@c Note:
@c
-@c A menu is needed before every deeper *section nesting of @nodes
-@c Run M-x texinfo-all-menus-update
-@c to automagically fill in these menus
-@c before saving changes
+@c A menu is needed before every deeper *section nesting of @node's; run
+@c M-x texinfo-all-menus-update
+@c to automagically fill in these menus before saving changes
+@c FIXME: singular vs. plural: Beams/Beam
-@
@macro refbugs
@strong{BUGS}
@end macro
+@ifhtml
+@macro internalsref{NAME}
+@uref{../lilypond-internals/\NAME\.html,\NAME\}
+@cindex \NAME\
+@end macro
+@macro seeinternals{NAME}
+See @internalsref{\NAME\}
+@end macro
+@end ifhtml
+
+
+@ifnothtml
+@macro seeinternals{NAME}
+@end macro
+@macro internalsref{NAME}
+\NAME\
+@cindex \NAME\
+
+@end macro
+@end ifnothtml
@c .{Reference Manual}
@node Reference Manual
@chapter Reference Manual
+@html
+<!--- @@WEB-TITLE@@=Reference Manual --->
+@end html
+
This document describes GNU LilyPond and its input format. The last
-revision of this document was made for LilyPond 1.3.145.
+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::
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 which are written in 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
During these stages different types of data play the the main role:
during parsing, @strong{Music} objects are created. During the
-interpretation, @strong{context}s are constructed, and with these contexts
+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,
data-structures (music, context, graphical objects) permeates the entire
design of the program.
+@c FIXME: Note entry vs Music entry at top level menu is confusing.
@c . {Note entry}
@node Note entry
@section Note entry
@menu
+* Notes::
* Pitches::
-* Defining pitch names::
+* Rests::
+* Skips::
* Durations::
-* Notes::
-* Easy Notation note heads ::
-* Tie::
+* Ties::
* Tuplets::
-* Rests::
-* Skip::
+* Defining pitch names::
+* Easy Notation note heads ::
@end menu
+@c . {Notes}
+@node Notes
+@subsection Notes
+
+A note specification has the form
+
+@example
+ @var{pitch}[!][?][@var{duration}]
+@end example
+
+The alteration refers to what note is heard, not to whether an
+accidental is printed. This is done depending on the key and context.
+A reminder accidental
+@cindex reminder accidental
+@cindex @code{?}
+can be forced by adding an exclamation mark @code{!} after the pitch. A
+cautionary accidental,
+@cindex cautionary accidental
+@cindex parenthesized accidental
+i.e., an accidental within parentheses can be obtained by adding the
+question mark `@code{?}' after the pitch.
+
+@lilypond[fragment,verbatim,center]
+ cis' d' e' cis' c'? d' e' c'!
+@end lilypond
+
+The grob for a note head is called @internalsref{NoteHead}.
+
+
@c . {Pitches}
@node Pitches
@subsection Pitches
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.
+@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}
@lilypond[]
\score {
\notes \relative c'' {
- a\breve \autoBeamOff
+ a\breve \autoBeamOff
a1 a2 a4 a8 a16 a32 a64 a64
r\longa r\breve
r1 r2 r4 r8 r16 r32 r64 r64
}
@end lilypond
- 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
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.
+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.
-@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
-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.
-
-@lilypond[singleline,verbatim]
-\include "paper23.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, see @ref{Output scaling}.
-
-
-@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 produces the correct 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.
+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.
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 @code{Voice.Tie}.
+The name of the tie grob is @internalsref{Tie}, and it is created in the
+@internalsref{Voice} context.
@refbugs
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 on an 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.
@node 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
-The property @code{tupletSpannerDuration} specifies how long brackets
+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 }
+\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} will print @var{num}:@var{den} instead.
+@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
@cindex @code{tupletNumberFormatFunction}
@cindex tuplet formatting
-Tuplet brackets are printed as @code{TupletBracket} grobs
+Tuplet brackets are printed as @internalsref{TupletBracket} grobs, most
+often in the @internalsref{Voice} context.
+@c . {Defining pitch names}
+@node Defining pitch names
+@subsection Defining pitch names
-@c . {Rests}
-@node Rests
-@subsection Rests
-@cindex Rests
+@cindex defining pitch names
+@cindex pitch names, defining
-Rests are entered like notes, with note name `@code{r}'. The grob is
-@code{Rest}.
+Note names and chord modifiers can be customized for nationalities. The
+syntax is as follows.
+@cindex @code{\pitchnames}
+@cindex @code{\chordmodifiers}
+@example
+ \pitchnames @var{scheme-alist}
+ \chordmodifiers @var{scheme-alist}
+@end example
-@c . {Skip}
-@node Skip
-@subsection Skip
-@cindex Skip
+See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
+specific examples on how to do this.
-@example
- \skip @var{duration}
- s@var{duration}
-@end example
-@cindex @code{\skip}
+@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.
