g'1 }
+ \paper { \translator { \EasyNotation } }
+}
+@end lilypond
+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 note mode
-@cindex @code{\notes}
-Note mode is the lexical mode generally used for inputting notes. The
-syntax is
-@example
-\notes @var{expr}
-@end example
+@cindex Xdvi
+@cindex ghostscript
-This instructs the tokenizer to interpret @var{expr} in note mode. If a
-a sequence of alfabetical characters, like @code{foobar}, LilyPond first
-checks if @code{foobar} is a pitch name. If it is not a pitch name,
-then it is treated as a string.
+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.
-Numbers and dots indicate durations, so you can enter floating point
-numbers in this mode.
@node Staff notation
@menu
* Key signature::
+* Clef::
* Time signature::
+* Unmetered music::
* Bar lines::
@end menu
@cindex @code{\key}
-Changing the key signature is done with the @code{\key} command.
+Setting or changing the key signature is done with the @code{\key}
+command.
@example
- @code{\key} @var{pitch} @var{type} @code{;}
+ @code{\key} @var{pitch} @var{type}
@end example
@cindex @code{\minor}
@cindex @code{\dorian}
Here, @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},
+@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.
-This command sets context property @code{Staff.keySignature}.
+This command sets the context property @code{Staff.keySignature}.
+Non-standard key signatures can be specified by setting this property
+directly.
+
+The printed signature is a @internalsref{KeySignature} grob, typically
+created in @internalsref{Staff} context.
@cindex @code{keySignature}
@c . {Clef}
-@subsection Clef changes
+@node Clef
+@subsection Clef
@cindex @code{\clef}
+
+The clef can be set or changed with the @code{\clef} command.
@example
- \clef @var{clefname} @code{;}
+ \clef @var{clefname}
@end example
-Short-cut for
+Shortcut for
@example
\property Staff.clefGlyph = @var{glyph associated with clefname}
\property Staff.clefPosition = @var{clef Y-position for clefname}
- \property Staff.clefOctavation = @var{extra pitch of clefname}
+ \property Staff.centralCPosition = @var{position for central C}
+ \property Staff.clefOctavation = @var{extra transposition of clefname}
@end example
+
+Any change in these properties creates a clef (A @internalsref{Clef} grob).
+
Supported clef-names include
-@itemize @bullet
-@item treble, violin, G, G2: G clef on 2nd line
-@item french: G clef on 1st line
-@item soprano: C clef on 1st line
-@item mezzosoprano: C clef on 2nd line
-@item alto: C clef on 3rd line
-@item tenor: C clef on 4th line
-@item baritone: C clef on 5th line
-@item varbaritone: F clef on 3rd line
-@item bass, F: F clef on 4th line
-@item subbass: F clef on 5th line
-@item percussion: percussion clef
-@end itemize
+@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
Supported associated glyphs (for @code{Staff.clefGlyph}) are:
-@itemize @bullet
-@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 itemize
+@table @code
+@item clefs-C
+ modern style C clef
+@item clefs-F
+ modern style F clef
+@item clefs-G
+ modern style G clef
+@item clefs-vaticana_do
+ Editio Vaticana style do clef
+@item clefs-vaticana_fa
+ Editio Vaticana style fa clef
+@item clefs-medicaea_do
+ Editio Medicaea style do clef
+@item clefs-medicaea_fa
+ Editio Medicaea style fa clef
+@item clefs-mensural1_c
+ modern style mensural C clef
+@item clefs-mensural2_c
+ historic style small mensural C clef
+@item clefs-mensural3_c
+ historic style big mensural C clef
+@item clefs-mensural1_f
+ historic style traditional mensural F clef
+@item clefs-mensural2_f
+ historic style new mensural F clef
+@item clefs-mensural_g
+ historic style mensural G clef
+@item clefs-hufnagel_do
+ historic style hufnagel do clef
+@item clefs-hufnagel_fa
+ historic style hufnagel fa clef
+@item clefs-hufnagel_do_fa
+ historic style hufnagel combined do/fa clef
+@item clefs-percussion
+ modern style percussion clef
+@end table
@emph{Modern style} means ``as is typeset in current editions.''
@emph{Historic style} means ``as was typeset or written in contemporary
@cindex meter
@cindex @code{\time}
-The time signature is changed by the @code{\time} command. Syntax:
+The time signature is set or changed by the @code{\time}
+command. Syntax:
@example
- \time @var{numerator}@code{/}@var{denominator} @code{;}
+ \time @var{n}@code{/}@var{d}
@end example
-Internally, this is a short-cut for doing
+Internally, this is a shortcut for doing
@example
- \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
+\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
-[TODO: discuss options for layout]
+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
+
+There are many more options for the layout of this grob. They are
+selected through the @code{style} grob property.
+
+@c FIXME: this isn't documented except in example?
+See
+@file{input/test/time.ly} for examples.
@c . {Partial}
-@subsubsection Partial
+@subsection Partial
@cindex Partial
@cindex anacrusis
-@cindex upstep
+@cindex upbeat
@cindex partial measure
@cindex measure, partial
@cindex shorten measures
@cindex @code{\partial}
-Partial measures are entered using the @code{\partial} command:
+Partial measures, for example in upbeats, are entered using the
+@code{\partial} command:
@example
- \partial @var{duration} @code{;}
+ \partial @var{duration}
@end example
-Internally, this is a short cut for
+Internally, this is a shortcut for
@example
\property Score.measurePosition = -@var{length of duration}
@end example
@cindex @code{|}
+The property @code{measurePosition} contains a rational number
+indicating how much of the measure has passed at this point.
+
+
+@node Unmetered music
+@subsection Unmetered music
+
+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.
+
+
+
@c . {Bar lines}
@node Bar lines
@subsection Bar lines
@cindex repeat bars
@example
- \bar @var{bartype};
+ \bar @var{bartype}
@end example
-This is a short-cut for doing
+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
+
You are encouraged to use @code{\repeat} for repetitions. See
-@ref{Repeats}, and the documentation of @code{whichBar} in the generated
-documentation.
+@ref{Repeats}.
@cindex Bar_line_engraver
@cindex repeatCommands
@cindex defaultBarType
-Bar lines are created by the @code{Bar_line_engraver}. That engraver examines
-@code{whichBar} at every moment. Whenever it is set to a string, it will
-create a bar with that type. @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.
+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.
@code{whichBar} can also be set directly, using @code{\property} or
-@code{\bar ; }. These settings take precedence over automatic @code{whichBar}
-settings.
+@code{\bar }. These settings take precedence over the automatic
+@code{whichBar} settings.
+@internalsref{BarLine} grobs are created by the @code{Bar_engraver}.
@c . {Polyphony}
@node Polyphony
@section Polyphony
-@cindex Polyphony
+@cindex polyphony
+
+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[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' }
+ \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
+
+The most convenient way is to use the identifiers @code{\voiceOne}
+through @code{\voiceFour}, which also set slur and tie directions in the
+correct manner.
