@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}
passing familiarity with how LilyPond input works. New users are
encouraged to study the tutorial first.
-The reference manual is ordered according to different tasks.
-More details on the property setting mechanisms and context handling is
-provided in @ref{Tuning output} and @ref{Interpretation context}. The
-syntactical details are described at the end of the manual.
@menu
-* Overview::
* Note entry::
+* Easier music entry::
* Staff notation::
* Polyphony::
* Beaming::
+* Accidentals::
* Expressive marks::
* Ornaments::
* Repeats::
* Rhythmic music::
* Piano music::
-* Lyrics::
+* Tablatures::
* Chords::
* Writing parts::
-* Custodes::
-* Figured bass::
+* Ancient notation ::
* Tuning output::
-* Page layout::
-* Output formats::
+* Global layout::
* Sound::
-* Music entry::
-* Skipping corrected music::
-* Interpretation context::
-* Syntactic details::
-* Lexical details::
@end menu
-@c . {Overview}
-@node Overview
-@section Overview
-
-
-The purpose of LilyPond is explained informally by the term `music
-typesetter'. This is not a fully correct name: not only does the
-program print musical symbols, it also makes aesthetic decisions.
-Symbols and their placements are @emph{generated} from a high-level
-musical description. In other words, LilyPond would be best described
-by `music compiler' or `music to notation compiler'.
-
-LilyPond is linked to GUILE, GNU's Scheme library for extension
-programming. The Scheme library provides the glue that holds together
-the low-level routines and separate modules which are written in C++.
-
-When lilypond is run to typeset sheet music, the following happens:
-@itemize @bullet
-@item GUILE Initialization: various scheme files are read
-@item parsing: first standard @code{ly} initialization files are read, and
-then the user @file{ly} file is read.
-@item interpretation: the music in the file is processed ``in playing
-order'', i.e. the order that you use to read sheet music, or the
-order in which notes are played. The result of this step is a typesetting
-specification.
-
-@item typesetting:
-The typesetting specification is solved: positions and formatting is
-calculated.
-
-@item the visible results ("virtual ink") are written to the output file.
-@end itemize
-
-During these stages different types of data play the the main role:
-during parsing, @strong{Music} objects are created. During the
-interpretation, @strong{contexts} are constructed, and with these contexts
-a network of @strong{graphical objects} (``grobs'') is created. These
-grobs contain unknown variables, and the network forms a set of
-equations. After solving the equations and filling in these variables,
-the printed output (in the form of @strong{molecules}) is written to an
-output file.
-
-These threemanship of tasks (parsing, translating, typesetting) and
-data-structures (music, context, graphical objects) permeates the entire
-design of the program.
-
@c FIXME: Note entry vs Music entry at top level menu is confusing.
@c . {Note entry}
@node Note entry
@section Note entry
@cindex Note entry
-The most basic forms of music are notes. We discuss how you enter them
-here. Notes on their own don't form valid input, but for the sake of
-brevity we omit obligatory lint such as @code{\score} blocks and
-@code{\paper} declarations.
+The most basic forms of music are notes. Notes on their own don't
+form valid input, but for the sake of brevity we omit @code{\score}
+blocks and @code{\paper} declarations.
@menu
* Notes::
* Pitches::
+* Chromatic alterations::
* Rests::
* Skips::
* Durations::
* Ties::
+* Automatic note splitting ::
* Tuplets::
-* Defining pitch names::
* Easy Notation note heads ::
@end menu
@node Notes
@subsection Notes
-A note specification has the form
-
-@example
- @var{pitch}[!][?][@var{duration}]
-@end example
-
-The alteration refers to what note is heard, not to whether an
-accidental is printed. This is done depending on the key and context.
-A reminder accidental
-@cindex reminder accidental
-@cindex @code{?}
-can be forced by adding an exclamation mark @code{!} after the pitch. A
-cautionary accidental,
-@cindex cautionary accidental
-@cindex parenthesized accidental
-i.e., an accidental within parentheses can be obtained by adding the
-question mark `@code{?}' after the pitch.
-@lilypond[fragment,verbatim,center]
- cis' d' e' cis' c'? d' e' c'!
+A note is printed by specifying its pitch, and then its duration.
+@lilypond[fragment,verbatim]
+ cis'4 d'8 e'16 c'16
@end lilypond
-The grob for a note head is called @internalsref{NoteHead}.
-
-
@c . {Pitches}
@node Pitches
@subsection Pitches
svenska.ly c d e f g a b h -iss -ess
italiano.ly do re mi fa sol la sib si -d -b
catalan.ly do re mi fa sol la sib si -d/-s -b
+espanol.ly do re mi fa sol la sib si -s -b
+
@end example
@cindex @code{'}
c' c'' es' g' as' gisis' ais'
@end lilypond
+@node Chromatic alterations
+@subsection Chromatic alterations
+
+Normally, accidentals are printed automatically, but you may force
+accidentals in the following ways: A reminder accidental
+@cindex reminder accidental
+@cindex @code{?}
+can be forced by adding an exclamation mark @code{!} after the pitch. A
+cautionary accidental,
+@cindex cautionary accidental
+@cindex parenthesized accidental
+i.e., an accidental within parentheses can be obtained by adding the
+question mark `@code{?}' after the pitch.
+
+The automatic production of accidentals can be tuned in many
+ways. Refer to @ref{Accidentals} for more information.
+
@c . {Rests}
@node Rests
@subsection Rests
r1 r2 r4 r8
@end lilypond
-The grob is @internalsref{Rest}. Whole bar rests centered in the bar are
-specified using @code{R}, see @ref{Multi measure rests}.
+Whole bar rests centered in the bar are specified using @code{R}, see
+@ref{Multi measure rests}. See also @seeinternals{Rest}.
For polyphonic music, it can be convenient to specify the rest position
directly. You can do that by entering a note, with the keyword
@cindex Space note
An invisible rest, or skip, can be entered like a note with note name
-`@code{s}':
+@code{s}, or with @code{\skip @var{duration}}:
@lilypond[singleline,verbatim]
-a2 s4 a4 s1 a4
+a2 s4 a4 \skip 1 a4
@end lilypond
-Actually, this is a shorthand for the @code{\skip} command, and it is
+The @code{s} syntax is only available in Note mode and Chord mode.
+In other situations, you should use the @code{\skip} command, and it is
only available in Note mode and Chord mode.
@c FIXME: in lyrics mode, we have " " and _
}
@end lilypond
-Note that the skip does not produce any output, not even transparent output.
+The skip command is merely a empty musical placeholder. It does not
+produce any output, not even transparent output.
@c . {Durations}
@cindex duration
@cindex @code{\duration}
-The syntax for a verbose duration specification is
-@example
- \duration @var{scmduration}
-@end example
-Here, @var{scmduration} is a Scheme object of type @code{Duration}.
-
In Note, Chord, and Lyrics mode, durations may be designated by numbers
and dots: durations are entered as their reciprocal values. For notes
}
@end lilypond
- To get a longa note head, you have to use mensural note heads. This
-is accomplished by setting the @code{style} property of the
-NoteHead grob to @code{mensural}. There is also a note head style
-@code{baroque} which gives mensural note heads for @code{\longa} and
-@code{\breve} but standard note heads for shorter notes.
-
-@lilypond[fragment,singleline,verbatim]
- \property Voice.NoteHead \set #'style = #'mensural
- a'\longa
-@end lilypond
If the duration is omitted then it is set to the previous duration
entered. At the start of parsing a quarter note is assumed. The
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.
+Durations can also be produced through GUILE extension mechanism.
+@lilypond[verbatim,fragment]
+ c\duration #(make-duration 2 1)
+@end lilypond
+
+@refbugs
+
+Dot placement for chords is not perfect. In some cases, dots overlap:
+@lilypond[]
+ \context Voice { <f,4. c'' d e f> }
+@end lilypond
@node Ties
@cindex ties
@cindex @code{~}
-A tie connects two adjacent note heads of the same pitch. When used
-with chords, it connects all the note heads whose pitches match.
-Ties are indicated using the tilde symbol `@code{~}'. If you try to tie
-together chords which have no common pitches then no ties will be
-created.
+A tie connects two adjacent note heads of the same pitch. The tie in
+effect extends the length of a note. A tie is entered with @code{~}.
@lilypond[fragment,verbatim,center]
e' ~ e' <c' e' g'> ~ <c' e' g'>
@end lilypond
-If you dislike the amount of ties created for a chord, you set
-@code{Voice.sparseTies} to true, resulting in a smaller number of
-ties:
+When ties are used with chords, all note heads whose pitches match are
+connected. Ties are indicated using the tilde symbol `@code{~}'. If
+you try to tie together chords which have no common pitches then no
+ties will be created.
+
+If you want less ties created for a chord, you can set
+@code{Voice.sparseTies} to true. In this case, a single tie is used
+for every tied chord.
@lilypond[fragment,verbatim,center]
\property Voice.sparseTies = ##t
<c' e' g'> ~ <c' e' g'>
@lilypond[fragment, singleline]
\time 3/4 c'2. c'2 ~ c'4
@end lilypond
+Ties should not be confused with slurs, which indicate articulation,
+and phrasing slurs, which indicate musical phrasing.
+
+See also @seeinternals{Tie}.
-The name of the tie grob is @internalsref{Tie}, and it is created in the
-@internalsref{Voice} context.
@refbugs
-At present, the tie is implemented as a separate thing, temporally
-located in between the notes. There is also no way to convert
-between tied notes, dotted notes and plain notes.
+At present, the tie is represented as a separate event, temporally
+located in between the notes. Tieing only a subset of the note heads
+of a chord is not supported in a simple way. It can be achieved by
+moving the tie-engraver into the Thread context and turning on and off
+ties per Thread.
+
+Switching staffs when a tie is active will not work.
+
+@node Automatic note splitting
+@subsection Automatic note splitting
+@c FIXME: This subsection doesn't belong in @ref{Note entry}.
-Tieing only a subset of the note heads of a chord is not supported in a
-simple way. It can be achieved by moving the tie-engraver into the Thread
-context and turning on and off ties per Thread.
+There is a facility for automatically converting long notes to tied
+notes. This is done by replacing the @code{Note_heads_engraver} by the
+@code{Completion_heads_engraver}.
+@lilypond[verbatim,center]
+\score{
+ \notes\relative c'{ \time 2/4
+ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
+ }
+ \paper{ \translator{
+ \ThreadContext
+ \remove "Note_heads_engraver"
+ \consists "Completion_heads_engraver"
+ } } }
+@end lilypond
+
+This engraver splits all running notes at the bar line, and inserts
+ties. One of its uses is to debug complex scores: if the measures are
+not entirely filled, then the ties exactly show how much each measure
+is off.
+
+@refbugs
+
+Not all durations (especially those containing tuplets) can be
+represented exactly; the engraver will not insert tuplets.
@node Tuplets
@subsection Tuplets
@code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
instead.
-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 @internalsref{TupletBracket} grobs, most
-often in the @internalsref{Voice} context.
-
-@c . {Defining pitch names}
-@node Defining pitch names
-@subsection Defining pitch names
-
-@cindex defining pitch names
-@cindex pitch names, defining
-
-Note names and chord modifiers can be customized for nationalities. The
-syntax is as follows.
+See also @seeinternals{TupletBracket}.
-@cindex @code{\pitchnames}
-@cindex @code{\chordmodifiers}
-@example
- \pitchnames @var{scheme-alist}
- \chordmodifiers @var{scheme-alist}
-@end example
-
-See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
-specific examples on how to do this.
+@refbugs
+Nested tuplets are not formatted automatically. In this case, outer
+tuplet brackets should be moved automatically.
@node Easy Notation note heads
@subsection Easy Notation note heads
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"
+@lilypond[singleline,verbatim,26pt]
\score {
\notes { c'2 e'4 f' | g'1 }
\paper { \translator { \EasyNotation } }
}
@end lilypond
-Note that @internalsref{EasyNotation} overrides a @internalsref{Score} context. You
-probably will want to print it with magnification to make it more
-readable, see @ref{Output scaling}.
+Note that @code{EasyNotation} overrides a @internalsref{Score} context. You
+probably will want to print it with magnification or a large font size to make it more
+readable.
@cindex Xdvi
@cindex ghostscript
-If you view the result with Xdvi, then staff lines will show through the
-letters. Printing the postscript file obtained either by using dvips or
-the @code{-f ps} option of lilypond produces the correct result.
+If you view the result with Xdvi, then staff lines will show through
+the letters. Printing the PostScript file obtained with ly2dvi does
+produce the correct result.
+@node Easier music entry
+@section Easier music entry
+@cindex Music entry
+@menu
+* Graphical interfaces::
+* Relative octaves::
+* Bar check::
+* Point and click::
+* Skipping corrected music::
+@end menu
-@node Staff notation
-@section Staff notation
+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.
-@cindex Staff notation
+@node Graphical interfaces
+@subsection Graphical interfaces
-@menu
-* Key signature::
-* Clef::
-* Time signature::
-* Unmetered music::
-* Bar lines::
-@end menu
+@cindex GUI
+@cindex graphical interface
+@cindex sequencer
+@cindex RoseGarden
+@cindex Denemo
+@cindex NoteEdit
+@cindex MIDI
-@c . {Key}
-@node Key signature
-@subsection Key signature
-@cindex Key
+One way to avoid entering notes using the keyboard is to use a
+graphical user interface. The following programs are known to have
+a lilypond export option:
-@cindex @code{\key}
+@itemize @bullet
+@item
+Denemo was once intended as
+a LilyPond graphical user interface. It run on Gnome/GTK.
-Setting or changing the key signature is done with the @code{\key}
-command.
-@example
- @code{\key} @var{pitch} @var{type}
-@end example
+@quotation
+@uref{http://denemo.sourceforge.net/}
+@end quotation
-@cindex @code{\minor}
-@cindex @code{\major}
-@cindex @code{\minor}
-@cindex @code{\ionian}
-@cindex @code{\locrian}
-@cindex @code{\aeolian}
-@cindex @code{\mixolydian}
-@cindex @code{\lydian}
-@cindex @code{\phrygian}
-@cindex @code{\dorian}
+@item
+ Noteedit, a graphical score editor that runs under KDE/Qt.
+@quotation
+@uref{http://rnvs.informatik.tu-chemnitz.de/~jan/noteedit/noteedit.html,}
+@end quotation
-Here, @var{type} should be @code{\major} or @code{\minor} to get
-@var{pitch}-major or @var{pitch}-minor, respectively.
-The standard mode names @code{\ionian},
-@code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
-@code{\phrygian}, and @code{\dorian} are also defined.
+@item
+RoseGarden was once the inspiration for naming LilyPond. Nowadays it
+has been rewritten from scratch and supports LilyPond export as of
+version 0.1.6.
-This command sets the context property @code{Staff.keySignature}.
-Non-standard key signatures can be specified by setting this property
-directly.
+@quotation
+@uref{http://rosegarden.sf.net/}
+@end quotation
+@end itemize
-The printed signature is a @internalsref{KeySignature} grob, typically
-created in @internalsref{Staff} context.
+Another option is to enter the music using your favorite MIDI
+sequencer, and then import it using midi2ly. midi2ly is described in
+@ref{Invoking midi2ly}.
-@cindex @code{keySignature}
-@c . {Clef}
-@node Clef
-@subsection Clef
-@cindex @code{\clef}
+@c . {Relative}
+@node Relative octaves
+@subsection Relative octaves
+@cindex Relative
+@cindex relative octave specification
+
+Octaves are specified by adding @code{'} and @code{,} to pitch names.
+When you copy existing music, it is easy to accidentally put a pitch in
+the wrong octave and hard to find such an error. To prevent these
+errors, LilyPond features octave entry.
-The clef can be set or changed with the @code{\clef} command.
+@cindex @code{\relative}
@example
- \clef @var{clefname}
+ \relative @var{startpitch} @var{musicexpr}
@end example
-Shortcut for
+The octave of notes that appear in @var{musicexpr} are calculated as
+follows: If no octave changing marks are used, the basic interval
+between this and the last note is always taken to be a fourth or less
+(This distance is determined without regarding alterations; a
+@code{fisis} following a @code{ceses} will be put above the
+@code{ceses})
-@example
- \property Staff.clefGlyph = @var{glyph associated with clefname}
- \property Staff.clefPosition = @var{clef Y-position for clefname}
- \property Staff.centralCPosition = @var{position for central C}
- \property Staff.clefOctavation = @var{extra transposition of clefname}
-@end example
+The octave changing marks @code{'} and @code{,} can be added to raise or
+lower the pitch by an extra octave. Upon entering relative mode, an
+absolute starting pitch must be specified that will act as the
+predecessor of the first note of @var{musicexpr}.
+Entering music that changes octave frequently is easy in relative mode.
+@lilypond[fragment,singleline,verbatim,center]
+ \relative c'' {
+ b c d c b c bes a
+ }
+@end lilypond
-Any change in these properties creates a clef (A @internalsref{Clef} grob).
+And octave changing marks are used for intervals greater than a fourth.
+@lilypond[fragment,verbatim,center]
+ \relative c'' {
+ c g c f, c' a, e'' }
+@end lilypond
-Supported clef-names include
+If the preceding item is a chord, the first note of the chord is used
+to determine the first note of the next chord. However, other notes
+within the second chord are determined by looking at the immediately
+preceding note.
-@c Moved standard clefs to the top /MB
-@table @code
-@item treble, violin, G, G2
-G clef on 2nd line
-@item alto, C
- C clef on 3rd line
-@item tenor
- C clef on 4th line
-@item bass, F
- F clef on 4th line
-@item french
- G clef on 1st line, so-called French violin clef
-@item soprano
- C clef on 1st line
-@item mezzosoprano
- C clef on 2nd line
-@item baritone
- C clef on 5th line
-@item varbaritone
- F clef on 3rd line
-@item subbass
- F clef on 5th line
-@item percussion
- percussion clef
-@end table
+@lilypond[fragment,verbatim,center]
+ \relative c' {
+ c <c e g>
+ <c' e g>
+ <c, e' g>
+ }
+@end lilypond
+@cindex @code{\notes}
-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
+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).
-Supported associated glyphs (for @code{Staff.clefGlyph}) are:
+The relative conversion will not affect @code{\transpose},
+@code{\chords} or @code{\relative} sections in its argument. If you
+want to use relative within transposed music, you must place an
+additional @code{\relative} inside the @code{\transpose}.
-@table @code
-@item clefs-C
- modern style C clef
-@item clefs-F
- modern style F clef
-@item clefs-G
- modern style G clef
-@item clefs-vaticana_do
- Editio Vaticana style do clef
-@item clefs-vaticana_fa
- Editio Vaticana style fa clef
-@item clefs-medicaea_do
- Editio Medicaea style do clef
-@item clefs-medicaea_fa
- Editio Medicaea style fa clef
-@item clefs-mensural1_c
- modern style mensural C clef
-@item clefs-mensural2_c
- historic style small mensural C clef
-@item clefs-mensural3_c
- historic style big mensural C clef
-@item clefs-mensural1_f
- historic style traditional mensural F clef
-@item clefs-mensural2_f
- historic style new mensural F clef
-@item clefs-mensural_g
- historic style mensural G clef
-@item clefs-hufnagel_do
- historic style hufnagel do clef
-@item clefs-hufnagel_fa
- historic style hufnagel fa clef
-@item clefs-hufnagel_do_fa
- historic style hufnagel combined do/fa clef
-@item clefs-percussion
- modern style percussion clef
-@end table
-@emph{Modern style} means ``as is typeset in current editions.''