+
+@lilypond[singleline,verbatim]
+\include "paper23.ly"
+\score {
+ \notes { c'2 e'4 f' | g'1 }
+ \paper { \translator { \EasyNotation } }
+}
+@end lilypond
-Skips the amount of time specified by @var{duration}. If no other music
-is played, a gap will be left for the skipped time without any notes
-printed. The shorthand is only available in Note and Chord mode.
+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 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 produces the correct result.
@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}
@end example
@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 @code{KeySignature} grob.
+The printed signature is a @internalsref{KeySignature} grob, typically
+created in @internalsref{Staff} context.
@cindex @code{keySignature}
@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
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 @code{Clef} grob).
+
+Any change in these properties creates a clef (A @internalsref{Clef} grob).
Supported clef-names include
+@c Moved standard clefs to the top /MB
@table @code
@item treble, violin, G, G2
G clef on 2nd line
+@item alto, C
+ C clef on 3rd line
+@item tenor
+ C clef on 4th line
+@item bass, F
+ F clef on 4th line
@item french
- G clef on 1st line
+ 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 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 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:
@table @code
@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}
+ \time @var{n}@code{/}@var{d}
@end example
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
-The property @code{timeSignatureFraction} is used to determine where bar
-lines should be inserted, and how automatic beams should be generated.
+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.
-The grob is @code{TimeSignature}. There are many options for the layout
-of this grob. They are selected through the @code{style} grob
-property. See @file{input/test/time.ly} for examples.
+@c FIXME: this isn't documented except in example?
+See
+@file{input/test/time.ly} for examples.
@c . {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}
@end example
c4 c4 c4
@end lilypond
-The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used to
-achieve the same effect.
+The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used as
+shortcuts.
@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}.
@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.
-@code{Bar_engraver} creates @code{BarLine} grobs.
+@internalsref{BarLine} grobs are created by the @code{Bar_engraver}.
@c . {Polyphony}
@node Polyphony
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 grob property @code{horizontal-shift}
-in @code{NoteColumn}).
+@code{\shiftOnn}, etc. (which sets the grob property @code{horizontal-shift}
+in @internalsref{NoteColumn}).
@lilypond[fragment, verbatim]
\context Staff \notes\relative c''<
@end lilypond
Note head collisions (horizontal shifting of note heads) are handled by
-the @code{NoteCollision} grob. @code{RestCollision} handles vertical
+the @internalsref{NoteCollision} grob. @internalsref{RestCollision} handles vertical
shifting of rests.
-@cindex @code{NoteCollision}
-@cindex @code{RestCollision}
@refbugs
Beams are used to group short notes into chunks that are aligned with
the metrum. LilyPond guesses where beams should be inserted. If you're
not satisfied with the automatic beaming, you can specify which patterns
-to beam automatically. In specific cases, you can also explicitly enter
-beams.
+to beam automatically. In specific cases, you can also enter the beams
+explicitly.
@c . {Automatic beams}
@code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
are defined in @file{scm/auto-beam.scm}.
-Changing the value of @code{autoBeamSettings} is done 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 (wildcards, `@code{* *}' may
-be entered to designate all time signatures), @var{P}/@var{Q} refers to
-the length of the beamed notes (and `@code{* *}' designates notes of any
-length).
+@var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
+*}' designates notes of any length), @var{N}/@var{M} refers to a time
+signature (wildcards, `@code{* *}' may be entered to designate all time
+signatures).
For example, if you want automatic beams to end on every quarter note,
you can use the following:
\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, 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 * *)}.
@c not true
@c Automatic beams can not be put on the last note in a score.
@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.
It is not possible to specify beaming parameters for beams with mixed
durations, that differ from the beaming parameters of all separate
-durations, ie, you'll have to specify manual beams to get:
+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)
In some cases it may be necessary to override LilyPond's automatic
beaming algorithm. For example, the auto beamer will not beam over
rests or bar lines, If you want that, specify the begin and end point
-manually using @code{[} and @code{]}:
+manually using a @code{[} before the first beamed note and a @code{]}
+after the last note:
@lilypond[fragment,relative,verbatim]
\context Staff {
- r4 [r8 g'' a r8] r8 [g | a] r8
+ r4 [r8 g' a r8] r8 [g | a] r8
}
@end lilypond
Whenever an manual beam is busy, the automatic beamer will not produce
@lilypond[fragment,relative,verbatim]
\context Staff {
- [f'8 r16 f g a]
+ [f8 r16 f g a]
[f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
}
@end lilypond
@cindex @code{stemRightBeamCount}
-The beam symbol (grob @code{Voice.Beam}, both for automatic and manual
-beams) can be tweaked through grob-properties @code{height} and
-@code{staff-position}. These specify vertical location and vertical
-span. Both are measured half staff-spaces.