+
+@lilypond[singleline, verbatim]
+\relative c''
+\context Staff < \context Voice = VA { \voiceOne cis2 b }
+ \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
+ \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
+@end lilypond
+
+Normally, note heads with a different number of dots are not merged, but
+if you set the grob property @code{merge-differently-dotted}, they are:
+
+@lilypond[verbatim,fragment,singleline]
+ \context Staff <
+ \context Voice = VA { \voiceOne
+ 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
+
+LilyPond also vertically shifts rests that are opposite of a stem.
+
+@lilypond[singleline,verbatim]
+\context Staff <
+\context Voice { \stemUp c''4 }
+\context Voice =VB { r4 }
+>
+@end lilypond
+
+Note head collisions (horizontal shifting of note heads) are handled by
+the @internalsref{NoteCollision} grob. @internalsref{RestCollision}
+handles vertical shifting of rests.
+
-[TODO: collisions, rest-collisinos, voiceX identifiers, how to
-which contexts to instantiate.]
-@table @code
-@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 and beams to point either upwards or
- downwards, decided automatically by LilyPond.
-
-@cindex @code{\stemDown}
- @item @code{\stemDown}
- Force stems and beams to point down.
-
-@cindex @code{\stemUp}
- @item @code{\stemUp}
- Force stems and beams to point up.
-@end table
-@cindex @code{\slurBoth}
-@cindex @code{\slurDown}
-@cindex @code{\slurUp}
-Similarly, for slurs use
-@code{\slurBoth},
-@code{\slurDown},
-@code{\slurUp}.
-@cindex @code{\slurBoth}
-@cindex @code{\slurDown}
-@cindex @code{\slurUp}
-Aand for ties use
-@code{\tieBoth},
-@code{\tieDown},
-@code{\tieUp}.
+@refbugs
+Resolving collisions is a very intricate subject, and LilyPond only
+handles a few situations. When it can not cope, you are advised to use
+@code{force-hshift} of the NoteColumn grob and @code{staff-position} of
+the Rest grob to override typesetting decisions.
@node Beaming
@section Beaming
Beams are used to group short notes into chunks that are aligned with
-the metrum. LilyPond guesses where beams should be inserted, but if
-you're not satisfied with the automatic beaming, you can either instruct
-lilypond which patterns to beam automatically. In specific cases, you
-can also specify explicitly what to beam and what not.
+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.
@c . {Automatic beams}
@cindex @code{(end * * * *)}
@cindex @code{(begin * * * *)}
-A large number of Voice properties are used to decide how to generate
-beams. Their default values appear in @file{scm/auto-beam.scm}.
-By default, automatic beams can start on any note@footnote{In exotic
-time signatures such as 1/8 and 1/16 this is not true} but can only end
-in a few positions within the measure: they can end on a beat, or at
-durations specified by the properties in
+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}.
-The syntax for changing the value @code{autoBeamSettings} is set using
+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 (@code{* *} may be entered to
-designate all time signatures), @var{P}/@var{Q} refers to the length of
-the beamed notes (@code{* *} designate 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).
-If you want automatic beams to end on every quarter note, you can
-use the following:
+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
-The duration a quarter note is 1/4 of a whole note. It is entered as
-@code{(make-moment 1 4)}.
+Since the duration of a quarter note is 1/4 of a whole note, it is
+entered as @code{(make-moment 1 4)}.
The same syntax can be used to specify beam starting points. In this
-example, you automatic beams can only end on a dotted quarter note.
+example, automatic beams can only end on a dotted quarter note.
@example
\property Voice.autoBeamSettings \override
- #'(begin * * * *) = #(make-moment 3 8)
+ #'(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
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 * *)}.
-[say something about irregular meters. eg 5/8 = 2+3/8, 3+2/8]
+@c not true
+@c Automatic beams can not be put on the last note in a score.
-Automatic beams can not be put on the last note in a score.
+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}
-Automatic beaming is on by default, but it can switched off by setting
+Automatic beaming is on by default, but can be switched off by setting
@code{Voice.noAutoBeaming} to true. You you may find this necessary for
a melody that goes with lyrics.
+@refbugs
+
+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
+
+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}.
+
@c . {Manual beams}
@cindex Automatic beams
-@subsubsection Manual beams
+@subsection Manual beams
@cindex beams, manual
@cindex @code{]}
@cindex @code{[}
In some cases it may be necessary to override LilyPond's automatic
beaming algorithm. For example, the auto beamer will not beam over
-rests or bar lines, so if you want that, specify the begin and end point
-manually using @code{[} and @code{]}:
+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:
-@quotation
@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 auto beam will not produce
+Whenever an manual beam is busy, the automatic beamer will not produce
anything.
@cindex @code{stemLeftBeamCount}
-If you have specific wishes for the number of beams, you can fully
-control the number of beams through the properties
-@code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}.
+Normally, beaming patterns within a beam are determined automatically.
+When this mechanism fouls up, the properties
+@code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}. can
+be used to control the beam subdivision on a stem. If you set either
+property, it's value will be used only once, and then it is erased.
@lilypond[fragment,relative,verbatim]
\context Staff {
- [f'8 r16 f g a]
+ [f8 r16 f g a]
[f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
}
@end lilypond
-@end quotation
@cindex @code{stemRightBeamCount}
+The beam symbol (grob @internalsref{Beam} in @internalsref{Voice}
+context), both for automatic and manual beams) can be tweaked through
+grob-properties @code{height} and @code{staff-position}. These specify
+vertical location and vertical span. Both are measured in half
+staff-spaces, @code{staff-position=0} corresponds to the middle staff
+line.
+
+Set @code{height} to zero, to get horizontal beams:
+
+@lilypond[fragment,relative,verbatim]
+ \property Voice.Beam \set #'direction = #1
+ \property Voice.Beam \set #'height = #0
+ [a'8 e' d c]
+@end lilypond
+
+Here's how you'd specify a weird looking beam that instead of being
+horizontal, falls two staff spaces:
+
+
+[FIXME]
+
-[FIXME: explain common tweaks.]
+@lilypond[fragment,relative,verbatim]
+ \property Voice.Beam \set #'staff-position = #4
+ \property Voice.Beam \set #'height = #-4
+ [c8 c]
+@end lilypond
+
+[TODO: doc autokneeing ? ]
+@c TODO -> why this ref? Document?
+@cindex @code{neutral-direction}
@node Expressive marks
@section Expressive marks
-@c . {Slur}
+@c . {Slurs}
@menu
-* Slur ::
-* Phrasing slur::
+* Slurs ::
+* Phrasing slurs::
* Breath marks::
+* Tempo::
+* Text spanners::
@end menu
-@node Slur
-@subsection Slur
-@cindex slur
+@node Slurs
+@subsection Slurs
+@cindex slurs
+
+A slur indicates that notes are to be played bound or @emph{legato}.
+They are entered using parentheses:
-A slur indicates that notes are to be played bound or @emph{legato}. In
-lilypond, they are entered using parentheses:
@lilypond[fragment,verbatim,center]
f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
@end lilypond
-Slurs avoid crossing stems, and are attached to note heads whenever
-possible. In some instances involving beams slurs may be attached to a
-stem end. If you want to override this layout you can do this through
-@code{Voice.Slur}'s grob-property @code{attachment}:
-
-[TODO: remove this section]
-Maybe reinclude other slur features and move back to tricks? Esp. the
-second example, how to fix, can be very helpful.