-@emph{Historic style} means ``as was typeset or written in contemporary
-historic editions''. @emph{Editio XXX style} means ``as is/was printed in
-Editio XXX.''
+@c . {Bar check}
+@node Bar check
+@subsection Bar check
+@cindex Bar check
-@cindex Vaticana, Editio
-@cindex Medicaea, Editio
-@cindex hufnagel clefs
+@cindex bar check
+@cindex @code{barCheckSynchronize}
+@cindex @code{|}
-@c . {Time signature}
-@node Time signature
-@subsection Time signature
-@cindex Time signature
-@cindex meter
-@cindex @code{\time}
+Whenever a bar check is encountered during interpretation, a warning
+message is issued if it doesn't fall at a measure boundary. This can
+help you find errors in the input. Depending on the value of
+@code{barCheckSynchronize}, the beginning of the measure will be
+relocated, so this can also be used to shorten measures.
-The time signature is set or changed by the @code{\time}
-command. Syntax:
-@example
- \time @var{n}@code{/}@var{d}
-@end example
-Internally, this is a shortcut for doing
+A bar check is entered using the bar symbol, @code{|}:
@example
-\property Score.timeSignatureFraction = #'(@var{n} . @var{d})
-\property Score.beatLength = #(make-moment 1 @var{d})
-\property Score.measureLength = #(make-moment @var{n} @var{d})
+ \time 3/4 c2 e4 | g2.
@end example
-These properties @code{timeSignatureFraction} determine where bar lines
-should be inserted, and how automatic beams should be
-generated.
-Changing the value of @code{timeSignatureFraction} also causes a
-fraction to be printed. This grob is @internalsref{TimeSignature}.
-The actual symbol that's printed can be customized with the style
-property.
-@lilypond[fragment, verbatim, singleline]
-\time 3/4 s2
-\property Staff.TimeSignature \override #'style = #'C
-\time 4/4 s2
-\property Staff.TimeSignature \override #'style = #'()
-\time 4/4 s2
-\property Staff.TimeSignature \override #'style = #'C
-\time 2/2 s2
-@end lilypond
+@cindex skipTypesetting
-There are many more options for the layout of this grob. They are
-selected through the @code{style} grob property.
+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})).
-@c FIXME: this isn't documented except in example?
-See
-@file{input/test/time.ly} for examples.
+@c . {Point and click}
+@node Point and click
+@subsection Point and click
+@cindex poind and click
-@c . {Partial}
-@subsection Partial
-@cindex Partial
-@cindex anacrusis
-@cindex upbeat
-@cindex partial measure
-@cindex measure, partial
-@cindex shorten measures
-@cindex @code{\partial}
+Point and click lets you find notes in the input by clicking on them in
+the Xdvi window. This makes it very easy to find input that causes some
+error in the sheet music.
-Partial measures, for example in upbeats, are entered using the
-@code{\partial} command:
-@example
- \partial @var{duration}
-@end example
+To use it, you need the following software
+@itemize @bullet
+@item A dvi viewer that supports src specials.
+@itemize @bullet
+@item Xdvi, version 22.36 or newer. Available from
+@uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,ftp.math.berkeley.edu}.
-Internally, this is a shortcut for
+ Note that most @TeX{} distributions ship with xdvik, which is always
+ a few versions behind the official Xdvi. To find out which xdvi you
+ are running, try @code{xdvi -version} or @code{xdvi.bin -version}.
+@item KDVI. A dvi viewer for KDE. You need KDVI from KDE 3.0 or
+newer. Enable option @emph{Inverse search} in the menu @emph{Settings}.
-@example
- \property Score.measurePosition = -@var{length of duration}
-@end example
-@cindex @code{|}
+@cindex Xdvi
+@cindex KDVI
+@cindex KDE
-The property @code{measurePosition} contains a rational number
-indicating how much of the measure has passed at this point.
-@node Unmetered music
-@subsection Unmetered music
+@end itemize
+@item An editor with a client/server interface (or a lightweight GUI
+editor).
-Bar lines and bar numbers are calculated automatically. For unmetered
-music (e.g. cadenzas), this is not desirable. The property
-@code{Score.timing} can be used to switch off this automatic timing
+@cindex editor
-@lilypond[fragment,relative,singleline,verbatim]
-c'2.
-\property Score.timing = ##f
-c2
-\property Score.timing = ##t
-c4 c4 c4
-@end lilypond
+@itemize @bullet
+@item Emacs. Emacs is an extensible text-editor. It is available from
+@uref{http://www.gnu.org/software/emacs/}. You need version 21 to use
+column location.
-The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used as
-shortcuts.
+@c move this elsewhere?
+LilyPond also comes with support files for emacs: lilypond-mode for
+emacs provides indentation, syntax coloring and handy compile
+short-cuts. If lilypond-mode is not installed on your platform, then
+refer to the installation instructions for more information
+@cindex emacs
+@cindex emacs mode
+@cindex lilypond-mode for emacs
+@cindex syntax coloring
-@c . {Bar lines}
-@node Bar lines
-@subsection Bar lines
-@cindex Bar lines
+@item XEmacs. Xemacs is very similar to emacs.
-@cindex @code{\bar}
-@cindex measure lines
-@cindex repeat bars
+@cindex XEmacs
-@example
- \bar @var{bartype}
-@end example
+@item NEdit. NEdit runs under Windows, and Unix.
+ It is available from @uref{http://www.nedit.org}.
-This is a shortcut for doing
-@example
- \property Score.whichBar = @var{bartype}
-@end example
-The following bar types are available
+@cindex NEdit
-@lilypond[fragment, relative, singleline, verbatim]
-c4
-\bar "|" c
-\bar "" c
-\bar "|:" c
-\bar "||" c
-\bar ":|" c
-\bar ".|" c
-\bar ".|." c
-\bar "|."
-@end lilypond
+@item GVim. GVim is a GUI variant of VIM, the popular VI
+clone. It is available from @uref{http://www.vim.org}.
+@cindex GVim
+@cindex Vim
-You are encouraged to use @code{\repeat} for repetitions. See
-@ref{Repeats}.
+@end itemize
+@end itemize
-@cindex Bar_line_engraver
-@cindex whichBar
-@cindex repeatCommands
-@cindex defaultBarType
+Xdvi must be configured to find the @TeX{} fonts and music
+fonts. Refer to the Xdvi documentation for more information.
-Whenever @code{whichBar} is set to a string, a bar line of that type is
-created. @code{whichBar} is usually set automatically: at the start of
-a measure it is set to @code{defaultBarType}. The contents of
-@code{repeatCommands} is used to override default measure bars.
+To use point-and-click, add one of these lines to the top of your .ly
+file.
+@example
+#(set-point-and-click! 'line)
+@end example
+@cindex line-location
-@code{whichBar} can also be set directly, using @code{\property} or
-@code{\bar }. These settings take precedence over the automatic
-@code{whichBar} settings.
+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.
-@internalsref{BarLine} grobs are created by the @code{Bar_engraver}.
+If you correct large files with point-and-click, be sure to start
+correcting at the end of the file. When you start at the top, and
+insert one line, all following locations will be off by a line.
-@c . {Polyphony}
-@node Polyphony
-@section Polyphony
-@cindex polyphony
+@cindex Emacs
+For using point-and-click with emacs, add the following
+In your emacs startup file (usually @file{~/.emacs}),
+@example
+(server-start)
+@end example
-Polyphonic parts, i.e. parts with more than one voice on a staff can be
-typeset with LilyPond.
+Make sure that the environment variable @var{XEDITOR} is set to
+@example
+emacsclient --no-wait +%l %f
+@end example
+@cindex @var{XEDITOR}
+If you use xemacs instead of emacs, you use @code{(gnuserve-start)} in
+your @file{.emacs}, and set @code{XEDITOR} to @code{gnuclient -q +%l %f}
+
+For using Vim, set @code{XEDITOR} to @code{gvim --remote +%l %f}, or use this
+argument with xdvi's @code{-editor} option.
+@cindex NEdit
+For using NEdit, set @code{XEDITOR} to @code{nc -noask +%l %f}, or
+use this argument with xdvi's @code{-editor} option.
+
+If can also make your editor jump to the exact location of the note
+you clicked. This is only supported on Emacs. Users of version 20 must
+apply the patch @file{emacsclient.patch}. Users of version 21 must
+apply @file{server.el.patch} (version 21.2 and earlier). At the top
+of the @code{ly} file, replace the @code{set!} line with the following
+line,
+@example
+#(set-point-and-click! 'line-column)
+@end example
+@cindex line-colomn-location
+and set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}.
-The easiest way to enter such fragments, is the Scheme function
-@code{voicify-music}. It will split chords using the separator
-@code{\\}, to make multiple voices. You can use it for small,
-short-lived voices (make a chord of voices) or for single chords:
+@refbugs
-@lilypond[verbatim,fragment]
-\context Voice = VA \apply #voicify-music \relative c'' {
- c4 < { f d e } \\ { b c2 } > c4 < g' \\ c, \\ f \\ d >
-}
-@end lilypond
+When you convert the @TeX{} file to PostScript using @code{dvips}, it
+will complain about not finding @code{src:X:Y} files. These complaints
+are harmless, and can be ignored.
-The function @code{voicify-music} instantiates @internalsref{Voice}
-contexts, bearing the names @code{"1"}, @code{"2"}, etc.
+@node Skipping corrected music
+@subsection Skipping corrected music
-To explicity typeset polyphonic music, instantiate a separate Voice
-context for each part, and assign a stem direction to each part.
-@c
-@lilypond[fragment,verbatim]
-\context Staff
-< \context Voice = VA { \stemUp b'4 a' g' f' e' }
- \context Voice = VB { \stemDown g'4 g' g' g' g' } >
+The property @code{Score.skipTypesetting} can be used to switch on and
+off typesetting completely during the interpretation phase. When
+typesetting is switched off, the music is processed much more quickly.
+You can use this to skip over the parts of a score that you have already
+checked for errors.
+
+@lilypond[fragment,singleline,verbatim]
+\relative c'' { c8 d
+\property Score.skipTypesetting = ##t
+ e f g a g c, f e d
+\property Score.skipTypesetting = ##f
+c d b bes a g c2 }
@end lilypond
-When there are more than two voices on a staff, you must also indicate
-which voice should moved horizontally in case of a collision. This can
-be done with the identifiers @code{\shiftOff}, @code{\shiftOn},
-@code{\shiftOnn}, etc. (which sets the grob property @code{horizontal-shift}
-in @internalsref{NoteColumn}).
-@lilypond[fragment, verbatim]
- \context Staff \notes\relative c''<
- \context Voice=one {
- \shiftOff \stemUp e4
- }
- \context Voice=two {
- \shiftOn \stemUp cis
- }
- \context Voice=three {
- \shiftOnn \stemUp ais
- }
- \context Voice=four {
- \shiftOnnn \stemUp fis
- }
- >
-@end lilypond
-The most convenient way is to use the identifiers @code{\voiceOne}
-through @code{\voiceFour}, which also set slur and tie directions in the
-correct manner.
-@lilypond[singleline, verbatim]
-\relative c''
-\context Staff < \context Voice = VA { \voiceOne cis2 b }
- \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
- \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
-@end lilypond
+@node Staff notation
+@section Staff notation
-Normally, note heads with a different number of dots are not merged, but
-if you set the grob property @code{merge-differently-dotted}, they are:
+This section deals with music notation that occurs on staff level,
+such as keys, clefs and time signatures.
-@lilypond[verbatim,fragment,singleline]
- \context Staff <
- \context Voice = VA { \voiceOne
- g'8 g'8
- \property Staff.NoteCollision \override #'merge-differently-dotted = ##t
- g'8 g'8
- }
- \context Voice = VB { \voiceTwo [g'8. f16] [g'8. f'16] }
- >
-@end lilypond
+@cindex Staff notation
-LilyPond also vertically shifts rests that are opposite of a stem.
+@menu
+* Staff symbol::
+* Key signature::
+* Clef::
+* Time signature::
+* Unmetered music::
+* Bar lines::
+@end menu
-@lilypond[singleline,verbatim]
-\context Staff <
-\context Voice { \stemUp c''4 }
-\context Voice =VB { r4 }
->
-@end lilypond
+@node Staff symbol
+@subsection Staff symbol
-Note head collisions (horizontal shifting of note heads) are handled by
-the @internalsref{NoteCollision} grob. @internalsref{RestCollision}
-handles vertical shifting of rests.
+@cindex adjusting staff symbol
+@cindex StaffSymbol, using \property
+@cindex staff lines, setting number of
+The lines of the staff symbol are formed by the
+@internalsref{StaffSymbol} grob. This grob is created at the moment
+that their context is created. You can not change the appearance of
+the staff symbol by using @code{\override} or @code{\set}. At the
+moment that @code{\property Staff} is interpreted, a Staff context is
+made, and the StaffSymbol is created before any @code{\override} is
+effective. You can deal with this either overriding properties in a
+@code{\translator} definition, or by using @code{\outputproperty}.
@refbugs
-Resolving collisions is a very intricate subject, and LilyPond only
-handles a few situations. When it can not cope, you are advised to use
-@code{force-hshift} of the NoteColumn grob and @code{staff-position} of
-the Rest grob to override typesetting decisions.
+If you end a staff half way a piece, the staff symbol may not end
+exactly on the barline.
-@node Beaming
-@section Beaming
-Beams are used to group short notes into chunks that are aligned with
-the metrum. LilyPond guesses where beams should be inserted. If you're
-not satisfied with the automatic beaming, you can specify which patterns
-to beam automatically. In specific cases, you can also enter the beams
-explicitly.
+@c . {Key}
+@node Key signature
+@subsection Key signature
+@cindex Key
+@cindex @code{\key}
-@c . {Automatic beams}
-@subsection Automatic beams
+Setting or changing the key signature is done with the @code{\key}
+command.
+@example
+ @code{\key} @var{pitch} @var{type}
+@end example
-@cindex @code{Voice.autoBeamSettings}
-@cindex @code{(end * * * *)}
-@cindex @code{(begin * * * *)}
+@cindex @code{\minor}
+@cindex @code{\major}
+@cindex @code{\minor}
+@cindex @code{\ionian}
+@cindex @code{\locrian}
+@cindex @code{\aeolian}
+@cindex @code{\mixolydian}
+@cindex @code{\lydian}
+@cindex @code{\phrygian}
+@cindex @code{\dorian}
+Here, @var{type} should be @code{\major} or @code{\minor} to get
+@var{pitch}-major or @var{pitch}-minor, respectively.
+The standard mode names @code{\ionian},
+@code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
+@code{\phrygian}, and @code{\dorian} are also defined.
-In normal time signatures, automatic beams can start on any note but can
-only end in a few positions within the measure: beams can end on a beat,
-or at durations specified by the properties in
-@code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
-are defined in @file{scm/auto-beam.scm}.
+This command sets the context property @code{Staff.keySignature}.
+Non-standard key signatures can be specified by setting this property
+directly.
-The value of @code{autoBeamSettings} is changed using
-@code{\override} and unset using @code{\revert}:
-@example
-\property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
-\property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
-@end example
-Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
-whether the rule applies to begin or end-points. The quantity
-@var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
-*}' designates notes of any length), @var{N}/@var{M} refers to a time
-signature (wildcards, `@code{* *}' may be entered to designate all time
-signatures).
+The printed signature is a @internalsref{KeySignature} grob, typically
+created in @internalsref{Staff} context.
-For example, if you want automatic beams to end on every quarter note,
-you can use the following:
+@cindex @code{keySignature}
+
+@c . {Clef}
+@node Clef
+@subsection Clef
+@cindex @code{\clef}
+
+The clef can be set or changed with the @code{\clef} command:
+@lilypond[fragment,verbatim]
+ \key f\major c''2 \clef alto g'2
+@end lilypond
+
+Supported clef-names include
+@c Moved standard clefs to the top /MB
+@table @code
+@item treble, violin, G, G2
+G clef on 2nd line
+@item alto, C
+ C clef on 3rd line
+@item tenor
+ C clef on 4th line
+@item bass, F
+ F clef on 4th line
+@item french
+ G clef on 1st line, so-called French violin clef
+@item soprano
+ C clef on 1st line
+@item mezzosoprano
+ C clef on 2nd line
+@item baritone
+ C clef on 5th line
+@item varbaritone
+ F clef on 3rd line
+@item subbass
+ F clef on 5th line
+@item percussion
+ percussion clef
+@end table
+
+By adding @code{_8} or @code{^8} to the clef name, the clef is
+transposed one octave down or up, respectively. Note that you have to
+enclose @var{clefname} in quotes if you use underscores or digits in the
+name. For example,
@example
-\property Voice.autoBeamSettings \override
- #'(end * * * *) = #(make-moment 1 4)
+ \clef "G_8"
@end example
-Since the duration of a quarter note is 1/4 of a whole note, it is
-entered as @code{(make-moment 1 4)}.
-The same syntax can be used to specify beam starting points. In this
-example, automatic beams can only end on a dotted quarter note.
+The grob for this symbol is @internalsref{Clef}.
+
+
+This command is equivalent to setting @code{clefGlyph},
+@code{clefPosition} (which controls the Y position of the clef),
+@code{centralCPosition} and @code{clefOctavation}. A clef is created
+when any of these properties are changed.
+
+
+@c . {Time signature}
+@node Time signature
+@subsection Time signature
+@cindex Time signature
+@cindex meter
+@cindex @code{\time}
+
+The time signature is set or changed by the @code{\time}
+command.
+@lilypond[fragment,verbatim]
+ \time 2/4 c'2 \time 3/4 c'2.
+@end lilypond
+
+The actual symbol that's printed can be customized with the @code{style}
+property. Setting it to @code{#'()} uses fraction style for 4/4 and
+2/2 time.
+
+
+The grob for this symbol is @internalsref{TimeSignature}. There are
+many more options for its layout. They are selected through the
+@code{style} grob property. See @file{input/test/time.ly} for more
+examples.
+
+This command sets the property @code{timeSignatureFraction},
+@code{beatLength} and @code{measureLength}. The property
+@code{timeSignatureFraction} determine where bar lines should be
+inserted, and how automatic beams should be generated. Changing the
+value of @code{timeSignatureFraction} also causes a time signature
+symbol to be printed.
+
+@c . {Partial}
+@subsection Partial
+@cindex Partial
+@cindex anacrusis
+@cindex upbeat
+@cindex partial measure
+@cindex measure, partial
+@cindex shorten measures
+@cindex @code{\partial}
+
+Partial measures, for example in upbeats, are entered using the
+@code{\partial} command:
+@lilypond[fragment,verbatim]
+\partial 4* 5/16 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
+@end lilypond
+
+The syntax for this command is
@example
-\property Voice.autoBeamSettings \override
- #'(end * * * *) = #(make-moment 3 8)
+ \partial @var{duration}
@end example
-In 4/4 time signature, this means that automatic beams could end only on
-3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
-3/8 has passed within the measure).