-
+The beam symbol (grob @internalsref{Beam} in @internalsref{Voice}
+context), both for automatic and manual beams) can be tweaked through
+grob-properties @code{height} and @code{staff-position}. These specify
+vertical location and vertical span. Both are measured in half
+staff-spaces, @code{staff-position=0} corresponds to the middle staff
+line.
Set @code{height} to zero, to get horizontal beams:
@lilypond[fragment,relative,verbatim]
\property Voice.Beam \set #'direction = #1
\property Voice.Beam \set #'height = #0
- [a''8 e' d c]
+ [a'8 e' d c]
@end lilypond
Here's how you'd specify a weird looking beam that instead of being
@lilypond[fragment,relative,verbatim]
\property Voice.Beam \set #'staff-position = #4
\property Voice.Beam \set #'height = #-4
- [c'8 c]
+ [c8 c]
@end lilypond
-@cindex @code{default-neutral-direction}
+
+@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 spanner::
+* 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:
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
-@code{Voice.Slur}'s grob-property @code{attachment}. It's value is a
-pair of symbols, specifying the attachment type of the left and right end points.
+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.
@lilypond[fragment,relative,verbatim]
\property Voice.Slur \set #'direction = #1
\property Voice.Stem \set #'length = #5.5
- g''8(g)g4
+ g'8(g)g4
\property Voice.Slur \set #'attachment = #'(stem . stem)
g8(g)g4
@end lilypond
@lilypond[fragment,relative,verbatim]
\property Voice.Stem \set #'direction = #1
\property Voice.Slur \set #'direction = #1
- d'32( d'4 )d8..
+ d32( d'4 )d8..
\property Voice.Slur \set #'attachment = #'(stem . stem)
d,32( d'4 )d8..
@end lilypond
Similarly, the curvature of a slur is adjusted to stay clear of note
heads and stems. When that would increase the curvature too much, the
slur is reverted to its default shape. The threshold for this decision
-is in @code{Voice.Slur}'s grob-property @code{beautiful}. It is loosely
+is in @internalsref{Slur}'s grob-property @code{beautiful}. It is loosely
related to the enclosed area between the slur and the notes. Usually,
the default setting works well, but in some cases you may prefer a
curved slur when LilyPond decides for a vertically moved one. You can
@lilypond[verbatim,singleline,relative]
\property Voice.Beam \override #'direction = #-1
\property Voice.Slur \override #'direction = #1
- c'16( a' f' a a f a, )c,
+ c16( a' f' a a f a, )c,
c( a' f' a a f d, )c
\property Voice.Slur \override #'beautiful = #5.0
c( a' f' a a f d, )c
@code{beautiful} is an arbitrary parameter in the slur formatter.
Useful values can only be determined by trial and error.
-@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 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}. The result is
-@code{Voice.BreathingSign} grob.
+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
@refbugs
- Currently, only tick marks are supported, comma style breath marks are
-not.
+ Currently, only tick marks are supported, not comma style breath marks.
@c . {Tempo}
\tempo @var{duration} = @var{perminute}
@end example
-For example, @code{\tempo 4 = 76;} requests output with 76 quarter notes
+For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
per minute.
@refbugs
-@node Text spanner
-@subsection Text spanner
-@cindex Text spanner
+@node Text spanners
+@subsection Text spanners
+@cindex Text spanners
-Some textual indications, e.g. rallentando, accelerando, often extend
-over a many measures. This is indicated by following the text with a
+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]
@section Ornaments
@cindex Ornaments
@menu
-* Articulation::
+* Articulations::
* Text scripts::
* Grace notes::
* Glissando ::
@end menu
@c . {Articulation}
-@node Articulation
-@subsection Articulation
-@cindex Articulation
+@node Articulations
+@subsection Articulations
+@cindex Articulations
@cindex articulations
@cindex scripts
\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''-\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 {
Usually the @code{\script} keyword is not used directly. Various
helpful identifier definitions appear in @file{script.ly}.
-Grobs for these objects are @code{Script} and @code{Fingering}.
+Grobs for these objects are @internalsref{Script} and @internalsref{Fingering}.
@refbugs
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.
-
-@c FIXME italic, are we sure?
+@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.
+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}.
+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.
@lilypond[fragment,verbatim]
\relative c'' {
\grace c8 c4 \grace { [c16 c16] } c4
- \grace { \property Grace.Stem \override #'flag-style = #'() c16 } c4
+ \grace {
+ \property Voice.Stem \override #'flag-style = #'()
+ c16
+ \property Voice.Stem \revert #'flag-style
+ } c4
}
@end lilypond
-
A grace note expression has duration 0; the next real note is assumed to
be the main note. If you want the note to appear after the main note,
set @code{Voice.graceAlignPosition} to @code{1}.
@refbugs
-
-At present, nesting @code{\grace} notes is not supported. The following
-may cause run-time errors:
-@example
+Nesting @code{\grace} notes is not supported. The following may cause
+run-time errors: @example
@code{\grace @{ \grace c32 c16 @} c4}
@end example
Since the meaning of such a construct is unclear, we don't consider this
Ending a staff or score with grace notes may also generate a run-time
error, since there will be no main note to attach the grace notes to.