+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.
-@quotation
@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
-@end quotation
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:
-@quotation
@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
-@end quotation
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}. In some
-cases, you may prefer curved slurs to vertically moved ones. You can
-express this by increasing the @code{beautiful} value:
+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
-[hoe gedefd?? wat betekent beautiful = X?]
+@refbugs
-[dit voorbeeld is te lang: junken, of inkorten]
+@code{beautiful} is an arbitrary parameter in the slur formatter.
+Useful values can only be determined by trial and error.
-@quotation
-@lilypond[verbatim,singleline]
-\score {
- \notes \context PianoStaff <
- \time 6/4;
- \context Staff=up { s1 * 6/4 }
- \context Staff=down <
- \clef bass;
- \autochange Staff \context Voice
- \notes \relative c {
- d,8( a' d f a d f d a f d )a
- }
- >
- >
- \paper {
- \translator {
- \VoiceContext
- Slur \override #'beautiful = #5.0
- Slur \override #'direction = #1
- Stem \override #'direction = #-1
- autoBeamSettings \override #'(end * * * *)
- = #(make-moment 1 2)
- }
- \translator {
- \PianoStaffContext
- VerticalAlignment \override #'threshold = #'(5 . 5)
- }
- }
-}
-@end lilypond
-@end quotation
-
-@cindex Adusting slurs
+@cindex Adjusting slurs
-@node Phrasing slur
-@subsection Phrasing slur
+@node Phrasing slurs
+@subsection Phrasing slurs
-@cindex phrasing slur
-@cindex phrasing mark
+@cindex phrasing slurs
+@cindex phrasing marks
A phrasing slur (or phrasing mark) connects chords and is used to
-indicate a musical sentence. It is entered using @code{\(} and
-@code{\)}.
+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
+ \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}:
+Breath marks are entered using @code{\breathe}. The result is a
+@internalsref{BreathingSign} grob in @internalsref{Voice} context.
@lilypond[fragment,relative]
c'4 \breathe d4
@end lilypond
-Currently, only tick marks are supported, comma style breath marks are
-not. The grob for this object is called @code{Voice.BreathingSign}.
+
@refbugs
- Currently, only tick marks are supported, comma style breath marks are
-not.
+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}
@cindex beats per minute
@cindex metronome marking
+Metronome settings can be entered as follows:
+
@cindex @code{\tempo}
@example
- \tempo @var{duration} = @var{perminute} @code{;}
+ \tempo @var{duration} = @var{perminute}
@end example
-Used to specify the tempo. For example, @code{\tempo 4 = 76;} requests
-output with 76 quarter notes per minute.
+For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
+per minute.
@refbugs
-The tempo setting is not printed, but is currently only used in the MIDI
-output.
+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
-@c . {Text spanner}
-@menu
-* Text spanner::
-@end menu
-
-@node Text spanner
-@subsubsection Text spanner
-@cindex Text spanner
-
-Some textual indications, e.g. rallentando, accelerando, often extend
-over a many measures. This is indicated by following the text with a
-dotted line. You can create such texts in LilyPond using
-text spanners. The syntax is as follows:
+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 @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]
- \relative c' { a'''' b c a
+ \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 " . "")
@section Ornaments
@cindex Ornaments
@menu
-* Articulation::
+* Articulations::
* Text scripts::
* Grace notes::
+* Glissando ::
+* Dynamics::
@end menu
@c . {Articulation}
-@node Articulation
-@subsection Articulation
-@cindex Articulation
+@node Articulations
+@subsection Articulations
+@cindex Articulations
@cindex articulations
@cindex scripts
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
@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
@cindex superscript
@cindex subscript
+You can add scripts by editing @file{scm/script.scm}. This file contains
+a table, listing script definitions and aliases. The following syntax
+accesses a script definition from the table:
+
@example
\script @var{alias}
@end example
-Defines a script printing request. The argument is a string which
-points into the script-alias table defined in @file{scm/script.scm}.
Usually the @code{\script} keyword is not used directly. Various
helpful identifier definitions appear in @file{script.ly}.
-For information on how to add scripts, consult @file{scm/script.scm}.
-
+Grobs for these objects are @internalsref{Script} and @internalsref{Fingering}.
@refbugs
All of these note ornaments appear in the printed output but have no
effect on the MIDI rendering of the music.
-Unfortunately, there is no support adding fingering instructions or
+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}.
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"}. The text is typeset in italic by default.
+@code{c^"text"}.
-The amount of space taken by these indications by default does not
-influence, spacing, but setting @code{Voice.textNonEmpty} to true will
-take the widths into account. The identifier @code{\fattext} is defined
-in the standard includes.
-@lilypond[fragment,singleline]
+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 @code{Voice.TextScript} grobs.
-
-For purposes of defining identifiers, a more verbose form also exists:
-
-@example
- \textscript @var{text}
-@end example
-
-Defines a text to be printed over or under a note. @var{text} is a
-string or a markup text.
-@quotation
-
-@example
-foo = \textscript #'(finger "6")
- [..]
-c4-\foo
-@end example
-
-@end quotation
-
-This is equivalent to @code{c4-6 c4-"foo"}.
+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
\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 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{Stem}.@code{flag-style} property.
+stem.
-@quotation
@lilypond[fragment,verbatim]
-\relative c'' {
+\relative c'' \context Voice {
\grace c8 c4 \grace { [c16 c16] } c4
- \grace { \property Grace.Stem \override #'flag-style = ##f c16 } c4
+ \grace {
+ \property Voice.Stem \override #'flag-style = #'()
+ c16
+ \property Voice.Stem \revert #'flag-style
+ } c4
}
-
@end lilypond
-@end quotation
+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}.
-At present, nesting @code{\grace} notes is not supported. The following
-may cause run-time errors:
-@example
+@refbugs
+
+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.
-
-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
-
-The present implementation of grace notes is not robust and generally
-kludgy. We expect it to change after LilyPond 1.4. Syntax changes might
-also be implemented.
-
-
-
@menu
* Glissando ::
* Dynamics::
@c . {Glissando}
@node Glissando
-@subsubsection Glissando
+@subsection Glissando
@cindex Glissando
@cindex @code{\glissando}
-A glissando line 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:
-@quotation
@lilypond[fragment,relative,verbatim]
- c'' \glissando c'
+ c'-\glissando c'
@end lilypond
-@end quotation
@refbugs
@c . {Dynamics}
@node Dynamics
-@subsubsection Dynamics
+@subsection Dynamics
@cindex Dynamics
@cindex @code{\rfz}
-Absolute dynamic marks are specified by using an identifier after a
+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 Crescendo and Decrescendo
-@cindex crescendo
@cindex @code{\cr}
@cindex @code{\rc}
@cindex @code{\decr}
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
-[BUG in \> ! ]
-
You can also use a text saying @emph{cresc.} instead of hairpins. Here
is an example how to do it:
+@cindex crescendo
+@cindex decrescendo
+
@lilypond[fragment,relative,verbatim]
\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
+For everyday use, we recommend the identifiers @code{\cresc},
+@code{endcresc}, @code{\dim} and @code{\enddim}.
+@cindex diminuendo
+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
different variants of repeats.