-
-You can also restrict rules to specific time signatures. A rule that
-should only be applied in @var{N}/@var{M} time signature is formed by
-replacing the second asterisks by @var{N} and @var{M}. For example, a
-rule for 6/8 time exclusively looks like
+This is internally translated into
@example
-\property Voice.autoBeamSettings \override
- #'(begin * * 6 8) = ...
+ \property Score.measurePosition = -@var{length of duration}
@end example
+@cindex @code{|}
+The property @code{measurePosition} contains a rational number
+indicating how much of the measure has passed at this point.
-If you want a rule to apply to certain types of beams, you can use the
-first pair of asterisks. Beams are classified according to the shortest
-note they contain. For a beam ending rule that only applies to beams
-with 32nd notes (and no shorter notes), you would use @code{(end 1
-32 * *)}.
-@c not true
-@c Automatic beams can not be put on the last note in a score.
+@node Unmetered music
+@subsection Unmetered music
-If a score ends while an automatic beam has not been ended and is still
-accepting notes, this last beam will not be typeset at all.
+Bar lines and bar numbers are calculated automatically. For unmetered
+music (e.g. cadenzas), this is not desirable. The commands
+@code{\cadenzaOn} and @code{\cadenzaOff} can be used to switch off the
+timing information:
-@cindex automatic beam generation
-@cindex autobeam
-@cindex @code{Voice.noAutoBeaming}
+@lilypond[fragment,relative,singleline,verbatim]
+c'2.
+\cadenzaOn
+c2
+\cadenzaOff
+c4 c4 c4
+@end lilypond
+
+The property @code{Score.timing} can be used to switch off this
+automatic timing
+
+@c . {Bar lines}
+@node Bar lines
+@subsection Bar lines
+@cindex Bar lines
+
+@cindex @code{\bar}
+@cindex measure lines
+@cindex repeat bars
+
+Bar lines are inserted automatically, but if you need a special type
+of barline, you can force one using the @code{\bar} command:
+@lilypond[fragment,verbatim] c4 \bar "|:" c4
+@end lilypond
+
+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}.
+
+In scores with many staffs, the barlines are automatically placed at
+top level, and they are connected between different staffs of a
+@internalsref{StaffGroup}:
+@lilypond[fragment, verbatim]
+< \context StaffGroup <
+ \context Staff = up { e'4 d'
+ \bar "||"
+ f' e' }
+ \context Staff = down { \clef bass c4 g e g } >
+\context Staff = pedal { \clef bass c2 c2 } >
+@end lilypond
+
+The grobs that are created at @internalsref{Staff} level. The name is
+@internalsref{BarLine}.
+
+The command @code{\bar @var{bartype}} is a short cut for
+doing @code{\property Score.whichBar = @var{bartype}}
+Whenever @code{whichBar} is set to a string, a bar line of that type is
+created. @code{whichBar} is usually set automatically: at the start of
+a measure it is set to @code{defaultBarType}. The contents of
+@code{repeatCommands} is used to override default measure bars.
+
+@code{whichBar} can also be set directly, using @code{\property} or
+@code{\bar }. These settings take precedence over the automatic
+@code{whichBar} settings.
+
+
+@cindex Bar_line_engraver
+@cindex whichBar
+@cindex repeatCommands
+@cindex defaultBarType
+
+
+
+@c . {Polyphony}
+@node Polyphony
+@section Polyphony
+@cindex polyphony
+
+The easiest way to enter such fragments with more than one voice on a
+staff is to split chords using the separator @code{\\}. You can use
+it for small, short-lived voices (make a chord of voices) or for
+single chords:
+
+@lilypond[verbatim,fragment]
+\context Voice = VA \relative c'' {
+ c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f \\ d >
+}
+@end lilypond
+
+The separator causes @internalsref{Voice} contexts to be instantiated,
+bearing the names @code{"1"}, @code{"2"}, etc.
+
+Sometimes, it is necessary to instantiate these contexts by hand: For
+Instantiate a separate Voice context for each part, and use
+@code{\voiceOne}, up to @code{\voiceFour} to assign a stem directions
+and horizontal shift for each part.
+@c
-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.
+@lilypond[singleline, verbatim]
+\relative c''
+\context Staff < \context Voice = VA { \voiceOne cis2 b }
+ \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
+ \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
+@end lilypond
+
+The identifiers @code{\voiceOne} to @code{\voiceFour} set directions
+ties, slurs and stems, and set shift directions.
+
+If you want more than four voices, you can also manually set
+horizontal shifts and stem directions, as is shown in the following example:
+@lilypond[fragment, verbatim]
+ \context Staff \notes\relative c''<
+ \context Voice=one {
+ \shiftOff \stemUp e4
+ }
+ \context Voice=two {
+ \shiftOn \stemUp cis
+ }
+ \context Voice=three {
+ \shiftOnn \stemUp ais
+ }
+ \context Voice=four {
+ \shiftOnnn \stemUp fis
+ }
+ >
+@end lilypond
+
+
+Normally, note heads with a different number of dots are not merged, but
+if you set the grob property @code{merge-differently-dotted}, they are:
+@lilypond[verbatim,fragment,singleline]
+\context Voice < {
+ g'8 g'8
+ \property Staff.NoteCollision \override
+ #'merge-differently-dotted = ##t
+ g'8 g'8
+ } \\ { [g'8. f16] [g'8. f'16] }
+ >
+@end lilypond
+
+Similarly, you can merge half note heads with eighth notes, by setting
+@code{merge-differently-headed}:
+@lilypond[fragment, relative=2,verbatim]
+\context Voice < {
+ c8 c4.
+ \property Staff.NoteCollision
+ \override #'merge-differently-headed = ##t
+ c8 c4. } \\ { c2 c2 } >
+@end lilypond
+
+LilyPond also vertically shifts rests that are opposite of a stem.
+
+@lilypond[singleline,fragment,verbatim]
+\context Voice < c''4 \\ r4 >
+@end lilypond
+
+See also @internalsref{NoteCollision} and @internalsref{RestCollision}
@refbugs
-It is not possible to specify beaming parameters for beams with mixed
-durations, that differ from the beaming parameters of all separate
-durations, i.e., you'll have to specify manual beams to get:
-@lilypond[fragment,singleline,relative]
- \property Voice.autoBeamSettings
- \override #'(end * * * *) = #(make-moment 3 8)
- \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
+Resolving collisions is a very intricate subject, and LilyPond only
+handles a few situations. When it can not cope, you are advised to use
+@code{force-hshift} of the @internalsref{NoteColumn} grob and pitched
+rests to override typesetting decisions.
+
+@node Beaming
+@section Beaming
+
+Beams are used to group short notes into chunks that are aligned with
+the metrum. They are inserted automatically in most cases.
+
+@lilypond[fragment,verbatim, relative=2]
+\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
@end lilypond
-It is not possible to specify beaming parameters that act differently in
-different parts of a measure. This means that it is not possible to use
-automatic beaming in irregular meters such as @code{5/8}.
+If you're not satisfied with the automatic beaming, you can enter the
+beams explicitly. If you have beaming patterns that differ from the
+defaults, you can also set the patterns for automatic beamer.
+
+See also @internalsref{Beam}.
@c . {Manual beams}
@cindex Automatic beams
r4 [r8 g' a r8] r8 [g | a] r8
}
@end lilypond
-Whenever an manual beam is busy, the automatic beamer will not produce
-anything.
@cindex @code{stemLeftBeamCount}
Normally, beaming patterns within a beam are determined automatically.
When this mechanism fouls up, the properties
-@code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}. can
+@code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
be used to control the beam subdivision on a stem. If you set either
-property, it's value will be used only once, and then it is erased.
+property, its value will be used only once, and then it is erased.
@lilypond[fragment,relative,verbatim]
\context Staff {
@end lilypond
@cindex @code{stemRightBeamCount}
-The beam symbol (grob @internalsref{Beam} in @internalsref{Voice}
-context), both for automatic and manual beams) can be tweaked through
-grob-properties @code{height} and @code{staff-position}. These specify
-vertical location and vertical span. Both are measured in half
-staff-spaces, @code{staff-position=0} corresponds to the middle staff
-line.
-
-Set @code{height} to zero, to get horizontal beams:
-
-@lilypond[fragment,relative,verbatim]
- \property Voice.Beam \set #'direction = #1
- \property Voice.Beam \set #'height = #0
- [a'8 e' d c]
-@end lilypond
-
-Here's how you'd specify a weird looking beam that instead of being
-horizontal, falls two staff spaces:
-
-[FIXME]
+The property @code{subdivideBeams} can be set in order to subdivide
+all 16th or shorter beams at beat positions. This accomplishes the
+same effect as twiddling with @code{stemLeftBeamCount} and
+@code{stemRightBeamCount}, but it take less typing.
-@lilypond[fragment,relative,verbatim]
- \property Voice.Beam \set #'staff-position = #4
- \property Voice.Beam \set #'height = #-4
- [c8 c]
+@example
+[c16 c c c c c c c]
+\property Voice.subdivideBeams = ##t
+[c16 c c c c c c c]
+[c32 c c c c c c c c c c c c c c c]
+\property Score.beatLength = #(make-moment 1 8)
+[c32 c c c c c c c c c c c c c c c]
+@end example
+@lilypond[]
+\score {
+ \notes \relative c' {
+ [c16 c c c c c c c]
+ \property Voice.subdivideBeams = ##t
+ [c16 c c c c c c c]
+ [c32 c c c c c c c c c c c c c c c]
+ \property Score.beatLength = #(make-moment 1 8)
+ [c32 c c c c c c c c c c c c c c c]
+ }
+}
@end lilypond
+@cindex subdivideBeams
+
+Kneed beams are inserted automatically, when a large gap between two
+adjacent beamed notes is detected. This behavior can be tuned through
+the grob property @code{auto-knee-gap}.
+
+@cindex beams, kneed
+@cindex kneed beams
+@cindex auto-knee-gap
+@cindex hara kiri
-[TODO: doc autokneeing ? ]
@c TODO -> why this ref? Document?
@cindex @code{neutral-direction}
+@refbugs
+
+Auto knee beams can not be used together with hara kiri staffs.
+
+[TODO from bugs]
+
+The Automatic beamer does not put @strong{unfinished} beams on the
+last notes of a score.
+
+Formatting of ties is a difficult subject. LilyPond often does not
+give optimal results.
+
+@menu
+* Setting automatic beam behavior ::
+@end menu
+
+@ignore
+@no de Beam typography
+@sub section Beam typography
+
+One of the strong points of LilyPond is how beams are formatted. Beams
+are quantized, meaning that the left and right endpoints beams start
+exactly on staff lines. Without quantization, small wedges of white
+space appear between the beam and staff line, and this looks untidy.
+
+Beams are also slope-damped: melodies that go up or down should also
+have beams that go up or down, but the slope of the beams should be
+less than the slope of the notes themselves.
+
+Some beams should be horizontal. These are so-called concave beams.
+
+[TODO: some pictures.]
+@end ignore
+
+@c . {Automatic beams}
+@node Setting automatic beam behavior
+@subsection Setting automatic beam behavior
+
+@cindex @code{autoBeamSettings}
+@cindex @code{(end * * * *)}
+@cindex @code{(begin * * * *)}
+@cindex automatic beams, tuning
+@cindex tuning automatic beaming
+
+In normal time signatures, automatic beams can start on any note but can
+only end in a few positions within the measure: beams can end on a beat,
+or at durations specified by the properties in
+@code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
+are defined in @file{scm/auto-beam.scm}.
+
+The value of @code{autoBeamSettings} is changed using
+@code{\override} and unset using @code{\revert}:
+@example
+\property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
+\property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
+@end example
+Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
+whether the rule applies to begin or end-points. The quantity
+@var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
+*}' designates notes of any length), @var{N}/@var{M} refers to a time
+signature (wildcards, `@code{* *}' may be entered to designate all time
+signatures).
+
+For example, if you want automatic beams to end on every quarter note,
+you can use the following:
+@example
+\property Voice.autoBeamSettings \override
+ #'(end * * * *) = #(make-moment 1 4)
+@end example
+Since the duration of a quarter note is 1/4 of a whole note, it is
+entered as @code{(make-moment 1 4)}.
+
+The same syntax can be used to specify beam starting points. In this
+example, automatic beams can only end on a dotted quarter note.
+@example
+\property Voice.autoBeamSettings \override
+ #'(end * * * *) = #(make-moment 3 8)
+@end example
+In 4/4 time signature, this means that automatic beams could end only on
+3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
+3/8 has passed within the measure).
+
+You can also restrict rules to specific time signatures. A rule that
+should only be applied in @var{N}/@var{M} time signature is formed by
+replacing the second asterisks by @var{N} and @var{M}. For example, a
+rule for 6/8 time exclusively looks like
+@example
+\property Voice.autoBeamSettings \override
+ #'(begin * * 6 8) = ...
+@end example
+
+If you want a rule to apply to certain types of beams, you can use the
+first pair of asterisks. Beams are classified according to the shortest
+note they contain. For a beam ending rule that only applies to beams
+with 32nd notes (and no shorter notes), you would use @code{(end 1
+32 * *)}.
+
+@c not true
+@c Automatic beams can not be put on the last note in a score.
+
+If a score ends while an automatic beam has not been ended and is still
+accepting notes, this last beam will not be typeset at all.
+
+@cindex automatic beam generation
+@cindex autobeam
+@cindex @code{Voice.autoBeaming}
+@cindex lyrics
+
+For melodies that have lyrics, you may want to switch off
+automatic beaming. This is done by setting @code{Voice.autoBeaming} to
+@code{#f}.
+
+
+@refbugs
+
+It is not possible to specify beaming parameters for beams with mixed
+durations, that differ from the beaming parameters of all separate
+durations, i.e., you'll have to specify manual beams to get:
+
+@lilypond[singleline,fragment,relative,noverbatim]
+ \property Voice.autoBeamSettings
+ \override #'(end * * * *) = #(make-moment 3 8)
+ \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
+@end lilypond
+It is not possible to specify beaming parameters that act differently in
+different parts of a measure. This means that it is not possible to use
+automatic beaming in irregular meters such as @code{5/8}.
+
+@node Accidentals
+@section Accidentals
+@cindex Accidentals
+This section describes how to change the way that LilyPond automatically
+inserts accidentals before the running notes.
+
+@menu
+* Using the predefined accidental macros::
+* Defining your own accidental typesettings::
+@end menu
+
+@node Using the predefined accidental macros
+@subsection Using the predefined accidental macros
+The constructs for describing the accidental typesetting rules are
+quite hairy, so non-experts should stick to the macros defined in
+@file{ly/property-init.ly}.
+@cindex @file{property-init.ly}
+
+The macros operate on the ``Current'' context (see @ref{Context properties}). This
+means that the macros shuold normally be invoked right after the
+creation of the context in which the accidental typesetting described
+by the macro is to take effect. I.e. if you want to use
+piano-accidentals in a pianostaff then you issue
+@code{\pianoAccidentals} first thing after the creation of the piano
+staff:
+@example
+\score @{
+ \notes \relative c'' <
+ \context Staff = sa @{ cis4 d e2 @}
+ \context GrandStaff <
+ \pianoAccidentals
+ \context Staff = sb @{ cis4 d e2 @}
+ \context Staff = sc @{ es2 c @}
+ >
+ \context Staff = sd @{ es2 c @}
+ >
+@}
+@end example
+@lilypond[singleline]
+\score {
+ \notes \relative c'' <
+ \context Staff = sa { cis4 d e2 }
+ \context GrandStaff <
+ \pianoAccidentals
+ \context Staff = sb { cis4 d e2 }
+ \context Staff = sc { es2 c }
+ >
+ \context Staff = sd { es2 c }
+ >
+ \paper {
+ \translator {
+ \StaffContext
+ minimumVerticalExtent = #'(-4.0 . 4.0)
+ }
+ }
+}
+@end lilypond
+
+The macros are:
+@table @code
+@item \defaultAccidentals
+ @cindex @code{\defaultAccidentals}
+ This is the default typesetting behaviour. It should correspond
+ to 18th century common practice: Accidentals are
+ remembered to the end of the measure in which they occur and
+ only on their own octave.
+
+@item \voiceAccidentals
+ @cindex @code{\voiceAccidentals}
+ The normal behaviour is to remember the accidentals on
+ Staff-level.
+ This macro, however, typesets accidentals individually for each
+ voice.
+ Apart from that the rule is similar to
+ @code{\defaultAccidentals}.
+
+ Warning: This leads to some weird and often unwanted results
+ because accidentals from one voice DO NOT get cancelled in other
+ voices:
+@lilypond[singleline,relative,fragment,verbatim]
+ \context Staff <
+ \voiceAccidentals
+ \context Voice=va { \voiceOne es g }
+ \context Voice=vb { \voiceTwo c, e }
+ >
+@end lilypond
+ Hence you should only use @code{\voiceAccidentals}
+ if the voices are to be read solely by
+ individual musicians. if the staff should be readable also
+ by one musician/conductor then you should use
+ @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
+ instead.
+
+@item \modernAccidentals
+ @cindex @code{\modernAccidentals}
+ This rule should correspond to the common practice in the 20th
+ century.
+ The rule is a bit more complex than @code{\defaultAccidentals}:
+ You get all the same accidentals, but temporary
+ accidentals also get cancelled in other octaves. Further more,
+ in the same octave, they also get cancelled in the following measure:
+@lilypond[singleline,fragment,verbatim]
+ \modernAccidentals
+ cis' c'' cis'2 | c'' c'
+@end lilypond
+
+@item \modernCautionaries
+ @cindex @code{\modernCautionaries}
+ This rule is similar to @code{\modernAccidentals}, but the
+ ``extra'' accidentals (the ones not typeset by
+ @code{\defaultAccidentals}) are typeset as cautionary accidentals
+ (i.e. in reduced size):
+@lilypond[singleline,fragment,verbatim]
+ \modernCautionaries
+ cis' c'' cis'2 | c'' c'
+@end lilypond
+
+@item \modernVoiceAccidentals
+ @cindex @code{\modernVoiceAccidentals}
+ Multivoice accidentals to be read both by musicians playing one voice
+ and musicians playing all voices.
+
+ Accidentals are typeset for each voice, but they ARE cancelled
+ across voices in the same @internalsref{Staff}.
+
+@item \modernVoiceCautionaries
+ @cindex @code{\modernVoiceCautionaries}
+ The same as @code{\modernVoiceAccidentals}, but with the
+ extra accidentals (the ones not typeset by
+ @code{\voiceAccidentals}) typeset as cautionaries.
+ Notice that even though all accidentals typeset by
+ @code{\defaultAccidentals} ARE typeset by this macro then some
+ of them are typeset as cautionaries.