-
-The present implementation of grace notes is not robust and generally
-kludgy. We expect it to change after LilyPond 1.4. Syntax changes might
-also be implemented.
-
-
-
@menu
* Glissando ::
* Dynamics::
@cindex @code{\glissando}
-A glissando line (grob @code{Voice.Glissando}) can be requested by attaching a
-@code{\glissando} to a note:
+A glissando line (grob @internalsref{Glissando}) can be requested by
+attaching a @code{\glissando} to a notte:
@lilypond[fragment,relative,verbatim]
- c''-\glissando c'
+ c'-\glissando c'
@end lilypond
@refbugs
@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
+ c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
c2\sf c\rfz
@end lilypond
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
\context Voice {
\property Voice.crescendoText = "cresc."
\property Voice.crescendoSpanner = #'dashed-line
- a''2\mf\< a a \!a
+ a'2\mf\< a a \!a
}
@end lilypond
@cindex diminuendo
-Dynamics are grobs of @code{Voice.DynamicText} and
-@code{Voice.Hairpin}. They are put together on
-@code{Voice.DynamicLineSpanner} to align them vertically.
+Dynamics are grobs of @internalsref{DynamicText} and
+@internalsref{Hairpin}. They are put together on
+@internalsref{DynamicLineSpanner} to align them vertically.
@c . {Repeats}
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. This has no practical use
-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
* Repeat syntax::
* Manual repeat commands::
* Tremolo repeats::
-* Tremolo subdivision::
+* Tremolo subdivisions::
* Measure repeats::
@end menu
}
@end lilypond
+@subsection Unfolding repeats for MIDI output.
+
+@cindex expanding repeats
+
+See @file{input/test/unfold-all-repeats.ly}.
+
+
@refbugs
-Notice that timing information is not rembered at the start of an
+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 @code{Staff.VoltaBracket} grobs.
+Repeats brackets are @internalsref{VoltaBracket} grobs.
@node Tremolo repeats
@subsection Tremolo repeats
}
@end lilypond
-Tremolo beams are @code{Voice.Beam} grobs. Single stem tremolos are
-@code{Voice.StemTremolo}.
+Tremolo beams are @internalsref{Beam} grobs. Single stem tremolos are
+@internalsref{StemTremolo}.
@refbugs
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 signs,
+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]
}
@end lilypond
-The signs are represented by these grobs: @code{Voice.RepeatSlash} and
-@code{Voice.PercentRepeat} and @code{Voice.DoublePercentRepeat}.
+The signs are represented by these grobs: @internalsref{RepeatSlash} and
+@internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
@refbugs
@menu
-* Rhythmic staffs::
+* Rhythmic staves::
@end menu
-@node Rhythmic staffs
-@subsection Rhythmic staffs
+@node Rhythmic staves
+@subsection Rhythmic staves
-Some times 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
+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]
@node Piano music
@section Piano music
-Piano music is an odd type of notation. Piano staffs are two normal
-staffs coupled with a brace. The staffs are largely independent, but
-sometimes voices can cross between the two staffs. The
-@code{PianoStaff} is especially built to handle this cross-staffing
-behavior. In this section we discuss the @code{PianoStaff} and some
+Piano music is an odd type of notation. Piano staves are two normal
+staves coupled with a brace. The staves are largely independent, but
+sometimes voices can cross between the two staves. The
+@internalsref{PianoStaff} is especially built to handle this cross-staffing
+behavior. In this section we discuss the @internalsref{PianoStaff} and some
other pianistic peculiarities.
@menu
* Manual staff switches::
* Pedals::
* Arpeggio::
-* Voice follower line::
+* 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}
@end example
This will switch the interpretation context of @var{musicexp} between a
@var{contexttype} named @code{up} and @code{down}. Typically, you use
-@code{Staff} for @var{contexttype}. The autochanger switches on basis
+@internalsref{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.
@cindex manual staff switches
@cindex staff switch, manual
-Voices can be switched between staffs manually, using the following command:
+Voices can be switched between staves manually, using the following command:
@example
\translator Staff = @var{staffname} @var{music}
@end example
-The string @var{staffname} 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}
@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
These identifiers are shorthands for spanner commands of the types
-@code{Sustain}, @code{UnaCorda} and @code{Sostenuto}:
+@internalsref{Sustain}, @internalsref{UnaCorda} and @internalsref{Sostenuto}:
@lilypond[fragment,verbatim]
c''4 \spanrequest \start "Sustain" c''4
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.
+types. Refer to the generated documentation of @rgrob{PianoPedal} for
+more information.