@table @asis
-@item unfolded
+@item unfold
Repeated music is fully written (played) out. Useful for MIDI
-output.
+output, and entering repetitive music.
@item volta
This is the normal notation: Repeats are not written out, but
alternative endings (voltas) are printed, left to right.
-@item folded
-Alternative endings are written stacked. Which is unfortunately not
-practical for anything right now.
+@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}.
@item tremolo
Make tremolo beams.
@item percent
-Make measure repeats. These look like percent signs.
+Make beat or measure repeats. These look like percent signs.
@end table
@menu
* Repeat syntax::
+* Repeats and MIDI::
* Manual repeat commands::
* Tremolo repeats::
-* Tremolo subdivision::
+* Tremolo subdivisions::
* Measure repeats::
@end menu
@end lilypond
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 at some point in the future.}
+Folded repeats look like this:
+
-@quotation
@lilypond[fragment,verbatim]
c'1
\repeat fold 2 {c'4 d' e' f'}
\alternative { {d'2 d'} {f' f} }
@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' {
- \partial 4;
- \repeat volta 3 { e | c2 d2 | e2 f2 | }
+ \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 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
-As you can see, LilyPond doesn't remember the timing information, nor
-are slurs or ties repeated, so you have to reset timing information
-after a repeat, e.g. using a bar-check (See @ref{Bar check}),
-@code{Score.measurePosition} or @code{\partial}. We hope to fix this
-after 1.4.
+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}, although it probably is only
+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
+ \property Staff.VoltaBracket = \turnOff
+@end example
+in all but the top staff.
+
@node Manual repeat commands
@subsection Manual repeat commands
@lilypond[verbatim, fragment]
c''4
\property Score.repeatCommands = #'((volta "93") end-repeat)
- c4 c4
+ c''4 c''4
\property Score.repeatCommands = #'((volta #f))
- c4 c4
+ c''4 c''4
@end lilypond
+Repeats brackets are @internalsref{VoltaBracket} grobs.
+
@node Tremolo repeats
@subsection Tremolo repeats
@cindex tremolo beams
}
@end lilypond
+Tremolo beams are @internalsref{Beam} grobs. Single stem tremolos are
+@internalsref{StemTremolo}.
+
@refbugs
At present, the spacing between tremolo beams is not regular, since the
spacing engine does not notice that not all notes are printed.
-@node Tremolo subdivision
-@subsection Tremolo subdivision
+@node Tremolo subdivisions
+@subsection Tremolo subdivisions
@cindex tremolo marks
@cindex @code{tremoloFlags}
@code{Voice.tremoloFlags}) is used.
@lilypond[verbatim,fragment,center]
- c'2:8 c':32
+ c'2:8 c':32 | c': c': |
@end lilypond
-Using this mechanism pays off when you entering many tremolos, since the
-default argument saves a lot of typing.
@refbugs
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" 5 { c'1 } }
+ \context Voice { \repeat "percent" 4 { c'4 }
+ \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
+}
+@end lilypond
+
+The signs are represented by these grobs: @internalsref{RepeatSlash} and
+@internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
+
+@refbugs
+
+You can not nest percent repeats, e.g. by filling in the first measure
+with slashes, and repeating that measure with percents.
+
+@node Rhythmic music
+@section Rhythmic music
+
+
+@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
-At present, only repeats of whole measures are supported.
@c . {Piano music}
@node Piano music
@section Piano music
-Piano music is an odd type of notation: two 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
* Manual staff switches::
* Pedals::
* Arpeggio::
-* Follow Thread::
+* Voice follower lines::
@end menu
@subsection Automatic staff changes
@cindex Automatic staff changes
-Voices can be switched from top to bottom staff automatically. The
-syntax for this is
+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 notation 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 <
\autochange Staff \context Voice = VA < \relative c' {
g4 a b c d r4 a g } > }
\context Staff = "down" {
- \clef bass;
+ \clef bass
s1*2
} > }
@end lilypond
@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{which} @var{music}
+ \translator Staff = @var{staffname} @var{music}
@end example
-The string @var{which} is the name of the staff. Typically it is
-@code{"up"} or @code{"down"}.
-
-Formally, this construct is 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.
+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"}.
+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.
@c . {Pedals}
@cindex Pedals
Piano pedal instruction can be expressed using
-@code{\sustainDown}, @code{\sustainUp}, @code{\unaChorda},
-@code{\treChorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
+@code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
+@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
-These identifiers are short hands for spanner commands of the types
-@code{Sustain}, @code{UnaChorda} and @code{Sostenuto}:
+These identifiers are shorthands for spanner commands of the types
+@internalsref{Sustain}, @internalsref{UnaCorda} and @internalsref{Sostenuto}:
@lilypond[fragment,verbatim]
-c''4 \spanrequest \start "Sustain" c''4 c''4 \spanrequest \stop "Sustain"
+c''4 \spanrequest \start "Sustain" c''4
+c''4 \spanrequest \stop "Sustain"
@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 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 (ie. *Ped
-style).
@c . {Arpeggio}
@code{\arpeggio} to a note of the chord.
-@quotation
@lilypond[fragment,relative,verbatim]
- \context Voice <c'\arpeggio e g c>
+ \context Voice <c\arpeggio e g c>
@end lilypond
-@end quotation
-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}.
-@quotation
@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>}
+ \context Voice = one { <c'\arpeggio e g c> }
+ \context Voice = other { \clef bass <c,,\arpeggio e g>}
+ >
+@end lilypond
+
+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
-@end quotation
-This command creates @code{Arpeggio} grobs.
@refbugs
- It is not possible to mix
-connected arpeggios and unconnected arpeggios at the same time.
+It is not possible to mix connected arpeggios and unconnected arpeggios
+at the same time.
-@c . {Follow Thread}
-@node Follow Thread
-@subsection Follow Thread
-@cindex follow thread
+@node Voice follower lines
+@subsection Voice follower lines
+
+@cindex follow voice
@cindex staff switching
@cindex cross staff
-[todo: figure out different name, eg. voice line, switch indicator ? ]
-
-@cindex @code{followThread}
+@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.followThread} is set to true:
+@code{PianoStaff.followVoice} is set to true:
-@quotation
@lilypond[fragment,relative,verbatim]
\context PianoStaff <
- \property PianoStaff.followThread = ##t
+ \property PianoStaff.followVoice = ##t
\context Staff \context Voice {
- c'1
+ c1
\translator Staff=two
b2 a
}
- \context Staff=two {\clef bass; \skip 1*2;}
+ \context Staff=two {\clef bass \skip 1*2 }
>
@end lilypond
-@end quotation
+
+The associated grob is @internalsref{VoiceFollower}.
-@c . {Lyrics}
@node Lyrics
@section Lyrics
@subsection Lyrics mode
@cindex Lyrics mode
-To print lyrics in LilyPond, you must first make a music expression from
-the lyric text. When they're in a music expression, that music
-expression can be printed by selecting an appropriate context. We shall
-discuss lyric printing in this order.
-
+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.
@cindex lyric mode
@cindex @code{\lyrics}
The purpose of this mode is that you can enter lyrics as plain text,
punctuation and accents without any hassle.