+
+@item \pianoAccidentals
+ @cindex @code{\pianoAccidentals}
+ 20th century practice for piano notation. Very similar to
+ @code{\modernAccidentals} but accidentals also get cancelled
+ across the staves in the same @internalsref{GrandStaff} or
+ @internalsref{PianoStaff}.
+
+@item \pianoCautionaries
+ @cindex @code{\pianoCautionaries}
+ As @code{\pianoAccidentals} but with the extra accidentals
+ typeset as cationaries.
+
+@item \noResetKey
+ @cindex @code{\noResetKey}
+ Same as @code{\defaultAccidentals} but with accidentals lasting
+ ``forever'' and not only until the next measure:
+@lilypond[singleline,fragment,verbatim,relative]
+ \noResetKey
+ c1 cis cis c
+@end lilypond
+
+@item \forgetAccidentals
+ @cindex @code{\forgetAccidentals}
+ This is sort of the opposite of @code{\noResetKey}: Accidentals
+ are not remembered at all - and hence all accidentals are
+ typeset relative to the key signature, regardless of what was
+ before in the music:
+@lilypond[singleline,fragment,verbatim,relative]
+ \forgetAccidentals
+ \key d\major c4 c cis cis d d dis dis
+@end lilypond
+@end table
+
+@node Defining your own accidental typesettings
+@subsection Defining your own accidental typesettings
+
+This section must be considered gurus-only, and hence it must be
+sufficient with a short description of the system and a reference to
+the internal documentation.
+
+The idea of the algorithm is to try several different rules and then
+use the rule that gives the highest number of accidentals.
+Each rule cosists of
+@table @asis
+@item Context:
+ In which context is the rule applied. I.e. if context is
+ @internalsref{Score} then all staves share accidentals, and if
+ context is @internalsref{Staff} then all voices in the same
+ staff share accidentals, but staves don't - like normally.
+@item Octavation:
+ Whether the accidental changes all octaves or only the current
+ octave.
+@item Lazyness:
+ Over how many barlines the accidental lasts.
+ If lazyness is @code{-1} then the accidental is forget
+ immidiately, and if lazyness is @code{#t} then the accidental
+ lasts forever.
+@end table
+
+As described in the internal documentation of
+@reng{Accidental_engraver}, the properties @code{autoAccidentals} and
+@code{autoCautionaries} contain lists of rule descriptions. Notice
+that the contexts must be listed from in to out - that is
+@internalsref{Thread} before @internalsref{Voice},
+@internalsref{Voice} before @internalsref{Staff}, etc.
+see the macros in @file{ly/property-init.ly} for examples of how the
+properties are set.
+
+@refbugs
+
+Currently the simultaneous notes are considered to be entered in
+sequential mode. This means that in a chord the accidentals are
+typeset as if the notes in the chord happened one at a time - in the
+order in which they appear in the input file.
+
+Of course this is only a problem when you have simultainous notes
+which accidentals should depend on each other.
+Notice that the problem only occurs when using non-default accidentals
+- as the default accidentals only depend on other accidentals on the
+same staff and same pitch and hence cannot depend on other
+simultainous notes.
+
+This example shows two examples of the same music giving different
+accidentals depending on the order in which the notes occur in the
+input file:
+
+@lilypond[singleline,fragment,verbatim]
+\property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
+cis'4 <c'' c'> r2 | cis'4 <c' c''> r2 | <cis' c''> r | <c'' cis'> r |
+@end lilypond
+
+The only solution is to manually insert the problematic
+accidentals using @code{!} and @code{?}.
+
@node Expressive marks
@section Expressive marks
@node Slurs
@subsection Slurs
-@cindex slurs
+@cindex Slurs
A slur indicates that notes are to be played bound or @emph{legato}.
They are entered using parentheses:
-
@lilypond[fragment,verbatim,center]
f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
@end lilypond
+See also @seeinternals{Slur}.
Slurs avoid crossing stems, and are generally attached to note heads.
However, in some situations with beams, slurs may be attached to stem
the attachment type of the left and right end points.
@lilypond[fragment,relative,verbatim]
- \property Voice.Slur \set #'direction = #1
+ \slurUp
\property Voice.Stem \set #'length = #5.5
g'8(g)g4
\property Voice.Slur \set #'attachment = #'(stem . stem)
stems might look better:
@lilypond[fragment,relative,verbatim]
- \property Voice.Stem \set #'direction = #1
- \property Voice.Slur \set #'direction = #1
+ \stemUp \slurUp
d32( d'4 )d8..
\property Voice.Slur \set #'attachment = #'(stem . stem)
d,32( d'4 )d8..
@end lilypond
-
+@ignore
Similarly, the curvature of a slur is adjusted to stay clear of note
heads and stems. When that would increase the curvature too much, the
-slur is reverted to its default shape. The threshold for this decision
-is in @internalsref{Slur}'s grob-property @code{beautiful}. It is loosely
-related to the enclosed area between the slur and the notes. Usually,
-the default setting works well, but in some cases you may prefer a
-curved slur when LilyPond decides for a vertically moved one. You can
-indicate this preference by increasing the @code{beautiful} value:
-
-@lilypond[verbatim,singleline,relative]
- \property Voice.Beam \override #'direction = #-1
- \property Voice.Slur \override #'direction = #1
+slur is reverted to its default shape. The threshold for this
+decision is in @internalsref{Slur}'s grob-property @code{beautiful}.
+It is loosely related to the enclosed area between the slur and the
+notes. Usually, the default setting works well, but in some cases you
+may prefer a curved slur when LilyPond decides for a vertically moved
+one. You can indicate this preference by increasing the
+@code{beautiful} value:
+
+@lilyp ond[verbatim,singleline,relative]
+ \stemDown \slurUp
c16( a' f' a a f a, )c,
c( a' f' a a f d, )c
\property Voice.Slur \override #'beautiful = #5.0
c( a' f' a a f d, )c
@end lilypond
+@end ignore
@refbugs
-@code{beautiful} is an arbitrary parameter in the slur formatter.
-Useful values can only be determined by trial and error.
+Producing nice slurs is a difficult problem, and LilyPond currently
+uses a simple, empiric method to produce slurs. In some cases, the
+results of this method are ugly.
+
+@ignore
+This is reflected by the
+@code{beautiful} property, which it is an arbitrary parameter in the
+slur formatter. Useful values can only be determined by trial and
+error.
+@end ignore
@cindex Adjusting slurs
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 @internalsref{PhrasingSlur}, in
-@internalsref{Voice} context.
+slur. See also @seeinternals{PhrasingSlur}.
+
@node Breath marks
@subsection Breath marks
-Breath marks are entered using @code{\breathe}. The result is a
-@internalsref{BreathingSign} grob in @internalsref{Voice} context.
+Breath marks are entered using @code{\breathe}. See also
+@seeinternals{BreathingSign}.
@lilypond[fragment,relative]
c'4 \breathe d4
@end lilypond
-
-
-@refbugs
-
-The current layout of the default comma style breath marks
-could be improved and more optional symbols should be added to the
-font.
-
-
-
@c . {Tempo}
@node Tempo
@subsection Tempo
@cindex ornaments
A variety of symbols can appear above and below notes to indicate
-different characteristics of the performance. These symbols can be
-added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
-are defined in @file{script.ly}. Symbols can be forced to appear above
-or below the note by writing `@var{note}@code{^\}@var{name}' and
-`@var{note}@code{_\}@var{name}' respectively. Here is a chart showing
-symbols on notes, with the name of the corresponding symbol appearing
-underneath.
+different characteristics of the performance. They are added to a note
+by adding a dash and the the character signifying the
+articulation. They are demonstrated here.
+@lilypond[singleline]
+ \score {
+ \notes \context Voice {
+ \property Voice.TextScript \set #'font-family = #'typewriter
+ \property Voice.TextScript \set #'font-shape = #'upright
+ c''4-._"c-." s4
+ c''4--_"c-{}-" s4
+ c''4-+_"c-+" s4
+ c''4-|_"c-|" s4
+ c''4->_"c->" s4
+ c''4-^_"c-\\^{ }" s4
+ c''4-__"c-\_" s4
+ }
+ }
+@end lilypond
+
+The script is automatically placed, but if you need to force
+directions, you can use @code{_} to force them down, or @code{^} to
+put them up:
+@lilypond[fragment, verbatim]
+ c''4^^ c''4_^
+@end lilypond
+
+
+Other symbols can be added using the syntax
+@var{note}@code{-\}@var{name}. Again, they can be forced up or down
+using @code{^} and @code{_}.
+
+@cindex accent
+@cindex marcato
+@cindex staccatissimo
+@cindex fermata
+@cindex stopped
+@cindex staccato
+@cindex portato
+@cindex tenuto
+@cindex upbow
+@cindex downbow
+@cindex foot marks
+@cindex organ pedal marks
+@cindex turn
+@cindex open
+@cindex flageolet
+@cindex reverseturn
+@cindex trill
+@cindex prall
+@cindex mordent
+@cindex prallprall
+@cindex prallmordent
+@cindex prall, up
+@cindex prall, down
+@cindex mordent
+@cindex thumb marking
+@cindex segno
+@cindex coda
@lilypond[]
\score {
<
- \property Score.LyricSyllable \override #'font-family =#'typewriter
- \property Score.LyricSyllable \override #'font-shape = #'upright
+ \property Score.LyricText \override #'font-family =#'typewriter
+ \property Score.LyricText \override #'font-shape = #'upright
\context Staff \notes {
c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
- c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
+ c''-\stopped c''-\staccato c''-\tenuto c''-\portato
+ 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
}
\context Lyrics \lyrics {
accent__ marcato__ staccatissimo__ fermata
- stopped__ staccato__ tenuto__ upbow
+ stopped__ staccato__ tenuto__ portato
+ upbow
downbow__ lheel__ rheel__ ltoe
rtoe__ turn__ open__ flageolet
reverseturn__ trill__ prall__ mordent
}
@end lilypond
-To save typing work, some shorthands are available:
-@lilypond[singleline]
- \score {
- \notes \context Voice {
- \property Voice.TextScript \set #'font-family = #'typewriter
- \property Voice.TextScript \set #'font-shape = #'upright
- c''4-._"c-." s4
- c''4--_"c-{}-" s4
- c''4-+_"c-+" s4
- c''4-|_"c-|" s4
- c''4->_"c->" s4
- c''4-^_"c-\\^{ }" s4
- }
- }
-@end lilypond
@cindex fingering
-Fingering instructions can also be entered in this shorthand. For
-changes, some markup texts would be needed:
+Fingering instructions can also be entered in this shorthand. For
+finger changes, use markup texts:
+@c
@lilypond[verbatim, singleline, fragment]
c'4-1 c'4-2 c'4-3 c'4-4
c^#'(finger "2-3")
@cindex superscript
@cindex subscript
-You can add scripts by editing @file{scm/script.scm}. This file contains
-a table, listing script definitions and aliases. The following syntax
-accesses a script definition from the table:
-
-@example
- \script @var{alias}
-@end example
-
-Usually the @code{\script} keyword is not used directly. Various
-helpful identifier definitions appear in @file{script.ly}.
-
-Grobs for these objects are @internalsref{Script} and @internalsref{Fingering}.
+See also @seeinternals{Script} and @seeinternals{Fingering}.
@refbugs
@code{c^"text"}.
By default, these indications do not influence the note spacing, but
-by setting the grob property @code{no-spacing-rods} to false, the
-widths will be taken into account. The identifier @code{\fatText} is
-defined in the standard includes.
-@lilypond[fragment,singleline,verbatim] \relative c' { c4^"longtext"
-\fatText c4_"longlongtext" c4 }
+by using the command @code{\fatText}, the widths will be taken into
+account.
+@c
+@lilypond[fragment,singleline,verbatim] \relative c' {
+c4^"longtext" \fatText c4_"longlongtext" c4 }
@end lilypond
+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.
+@c (see @ref{PostScript output}).
+
Text scripts are created in form of @internalsref{TextScript} grobs, in
-@internalsref{Voice} context.
+@internalsref{Voice} context.
@ref{Text markup} describes how to change the font or access
special symbols in text scripts.
+
@c . {Grace notes}
@node Grace notes
@subsection Grace notes
+@cindex @code{\grace}
+@cindex ornaments
+@cindex grace notes
+Grace notes are ornaments are written out ornaments
+@lilypond[relative=2,verbatim,ifragment]
+ c4 \grace c16 c4 \grace { [c16 d16] } c4
+@end lilypond
+In normal notation, grace notes are supposed to take up no logical
+time in a measure. Such an idea is practical for normal notation, but
+is not strict enough to put it into a program. The model that LilyPond
+uses for grace notes internally is that all timing is done in two
+steps:
+Every point in musical time consists of two rational numbers: one
+denotes the logical time, one denotes the grace timing. The above
+example is shown here with timing tuples.
-@cindex Grace music
-@cindex @code{\grace}
-@cindex ornaments
-@cindex grace notes
-@cindex @code{graceAlignPosition}
+@lilypond[]
+\score { \notes \relative c''{
+ c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
+ [c16_"(2/4,-1/8)" d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
+ }
+\paper { linewidth = 8.\cm }
+}
+@end lilypond
+
+The advantage of this approach is that you can use almost any lilypond
+construction together with grace notes, for example slurs and clef
+changes may appear halfway in between grace notes:
+
+@lilypond[relative=2,verbatim,fragment]
+ c4 \grace { [ c16 c, \clef bass c, b(] } )c4
+@end lilypond
+
+The placement of these grace notes is synchronized between different
+staffs, using this grace timing.
+
+@lilypond[relative=2,verbatim,fragment]
+< \context Staff = SA { e4 \grace { c16 d e f } e4 }
+ \context Staff = SB { c4 \grace { g8 b } c4 } >
+@end lilypond
-Grace notes are ornaments that are written out, but do not take up any
-logical time in a measure. LilyPond has limited support for grace notes.
-The syntax is as follows.
-@example
- \grace @var{musicexpr}
-@end example
Unbeamed eighth notes and shorter by default have a slash through the
-stem.
+stem. This can be controlled with grob property @code{flag-style} of
+@internalsref{Stem}. The change in formatting is accomplished by
+inserting @code{\startGraceMusic} before handling the grace notes, and
+@code{\stopGraceMusic} after finishing the grace notes. You can add to
+these definitions to globally change grace note formatting. The
+standard definitions are in @file{ly/grace-init.ly}.
+
@lilypond[fragment,verbatim]
\relative c'' \context Voice {
}
@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}.
+If you want to end a note with a grace note, then the standard trick
+is to put the grace notes before a phantom ``space note'', e.g.
+@lilypond[fragment,verbatim, relative=2]
+\context Voice {
+ < { d1^\trill ( }
+ { s2 \grace { [c16 d] } } >
+ )c4
+}
+@end lilypond
+
@refbugs
-Nesting @code{\grace} notes is not supported. The following may cause
-run-time errors: @example
- @code{\grace @{ \grace c32 c16 @} c4}
-@end example
-Since the meaning of such a construct is unclear, we don't consider this
-a loss. Similarly, juxtaposing two @code{\grace} sections is
-syntactically valid, but makes no sense and may cause runtime errors.
-Ending a staff or score with grace notes may also generate a run-time
-error, since there will be no main note to attach the grace notes to.
+Grace note synchronization can also lead to surprises. Staff notation,
+such as key signatures, barlines, etc. are also synchronized. Take
+care when you mix staffs with grace notes and staffs without.
+
+@lilypond[relative=2,verbatim,fragment]
+< \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
+ \context Staff = SB { c4 \bar "|:" d4 } >
+@end lilypond
+
+Grace sections should only be used within sequential music
+expressions. Nesting, juxtaposing, or ending sequential music with a
+grace section is not supported, and might produce crashes or other
+errors.
@menu
* Glissando ::
@cindex @code{\glissando}
-A glissando line (grob @internalsref{Glissando}) can be requested by
-attaching a @code{\glissando} to a notte:
+A glissando line can be requested by attaching a @code{\glissando} to
+a note:
@lilypond[fragment,relative,verbatim]
c'-\glissando c'
@refbugs
Printing of an additional text (such as @emph{gliss.}) must be done
-manually.
+manually. See also @seeinternals{Glissando}.
You can also use a text saying @emph{cresc.} instead of hairpins. Here
is an example how to do it:
+@lilypond[fragment,relative=2,verbatim]
+ c4 \cresc c4 \endcresc c4
+@end lilypond
+
+
@cindex crescendo
@cindex decrescendo
+You can also supply your own texts:
@lilypond[fragment,relative,verbatim]
\context Voice {
- \property Voice.crescendoText = "cresc."
+ \property Voice.crescendoText = "cresc. poco"
\property Voice.crescendoSpanner = #'dashed-line
a'2\mf\< a a \!a
}
@end lilypond
-For everyday use, we recommend the identifiers @code{\cresc},
-@code{endcresc}, @code{\dim} and @code{\enddim}.
-
@cindex diminuendo
Dynamics are grobs of @internalsref{DynamicText} and
-@internalsref{Hairpin}. Vertical positioning of these symbols is handled
-by the @internalsref{DynamicLineSpanner} grob. If you want to adjust
-padding or vertical direction of the dynamics, you must set properties
-for the @internalsref{DynamicLineSpanner} grob. Predefined identifiers
-to set the vertical direction are \dynamicUp and \dynamicDown.
+@internalsref{Hairpin}. Vertical positioning of these symbols is
+handled by the @internalsref{DynamicLineSpanner} grob. If you want to
+adjust padding or vertical direction of the dynamics, you must set
+properties for the @internalsref{DynamicLineSpanner} grob. Predefined
+identifiers to set the vertical direction are \dynamicUp and
+\dynamicDown.
@cindex direction, of dynamics
@cindex @code{\dynamicDown}
should work differently when played or printed, there are a few
different variants of repeats.
-@table @asis
+@table @code
@item unfold
Repeated music is fully written (played) out. Useful for MIDI
output, and entering repetitive music.
-@item volta
+@item volta
This is the normal notation: Repeats are not written out, but
alternative endings (voltas) are printed, left to right.
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.
+Folded repeats offer little more over simultaneous music.
@node Manual repeat commands
@subsection Manual repeat commands
@table @code
@item 'start-repeat
Print a |: bar line
-@item 'stop-repeat
+@item 'end-repeat
Print a :| bar line
@item (volta . @var{text})
Print a volta bracket saying @var{text}.
@end lilypond
Tremolo beams are @internalsref{Beam} grobs. Single stem tremolos are
-@internalsref{StemTremolo}.
+@internalsref{StemTremolo}. The single stem tremolo @emph{must} be
+entered without @code{@{} and @code{@}}.
@refbugs
-
-At present, the spacing between tremolo beams is not regular, since the
-spacing engine does not notice that not all notes are printed.
+Only powers of two and undotted notes are supported repeat counts.
@node Tremolo subdivisions
@subsection Tremolo subdivisions
@node Rhythmic music
@section Rhythmic music
-
-@menu
-* Rhythmic staves::
-@end menu
-
-@node Rhythmic staves
-@subsection Rhythmic staves
-
Sometimes you might want to show only the rhythm of a melody. This can
be done with the rhythmic staff. All pitches of notes on such a staff
are squashed, and the staff itself looks has a single staff line:
}
@end lilypond
+@menu
+* Percussion staves::
+@end menu
-@c . {Piano music}
-@node Piano music
+@node Percussion staves
+@subsection Percussion staves
+@cindex percussion
+@cindex drums
+To typeset more than one piece of percussion to be played by the same
+musician one typically uses a multiline staff where each staff
+position refers to a specific piece of percussion.