@refbugs
@lilypond[fragment,relative,verbatim]
- \context Voice <c'\arpeggio e g c>
+ \context Voice <c\arpeggio e g c>
@end lilypond
-When an arpeggio crosses staffs in piano music, you attach an arpeggio
-to the chords in both staffs, and set
+When an arpeggio crosses staves in piano music, you attach an arpeggio
+to the chords in both staves, and set
@code{PianoStaff.connectArpeggios}.
@lilypond[fragment,relative,verbatim]
\context PianoStaff <
\property PianoStaff.connectArpeggios = ##t
- \context Voice = one { <c''\arpeggio e g c> }
+ \context Voice = one { <c'\arpeggio e g c> }
\context Voice = other { \clef bass <c,,\arpeggio e g>}
>
@end lilypond
-This command creates @code{Voice.Arpeggio} grobs. Cross staff arpeggios
-are @code{PianoStaff.Arpeggio}.
+This command creates @internalsref{Arpeggio} grobs. Cross staff arpeggios
+are @code{PianoStaff.Arpeggio}. @internalsref{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
+
+@ignore
+A square bracket on the left indicates that the player should not
+arpeggiate the chord.
+
+@lil ypond[fragment,relative,verbatim]
+ \context PianoStaff <
+ \property PianoStaff.connectArpeggios = ##t
+ \property PianoStaff.Arpeggio \override #'arpeggio-direction = #'bracket
+ \context Voice = one { <c'\arpeggio e g c> }
+ \context Voice = other { \clef bass <c,,\arpeggio e g>}
+ >
+@ e nd lilypond
+@end ignore
+
@refbugs
-@node Voice follower line
-@subsection Voice follower line
+@node Voice follower lines
+@subsection Voice follower lines
@cindex follow voice
@cindex staff switching
\context PianoStaff <
\property PianoStaff.followVoice = ##t
\context Staff \context Voice {
- c'1
+ c1
\translator Staff=two
b2 a
}
>
@end lilypond
-The associated grob is @code{Voice.VoiceFollower}.
+The associated grob is @internalsref{VoiceFollower}.
@node Lyrics
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 is in @ref{Lyrics mode
+The precise definition of this mode can be found in @ref{Lyrics mode
definition}.
@c . {Printing lyrics}
@subsection Printing lyrics
@cindex lyrics
-Lyrics are printed by interpreting them in the @code{Lyrics} context.
+Lyrics are printed by interpreting them in the @internalsref{Lyrics} context.
+@c Maybe more pedagogical to avoid \addlyrics in this first example? /MB
+@c Add tied and beamed melismata too.
@lilypond[verbatim,singleline]
-\addlyrics \notes \relative c' {
- \time 7/4
- \property Staff.automaticMelismata = ##t
- d'2 c4 b2 a2
- b2 c4 b4 () a4 g2 }
- \context Lyrics \lyrics {
- Join us now and
- share the soft- __ ware; }
+\addlyrics
+ \notes \relative c' {
+ \time 7/4
+ \property Staff.automaticMelismata = ##t
+ d'2 c4 b16 ( a g a b a b ) c a2
+ b2 c4 b8 ( a16 g ) a4 g2 }
+ \context Lyrics \lyrics {
+ Join us now __ and
+ share the soft -- ware; }
@end lilypond
Notes and syllable durations are matched automatically. This is
accomplished using @code{\addlyrics}, which is documented in
@ref{Automatic syllable durations}. Setting @code{automaticMelismata} in
-the melody staff will cause slurs to be interpreted as melismata.
+the melody staff will cause tied, slurred or beamed notes to be
+interpreted as melismata.
The Lyric syllables are @code{LyricsVoice.LyricSyllable} grobs.
@cindex 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
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 explain it which lyric lines belong to which melody.
+do this if you tell it which lyric lines belong to which melody.
To this end, give the Voice context an identity, and set the LyricsVoice
to a name starting with that identity followed by a dash.
@cindex Chords
LilyPond has support for both entering and printing chords. Chords are
-a harmonic device that is characterized by a set of pitches. They are
+characterized by a set of pitches. They are
internally stored as simultaneous music expressions. This means you can
enter chords by name and print them as note head, enter them as notes
and print them as chord names, or (the most common case) enter them by
@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.
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.
@lilypond[verbatim]
scheme = \chords {
* Sound output for transposing instruments::
* Multi measure rests::
* Automatic part combining::
-* Hara-kiri staffs::
+* Hara kiri staves::
@end menu
@c . {Rehearsal marks}
@cindex Rehearsal marks
@cindex mark
@cindex @code{\mark}
-@cindex @code{Mark_engraver}
+
@example
\mark @var{unsigned}
}
@end lilypond
-The grob is @code{Score.RehearsalMark}. See
+The grob is @internalsref{RehearsalMark} in @internalsref{Score} context. See
@code{input/test/boxed-molecule.ly} if you need boxes around the marks.