-The precise definition of this mode is in @ref{Lyrics mode
-definition}. The definition itself 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.
-
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.
-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.
+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 precise definition of this mode can be found in @ref{Lyrics mode
+definition}.
@c . {Printing lyrics}
@node Printing lyrics
@subsection Printing lyrics
@cindex lyrics
-Normally, you will want to have notes and syllables 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. Lyric syllables must be interpreted within a
-@code{Lyrics} context in order to printing them.
+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 b2 a2
- b2 c4 b4 () a4 g2 }
- \context Lyrics \lyrics {
- Join us now and
- share the so -- ftware; }
+\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 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
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}.
+
@cindex hyphen
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.
+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}.
@cindex Lyric hyphen
@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
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
It is valid (but probably not very useful) to use notes instead of
@cindex phrasing
-If you have multiple stanzas printed underneath each other, the separate
-syllables should be aligned around punctuation. LilyPond can do this if
-you explain it which lyric lines belong to which melody.
+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 name starting with that identity. In the following example, the Voice
+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;
+ \notes \relative c'' \context Voice = duet { \time 3/4
g2 e4 a2 f4 g2. }
\lyrics \context Lyrics <
\context LyricsVoice = "duet-1" {
@end lilypond
You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
-first system) and @code{LyricsVoice.stz} for the following systems.
+first system) and @code{LyricsVoice.stz} for the following
+systems. Notice how you must surround dots with spaces in @code{\lyrics}
+mode.
+
+
+
@cindex stanza numbering
@cindex Chords
LilyPond has support for both entering and printing chords. Chords are
-a harmonic device that is characterized by a set of pitches. It is
-something different from simultaneous music, although you can express a
-chord using simultaneous music. In fact, chords are internally stored as
-simultaneous music expressions. This means you can enter chords by name,
-and print them as note head, or enter as notes and print as chord names:
+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.
@lilypond[verbatim,singleline]
\score {
< \context ChordNames \twoWays
- \context Staff \twoWays > }
+ \context Voice \twoWays > }
@end lilypond
-Note that this example also shows that the LilyPond chord does not
-attempt to be intelligent, if you enter @code{f bes d}, it does no
-attempt to find out whether it this is an inversion.
+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.
@menu
* Chords mode::
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 @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
+@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 it may lower or raise the specified interval. Intervals
-must be separated by a dot (@code{.}).
+chord, and they may lower or raise the specified interval.
Throughout these examples, chords have been shifted around the staff
using @code{\transpose}.
-
-@quotation
-
@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:9 c:9-.5+.7+ c:3-.5-
}
}
-
@end lilypond
-@end quotation
@cindex @code{aug}
@cindex @code{dim}
`@code{maj}' which adds a raised 7th, and `@code{sus}'
which replaces the 5th with a 4th.
-@quotation
-
@lilypond[fragment,verbatim]
\transpose c'' {
\chords {
c1:m c:min7 c:maj c:aug c:dim c:sus
}
}
-
@end lilypond
-@end quotation
Chord subtractions are used to eliminate notes from a chord. The
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
-specified note is not in the chord, a warning will be printed.
+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''' {
@end lilypond
+@refbugs
+Implementation details are quite gory. For example @code{c:4} not only
+adds a fourth, but also removes the third.
@c . {Printing named chords}
@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.
-@quotation
@lilypond[verbatim,singleline]
scheme = \notes {
\chords {a1 b c} <d f g> <e g b>
>
}
@end lilypond
-@end quotation
-You can make the chord changes stand out 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 and at the start of the
-line.
+names when there's a change in the chords scheme and at the start of a
+new line.
-@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 {
\context Staff \transpose c'' \scheme
> }
@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:
-
-[base vs. bass ?]
+an added bass note, which may result in strange chord names when chords
+are entered as a list of pitches:
-@quotation
@lilypond[verbatim,center,singleline]
scheme = \notes {
<c'1 e' g'>
\score {
<
- \context ChordNamesVoice \scheme
+ \context ChordNames \scheme
\context Staff \scheme
>
}
@end lilypond
-@end quotation
-By default LilyPond uses chord name system proposed by Harald Banter
-(See @ref{Literature}). The system is is unambiguous and has a logical
-structure. 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.
+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}.
+@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 {
+ 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 = 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
+ >
+}
+@end lilypond
-[3 short examples showing differences between american, banter and jazz]
@node Writing parts
@section Writing parts
* 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};
- \mark @var{string};
- \mark ;
+ \mark @var{unsigned}
+ \mark @var{string}
+ \mark \default
@end example
-With this command, you can print a rehearsal mark above the system. You
-can provide a number, a string or a markup text as argument. If there is
-no argument, the property @code{rehearsalMark} is used and automatically
-incremented.
+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 ;
- c1 \mark ;
- c1 \mark "12";
- c1 \mark #'(music "scripts-segno") ;
+ c1 \mark "A2"
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark "12"
+ c1 \mark #'(music "scripts-segno")
c1
}
@end lilypond
+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 are printed at the start of the line by default. This is
-done by the @code{Bar_number_engraver} in the Score context.
-@refbugs
+@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
-It is currently not possible to make boxed bar numbers, or print them at
-regular intervals.
+If you want boxed bar numbers, see the example file
+@code{input/test/boxed-molecule.ly}.
+
+@refbugs
+It is not possible to have bar numbers printed at regular intervals
+only.
@node Instrument names
@subsection Instrument names
used, for the next ones @code{instr} is used.
@lilypond[verbatim,singleline]
+ \property Staff.instrument = "ploink " { c''4 }
+@end lilypond
+
+You can also use markup texts to construct more complicated instrument
+names:
+
+
+@lilypond[verbatim,singleline]
+#(define text-flat
+ '((font-relative-size . -2 ) (music "accidentals--1")))
+
\score { \notes {
- \property Staff.instrument = "ploink " { c''4 } }
- \paper {
- \translator { \StaffContext
- \consists "Instrument_name_engraver"; } } }
+ \property Staff.instrument = #`((kern . 0.5) (lines
+ "2 Clarinetti" (columns " (B" ,text-flat ")")))
+ c'' 4 }
+}
@end lilypond
-This requires that you add the @code{Instrument_name_engraver} to the
-staff context.
+@refbugs
+
+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
a tone. The first version will print sharps and the second version
will print flats.
-@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 }
+ \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
-@end quotation
If you want to use both @code{\transpose} and @code{\relative}, then
you must use @code{\transpose} first. @code{\relative} will have no
@node Sound output for transposing instruments
@subsection Sound output transposing instruments
-When you want to play a score containing transposed and untransposed
+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
+ \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 @code{R}
Multi measure rests are entered using `@code{R}'. It is specifically
-meant for entering parts: the rest can expand to fill a score with
+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.*2 \property Score.skipBars = ##t R2.*17 R2.*4
+ \time 3/4 r2. | R2. | R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
@end lilypond
-Currently, there is no way to condense multiple rests into a single
-multimeasure rest.
+Notice that the @code{R2.} is printed as a whole rest, centered in the
+measure.
+
+@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
+a single multimeasure rest.