+
+LilyPond is shipped with a bunch of scheme functions which allows you
+to do this fairly easily.
+
+The system is based on the general midi drum-pitches.
+In order to use the drum pitches you include
+@file{ly/drumpitch-init.ly}. This file defines the pitches from the scheme
+variable @code{drum-pitch-names} - which definition can be read in
+@file{scm/drums.scm}. You see that each piece of percussion has a full
+name and an abbreviated name - and you may freely select whether to
+refer to the full name or the abbreviation in your music definition.
+
+To typeset the music on a staff you apply the scheme function
+@code{drums->paper} to the percussion music. This function takes a
+list of percussion instrument names, notehead scripts and staff
+positions (that is: pitches relative to the C-clef) and uses this to
+transform the input music by moving the pitch, changing the notehead
+and (optionally) adding a script:
+@lilypond[singleline,verbatim]
+\include "drumpitch-init.ly"
+up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
+down = \notes { bassdrum4 snare8 bd r bd sn4 }
+\score {
+ \apply #(drums->paper 'drums) \context Staff <
+ \clef percussion
+ \context Voice = up { \voiceOne \up }
+ \context Voice = down { \voiceTwo \down }
+ >
+}
+
+@end lilypond
+In the above example the music was transformed using the list @code{'drums}.
+Currently the following lists are defined in @file{scm/drums.scm}:
+@table @code
+@item 'drums
+To typeset a typical drum kit on a five line staff.
+@lilypond[]
+\include "drumpitch-init.ly"
+nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
+ bd sn ss tomh tommh tomml toml tomfh tomfl }
+mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
+ bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
+\score {
+ <
+ \apply #(drums->paper 'drums) \context Staff <
+ \clef percussion
+ \mus
+ >
+ \context Lyrics \nam
+ >
+ \paper {
+ \translator {
+ \StaffContext
+ \remove Bar_engraver
+ \remove Time_signature_engraver
+ minimumVerticalExtent = #'(-4.0 . 5.0)
+ }
+ \translator {
+ \VoiceContext
+ \remove Stem_engraver
+ }
+ }
+}
+@end lilypond
+Notice that the scheme supports six different toms.
+If you are using fewer toms then you simply select the toms that produce
+the desired result - i.e. to get toms on the three middle lines you
+use @code{tommh}, @code{tomml} and @code{tomfh}.
+
+Because the general midi contain no rimshots we use the sidestick for
+this purpose instead.
+@item 'timbales
+To typeset timbales on a two line staff.
+@lilypond[singleline]
+\include "drumpitch-init.ly"
+nam = \lyrics { timh ssh timl ssl cb }
+mus = \notes { timh ssh timl ssl cb s16 }
+\score {
+ <
+ \apply #(drums->paper 'timbales) \context Staff <
+ \clef percussion
+ \mus
+ >
+ \context Lyrics \nam
+ >
+ \paper {
+ \translator {
+ \StaffContext
+ \remove Bar_engraver
+ \remove Time_signature_engraver
+ StaffSymbol \override #'line-count = #2
+ StaffSymbol \override #'staff-space = #2
+ minimumVerticalExtent = #'(-3.0 . 4.0)
+ }
+ \translator {
+ \VoiceContext
+ \remove Stem_engraver
+ }
+
+ }
+}
+@end lilypond
+@item 'congas
+To typeset congas on a two line staff.
+@lilypond[singleline]
+\include "drumpitch-init.ly"
+nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
+mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
+\score {
+ <
+ \apply #(drums->paper 'congas) \context Staff <
+ \clef percussion
+ \mus
+ >
+ \context Lyrics \nam
+ >
+ \paper {
+ \translator {
+ \StaffContext
+ \remove Bar_engraver
+ \remove Time_signature_engraver
+ StaffSymbol \override #'line-count = #2
+ StaffSymbol \override #'staff-space = #2
+ minimumVerticalExtent = #'(-3.0 . 4.0)
+ }
+ \translator {
+ \VoiceContext
+ \remove Stem_engraver
+ }
+ }
+}
+@end lilypond
+@item 'bongos
+To typeset bongos on a two line staff.
+@lilypond[singleline]
+\include "drumpitch-init.ly"
+nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
+mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
+\score {
+ <
+ \apply #(drums->paper 'bongos) \context Staff <
+ \clef percussion
+ \mus
+ >
+ \context Lyrics \nam
+ >
+ \paper {
+ \translator {
+ \StaffContext
+ \remove Bar_engraver
+ \remove Time_signature_engraver
+ StaffSymbol \override #'line-count = #2
+ StaffSymbol \override #'staff-space = #2
+ minimumVerticalExtent = #'(-3.0 . 4.0)
+ }
+ \translator {
+ \VoiceContext
+ \remove Stem_engraver
+ }
+ }
+}
+@end lilypond
+@item 'percussion
+To typeset all kinds of simple percussion on one line staves.
+@lilypond[singleline]
+\include "drumpitch-init.ly"
+nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
+mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
+\score {
+ <
+ \apply #(drums->paper 'percussion) \context Staff <
+ \clef percussion
+ \mus
+ >
+ \context Lyrics \nam
+ >
+ \paper {
+ \translator {
+ \StaffContext
+ \remove Bar_engraver
+ \remove Time_signature_engraver
+ StaffSymbol \override #'line-count = #1
+ minimumVerticalExtent = #'(-2.0 . 3.0)
+ }
+ \translator {
+ \VoiceContext
+ \remove Stem_engraver
+ }
+ }
+}
+@end lilypond
+@end table
+
+If you don't like any of the predefined lists you can define your own
+list at the top of your file:
+
+@lilypond[singleline, verbatim]
+#(define mydrums `(
+ (bassdrum default #f ,(make-pitch -1 2 0))
+ (snare default #f ,(make-pitch 0 1 0))
+ (hihat cross #f ,(make-pitch 0 5 0))
+ (pedalhihat xcircle "stopped" ,(make-pitch 0 5 0))
+ (lowtom diamond #f ,(make-pitch -1 6 0))
+))
+\include "drumpitch-init.ly"
+up = \notes { hh8 hh hh hh hhp4 hhp }
+down = \notes { bd4 sn bd toml8 toml }
+\score {
+ \apply #(drums->paper 'mydrums) \context Staff <
+ \clef percussion
+ \context Voice = up { \voiceOne \up }
+ \context Voice = down { \voiceTwo \down }
+ >
+}
+@end lilypond
+
+To use a modified existing list instead of building your own from
+scratch you can append your modifications to the start of the existing
+list:
+
+@example
+#(define mydrums (append `(
+ (bassdrum default #f ,(make-pitch -1 2 0))
+ (lowtom diamond #f ,(make-pitch -1 6 0))
+) drums ))
+@end example
+
+@c FIXME: Too many levels of headers when using subsubsections.
+@c Perhaps junk subsection ``Percussion staves''
+@subsubsection Percussion staves with normal staves
+When you include @file{drumpitch-init.ly} then the default pitches
+are overridden so that you after the inclusion cannot use the common
+dutch pitch names anymore. Hence you might wan't to reinclude
+@file{nederlands.ly} after the drum-pattern-definitions:
+@lilypond[singleline,verbatim]
+\include "drumpitch-init.ly"
+up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
+down = \notes { bassdrum4 snare8 bd r bd sn4 }
+\include "nederlands.ly"
+bass = \notes \transpose c, { a4. e8 r e g e }
+\score {
+ <
+ \apply #(drums->paper 'drums) \context Staff = drums <
+ \clef percussion
+ \context Voice = up { \voiceOne \up }
+ \context Voice = down { \voiceTwo \down }
+ >
+ \context Staff = bass { \clef "F_8" \bass }
+ >
+}
+@end lilypond
+
+@subsubsection Percussion midi output
+In order to produce correct midi output you need to produce two score
+blocks - one for the paper and one for the midi.
+To use the percussion channel you set the property @code{instrument}
+to @code{'drums}. Because the drum-pitches themself are similar to the
+general midi pitches all you have to do is to insert the voices with
+none of the scheme functions to get the correct midi output:
+
+@example
+\score @{
+ \apply #(drums->paper 'mydrums) \context Staff <
+ \clef percussion
+ \context Voice = up @{ \voiceOne \up @}
+ \context Voice = down @{ \voiceTwo \down @}
+ >
+ \paper@{@}
+@}
+\score @{
+ \context Staff <
+ \property Staff.instrument = #'drums
+ \up \down
+ >
+ \midi@{@}
+@}
+@end example
+
+@refbugs
+
+This scheme is to be considered a temporary implementation. Even
+though the scheme will probably keep on working then the future might
+bring some other way of typesetting drums, and probably
+there will be made no great efforts in keeping things downwards
+compatible.
+
+@c . {Piano music}
+@node Piano music
@section Piano music
Piano music is an odd type of notation. Piano staves are two normal
Voices can switch automatically between the top and the bottom
staff. The syntax for this is
@example
- \autochange @var{contexttype} \context @var{childcontexttype}
- @var{musicexp}
-@end example
-@c
-This will switch the interpretation context of @var{musicexp} between
-a @var{contexttype} named @code{up} and @code{down}. Typically, you
-use @internalsref{Staff} for @var{contexttype}, and
-@internalsref{Voice} for @var{childcontexttype}. The autochanger
-switches on basis of pitch (central C is the turning point), and it
-looks ahead skipping over rests to switch rests in advance.
+ \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
+@end example
+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. Here is a practical example:
@lilypond[verbatim,singleline]
\score { \notes \context PianoStaff <
s1*2
} > }
@end lilypond
-
-Note how spacer rests are used to prevent the bottom staff from
+Spacer rests are used to prevent the bottom staff from
terminating too soon.
@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}
@node Pedals
@subsection Pedals
@lilypond[fragment,verbatim]
\property Staff.SustainPedal \override #'pedal-type = #'bracket
-c''4 \sustainDown d''4 e''4 a'4 \sustainUp \sustainDown f'4 g'4 a'4 \sustainUp
+c''4 \sustainDown d''4 e''4 a'4
+\sustainUp \sustainDown
+ f'4 g'4 a'4 \sustainUp
@end lilypond
A third style of pedal notation is a mixture of text and brackets,
@lilypond[fragment,verbatim]
\property Staff.SustainPedal \override #'pedal-type = #'mixed
-c''4 \sustainDown d''4 e''4 c'4 \sustainUp \sustainDown f'4 g'4 a'4 \sustainUp
+c''4 \sustainDown d''4 e''4 c'4
+\sustainUp \sustainDown
+ f'4 g'4 a'4 \sustainUp
@end lilypond
The default '*Ped' style for sustain and damper pedals corresponds to
may be extended to the end of the note head.
@lilypond[fragment,verbatim]
-\property Staff.PianoPedalBracket \override #'shorten-pair = #'(0 . -1.0)
-c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
+\property Staff.PianoPedalBracket \override
+ #'shorten-pair = #'(0 . -1.0)
+c''4 \sostenutoDown d''4 e''4 c'4
+f'4 g'4 a'4 \sostenutoUp
@end lilypond
To add an arrow head to explicitly specify the direction of the
arpeggio, you should set the arpeggio grob property
-@code{arpeggio-type}.
+@code{arpeggio-direction}.
@lilypond[fragment,relative,verbatim]
\context Voice {
- \property Voice.Arpeggio \override #'arpeggio-direction = #1
+ \property Voice.Arpeggio \set #'arpeggio-direction = #1
<c\arpeggio e g c>
- \property Voice.Arpeggio \override #'arpeggio-direction = #-1
+ \property Voice.Arpeggio \set #'arpeggio-direction = #-1
<c\arpeggio e g c>
}
@end lilypond
@lilypond[fragment,relative,verbatim]
\context PianoStaff <
\property PianoStaff.connectArpeggios = ##t
- \property PianoStaff.Arpeggio \override #'molecule-callback = \arpeggioBracket
+ \property PianoStaff.Arpeggio \override
+ #'molecule-callback = \arpeggioBracket
\context Voice = one { <c'\arpeggio e g c> }
\context Voice = other { \clef bass <c,,\arpeggio e g>}
>
@refbugs
-It is not possible to mix connected arpeggios and unconnected arpeggios
-at the same time.
+It is not possible to mix connected arpeggios and unconnected
+arpeggios in one PianoStaff at the same time.
The associated grob is @internalsref{VoiceFollower}.
-@node Lyrics
-@section Lyrics
+@node Tablatures
+@section Tablatures
+Tablature notation is used music for plucked string instruments. It
+notates pitches not by using note heads, but by indicating on which
+string and fret a note must be played. LilyPond offers limited
+support for tablature, by abusing the fingering system.
@menu
-* Lyrics mode::
-* Printing lyrics::
-* Automatic syllable durations::
-* More stanzas::
+* Tablatures basic::
+* Non-guitar tablatures::
+* Tablature in addition to normal staff::
@end menu
-@c . {Lyrics mode}
-@node Lyrics mode
-@subsection Lyrics mode
-@cindex Lyrics mode
-
-To print lyrics, you must first make a music expression from the lyric
-text. That music expression can be printed by selecting an appropriate
-context.
-
-@cindex lyric mode
-@cindex @code{\lyrics}
-
-You can enter lyrics in a special input mode of LilyPond. This mode is
-called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
-The purpose of this mode is that you can enter lyrics as plain text,
-punctuation and accents without any hassle.
-
-Syllables are entered like notes, with pitches replaced by text. For
-example, @code{Twin- kle twin- kle} enters four syllables. Note that
-the hyphen has no special meaning for lyrics, and does not introduce
-special symbols.
-
-Spaces can be introduced into a lyric either by using quotes:
-@code{"He could"4 not4} or by using an underscore without quotes:
-@code{He_could4 not4}. All unquoted underscores are converted to
-spaces.
+@node Tablatures basic
+@subsection Tablatures basic
+@cindex Tablatures basic
-The precise definition of this mode can be found in @ref{Lyrics mode
-definition}.
+Tablature can be typeset with Lilypond by using the
+@internalsref{TabStaff} and @internalsref{TabVoice} contexts. As
+tablature is a recent feature in Lilypond, most of the guitar special
+effects such as hammer, pull, bend are not yet supported.
-@c . {Printing lyrics}
-@node Printing lyrics
-@subsection Printing lyrics
-@cindex lyrics
-
-Lyrics are printed by interpreting them in the @internalsref{Lyrics} context.
+With the @internalsref{TabStaff}, the string number associated to a note
+is given though the fingering mechanism, e.g. @code{c4-3} for a C
+quarter on the third string. The string 1 is the lowest one, and the
+tuning defaults to the standard guitar tuning (with 6 strings).
-@c Maybe more pedagogical to avoid \addlyrics in this first example? /MB
-@c Add tied and beamed melismata too.
-@lilypond[verbatim,singleline]
-\addlyrics
- \notes \relative c' {
- \time 7/4
- \property Staff.automaticMelismata = ##t
- d'2 c4 b16 ( a g a b a b ) c a2
- b2 c4 b8 ( a16 g ) a4 g2 }
- \context Lyrics \lyrics {
- Join us now __ and
- share the soft -- ware; }
+@lilypond[fragment,verbatim]
+ \context TabStaff <
+ \notes {
+ \property Staff.Stem \override #'direction = #1
+
+ a,4-2 c'-5 a-4 e'-6
+ e-3 c'-5 a-4 e'-6
+ }
+ >
@end lilypond
+@node Non-guitar tablatures
+@subsection Non-guitar tablatures
+@cindex Non-guitar tablatures
-Notes and syllable durations are matched automatically. This is
-accomplished using @code{\addlyrics}, which is documented in
-@ref{Automatic syllable durations}. Setting @code{automaticMelismata} in
-the melody staff will cause tied, slurred or beamed notes to be
-interpreted as melismata.
-
-The Lyric syllables are @code{LyricsVoice.LyricSyllable} grobs.
+There are many ways to customize Lilypond tablatures.
-@cindex extender
-@cindex lyric extender
-@cindex melisma
+First you can change the number of strings, by setting the number of
+lines in the @internalsref{TabStaff}. You can change the strings
+tuning. A string tuning is given as a Scheme list with one integer
+number for each string, the number being the pitch of an open string.
-As you can see, extender lines are entered as @code{__}. This will
-create an extender, a line that extends over the entire duration of the
-lyric. This line will run all the way to the start of the next lyric,
-so you may want to shorten it by using a blank lyric (using @code{_}).
-The grob for this symbol is @code{LyricsVoice.LyricExtender}.
+Finally, it is possible to change the Scheme function to format the
+tablature note text. The default is @var{fret-number-tablature-format},
+which uses the fret number, but for some instruments that may not use
+this notation, just create your own tablature-format function. This
+function takes three argument: the string number, the string tuning and
+the note pitch.
-@cindex hyphen
+@node Tablature in addition to normal staff
+@subsection Tablature in addition to normal staff
+@cindex Tablature in addition to normal staff
-If you want to have hyphens centered between syllables (rather than
-attached to the end of the first syllable) you can use the special
-`@code{-}@code{-}' lyric as a separate word between syllables. This
-will result in a hyphen whose length varies depending on the space
-between syllables. It will be centered between the syllables. The grob
-for this symbol is @code{LyricsVoice.LyricHyphen}.
+It is possible to typeset both tablature and a "normal" staff, as
+commonly done in many parts.
-@cindex Lyric hyphen
+A common trick for that is to put the notes in a variables, and to hide
+the fingering information (which correspond to the string number) for
+the standard staff.
-@node Automatic syllable durations
-@subsection Automatic syllable durations
-@cindex Automatic syllable durations
-
-@cindex automatic lyric durations
-@cindex @code{\addlyrics}
-
-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
+@c FIXME
+@c @lily pond[verbatim]
@example
- \addlyrics @var{musicexpr1 musicexpr2}
+ part = \notes @{
+ a,4-2 c'-5 a-4 e'-6
+ e-3 c'-5 a-4 e'-6
+ @}
+ \score @{
+ \context StaffGroup <
+ \context Staff <
+ % Hide fingering number
+ \property Staff.Fingering \override #'transparent = ##t
+
+ \part
+ >
+ \context TabStaff <
+ \property Staff.Stem \override #'direction = #1
+
+ \part
+ >
+ >
+ @}
@end example
-
-Both @var{musicexpr1} and @var{musicexpr2} are interpreted, but every
-music event (``every syllable'') in @var{musicexpr2} is interpreted only
-when there are events in @var{musicexpr1}.
-
-@cindex @code{automaticMelismata}
-
-If the property @code{automaticMelismata} is set in the
-context of @var{musicexpr1}, no lyrics will be put on slurred or tied
-notes.