@node Bar numbers
@subsection Bar numbers
-Bar numbers (grob: @code{BarNumber}) are printed at the start of the
-line. See @code{input/test/boxed-molecule.ly} for boxed bar numbers.
+
+@cindex bar numbers
+@cindex measure numbers
+@cindex currentBarNumber
+
+Bar numbers are @internalsref{BarNumber} grobs. They are printed at the
+start of the line. The number itself is a property that can be set by
+modifying the @code{currentBarNumber} property, i.e.
+@example
+ \property Score.currentBarNumber = #217
+@end example
+
+If you want boxed bar numbers, see the example file
+@code{input/test/boxed-molecule.ly}.
@refbugs
\property Staff.instrument = "ploink " { c''4 }
@end lilypond
-This requires that you add the @code{Instrument_name_engraver} to the
-staff context. You can also use markup texts to construct more
-complicated instrument names:
+You can also use markup texts to construct more complicated instrument
+names:
@lilypond[verbatim,singleline]
\score { \notes {
\property Staff.instrument = #`((kern . 0.5) (lines
- "2 Clarinetti" (rows " (B" ,text-flat ")")))
+ "2 Clarinetti" (columns " (B" ,text-flat ")")))
c'' 4 }
- \paper {
- \translator { \StaffContext } } }
+}
@end lilypond
@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.
\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 a
-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 @emph{a due} parts can be
-identified and marke.
+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 context 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}.
-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 \relative c'' {
- g a b r
+ g a () b r
}
\context Thread=two \relative c'' {
- g r2 f4
+ 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. The Thread called @code{one} always gets up stems, and "solo",
-while @code{two} always gets down stems and "Solo II".
+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 splitting of Threads and setting of directions, and
-not the textual markings, you may set the property @var{soloADue} to
-false. This mode can be used to set hymns:
+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 <
>
@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. Look for @code{Thread_devnull_engraver}
-@code{Voice_devnull_engraver} and @code{A2_engraver}.
+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
@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, staffs 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---note
-that it will not disappear when it contains normal rests, you must use
-multi measure rests.
+In orchestral scores, staff lines that only have rests are usually removed.
+This saves some space. LilyPond also supports this through the hara
+kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
+the Japanese Samourai warriors.} staff. This staff commits suicide when
+it finds itself to be empty after the line-breaking process. It will
+not disappear when it contains normal rests, you must use multi measure
+rests.
-The hara kiri staff is specialized version of the Staff context. It is
-available as the context identifier @code{\HaraKiriStaffContext}.
-Observe how the second staff in this example disappears in the second
-line.
+The hara kiri staff is specialized version of the @internalsref{Staff}
+context. It is available as the context identifier
+@code{\HaraKiriStaffContext}. Observe how the second staff in this
+example disappears in the second line.
@lilypond[verbatim]
\score {
@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
@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
}
}
}
@end lilypond
-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
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 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.
+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 ::
* Font selection::
* Text markup::
* Invisible grobs::
-* Embedded TeX::
+* 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 = #'((meta . ((interfaces . ())))) c'4
@end lilypond
The @code{\property} assignment 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 above assignment is available as a standard identifier, lest you
+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
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.
-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.
-
-If balancing them is too much work, use the @code{\set} shorthand. It
-performs a revert followed by an override:
-@example
-\property Voice.Stem \set #'thickness = #2.0
-@end example
Formally the syntax for these constructions is
@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 you want to be
-Correct nesting of @code{\override}, @code{\set}, @code{\revert} is as
-follows
+If you revert a setting which was not set in the first place, then it
+has no effect. However, if the setting was set as a system default, it
+may remove the default value, and this may give surprising results,
+including crashes. In other words, @code{\override} and @code{\revert},
+must be carefully balanced.
+
+These are examples of correct nesting of @code{\override}, @code{\set},
+@code{\revert}.
+
+A clumsy but correct form:
+@example
+ \override \revert \override \revert \override \revert
+@end example
+
+Shorter version of the same:
@example
-\override \set \set \set \set
-\revert
+ \override \set \set \revert
@end example
-This is always correct, but if you know the default value, you can also use
+A short form, using only @code{\set}. This requires you to know the
+default value:
@example
-\set \set \set \set
-\set @var{to default value}
+ \set \set \set \set @var{to default value}
@end example
If there is no default (i.e. by default, the grob property is unset),
then you can use
@example
-\set \set \set \set \set
-\revert
+ \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
@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. Clicking each takes you to an
-overview of the context, listing which grob types are created there.
+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
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 LaTeX's New
+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.
@table @code
@item font-family
- The general class of the typeface. Supported are roman (Computer
-Modern), braces (for piano staff braces), music (the standard music
-font), dynamic (font for dynamic signs) and typewriter
+ 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, a finer gradation than
- font-family. Choices are italic and upright
+ 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
- Symbol indicating the serie of the font. Series form a finer gradation
- than font-shape. Choices are medium and bold.
+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,
Type1 usually come as ``one design fits all sizes''.