@cindex condensing rests
@cindex automatic part combining
@cindex part combiner
-Automatic part combining is used to merge two parts of music onto on
-staff in an intelligent way. It is aimed primarily at typesetting Hymns
-and orchestral scores. When the two parts are identical for a period of
-time, only one is shown. In places where the two parts differ, stem
-directions are set automatically. Also, soli and @`{a} due parts can be
-identified and marke.
+
+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.
The syntax for part combining is
@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 @var{context}. The names of the music
-expressions must start with the prefixes @code{one} and @code{two}.
+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}.
-[Name of music expressions? is that context name? ]
-
-The most useful function of the part combiner to combining threads into
+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 \notes\relative c'' {
- g g a b r2
+ \context Thread=one \relative c'' {
+ g a () b r
}
- \context Thread=two \notes\relative c'' {
- g g r2 g4 f4
+ \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 Thread). Also note that stem, slur and tie
-directions are set automatically, depending whether there is a solo or
-unisono.
-
-There is actually a third engraver involved in part combining; the
-@code{Voice_devnull_engraver}. This one takes care of removing
-redundant spanners such as beams, slurs, ties, crescendi, etc. Note that
-the Thread called one always gets up stems, and "solo", while @code{two}
-always gets down stems and "Solo II".
-
-If you just want the splitting of Threads and setting of directions, and
-not the textual markings, you may set the property @var{soloADue} to
-false. There are a number of other properties that you can use to tweak
-the behavior of part combining, refer to the automatically generated
-documentation. Look for @code{Thread_devnull_engraver}
-@code{Voice_engraver} and @code{A2_engraver}.
+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
+
+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}.
+
+@refbugs
+
+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.
+
+@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
@cindex @code{Thread_devnull_engraver}
@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
+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.
-[TODO]@footnote{Harakiri, also called Seppuku, is the ritual suicide of
-the Japanese Samourai warriors.}
+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' <
+ \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
@cindex Custos
@cindex Custodes
-A @emph{custos} (plural: @emph{custodes}; latin word for "guard") is a
+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.
-@quotation
@lilypond[verbatim]
\score {
- \notes { c'1 d' e' d' \break c' d' e' d' }
+ \notes { c'1 \break
+ \property Staff.Custos \set #'style = #'mensural
+ d' }
\paper {
\translator {
\StaffContext
- \consists Custos_engraver;
- Custos \override #'style = #'mensural;
+ \consists Custos_engraver
}
}
}
@end lilypond
-@end quotation
-Custodes were frequently used in music notation until the 16th century.
-There were different appearences for different notation styles.
+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.
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
\paper @{
\translator @{
\StaffContext
- \consists Custos_engraver;
- Custos \override #'style = #'mensural;
+ \consists Custos_engraver
+ Custos \override #'style = #'mensural
@}
@}
@end example
@}
@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
where you want to override its decisions. In this section we discuss
ways to do just that.
-Notation output is specified in 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.
-
+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.
-
-The most common way of tuning the output is to alter the values of these
-properties. There are two ways of doing that: first, you can
-specifically select a set of grobs at one point, and set properties as
-you wish, or secondly, you can (temporarily) modify the definition of a
-grob, thereby affecting an entire group of grobs.
-
-[Todo: onduidelijk]
+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
@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.
+
+
+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 \override #'meta = #'((interfaces . ())) c'4
+c'4 \property Voice.Stem = #'((meta . ((interfaces . ())))) c'4
@end lilypond
-The @code{\property} statement effectively empties the definition of the
-Stem object. One of the effects is that property specifying how it
-should be printed is erased, with the effect of rendering it invisible.
+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:
+
+@example
+ \property Voice.Stem = \turnOff
+@end example
@cindex \override
@cindex \revert
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: you can add a property on top of an existing definition, or
-remove a property: @code{\override} adds a settings, @code{\revert}
-removes that setting.
+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
+ (thickness . 0.8)
+ (beamed-lengths . (0.0 2.5 2.0 1.5))
+ (Y-extent-callback . ,Stem::height)
+ @var{...}
+@end example
+
+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.
+
+
+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.
-For the digirati, the grob description is an Scheme association
-list. Since it is singly linked, 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.
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, if you use @code{\override} and
-@code{\revert}, be sure to balance the overrides and reverts.
+including crashes. In other words, @code{\override} and @code{\revert},
+must be carefully balanced.
+
+These are examples of correct nesting of @code{\override}, @code{\set},
+@code{\revert}.
-If balancing them is too much work, use the @code{\set} shorthand. It
-performs a revert followed by an override:
+A clumsy but correct form:
@example
-\property Voice.Stem \set #'thickness = #2.0
+ \override \revert \override \revert \override \revert
@end example
-Formally the syntax for these constructions 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
-\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}
+ \set \set \set \set @var{to default value}
@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.
+
+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
+
+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.
@refbugs
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.
+
+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}.
+
@cindex \outputproperty
A second way of tuning grobs is the more arcane @code{\outputproperty}
-feature.
-Syntax is as follows
+feature. The syntax is as follows:
@example
\outputproperty @var{predicate} @var{symbol} = @var{value}
@end example
You will need to combine this statement with @code{\context} to select
the appropriate context to apply this to.
-If possible, avoid this feature: the semantics are not very clean, and
-the syntax and semantics are up for rewrite.
+Here are some random examples.
-Here are some random examples:
+
+In the following example, all note heads occurring at current staff
+level, are shifted up and right by setting their @code{extra-offset}
+property.
@lilypond[fragment,verbatim,singleline]
\relative c'' { c4
@cindex @code{extra-offset}
-This selects all note heads occurring at current staff level, and sets
-the @code{extra-offset} of those heads to @code{(0.5,0.75)}, shifting
-them up and right.
-
-Move the text "m.d.", but not the fingering instruction "2".
+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))))
}
@end lilypond
+@refbugs
+
+If possible, avoid this feature: the semantics are not very clean, and
+the syntax and semantics are up for rewrite.
+
@node What to tune?
@subsection What to tune?
-This all tells you how to tune grobs, but what variables are there? The
-question is not answered in this manual (although you may encounter
-some examples.).
+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 are part
-of the generated documentation: this documentation is generated from the
-sourcecode of lily for each version, so it is usually mch more up to
-date than this manual. It should be available from the same place where
-you got this manual.
+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.
To decide how to tune a grob, you need to find the following information
@itemize @bullet
@end itemize
Included with the automatically generated documentation is a master list
-of grobs. Each one can be clicked, taking you to a overview of the
-available properties.
+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.
+
+
+@node Font selection
+@subsection Font selection
+
+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.
+
+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:
+
+@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}
+
+@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}
+
+@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}.
+
+@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.
+
+@item font-design-size
+A number indicating the design size of the font.
+
+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''.
+
+@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.
+
+
+@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
-There is also a master list of contexts. Clicking each takes you to an
-overview of the context, listing which grob types are created there.
+@cindex @code{font-style}
+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}.
+
+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 style sheet provided for other fonts besides the @TeX{}
+family.
+
+@cindex font selection
+@cindex font magnification
+@cindex @code{font-interface}
@node Text markup
form text markup expressions by composing scheme expressions
in the following way.