-
-@lilypond[verbatim,fragment]
-\addlyrics
-\transpose c'' {
- \property Voice.automaticMelismata = ##t
- c8 () cis d8. e16 f2
-}
-\context Lyrics \lyrics {
- do4 re mi fa }
-@end lilypond
-
-If you want the lyric lines to be above the melody staff, or in some
-other, more complex configuration, then build that configuration first
-using simultaneous music, and use @code{\addlyrics} after that.
-
-@lilypond[verbatim, singleline]
-\notes <
- \context Lyrics = LA { s1 }
- \context Staff = SA { s1 }
- \addlyrics
- \context Staff = SA \relative c' { c4 e g g }
- \context Lyrics = LA \lyrics { geen ge -- don -- der } >
-@end lilypond
-
-For @code{\addlyrics} you should use a single rhythm melody, and single
-rhythm lyrics (a constant duration is the obvious choice). If you do
-not, you can get undesired effects when using multiple stanzas:
-
-@lilypond[verbatim,fragment]
-\addlyrics
-\transpose c'' {
- c8 () cis d8. e16 f2
-}
-\context Lyrics \lyrics
-< { do4 re fa sol }
- { do8 re fa sol } >
-@end lilypond
-
-It is valid (but probably not very useful) to use notes instead of
-lyrics for @var{musicexpr2}.
-
-@node More stanzas
-@subsection More stanzas
-
-@cindex phrasing
-
-If you have multiple stanzas printed underneath each other, the vertical
-groups of syllables should be aligned around punctuation. LilyPond can
-do this if you tell it which lyric lines belong to which melody.
-
-To this end, give the Voice context an identity, and set the LyricsVoice
-to a name starting with that identity followed by a dash.
-In the following example, the Voice
-identity is @code{duet}, and the identities of the LyricsVoices are
-@code{duet-1} and @code{duet-2}.
-
-
-@lilypond[singleline,verbatim]
-\score {
-\addlyrics
- \notes \relative c'' \context Voice = duet { \time 3/4
- g2 e4 a2 f4 g2. }
- \lyrics \context Lyrics <
- \context LyricsVoice = "duet-1" {
- \property LyricsVoice . stanza = "Bert"
- Hi, my name is bert. }
- \context LyricsVoice = "duet-2" {
- \property LyricsVoice . stanza = "Ernie"
- Ooooo, ch\'e -- ri, je t'aime. }
- >
-}
-@end lilypond
-
-You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
-first system) and @code{LyricsVoice.stz} for the following
-systems. Notice how you must surround dots with spaces in @code{\lyrics}
-mode.
-
-
-
-
-@cindex stanza numbering
-
+@c @end lilypond
@c . {Chords}
@node Chords
@section Chords
@cindex Chords
-LilyPond has support for both entering and printing chords. Chords are
-characterized by a set of pitches. They are
-internally stored as simultaneous music expressions. This means you can
-enter chords by name and print them as note head, enter them as notes
-and print them as chord names, or (the most common case) enter them by
-name, and print them as name.
-
-
+LilyPond has support for both entering and printing chords.
@lilypond[verbatim,singleline]
twoWays = \notes \transpose c'' {
\chords {
\context Voice \twoWays > }
@end lilypond
-Note that this example also shows that the chord printing routines do
-not attempt to be intelligent. If you enter @code{f bes d}, it does not
-interpret this as an inversion.
+This example also shows that the chord printing routines do not try to
+be intelligent. If you enter @code{f bes d}, it does not interpret
+this as an inversion.
+
+As you can see chords really are a set of pitches. They are internally
+stored as simultaneous music expressions. This means you can enter
+chords by name and print them as notes, enter them as notes and print
+them as chord names, or (the most common case) enter them by name, and
+print them as name.
@menu
* Chords mode::
Chord mode is a mode where you can input sets of pitches using common
names. It is introduced by the keyword @code{\chords}. It is similar
to note mode, but words are also looked up in a chord modifier table
-(containing @code{maj}, @code{dim}, etc).
-
-Dashes and carets are used to indicate chord additions and subtractions,
-so articulation scripts can not be entered in Chord mode.
-
-The syntax for named chords is as follows:
-@example
- @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
-@end example
-
-@var{tonic} should be the tonic note of the chord, and @var{duration} is
-the chord duration in the usual notation. There are two kinds of
-modifiers. One type is formed by @emph{chord additions}. Additions are
-obtained by listing intervals separated by dots. An interval is written
-by its number with an optional @code{+} or @code{-} to indicate raising
-or lowering by half a step. Chord additions have two effects: they adds
-the specified interval and all lower odd numbered intervals to the
-chord, and they may lower or raise the specified interval.
+(containing @code{maj}, @code{dim}, etc). Dashes and carets are used
+to indicate chord additions and subtractions, so articulation scripts
+can not be entered in Chord mode.
Throughout these examples, chords have been shifted around the staff
using @code{\transpose}.
@end lilypond
+The formal syntax for named chords is as follows:
+@example
+ @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
+@end example
+
+@var{tonic} should be the tonic note of the chord, and @var{duration} is
+the chord duration in the usual notation. There are two kinds of
+modifiers. One type is formed by @emph{chord additions}. Additions are
+obtained by listing intervals separated by dots. An interval is written
+by its number with an optional @code{+} or @code{-} to indicate raising
+or lowering by half a step. Chord additions have two effects: they adds
+the specified interval and all lower odd numbered intervals to the
+chord, and they may lower or raise the specified interval.
+
+
@refbugs
-Implementation details are quite gory. For example @code{c:4} not only
-adds a fourth, but also removes the third.
+Implementation details are gory. For example @code{c:4} not only adds
+a fourth, but also removes the third.
@c . {Printing named chords}
\property ChordNames.chordChanges = ##t
\scheme }
\context Staff \transpose c'' \scheme
- > }
+ >
+\paper{linewidth= 9.\cm}
+}
@end lilypond
LilyPond examines chords specified as lists of notes to determine a name
* Bar numbers::
* Instrument names::
* Transpose::
-* Sound output for transposing instruments::
* Multi measure rests::
* Automatic part combining::
* Hara kiri staves::
+* Sound output for transposing instruments::
@end menu
@c . {Rehearsal marks}
@cindex mark
@cindex @code{\mark}
-
-@example
- \mark @var{unsigned}
- \mark @var{string}
- \mark \default
-@end example
-
-This command prints a rehearsal mark above the system. You can provide
-a number, a string or a markup text as argument. If you use
-@code{\default}, the value of property @code{rehearsalMark} is used and
-automatically incremented.
-
+To print a rehearsal mark, use the @code{\mark} command.
@lilypond[fragment,verbatim]
\relative c'' {
- c1 \mark "A2"
+ c1 \mark "A"
c1 \mark \default
c1 \mark \default
c1 \mark "12"
- c1 \mark #'(music "scripts-segno")
+ c1 \mark \default
c1
}
@end lilypond
-The grob is @internalsref{RehearsalMark} in @internalsref{Score} context. See
-@code{input/test/boxed-molecule.ly} if you need boxes around the marks.
+As you can see, the mark is incremented automatically if you use
+@code{\mark \default}. The value to use is stored in the property
+@code{rehearsalMark} is used and automatically incremented. The grob
+is @internalsref{RehearsalMark} in @internalsref{Score} context. See
+@code{input/test/boxed-molecule.ly} if you need boxes around the
+marks.
+
+The @code{\mark} command can also be used to put signs like coda,
+segno and fermatas on a barline. The trick is to use the text markup
+mechanism to access the fermata symbol.
+@lilypond[fragment,verbatim,relative=1]
+ c1 \mark #'(music "scripts-ufermata")
+ c1
+@end lilypond
+
+The problem is that marks that occur at a line break are typeset only
+at the beginning of the next line, opposite to what you want for the
+fermata. This can be corrected by the following property setting
+@example
+\property Score.RehearsalMark \override
+ #'visibility-lambda = #begin-of-line-invisible
+@end example
+
+@cindex fermatas
+@cindex coda
+@cindex segno
+@cindex barlines, putting symbols on
+
@node Bar numbers
@subsection 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.
+Bar numbers are printed by default 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}.
+See also @seeinternals{BarNumber}.
+
@refbugs
-It is not possible to have bar numbers printed at regular intervals
-only.
+Printing bar numbers at regular intervals is not implemented.
+Barnumbers can collide with the StaffGroup, if there is one at the
+top. To solve this, You have to twiddle with the
+@internalsref{padding} property of @internalsref{BarNumber} if your
+score starts with a @internalsref{StaffGroup}.
@node Instrument names
@subsection Instrument names
-You can specify an instrument name for a staff by setting
-@code{Staff.instrument} and @code{Staff.instr}. This will print a string
-before the start of the staff. For the first start, @code{instrument} is
-used, for the next ones @code{instr} is used.
+In scores, the instrument name is printed before the staff. This can
+be done by setting @code{Staff.instrument} and
+@code{Staff.instr}. This will print a string before the start of the
+staff. For the first start, @code{instrument} is used, for the next
+ones @code{instr} is used.
@lilypond[verbatim,singleline]
\property Staff.instrument = "ploink " { c''4 }
a tone. The first version will print sharps and the second version
will print flats.
-@lilypond[fragment,verbatim]
-\context Staff {
- \clef "F"
- { \key e \major c d e f }
+@lilypond[singleline, verbatim]
+mus =\notes { \key d \major cis d fis g }
+\score { \notes \context Staff {
+ \clef "F" \mus
\clef "G"
- \transpose des'' { \key e \major c d e f }
- \transpose cis'' { \key e \major c d e f }
-}
+ \transpose g'' \mus
+ \transpose f'' \mus
+}}
@end lilypond
If you want to use both @code{\transpose} and @code{\relative}, then
you must use @code{\transpose} first. @code{\relative} will have no
effect music that appears inside a @code{\transpose}.
-@node Sound output for transposing instruments
-@subsection Sound output transposing instruments
-
-When you want to make a MIDI file from a score containing transposed and
-untransposed
-instruments, you have to instruct LilyPond the pitch offset (in
-semitones) for the transposed instruments. This is done using the
-@code{transposing} property. It does not affect printed output.
-
-@cindex @code{transposing}
-
-@example
- \property Staff.instrument = #"Cl. in B-flat"
- \property Staff.transposing = #-2
-@end example
-
@c . {Multi measure rests}
@node Multi measure rests
@subsection Multi measure rests
automatically.
@lilypond[fragment,verbatim]
- \time 3/4 r2. | R2. | 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
Notice that the @code{R2.} is printed as a whole rest, centered in the
@refbugs
-Currently, there is no way to automatically condense multiple rests into
-a single multimeasure rest.
+Currently, there is no way to automatically condense multiple rests
+into a single multimeasure rest. Multi measure rests do not take part
+in rest collisions.
@cindex condensing rests
Automatic part combining is used to merge two parts of music onto a
staff in an intelligent way. It is aimed primarily at typesetting
orchestral scores. When the two parts are identical for a period of
-time, only one is shown. In places where the two parts differ, they are
-typeset as separate voices, and stem directions are set automatically.
-Also, solo and @emph{a due} parts can be identified and marked.
+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
@end lilypond
+@node Sound output for transposing instruments
+@subsection Sound output for transposing instruments
+
+When you want to make a MIDI file from a score containing transposed
+and untransposed instruments, you have to instruct LilyPond the pitch
+offset (in semitones) for the transposed instruments. This is done
+using the @code{transposing} property. It does not affect printed
+output.
+
+@cindex @code{transposing}
+
+@example
+ \property Staff.instrument = #"Cl. in B-flat"
+ \property Staff.transposing = #-2
+@end example
+
+
@c . {Custodes}
+@node Ancient notation
+@section Ancient notation
+
+@menu
+* Ancient note heads::
+* Custodes::
+* Ancient clefs ::
+* Figured bass::
+@end menu
+
+
+@node Ancient note heads
+@subsection Ancient note heads
+
+ To get a longa note head, you have to use mensural note heads. This
+is accomplished by setting the @code{style} property of the
+NoteHead grob to @code{mensural}. There is also a note head style
+@code{baroque} which gives mensural note heads for @code{\longa} and
+@code{\breve} but standard note heads for shorter notes.
+
+@lilypond[fragment,singleline,verbatim]
+ \property Voice.NoteHead \set #'style = #'mensural
+ \property Voice.NoteHead \set #'font-family = #'ancient
+ a'\longa
+@end lilypond
+
@node Custodes
-@section Custodes
+@subsection Custodes
+
@cindex Custos
@cindex Custodes
@}
@end example
+@node Ancient clefs
+@subsection Ancient clefs
-@c . {Figured bass}
-@node Figured bass
-@section Figured bass
-
-@cindex Basso continuo
-
-TODO. see figured-bass.ly
-
-@c . {Tuning output}
-@node Tuning output
-@section Tuning output
-
-LilyPond tries to take as much formatting as possible out of your
-hands. Nevertheless, there are situations where it needs some help, or
-where you want to override its decisions. In this section we discuss
-ways to do just that.
-
-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 direct way of tuning the output is by altering the values of
-these properties. There are two ways of doing that: first, you can
-temporarily change the definition of a certain type of grob, thus
-affecting a whole set of objects. Second, you can select one specific
-object, and set a grob property in that object.
-
-@menu
-* Tuning groups of grobs ::
-* Tuning per grob ::
-* What to tune?::
-* Font selection::
-* Text markup::
-* Invisible grobs::
-* Dirty tricks::
-@end menu
-
-@node Tuning groups of grobs
-@subsection Tuning groups of grobs
-
-@cindex grob description
-
-
-
-A grob definition is a Scheme association list, that is stored in a
-context property. By assigning to that property (using plain
-@code{\property}), you can change the resulting grobs.
-
-@lilypond[verbatim, fragment]
-c'4 \property Voice.Stem = #'((meta . ((interfaces . ())))) c'4
-@end lilypond
-
-The @code{\property} assignment effectively empties the definition of
-the Stem object. One of the effects is that the recipe of how it should be
-printed is erased, with the effect of rendering it invisible. The above
-assignment is available as a standard identifier, for the case that you
-find this useful:
-
-@example
- \property Voice.Stem = \turnOff
-@end example
-
-@cindex \override
-@cindex \revert
-@cindex \set
-
-This mechanism is fairly crude, since you can only set, but not modify,
-the definition of a grob. For this reason, there is a more advanced
-mechanism.
-
-The definition of a grob is actually a list of default grob
-properties. For example, the definition of the Stem grob (available in
-@file{scm/grob-description.scm}), defines the following values for
-@internalsref{Stem}
-
-@example
- (thickness . 0.8)
- (beamed-lengths . (0.0 2.5 2.0 1.5))
- (Y-extent-callback . ,Stem::height)
- @var{...}
-@end example
-
-You can add a property on top of the existing definition, or remove a
-property, thus overriding the system defaults:
-@lilypond[verbatim]
-c'4 \property Voice.Stem \override #'thickness = #4.0
-c'4 \property Voice.Stem \revert #'thickness
-c'4
-@end lilypond
-You should balance @code{\override} and @code{\revert}. If that's too
-much work, you can use the @code{\set} shorthand. It performs a revert
-followed by an override. The following example gives exactly the same
-result as the previous one.
-@lilypond[verbatim]
-c'4 \property Voice.Stem \set #'thickness = #4.0
-c'4 \property Voice.Stem \set #'thickness = #0.8
-c'4
-@end lilypond
-If you use @code{\set}, you must explicitly restore the default.
-
-
-Formally the syntax for these constructions is
-@example
-\property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
-\property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
-\property @var{context}.@var{grobname} \revert @var{symbol}
-@end example
-Here @var{symbol} is a Scheme expression of symbol type, @var{context}
-and @var{grobname} are strings and @var{value} is a Scheme expression.
-
-
-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 \revert
-@end example
-
-A short form, using only @code{\set}. This requires you to know the
-default value:
-@example
- \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 \revert
-@end example
-
-For the digirati, the grob description is an Scheme association
-list. Since a Scheme list is a singly linked list, we can treat it as a
-stack, and @code{\override} and @code{\revert} are just push and pop
-operations. This pushing and popping is also used for overriding
-automatic beaming settings.
-
-@refbugs
-
-LilyPond will hang or crash if @var{value} contains cyclic references.
-The backend is not very strict in type-checking grob properties. If you
-@code{\revert} properties that are expected to be set by default,
-LilyPond may crash.
-
-Some grobs are created at the moment that their context is created. An
-example of such a grob is the staff itself (i.e. the horizontal lines).
-You can not change the appearance of the staff symbol by manipulating
-@code{\property Staff.StaffSymbol}. At the moment that @code{\property
-Staff} is interpreted, a Staff context is made, and the StaffSymbol is
-created before any @code{\override} is effective. You can deal with this
-either overriding properties in a @code{\translator} definition, or by
-using @code{\outputproperty}.
-
-
-
-
-@node Tuning per grob
-@subsection Tuning per grob
-
-@cindex \outputproperty
-
-A second way of tuning grobs is the more arcane @code{\outputproperty}
-feature. The syntax is as follows:
-@example
-\outputproperty @var{predicate} @var{symbol} = @var{value}
-@end example
-Here @code{predicate} is a Scheme function taking a grob argument, and
-returning a boolean. This statement is processed by the
-@code{Output_property_engraver}. It instructs the engraver to feed all
-grobs that it sees to @var{predicate}. Whenever the predicate returns
-true, the grob property @var{symbol} will be set to @var{value}.
-
-You will need to combine this statement with @code{\context} to select
-the appropriate context to apply this to.
-
-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
- \context Staff \outputproperty
- #(make-type-checker 'note-head-interface)
- #'extra-offset = #'(0.5 . 0.75)
- <c8 e g> }
-@end lilypond
-
-@cindex @code{extra-offset}
-
-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))))
-
-\score {
- \notes\relative c''' {
- \property Voice.Stem \set #'direction = #1
- \outputproperty #(make-text-checker "m.d.")
- #'extra-offset = #'(-3.5 . -4.5)
- a^2^"m.d."
- }
-}
-@end lilypond
-
-@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 you don't know what variables
-to set? The question is not answered in this part of the manual
-(although you may encounter some examples.).
-
-Grob properties are tied directly to the implementation of LilyPond, and
-they are thus a moving target. Documentation of such variables is in the
-automatically generated documentation. Description of properties are
-generated from the source code for each version. This documentation is
-therefore more up to date. It should be available from the same place
-where you got this manual.
-
-To decide how to tune a grob, you need to find the following information
-@itemize @bullet
-@item
-which grob to modify
-@item
-which property to modify
-@item
-which context the grob comes from.
-@end itemize
-
-Included with the automatically generated documentation is a master list
-of grobs. Selecting a grob will take you to an overview of the
-properties available for that grob.
-
-There is also a master list of contexts. Selecting one takes you to an
-overview of that context which lists which grob types are created there.
-
-
-@node Font selection
-@subsection Font selection
-
-Most graphics in LilyPond are composed of characters of fonts. You can
-alter the characteristics of the font by setting certain grob
-properties. The mechanism that is used for this resembles La@TeX{}'s New
-Font Selection Scheme. Within this scheme, a font is entirely
-characterized by its font name.