@item font-name
- The name of the font, without the design size, eg. @code{cmr},
+ 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.
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: volta, finger, tuplet, timesig, mmrest,
-script, large, Large and dynamic.
+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.
d_#'((bold italic) "ff")
e^#'(dynamic "ff")
f_#'(lines "one" (bold "two"))
- g^#'(music "noteheads-2" "flags-u3")
+ g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
}
@end lilypond
head: markup | (markup+)
markup-item: property | abbrev
property: (@var{key} . @var{value})
-abbrev: @code{rows lines roman music bold italic named super sub text}
- @code{finger volta timesig mmrest mark script large Large dynamic}
+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.
+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 dynamics fontstyle
@end table
-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
-exact length of the string, which may lead to collisions. Also, @TeX{}
-commands won't work with direct PostScript output (see @ref{PostScript
-output}).
@cindex metronome mark
marking:
@lilypond[verbatim]
-#(define note '(rows
+#(define note '(columns
(music "noteheads-2" ((kern . -0.1) "flags-stem"))))
-#(define eight-note `(rows ,note ((kern . -0.1)
+#(define eight-note `(columns ,note ((kern . -0.1)
(music ((raise . 3.5) "flags-u3")))))
#(define dotted-eight-note
- `(rows ,eight-note (music "dots-dot")))
+ `(columns ,eight-note (music "dots-dot")))
\score {
\notes\relative c'' {
- a1^#`((rows (font-relative-size . -1)) ,dotted-eight-note " = 64")
+ a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
}
\paper {
linewidth = -1.
@end ignore
-You can imagine a number of situtations where you would want to make
+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.
a b c b \blanknotes c \unblanknotes d
}
}
-@end lilypond
-
+@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 output is to remove the
-engraver that creates them. For example,
+A very rigorous way of removing grobs from the whole score is to remove
+the engraver that creates them. For example,
-@lilypond[verbatim]
+@lilypond[singleline,verbatim]
\score {\notes { c'4 d'8 e'8 g2 }
\paper { \translator {
\VoiceContext
}
@end lilypond
-
-@node Embedded TeX
-@subsection Embeded TeX
-@cindex embedded tex
+@node Dirty tricks
+@subsection Dirty tricks
@cindex embedded tex
-You can use @TeX{} commands in text scripts, but this should be avoided
-because this makes it impossible for LilyPond to compute the exact
-length of the string, which may lead to collisions. Also, @TeX{}
+It is possible to use @TeX{} commands in the strings, but this should be
+avoided because it makes it impossible for LilyPond to compute the
+exact length of the string, which may lead to collisions. Also, @TeX{}
commands won't work with direct PostScript output (see @ref{PostScript
output}).
@lilypond[fragment,relative,verbatim]
- a''^"3 $\\times$ \\`a deux"
+ a'^"3 $\\times$ \\`a deux"
@end lilypond
-@subsection Embedded PostScript
-@cindex embedded postscript
-@cindex embedded postscript
-
You can also use raw PostScript commands embedded in text scripts. This
-offers ultimate flexibitily, but you'll have to learn the arcane
-PostScript language. Currently, embedded PostScript will @strong{not}
-work with direct PostScript output. Note that all dimensions that you
-use are in @code{staff-space}s.
+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 {
@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::
@itemize @bullet
@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.
@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}
@code{\paper} block is also set.
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}.
@code{papersize} variable at top level. Set it to
the strings @code{a4}, @code{letter}, or @code{legal}. After this
specification, you must set the font as described above. If you want
-the default font, then use the 20 point font. The new paper size will
-not take effect if the font is not loaded and selected afterwards.
+the default font, then use the 20 point font.
@example
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
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 ""}.
-
-Similarly, @code{\noBreak} forbids a line break at a certain point.
+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.
@cindex @code{\penalty}
@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}
@refbugs
+
There is no mechanism to select magnification of particular fonts,
meaning that you don't have access to continuously scaled fonts.
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
necessary .pfa files to LilyPond's .ps output, or upload them to the
printer before printing.
-Titling is not generated.
+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
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 done with the Scheme
+convenient for debugging output routines. This is done with the Scheme
output format
@example
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, tuplets are missing.
+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 make that ASCII Art output has a low priority; it may be
+usefulness gives ASCII Art output a low priority; it may be
dropped in future versions.
@c . {Sound}
is good enough for proof-hearing the music you have entered. Ties,
dynamics and tempo changes are interpreted.
-The MIDI volume is composed of two elements: the current dynamics of the
-voice and the type of musical instrument.
-
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
@file{scm/midi.scm}.
For each type of musical instrument (that MIDI supports), a volume range
-can be defined. This gives you basic equaliser control, which can
+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-equaliser-alist} defined in @file{scm/midi.scm}.
+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
@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
-One of the applications of LilyPond is to enter music from existing
-written or printed material. When you're doing this kind of copying
-work, you can easily make mistakes. This section deals with tricks and
-features that help you enter music, and find and correct mistakes.