-
-[BUG]
-
@lilypond[verbatim, singleline]
\relative c' {
- b_#"italic"
- c^#'(upright "upright")
- c_#'((bold upright) "bold")
- d^#'(lines "one" ((bold upright) "two"))
- e_#'(music (named "noteheads-2" "flags-u3"))
+ \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
text: string | (head? text+)
head: markup | (markup+)
-markup-item: property | abbrev | @var{fontstyle}
+markup-item: property | abbrev
property: (@var{key} . @var{value})
-abbrev: @code{rows lines roman music bold italic named super sub text}
+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
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.
-
-The following abbreviations are currently
-defined:
+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
-@item rows
-horizontal mode: set all text on one line (default)
+@item columns
+ horizontal mode: set all text on one line (default)
@item lines
- vertical mode: set every text on new line
+ vertical mode: set every text on a new line
@item roman
select roman font
@item music
- select feta font
+ selects the Feta font (the standard font for music notation glyphs),
+and uses named lookup
+
@item bold
select bold series
@item italic
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
-@var{fontstyle} may be any of @code{finger volta timesig mmrest mark
-script large Large dynamic}
-[wat is het verschil tussen fontstyle en abbrev?]
+@cindex metronome mark
+
+One practical application of complicated markup is to fake a metronome
+marking:
+
+@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")))
+
+\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
+
+@node Invisible grobs
+@subsection Invisible grobs
+@cindex invisible grobs
+
+@ignore
+
+ben nog steeds niet kapot van de informatiedichtheid hier.
+
+--hwn
+
+@end ignore
+
+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:
+
+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 }
+
+\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
+
+A very rigorous way of removing grobs from the whole score is to remove
+the engraver that creates them. For example,
+
+@lilypond[singleline,verbatim]
+\score {\notes { c'4 d'8 e'8 g2 }
+ \paper { \translator {
+ \VoiceContext
+ \remove Stem_engraver
+ } }
+}
+@end lilypond
+@node Dirty tricks
+@subsection Dirty tricks
+@cindex embedded tex
It is possible to use @TeX{} commands in the strings, but this should be
-avoided because this makes it impossible for LilyPond to compute the
+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.
+commands won't work with direct PostScript output (see @ref{PostScript
+output}).
+
+@lilypond[fragment,relative,verbatim]
+ a'^"3 $\\times$ \\`a deux"
+@end lilypond
+
+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.
+
+@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
+
@c . {Page layout}
@node Page layout
@section Page layout
@cindex Page layout
+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.
+
@menu
* Paper block::
* Paper variables::
* Paper size::
* Line break::
* Page break::
+* Output scaling::
@end menu
@c . {Paper block}
where each of the items is one of
@itemize @bullet
- @item An assignment. The assignment must be terminated by a
- semicolon.
+ @item An assignment.
- @item A context definition. See @ref{Notation Contexts} for
+ @item A context definition. See @ref{Interpretation context} for
more information on context definitions.
@item \stylesheet declaration. Its syntax is
@end example
See @file{scm/font.scm} for details of @var{alist}.
-@item an \elementdescriptions declaration.
+ @item an @code{\elementdescriptions} declaration.
@example
\elementdescriptions @var{alist}
@end example
- See @file{scm/grob-description.scm} for details of @var{alist}.
+ See @file{scm/grob-description.scm} for details of
+@var{alist}. This command is not user-serviceable.
@end itemize
@item @code{staffspace}
The distance between two staff lines, calculated from the center
- of the lines. If you want scale independent output, then you should
-use either this or @code{stafflinethickness}
- as a unit for distances you modify.
-
+ of the lines.
+
@cindex @code{linewidth}
@item @code{linewidth}
Sets the width of the lines.
-If set to a negative value, a single
- unjustified line is produced.
+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}
@cindex @code{interscoreline}
@item @code{interscoreline}
- Sets the spacing between systems.
-Not set by default.
+ Sets the spacing between systems. The default is 16pt.
+
@cindex @code{interscorelinefill}
-
-
@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
parameter for other line thicknesses.
@end table
+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
@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{font.scm}.
+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. The new paper size will
-not take effect if the font is not loaded and selected afterwards.
+the default font, then use the 20 point font.
@example
- papersize = "a4"
+ \paper@{ papersize = "a4" @}
\include "paper16.ly"
-
- \score @{
- ...
- \paper @{ \paperSixteen @}
- @}
@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
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 an invisible barline by entering @code{\bar "";}.
+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.
-Similarly, @code{\noBreak} forbids a line break at a certain point.
@cindex @code{\penalty}
The @code{\break} and @code{\noBreak} commands are defined in terms of
the penalty command:
@example
- \penalty @var{int} @code{;}
+ \penalty @var{int}
@end example
This encourages or discourages LilyPond to make a line break at this
@refbugs
The scaling of the @code{\penalty} argument is not well-defined. The
-command is rather kludgy, and slated for rewriting.
+command is rather kludgey, and slated for rewriting.
@c . {Page break}
@node 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. For more
-details, see the example file @file{input/test/between-systems.ly}
+@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
@cindex Sound
LilyPond can produce MIDI output. The performance lacks lots of
-interesting effects, such as swing, articulation, slurring, tieing,
-etc., but it is good enough for proof-hearing the music you enter.
+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}.
-Dynamics and tempo changes are interpreted. [TODO: mention volume
-control/Instrument Equaliser]
+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
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 Instrument}.
+@ref{MIDI instruments}.
@refbugs
If the selected string does not exactly match, then LilyPond uses the
-default piano. It is not possible to select an instrument by number.
-
+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
* 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
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.
- 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}.
-
-This distance is determined without regarding accidentals: a
+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}.
+@code{ceses})
-Entering scales is straightforward in relative mode.
+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}.
-@lilypond[fragment,verbatim,center]
+Entering music that changes octave frequently is easy in relative mode.
+@lilypond[fragment,singleline,verbatim,center]
\relative c'' {
- g a b c d e f g g, g
+ 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. But other notes
+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.
@end lilypond
@cindex @code{\notes}
-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
+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).
@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{|}
+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
-[todo]
+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
-* Notation Contexts::
* Creating contexts::
* Default contexts::
* Context properties::
+* Engravers and performers::
* Changing context definitions::
* Defining new contexts::
@end menu
-@c . {Notation Contexts}
-@node Notation Contexts
-@subsection Notation Contexts
-
-@cindex notation contexts
+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.
-Notation contexts are objects that only exist during a run of LilyPond.
-During the interpretation phase of LilyPond (when lily prints
-"interpreting music"), music a @code{\score} block is interpreted in
-time order, i.e. in much the same order that humans read, play, and
-write music.
-
-During this reading, the notation context is holds the state
-for the current point within the music. It contains information like
+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?
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
-a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
-these can all contain multiple staffs).
-
+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 performance contexts.
+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
of type @var{contexttype} and with name @var{contextname}. If this
context does not exist, it will be created.
-@quotation
-
@lilypond[verbatim,singleline]
\score {
\notes \relative c'' {
}
@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
@node Default contexts
@subsection Default contexts
-Most music expressions don't need @code{\context}: they inherit the
+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.