-
-For each grob that uses fonts (in other words, each grob that supports
-@code{font-interface}) a font-name must be selected before it can be
-printed. The font name is selected by looking at a number of grob
-properties:
+LilyPond supports a variety of clefs, many of them ancient. These can
+be selected from the @code{ancient} font family, by setting
+@code{Staff.clefGlyph}) to one of the following values
@table @code
-@item font-family
- A symbol indicating the general class of the typeface. Supported are
-@code{roman} (Computer Modern), @code{braces} (for piano staff braces),
-@code{music} (the standard music font), @code{dynamic} (font for dynamic
-signs) and @code{typewriter}
-
-@item font-shape
- A symbol indicating the shape of the font, there are typically several
- font shapes available for each font family. Choices are @code{italic},
- @code{caps} and @code{upright}
+@item clefs-C
+ modern style C clef
+@item clefs-F
+ modern style F clef
+@item clefs-G
+ modern style G clef
+@item clefs-vaticana_do
+ Editio Vaticana style do clef
+@item clefs-vaticana_fa
+ Editio Vaticana style fa clef
+@item clefs-medicaea_do
+ Editio Medicaea style do clef
+@item clefs-medicaea_fa
+ Editio Medicaea style fa clef
+@item clefs-mensural1_c
+ modern style mensural C clef
+@item clefs-mensural2_c
+ historic style small mensural C clef
+@item clefs-mensural3_c
+ historic style big mensural C clef
+@item clefs-mensural1_f
+ historic style traditional mensural F clef
+@item clefs-mensural2_f
+ historic style new mensural F clef
+@item clefs-mensural_g
+ historic style mensural G clef
+@item clefs-hufnagel_do
+ historic style hufnagel do clef
+@item clefs-hufnagel_fa
+ historic style hufnagel fa clef
+@item clefs-hufnagel_do_fa
+ historic style hufnagel combined do/fa clef
+@item clefs-percussion
+ modern style percussion clef
+@end table
-@item font-series
-A symbol indicating the series of the font. There are typically several
-font series for each font family and shape. Choices are @code{medium}
-and @code{bold}.
+@emph{Modern style} means ``as is typeset in current editions.''
+@emph{Historic style} means ``as was typeset or written in contemporary
+historic editions''. @emph{Editio XXX style} means ``as is/was printed in
+Editio XXX.''
-@item font-relative-size
- A number indicating the size relative the standard size. For example,
- with 20pt staff height, relative size -1 corresponds to 16pt staff
- height, and relative size +1 corresponds to 23 pt staff height.
-
-@item font-design-size
-A number indicating the design size of the font.
-
-This is a feature of the Computer Modern Font: each point size has a
-slightly different design. Smaller design sizes are relatively wider,
-which enhances readability. Scalable type faces such TrueType and Adobe
-Type1 usually come as ``one design fits all sizes''.
-
-@item font-name
- The name of the font, without the design size, e.g. @code{cmr},
-@code{cmti}, etc. Setting this overrides font-family, font-shape and
-font-series.
-
-
-@end table
-
-
-The font is selected by taking the first font that satisfies all
-qualifiers specified. You can override any of these fields through
-@code{\override} and @code{\revert}. The special value @code{*} matches
-any value for that qualifier.
-
-@example
- \property Lyrics.LyricText \override #'font-series = #'bold
- \property Lyrics.LyricText \override #'font-shape = #'*
-@end example
-
-@cindex @code{font-style}
-
-There are also pre-cooked font selection qualifiers. These are selected
-through the grob property @code{font-style}. For example, the style
-@code{finger} selects family @code{number} and relative size @code{-3}.
-Styles available include @code{volta}, @code{finger}, @code{tuplet},
-@code{timesig}, @code{mmrest}, @code{script}, @code{large}, @code{Large}
-and @code{dynamic}.
-
-The style sheets and tables for selecting fonts are located in
-@file{scm/font.scm}. Refer to this file for more information.
-
-
-Setting @code{font-name} overrides all other qualifiers. The value for
-this property should be a string, the file name of the font. You may use
-this to use special fonts, which are not a part of the style sheet, or
-which have special encodings.
-
-The size of the font may be set with the grob property
-@code{font-magnification}. It is the size of font, relative to its
-standard size. For example, @code{1.0} is normal size.
-
-@refbugs
-
-Relative size is not linked to any real size.
-
-There is no style sheet provided for other fonts besides the @TeX{}
-family.
-
-@cindex font selection
-@cindex font magnification
-@cindex @code{font-interface}
-
-
-@node Text markup
-@subsection Text markup
-@cindex text markup
-@cindex markup text
-
-LilyPond has an internal mechanism to typeset texts. You can
-form text markup expressions by composing scheme expressions
-in the following way.
-
-@lilypond[verbatim, singleline]
- \relative c' {
- \fatText
- a^#"upright"
- b_#'(bold "bold")
- c^#'(italic "italic")
- d_#'((bold italic) "ff")
- e^#'(dynamic "ff")
- f_#'(lines "one" (bold "two"))
- g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
- }
-@end lilypond
-
-Normally, the Scheme markup text is stored in the @code{text} property
-of a grob. Formally, it is defined as follows:
-
-@example
-text: string | (head? text+)
-head: markup | (markup+)
-markup-item: property | abbrev
-property: (@var{key} . @var{value})
-abbrev: @code{columns lines roman music bold italic named super sub}
- @code{overstrike text finger volta timesig mmrest mark script}
- @code{large Large dynamic}
-@end example
-
-The markup is broken down and converted into a list of grob properties,
-which are prepended to the property list. The @var{key}-@var{value}
-pair is a grob property. A list of properties available is included in
-the generated documentation for @rint{Text_interface}.
-
-The following abbreviations are currently defined:
-@table @code
-@item columns
- horizontal mode: set all text on one line (default)
-@item lines
- vertical mode: set every text on a new line
-@item roman
- select roman font
-@item music
- selects the Feta font (the standard font for music notation glyphs),
-and uses named lookup
-
-@item bold
- select bold series
-@item italic
- select italic shape
-@item named
- lookup by character name
-@item text
- plain text lookup (by character value)
-@item super
- superscript
-@item sub
- subscript
-@item overstrike
- the next text or character overstrikes this one
-@item finger
- select fingering number fontstyle
-@item volta
- select volta number fontstyle
-@item timesig
- select time signature number fontstyle
-@item mmrest
- select multi measure rest number fontstyle
-@item mark
- select mark number fontstyle
-@item script
- select scriptsize roman fontstyle
-@item large
- select large roman fontstyle
-@item Large
- select Large roman fontstyle
-@item dynamic
- select dynamics fontstyle
-@end table
-
-
-@cindex metronome mark
-
-One practical application of complicated markup is to fake a metronome
-marking:
-
-@lilypond[verbatim]
-#(define note '(columns
- (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
-#(define eight-note `(columns ,note ((kern . -0.1)
- (music ((raise . 3.5) "flags-u3")))))
-#(define dotted-eight-note
- `(columns ,eight-note (music "dots-dot")))
-
-\score {
- \notes\relative c'' {
- a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
- }
- \paper {
- linewidth = -1.
- \translator{
- \ScoreContext
- TextScript \override #'font-shape = #'upright
- }
- }
-}
-@end lilypond
-
-@node Invisible grobs
-@subsection Invisible grobs
-@cindex invisible grobs
-
-@ignore
-
-ben nog steeds niet kapot van de informatiedichtheid hier.
-
---hwn
-
-@end ignore
-
-You can imagine a number of situations where you would want to make
-certain grobs not show up in the output. There may be aesthetic
-reasons, to make the output resemble an (old) manuscript as close as
-possible, or to make lessons or exercises for students.
-
-Grobs can be made invisible in a number of ways:
-
-Here's an example with blanked-out notes and stems:
-@lilypond[singleline,verbatim]
-blanknotes = {
- \property Voice.NoteHead \override
- #'transparent = ##t
- \property Voice.Stem \override
- #'transparent = ##t }
-
-unblanknotes = {
- \property Voice.NoteHead \revert #'transparent
- \property Voice.Stem \revert #'transparent }
-
-\score {
- \notes\relative c'' {
- \time 6/4
- a b c b \blanknotes c \unblanknotes d
- }
-}
-@end lilypond
-This method makes the grobs invisible but they still take the normal space.
-To remove all traces of the grob, you can redefine the function
-typesetting them:
-@lilypond[verbatim]
-\score {
- \notes\relative c'' {
- \key c \minor
- \time 6/4
- as bes c bes c d \break
- \property Staff.KeySignature \override #'molecule-callback = #'()
- as bes c bes c d
- }
- \paper{linewidth=5.0\cm indent=0}
-}
-@end lilypond
-
-A very rigorous way of removing grobs from the whole score is to remove
-the engraver that creates them. For example,
-
-@lilypond[singleline,verbatim]
-\score {\notes { c'4 d'8 e'8 g2 }
- \paper { \translator {
- \VoiceContext
- \remove Stem_engraver
- } }
-}
-@end lilypond
-
-@node Dirty tricks
-@subsection Dirty tricks
-@cindex embedded tex
-
-It is possible to use @TeX{} commands in the strings, but this should be
-avoided because 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"
-@end lilypond
-
-You can also use raw PostScript commands embedded in text scripts. This
-offers ultimate flexibility, but requires you to learn PostScript.
-Currently, embedded PostScript will @strong{not} work with direct
-PostScript output. Note that all dimensions that you use are in staff
-space.
-
-@lilypond[verbatim]
-\score {
- \notes \relative c'' {
- a-#"\\embeddedps{3 4 moveto 5 3 rlineto stroke}"
- -#"\\embeddedps{ [ 0 1 ] 0 setdash 3 5 moveto 5 -3 rlineto stroke}"
- b-#"\\embeddedps{3 4 moveto 0 0 1 2 8 4 20 3.5 rcurveto stroke}"
- s2
- a'1
- }
- \paper { linewidth = 70*\staffspace }
-}
-@end lilypond
-
-
-@c . {Page layout}
-@node Page layout
-@section Page layout
-@cindex Page layout
-
-The page layout is the combined product of LilyPond formatting notation,
-and (La)@TeX{} putting the notation on a page, including page breaks.
-The part of LilyPond is documented here.
-
-@menu
-* Paper block::
-* Paper variables::
-* Font Size::
-* Paper size::
-* Line break::
-* Page break::
-* Output scaling::
-@end menu
-
-@c . {Paper block}
-@node Paper block
-@subsection Paper block
-@cindex Paper block
-
-The most important output definition is the @code{\paper} block, for
-music notation. The syntax is
-
-@example
- @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
-@end example
-
-where each of the items is one of
-
-@itemize @bullet
- @item An assignment.
-
- @item A context definition. See @ref{Interpretation context} for
- more information on context definitions.
-
- @item \stylesheet declaration. Its syntax is
- @example
- \stylesheet @var{alist}
- @end example
-
- See @file{scm/font.scm} for details of @var{alist}.
- @item an @code{\elementdescriptions} declaration.
- @example
- \elementdescriptions @var{alist}
- @end example
- See @file{scm/grob-description.scm} for details of
-@var{alist}. This command is not user-serviceable.
-
-@end itemize
-
-@c . {Paper variables}
-@node Paper variables
-@subsection Paper variables
-@cindex Paper variables
-
-The paper block has some variables you may want to use or change:
-
-@table @code
-@cindex @code{indent}
- @item @code{indent}
- The indentation of the first line of music.
-@cindex @code{staffspace}
-
- @item @code{staffspace}
- The distance between two staff lines, calculated from the center
- of the lines.
-
-@cindex @code{linewidth}
- @item @code{linewidth}
- Sets the width of the lines.
-
-If set to a negative value, a single unjustified line is produced.
-@c rename to singleLinePaper ?
-The shorthand @code{\singleLine} defines a default paper block that
-produces a single line.
-
-@cindex @code{textheight}
-
- @item @code{textheight}
- Sets the total height of the music on each page. Only used by
-@code{ly2dvi}.
-
-@cindex @code{interscoreline}
-
- @item @code{interscoreline}
- 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
- case @code{interscoreline} specifies the minimum spacing.
-
- Not set by default.
-
-
-@cindex @code{stafflinethickness}
-
- @item @code{stafflinethickness}
- Determines the thickness of staff lines, and also acts as a scaling
- parameter for other line thicknesses.
-@end table
-
-You may enter these dimension using units (@code{cm}, @code{in},
-@code{mm}, @code{pt}), or relative to another dimension
-@example
- linewidth = 20.0 * \staffspace
- indent = 0.5 \cm
-@end example
-
-
-@c . {Font size}
-@node Font Size
-@subsection Font size
-@cindex font size, setting
-@cindex staff size, setting
-@cindex @code{paper} file
-
-The Feta font provides musical symbols at six different sizes. These
-fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and 26
-point. The point size of a font is the height of the five lines in a
-staff when displayed in the font.
-
-Definitions for these sizes are the files @file{paperSZ.ly}, where
-@code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
-these files, the identifiers @code{paperEleven}, @code{paperThirteen},
-@code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
-@code{paperTwentysix} are defined respectively. The default
-@code{\paper} block is also set. These files should be imported at toplevel, i.e.
-@example
- \include "paper26.ly"
- \score @{ ... @}
-@end example
-
-The font definitions are generated using a Scheme function. For more
-details, see the file @file{scm/font.scm}.
-
-
-
-@c . {Paper size}
-@node Paper size
-@subsection Paper size
-@cindex Paper size
-
-@cindex paper size
-@cindex page size
-@cindex @code{papersize}
-
-To change the paper size, you must first set the
-@code{papersize} paper variable variable. Set it to
-the strings @code{a4}, @code{letter}, or @code{legal}. After this
-specification, you must set the font as described above. If you want
-the default font, then use the 20 point font.
-
-@example
- \paper@{ papersize = "a4" @}
- \include "paper16.ly"
-@end example
-
-The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
-will set the paper variables @code{hsize} and @code{vsize} (used by
-Lilypond and @code{ly2dvi})
-
-@c . {Line break}
-@node Line break
-@subsection Line break
-
-@cindex line breaks
-@cindex breaking lines
-
-Line breaks are normally computed automatically. They are chosen such
-that it looks neither cramped nor loose, and that consecutive lines have
-similar density.
-
-Occasionally you might want to override the automatic breaks; you can do
-this by specifying @code{\break}. This will force a line break at this
-point. Do remember that line breaks can only occur at places where there
-are bar lines. If you want to have a line break where there is no
-bar line, you can force an invisible bar line by entering @code{\bar
-""}. Similarly, @code{\noBreak} forbids a line break at a certain point.
-
-If you want linebreaks at regular intervals, you can use the following:
-@example
-
-< \repeat 7 unfold @{ s1 * 4 \break @}
- @emph{real music}
->
-@end example
-This makes the following 28 measures (assuming 4/4 time) be broken every
-4 measures.
-
-
-@cindex @code{\penalty}
-
-The @code{\break} and @code{\noBreak} commands are defined in terms of
-the penalty command:
-@example
- \penalty @var{int}
-@end example
-
-This encourages or discourages LilyPond to make a line break at this
-point.
-
-@refbugs
-
-The scaling of the @code{\penalty} argument is not well-defined. The
-command is rather kludgey, and slated for rewriting.
-
-@c . {Page break}
-@node Page break
-@subsection Page break
-
-@cindex page breaks
-@cindex breaking pages
-
-Page breaks are normally computed by @TeX{}, so they are not under
-direct control of LilyPond. However, you can insert a commands into the
-@file{.tex} output to instruct @TeX{} where to break pages, by inserting
-the command @code{\newpage}
-@cindex @code{\newpage}
-
-@example
- \newpage
-@end example
-
-@c why do so difficult?
-@c maybe should explain contents of between-system.ly,
-@c but not now, we're talking about page breaks here.
-@c For more
-@c details, see the example file @file{input/test/between-systems.ly}
-
-
-@c . {Output scaling}
-@node Output scaling
-@subsection Output scaling
-
-[TODO]
-
-@example
-dvips ...
-@end example
-
-@example
-pstops ...
-@end example
-
-
-@refbugs
-
-There is no mechanism to select magnification of particular fonts,
-meaning that you don't have access to continuously scaled fonts.
-
-
-
-@c . {Output formats}
-@node Output formats
-@section Output formats
-
-LilyPond can output processed music in different output formats.
-
-@menu
-* TeX output::
-* PostScript output::
-* Scheme output::
-* ASCIIScript output::
-@end menu
-
-@node TeX output
-@subsection TeX output
-@cindex TeX output
-
-LilyPond will use @TeX{} by default. Even if you want to produce
-PostScript output for viewing or printing, you should normally have
-LilyPond produce @TeX{} first. The .tex output must be processed by
-@TeX{} (@strong{not} La@TeX{}) to generate a .dvi. Then, @file{Dvips}
-is used to generate PostScript. Alternatively, @file{ly2dvi} can be
-used to generate the .dvi for you.
-
-@refbugs
-
-Titling is not generated unless you use @file{ly2dvi}.
-
-
-@node PostScript output
-@subsection PostScript output
-@cindex PostScript output
-@cindex direct PostScript output
-
-LilyPond can produce PostScript directly, without going through @TeX{}.
-Currently, this is mainly useful if you cannot use TeX, because direct
-PostScript output has some problems; see Bugs below.
-
-@example
-$ lilypond -fps foo.ly
-GNU LilyPond 1.3.144
-Now processing: `foo.ly'
-Parsing...
-Interpreting music...[3]
-Preprocessing elements...
-Calculating column positions...
-paper output to foo.ps...
-
-$ cat /usr/share/lilypond/pfa/feta20.pfa foo.ps | lpr
-@end example
-
-
-@refbugs
-
-Text font selection is broken.
-
-The .ps file does not contain the .pfa font files. To print a .ps
-created through direct postscript output, you should prepend the
-necessary .pfa files to LilyPond's .ps output, or upload them to the
-printer before printing.
-
-The line height calculation is broken, you must set @var{lineheight} in
-the paperblock if you have more than one staff in your score, e.g.
-
-@example
- ...
- \paper @{
- % Set line height to 40 staff spaces
- lineheight = 40
- @}
-@end example
-
-@node Scheme output
-@subsection Scheme output
-@cindex Scheme output
-
-In the typesetting stage, LilyPond builds a page description, which is
-then written to disk in postscript, @TeX{} or ASCII art. Before it is
-written, the page description is represented as Scheme expressions. You
-can also dump these Scheme expressions to a file, which may be
-convenient for debugging output routines. This is done with the Scheme
-output format
-
-@example
-$ lilypond -fscm foo.ly
-GNU LilyPond 1.3.144
-Now processing: `foo.ly'
-Parsing...
-Interpreting music...[3]
-Preprocessing elements...
-Calculating column positions...
-paper output to foo.scm...
-
-$ head -4 foo.scm
-;;; Usage: guile -s x.scm > x.tex
- (primitive-load-path 'standalone.scm)
-; (scm-tex-output)
- (scm-ps-output)
-
-$ guile -s foo.scm > foo.tex
-@end example
-
-
-@node ASCIIScript output
-@subsection ASCIIScript output
-@cindex ASCIIScript output
-@cindex ascii script
-@cindex ascii art
-
-LilyPond can output ASCII Art. This is a two step process, LilyPond
-produces an ASCII description file, dubbed ASCIIScript (extension
-@file{.as}). ASCIIScript has a small and simple command set that
-includes font selection, character and string printing and line drawing
-commands. The program @file{as2text} is used to translate an .as file
-to text.