+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})
+
+The octave changing marks @code{'} and @code{,} can be added to raise or
+lower the pitch by an extra octave. Upon entering relative mode, an
+absolute starting pitch must be specified that will act as the
+predecessor of the first note of @var{musicexpr}.
Entering music that changes octave frequently is easy in relative mode.
@lilypond[fragment,singleline,verbatim,center]
@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
To use it, you need the following software
-@itemize
+@unnumberedsubsec Installation
+
+@itemize @bullet
@item
@uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
Xdvi} version 22.36 or newer.
@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)
-#(set! point-and-click line-column-location)
@end example
In the emacs startup file (usually @file{~/.emacs}), add the following
(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
-(eg. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
+(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}
-Xdvi must be configured to use the emacs editor. Before starting, set
-the environment variable @code{XEDITOR} to one of these strings. 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 (see above).
+At the top of the @code{ly} file, replace the @code{set!} line with the
+following line
@example
-emacsclient --no-wait +%l %f
-emacsclient --no-wait +%l:%c %f
+#(set! point-and-click line-column-location)
@end example
-Xdvi also must be configured to find the fonts. Refer to the
-xdvi documentation for more information.
-When viewing, control-mousebutton 1 will take you to the originating
-line and column. Control-mousebutton 2 will show all clickable boxes.
+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 dvips, dvips
-will complain about not finding @code{src:X:Y} files. Those complaints are
-harmless, and can be ignored.
+@refbugs
-When using @code{line-colum-location}, the cursor will be one off; it
-will not jump to the exact note that you clicked, but to the next one.
-We hope to fix this before 1.4.
+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
@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
-
-Notation contexts are objects that only exist during a run of LilyPond.
-During the interpretation phase of LilyPond (when it prints
-"interpreting music"), the music expresiion in a @code{\score} block is
+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 music.
+play the music.
-During this interpretation, 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
@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:
-First, 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
-Second, sequential music follows the contexts of its
-``children''. Consider the following 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' } }
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
@refbugs
-The syntax of @code{\unset} is asymetric: @code{\property \unset} is not
+The syntax of @code{\unset} is asymmetric: @code{\property \unset} is not
the inverse of @code{\property \set}.
+@node Engravers and performers
+@subsection Engravers and performers
+
+[TODO]
+
+Basic building blocks of translation are called engravers; they are
+special C++ classes.
+
+
@c . {Context definitions}
@node Changing context definitions
@var{context-identifier}
@} @}
@end example
-Then you can add engravers, remove engravers.
-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}
Here @var{engravername} is a string, the name of an engraver in the
system.
-@example
- @var{propname} = @var{value}
-@end example
@lilypond[verbatim,singleline]
You can also set properties in a translator definition. The syntax is as
follows:
-
-@var{propname} is a string and @var{value} is a Scheme
-expression.
@example
@var{propname} = @var{value}
- @var{propname} \set @var{symbol} = @var{value}
- @var{propname} \override @var{symbol} = @var{value}
- @var{propname} \revert @var{symbol}
-
+ @var{propname} \set @var{grob-propname} = @var{pvalue}
+ @var{propname} \override @var{grob-propname} = @var{pvalue}
+ @var{propname} \revert @var{grob-propname}
@end example
-
-These type of property assignments happen before interpretation starts,
-so a @code{\property} expression will override any predefined settings.
+@var{propname} is a string, @var{grob-propname} a symbol, @var{value}
+and @code{pvalue} are Scheme expressions. These type of property
+assignments happen before interpretation starts, so a @code{\property}
+command will override any predefined settings.
To simplify editing translators, all standard contexts have standard
identifiers called @var{name}@code{Context}, e.g. @code{StaffContext},
-@code{VoiceContext}.
+@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 module. This is specified by @code{\type
-@var{typename};}.
+@var{typename}}.
@end itemize
This is an example:
}@
@end example
-Basic building blocks of translation are called engravers; they are
-special C++ classes.
-
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
@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
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}
- Add @var{contextname} to the list of context this context can
- contain. The first listed context is the context to create by
- default.
+ Add @var{contextname} to the list of contexts this context can
+ contain in the context hierarchy. The first listed context is the
+ context to create by default.
@item @code{\denies}. The opposite of @code{\accepts}. Added for
completeness, but is never used in practice.
@item @code{\name} @var{contextname}
- This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
- the name is not specified, the translator won't do anything.
+ 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
@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 @code{\header}
-A header describes bibilographic information of the file's contents. It
+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,
-metre, arranger, piece and tagline.
+meter, arranger, piece and tagline.
@cindex @code{ly2dvi}
@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
x
)
\score { \notes
- \apply #testfunc { c4_"foo" }
+ \apply #testfunc { c'4_"foo" }
}
@end lilypond
}
@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.
@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 @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
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
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
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