There are some quirks that you must keep in mind when dealing with
defaults:
-Every top-level music is interpreted by the Score context, in other
+First, every top level music is interpreted by the Score context, in other
words, you may think of @code{\score} working like
@example
\score @{
@}
@end example
-Sequential music follows the contexts of its "children". Take this 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
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
@node Context properties
@subsection Context properties
-Notation contexts can be modified from within the @file{.ly} file. The
-following music expression does that job:
-
+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}
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
\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
-@code{\property \unset} is not the inverse of @code{\property \set}
+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.
@var{context-identifier}
@} @}
@end example
-Then you can add engravers, remove engravers and set context
-properties. The syntax for these operations are respectively
+Then you can add and remove engravers using the following syntax:
@example
\remove @var{engravername}
\consists @var{engravername}
- @var{propname} = @var{value}
@end example
+
Here @var{engravername} is a string, the name of an engraver in the
-system. @var{propname} is a string and @var{value} is a Scheme
-expression.
+system.
+
@lilypond[verbatim,singleline]
\score { \notes {
c'4 c'4 }
\paper {
\translator { \StaffContext
- \consists Instrument_name_engraver;
- instrument = #"foo"
- \remove Clef_engraver;
+ \remove Clef_engraver
} } }
@end lilypond
@cindex engraver
-These type of property assignments happen before interpretation starts,
-so a @code{\property} expression will override any predefined settings.
-
-Engravers are the actual C++ modules that do the work in the
-interpretation phase.
-
-
-There are some pre-defined identifiers to simplify editing translators,
-they are defined in @file{ly/engraver.ly}. These pre-defined
-identifiers are:
-
-@table @code
-@cindex @code{StaffContext}
- @item @code{StaffContext}
- Default Staff context.
-@cindex @code{RhythmicStaffContext}
-
- @item @code{RhythmicStaffContext}
- Default RhythmicStaff context.
-@cindex @code{VoiceContext}
-
- @item @code{VoiceContext}
- Default Voice context.
-@cindex @code{ScoreContext}
-
- @item @code{ScoreContext}
- Default Score context.
+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.
-@cindex @code{HaraKiriStaffContext}
- @item @code{HaraKiriStaffContext}
- Staff context that does not print if it only contains rests. See
-@ref{Hara-kiri staffs}.
-@end table
+ 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 name, specified by @code{\name @var{contextname}}.
- @item A cooperation engraver. This is specified by @code{\type
-@var{typename};}.
+ @item A cooperation module. This is specified by @code{\type
+@var{typename}}.
@end itemize
-
-A context definition has this syntax:
-
+This is an example:
@example
-
- \translator @code{@{}
- @var{translatorinit} @var{translatormodifierlist}
- @code{@}}
-@end example
-
-@var{translatorinit} can be an identifier or
-@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
-where @var{typename} is one of
-
-The cooperation engraver groups other engravers, and specifies how they
-should cooperate. Choices are:
+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}
@item @code{Score_engraver}
This is cooperation module that should be in the top level context,
-and only the toplevel 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 created an embedded
+ @code{Score_engraver}) that is used to create an embedded
`miniscore'.
@end table
-@var{translatormodifierlist} is a list of items where each item is
-one of
+Other modifiers are
@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{;}
+ @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 are put there, and stay there, if a user adds or
- removes engravers. This command is usually not needed for
- end-users.
+ 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} @code{;}
- Add @var{contextname} to the list of context this context can
- contain. The first listed context is the context to create by
- default.
+ @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{\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.
-
- @item @var{propname} @code{=} @var{value} @code{;}
- A property assignment.
+ @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
such an identifier outside of @code{\score}, you must do
@quotation
-
@example
\paper @{
foo = \translator @{ @dots{} @}
- Properties can be preset within the @code{\translator} block
-corresponding to the appropriate context. In this case, the syntax
-is
-
-@example
- @var{propname} @code{=} @var{value}
-@end example
-
-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}.
-
-
@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::
\score @{ @var{musicexpr} @var{outputdefs} @}
@end example
-@var{outputdefs} are zero or more output definitions. If no output
-definition is supplied, the default @code{\paper} block will be added.
+@var{outputdefs} are zero or more output definitions. If none is
+supplied, the default @code{\paper} block will be added.
@subsubsection Default output
Default values for the @code{\paper} and @code{\midi} block are set by
-entering such a block at top-level.
+entering such a block at the top level.
@c . {Header}
@subsubsection Header
@cindex Header
@cindex @code{\header}
-The syntax is
-@example
- \header @{ @var{key1} = @var{val1};
-@cindex @code{ly2dvi}
- @var{key2} = @var{val2}; @dots{} @}
-@end example
+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}
-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.
+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
-
+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}
@subsection Identifiers
@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,
+@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
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
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 this example, a compound
-expression is formed out of the quarter note @code{c} and a quarter note
-@code{d}:
+@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 @}
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]
+
+@lilypond[verbatim,singleline]
#(define (testfunc x)
(if (equal? (ly-get-mus-property x 'text) "foo")
(ly-set-mus-property x 'text "bar"))
x
)
\score { \notes
- \apply #testfunc { c4_"foo" }
+ \apply #testfunc { c'4_"foo" }
}
@end lilypond
-For more information on what is possible, see the @ref{Tricks} and the
-automatically generated documentation.
+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
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:
+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.
-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.
-
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
@cindex @code{\lyrics}
To simplify entering notes, lyrics, and chords, LilyPond has three
-special input modes on top of 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.
+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 expressions
+A mode switch is entered as a compound music expression
@example
@code{\notes} @var{musicexpr}
@code{\chords} @var{musicexpr}
-@code{\lyrics} @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 are just a way to indicate that the
-arguments should be parsed in indicated mode. The modes are treated in
-more detail in the @ref{Note entry}, @ref{Lyrics} and
-@ref{Chords}.
+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}.
-You may nest different input modes.
+Different input modes may be nested.
@c . {Ambiguities}
@node Ambiguities
@itemize @bullet
@item The assignment
- @example
+@example
foo = bar
@end example
-
- can be interpreted as making a string identifier @code{\foo}
+ 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 The assignment
-
- @example
-foo = -6
-@end example
-
- can be interpreted as making an integer identifier
- containing -6, or a Request identifier containing the
- fingering `6' (with neutral direction).
+ containing the syllable `bar'.
@item If you do a nested repeat like
@code{\alternative} belongs. This is the classic if-then-else
dilemma. It may be solved by using braces.
- @item (an as yet unidentified ambiguity :-)
+ @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
@node Lexical details
@section Lexical details
+Even more boring details, now on lexical side of the input parser.
+
@menu
* Comments::
* Direct Scheme::
LilyPond contains a Scheme interpreter (the GUILE library) for
-internal use. In some places Scheme expressions also form valid syntax:
-whereever it is allowed,
+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. If this is used at toplevel, then
-the result is discarded. 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
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.
+a number that is the internal representation of that dimension.
@node Strings
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 tokenizer accepts the following commands. They have no grammatical
-function, hence they can appear anywhere in the input.
+that contains no spaces can be written without the quotes. Strings can
+be concatenated with the @code{+} operator.
@node Main input
@subsection Version information
@cindex @code{\version}
@example
- \version @var{string} ;
+ \version @var{string}
@end example
Specify the version of LilyPond that a file was written for. The
-
-@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