-
-To produce ASCII Art, you must include an ASCII Art paper definition
-file in your .ly, one of:
-@example
-\include "paper-as5.ly"
-\include "paper-as9.ly"
-@end example
-
-Here's an example use for ASCII Art output (the example file
-@file{as-email.ly} is included in the LilyPond distribution), the staff
-symbol has been made invisible:
-
-@example
-$ lilypond -fas as-email.ly
-GNU LilyPond 1.3.144
-Now processing: `as-email.ly'
-Parsing...
-Interpreting music...[3]
-Preprocessing elements...
-Calculating column positions... [2]
-paper output to as-email.as...
-
-$ as2text as-email.as 2>/dev/null
- |\
- |/ |##|##| | | | | |
- /| | | | | |\ |\ |\ |\ |\ |
- / |_ 3 | | | | 5 | )| )| )| )| )|
- | /| \ 8 * * * | 8 * * * * * |
- \_|_/ | |
- *_|
-
- lily
-@end example
-
-
-@refbugs
-
-The ASCII Art fonts are far from complete and not very well designed.
-It's easy to change the glyphs, though; if you think you can do better,
-have a look at @file{mf/*.af}.
-
-Lots of resizable symbols such as slurs, ties and tuplets are missing.
-
-The poor looks of most ASCII Art output and its limited general
-usefulness gives ASCII Art output a low priority; it may be
-dropped in future versions.
-
-@c . {Sound}
-@node Sound
-@section Sound
-@cindex Sound
-
-LilyPond can produce MIDI output. The performance lacks lots of
-interesting effects, such as swing, articulation, slurring, etc., but it
-is good enough for proof-hearing the music you have entered. Ties,
-dynamics and tempo changes are interpreted.
-
-Dynamic marks, crescendi and decrescendi translate into MIDI volume
-levels. Dynamic marks translate to a fixed fraction of the available
-MIDI volume range, crescendi and decrescendi make the the volume vary
-linearly between their two extremities. The fractions be adjusted by
-overriding the @code{absolute-volume-alist} defined in
-@file{scm/midi.scm}.
-
-For each type of musical instrument (that MIDI supports), a volume range
-can be defined. This gives you basic equalizer control, which can
-enhance the quality of the MIDI output remarkably. You can add
-instruments and ranges or change the default settings by overriding the
-@code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
-
-Both loudness controls are combined to produce the final MIDI volume.
-
-
-@refbugs
-
-It is currently not possible to use the percussion channel (generally
-channel 10 of a MIDI file).
-
-@menu
-* MIDI block::
-* MIDI instrument names::
-@end menu
-
-@c . {MIDI block}
-@node MIDI block
-@subsection MIDI block
-@cindex MIDI block
-
-
-The MIDI block is analogous to the paper block, but it is somewhat
-simpler. The @code{\midi} block can contain:
-@cindex MIDI block
-
-@itemize @bullet
- @item a @code{\tempo} definition
- @item context definitions
-@end itemize
-
-Assignments in the @code{\midi} block are not allowed.
-
-
-
-@cindex context definition
-
-Context definitions follow precisely the same syntax as within the
-\paper block. Translation modules for sound are called performers.
-The contexts for MIDI output are defined in @file{ly/performer.ly}.
-
-
-@node MIDI instrument names
-@subsection MIDI instrument names
-
-@cindex instrument names
-@cindex @code{Staff.midiInstrument}
-@cindex @code{Staff.instrument}
-
-The MIDI instrument name is set by the @code{Staff.midiInstrument}
-property or, if that property is not set, the @code{Staff.instrument}
-property. The instrument name should be chosen from the list in
-@ref{MIDI instruments}.
-
-@refbugs
-
-If the selected string does not exactly match, then LilyPond uses the
-default (Grand Piano). It is not possible to select an instrument by
-number.
-
-
-
-
-
-
-
-
-@c FIXME: Note entry vs Music entry at top level menu is confusing.
-@c . {Music entry}
-@node Music entry
-@section Music entry
-@cindex Music entry
-@menu
-* Relative::
-* Bar check::
-* Point and click::
-@end menu
-
-When entering music with LilyPond, it is easy to introduce errors. This
-section deals with tricks and features that help you enter music, and
-find and correct mistakes.
-
-@c . {Relative}
-@node Relative
-@subsection Relative
-@cindex Relative
-@cindex relative octave specification
-
-Octaves are specified by adding @code{'} and @code{,} to pitch names.
-When you copy existing music, it is easy to accidentally put a pitch in
-the wrong octave and hard to find such an error. To prevent these
-errors, LilyPond features octave entry.
-
-@cindex @code{\relative}
-@example
- \relative @var{startpitch} @var{musicexpr}
-@end example
-
-The octave of notes that appear in @var{musicexpr} are calculated as
-follows: If no octave changing marks are used, the basic interval
-between this and the last note is always taken to be a fourth or less
-(This distance is determined without regarding alterations; a
-@code{fisis} following a @code{ceses} will be put above the
-@code{ceses})
-
-The octave changing marks @code{'} and @code{,} can be added to raise or
-lower the pitch by an extra octave. Upon entering relative mode, an
-absolute starting pitch must be specified that will act as the
-predecessor of the first note of @var{musicexpr}.
-
-Entering music that changes octave frequently is easy in relative mode.
-@lilypond[fragment,singleline,verbatim,center]
- \relative c'' {
- b c d c b c bes a
- }
-@end lilypond
-
-And octave changing marks are used for intervals greater than a fourth.
-@lilypond[fragment,verbatim,center]
- \relative c'' {
- c g c f, c' a, e'' }
-@end lilypond
-
-If the preceding item is a chord, the first note of the chord is used
-to determine the first note of the next chord. However, other notes
-within the second chord are determined by looking at the immediately
-preceding note.
-
-@lilypond[fragment,verbatim,center]
- \relative c' {
- c <c e g>
- <c' e g>
- <c, e' g>
- }
-@end lilypond
-@cindex @code{\notes}
-
-The pitch after the @code{\relative} contains a note name. To parse
-the pitch as a note name, you have to be in note mode, so there must
-be a surrounding @code{\notes} keyword (which is not
-shown here).
-
-The relative conversion will not affect @code{\transpose},
-@code{\chords} or @code{\relative} sections in its argument. If you
-want to use relative within transposed music, you must place an
-additional @code{\relative} inside the @code{\transpose}.
-
-
-@c . {Bar check}
-@node Bar check
-@subsection Bar check
-@cindex Bar check
-
-@cindex bar check
-@cindex @code{barCheckNoSynchronize}
-@cindex @code{|}
-
-
-Whenever a bar check is encountered during interpretation, a warning
-message is issued if it doesn't fall at a measure boundary. This can
-help you find errors in the input. Depending on the value of
-@code{barCheckNoSynchronize}, the beginning of the measure will be
-relocated, so this can also be used to shorten measures.
-
-A bar check is entered using the bar symbol, @code{|}:
-@example
- \time 3/4 c2 e4 | g2.
-@end example
-
-
-
-@cindex skipTypesetting
-
-Failed bar checks are most often caused by entering incorrect
-durations. Incorrect durations often completely garble up the score,
-especially if it is polyphonic, so you should start correcting the score
-by scanning for failed bar checks and incorrect durations. To speed up
-this process, you can use @code{skipTypesetting} (See @ref{Skipping
-corrected music})). Bar
-
-
-@c . {Point and click}
-@node Point and click
-@subsection Point and click
-
-Point and click lets you find notes in the input by clicking on them in
-the Xdvi window. This makes it very easy to find input that causes some
-error in the sheet music.
-
-To use it, you need the following software
-
-@unnumberedsubsec Installation
-
-@itemize @bullet
-@item
-@uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
-Xdvi} version 22.36 or newer.
-
- Note that most @TeX{} distributions ship with xdvik, which is a
- different and less well maintained program. To find out which xdvi you
- are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
-@item emacs
-@end itemize
-
-Xdvi must be configured to find the TeX fonts and music
-fonts. Refer to the Xdvi documentation for more information.
-
-
-@unnumberedsubsec Using it
-
-Add one of these lines to the top of your .ly file. The first one is for
-line location only. The second one is more convenient, but requires
-patching @code{emacsclient} and @code{server.el}.
-
-@example
-#(set! point-and-click line-location)
-@end example
-
-In the emacs startup file (usually @file{~/.emacs}), add the following
-@example
-(server-start)
-@end example
-
-Make sure that the environment variable @code{XEDITOR} is set
-to
-@example
-emacsclient --no-wait +%l %f
-@end example
-The second one, that also specifies the column, only works if you have
-patched your emacsclient and server, and have compiled your @code{.ly}
-file using the @code{line-column-location} setting.
-
-When viewing, control-mousebutton 1 will take you to the originating
-spot in the @file{.ly} file. Control-mousebutton 2 will show all
-clickable boxes.
-
-
-@unnumberedsubsec Column location
-
-If you want emacs to jump to the exact spot (and not just the line) on a
-click, you must enable column positioning. To do so, you need to patch
-emacsclient. Apply @file{emacsclient.patch} (included with the source
-package) to @file{emacsclient.c} and @file{server.el} from the emacs
-source code. Recompile and stick the recompiled emacsclient into a bin
-directory, and put @file{server.el} into a elisp directory
-(e.g. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
-init file, before invoking server-start.
-
-@example
- (setq load-path (cons "~/usr/share/emacs" load-path))
-@end example
-
-Set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}
-
-At the top of the @code{ly} file, replace the @code{set!} line with the
-following line
-@example
-#(set! point-and-click line-column-location)
-@end example
-
-One final hint: if you correct large files with point-and-click, then
-start correcting at the end of the file. When you start at the top, and
-insert one line, all subsequent locations will be off by a line.
-
-
-@refbugs
-
-When you convert the @TeX{} file to PostScript using @code{dvips}, it
-will complain about not finding @code{src:X:Y} files. Those complaints
-are harmless, and can be ignored.
-
-@node Skipping corrected music
-@section Skipping corrected music
-
-The property @code{Score.skipTypesetting} can be used to switch on and
-off typesetting completely during the interpretation phase. When
-typesetting is switched off, the music is processed much more quickly.
-You can use this to skip over the parts of a score that you have already
-checked for errors.
-
-@lilypond[fragment,singleline,verbatim]
-\relative c'' { c8 d
-\property Score.skipTypesetting = ##t
- e f g a g c, f e d
-\property Score.skipTypesetting = ##f
-c d b bes a g c2 }
-@end lilypond
-
-
-@node Interpretation context
-@section Interpretation context
-
-@menu
-* Creating contexts::
-* Default contexts::
-* Context properties::
-* Engravers and performers::
-* Changing context definitions::
-* Defining new contexts::
-@end menu
-
-
-Interpretation contexts are objects that only exist during a run of
-LilyPond. During the interpretation phase of LilyPond (when it prints
-"interpreting music"), the music expression in a @code{\score} block is
-interpreted in time order. This is the same order that humans hear and
-play the music.
-
-During this interpretation, the interpretation context holds the
-state for the current point within the music. It contains information
-like
-
-@itemize @bullet
- @item What notes are playing at this point?
- @item What symbols will be printed at this point?
- @item What is the current key signature, time signature, point within
- the measure, etc.?
-@end itemize
-
-Contexts are grouped hierarchically: A @internalsref{Voice} context is
-contained in a @internalsref{Staff} context (because a staff can contain
-multiple voices at any point), a @internalsref{Staff} context is contained in
-@internalsref{Score}, @internalsref{StaffGroup}, or @internalsref{ChoirStaff} context.
-
-Contexts associated with sheet music output are called @emph{notation
-contexts}, those for sound output are called @emph{performance
-contexts}. The default definitions of the standard notation and
-performance contexts can be found in @file{ly/engraver.ly} and
-@file{ly/performer.ly}, respectively.
-
-
-@node Creating contexts
-@subsection Creating contexts
-
-@cindex @code{\context}
-@cindex context selection
-
-Contexts for a music expression can be selected manually, using the
-following music expression.
-
-@example
- \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
-@end example
-
-This instructs lilypond to interpret @var{musicexpr} within the context
- of type @var{contexttype} and with name @var{contextname}. If this
-context does not exist, it will be created.
-
-@lilypond[verbatim,singleline]
-\score {
- \notes \relative c'' {
- c4 <d4 \context Staff = "another" e4> f
- }
-}
-
-@end lilypond
-
-In this example, the @code{c} and @code{d} are printed on the
-default staff. For the @code{e}, a context Staff called
-@code{another} is specified; since that does not exist, a new
-context is created. Within @code{another}, a (default) Voice context
-is created for the @code{e4}. When all music referring to a
-context is finished, the context is ended as well. So after the
-third quarter, @code{another} is removed.
+@cindex Vaticana, Editio
+@cindex Medicaea, Editio
+@cindex hufnagel clefs
+@node Figured bass
+@subsection Figured bass
-@node Default contexts
-@subsection Default contexts
+@cindex Basso continuo
-Most music expressions don't need an explicit @code{\context}
-declaration: they inherit the
-notation context from their parent. Each note is a music expression, and
-as you can see in the following example, only the sequential music
-enclosing the three notes has an explicit context.
+LilyPond has limited support for figured bass:
-@lilypond[verbatim,singleline]
-\score { \notes \context Voice = goUp { c'4 d' e' } }
+@lilypond[verbatim,fragment]
+<
+ \context FiguredBass
+ \figures {
+ <_! 3+ 5- >4
+ < [4 6] 8 >
+ }
+ \context Voice { c4 g8 }
+>
@end lilypond
-There are some quirks that you must keep in mind when dealing with
-defaults:
+The support for figured bass consists of two parts: there is an input
+mode, introduced by @code{\figures}, where you can enter bass figures
+as numbers, and there is a context called @internalsref{FiguredBass}
+that takes care of making @internalsref{BassFigure} grobs.
-First, every top level music is interpreted by the Score context, in other
-words, you may think of @code{\score} working like
+In figures input mode, a group of bass figures is delimited by
+@code{<} and @code{>}. The duration is entered after the @code{>}.
@example
- \score @{
- \context Score @var{music}
- @}
+ <4 6>
@end example
-
-Second, contexts are created automatically to be able to interpret the
-music expressions. Consider the following example.
-
-@lilypond[verbatim, singleline]
-\score { \context Score \notes { c'4 ( d' )e' } }
+@lilypond[fragment]
+\context FiguredBass
+\figures { <4 6> }
@end lilypond
-The sequential music is interpreted by the Score context initially
-(notice that the @code{\context} specification is redundant), but when a
-note is encountered, contexts are setup to accept that note. In this
-case, a Thread, Voice and Staff are created. The rest of the sequential
-music is also interpreted with the same Thread, Voice and Staff context,
-putting the notes on the same staff, in the same voice.
-
-This is a convenient mechanism, but do not expect opening chords to work
-without @code{\context}. For every note, a separate staff is
-instantiated.
-
-@cindex explicit context
-@cindex starting with chords
-@cindex chords, starting with
+Accidentals are added to the numbers if you alterate them by
+appending @code{-}, @code{!} and @code{+}.
-@lilypond[verbatim, singleline]
-\score { \notes <c'4 es'> }
-@end lilypond
-
-Of course, if the chord is preceded by a normal note in sequential
-music, the chord will be interpreted by the Thread of the preceding
-note:
-@lilypond[verbatim,singleline]
-\score { \notes { c'4 <c'4 es'> } }
+@example
+ <4- 6+ 7!>
+@end example
+@lilypond[fragment]
+ \context FiguredBass
+\figures { <4- 6+ 7!> }
@end lilypond
+Spaces or dashes may be inserted by using @code{_}. Brackets are
+introduced with @code{[} and @code{]}.
-
-@node Context properties
-@subsection Context properties
-
-Notation contexts have properties. These properties are from
-the @file{.ly} file using the following expression:
-@cindex @code{\property}
@example
- \property @var{contextname}.@var{propname} = @var{value}
+ < [4 6] 8 [_ 12]>
@end example
+@lilypond[fragment]
+ \context FiguredBass
+\figures { < [4 6] 8 [_ 12]> }
+@end lilypond
-Sets the @var{propname} property of the context @var{contextname} to the
-specified Scheme expression @var{value}. All @var{propname} and
-@var{contextname} are strings, which are typically unquoted.
-
-Properties that are set in one context are inherited by all of the
-contained contexts. This means that a property valid for the
-@internalsref{Voice} context can be set in the @internalsref{Score} context (for
-example) and thus take effect in all @internalsref{Voice} contexts.
+Although the support for figured bass may superficially resemble chord
+support, it works much simpler: in figured bass simply stores the
+numbers, and then prints the numbers you entered. There is no
+conversion to pitches, and no realizations of the bass are played in
+the MIDI file.
-Properties can be unset using the following expression:
-@example
- \property @var{contextname}.@var{propname} \unset
-@end example
-@cindex properties, unsetting
-@cindex @code{\unset}
+@c . {Tuning output}
+@node Tuning output
+@section Tuning output
-This removes the definition of @var{propname} in @var{contextname}. If
-@var{propname} was not defined in @var{contextname} (but was inherited
-from a higher context), then this has no effect.
+LilyPond tries to take as much formatting as possible out of your
+hands. Nevertheless, there are situations where it needs some help, or
+where you want to override its decisions. In this section we discuss
+ways to do just that.
+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.
-@refbugs
+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.
-The syntax of @code{\unset} is asymmetric: @code{\property \unset} is not
-the inverse of @code{\property \set}.
+@menu
+* Tuning groups of grobs ::
+* Tuning per grob ::
+* Font selection::
+* Text markup::
+@end menu
-@node Engravers and performers
-@subsection Engravers and performers
+@node Tuning groups of grobs
+@subsection Tuning groups of grobs
-[TODO]
+@cindex grob description
-Basic building blocks of translation are called engravers; they are
-special C++ classes.
+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.
-@c . {Context definitions}
-@node Changing context definitions
-@subsection Changing context definitions
+@lilypond[verbatim, fragment]
+c'4 \property Voice.Stem = #'()
+@end lilypond
-@cindex context definition
-@cindex translator definition
+The @code{\property} assignment effectively empties the definition of
+the Stem object. One of the effects is that the recipe of how it should be
+printed is erased, with the effect of rendering it invisible. The above
+assignment is available as a standard identifier, for the case that you
+find this useful:
-The most common way to define a context is by extending an existing
-context. You can change an existing context from the paper block, by
-first initializing a translator with an existing context identifier:
-@example
-\paper @{
- \translator @{
- @var{context-identifier}
- @} @}
-@end example
-Then you can add and remove engravers using the following syntax:
@example
- \remove @var{engravername}
- \consists @var{engravername}
+ \property Voice.Stem = \turnOff
@end example
+@cindex \override
+@cindex \revert
+@cindex \set
-Here @var{engravername} is a string, the name of an engraver in the
-system.
+This mechanism is fairly crude, since you can only set, but not modify,
+the definition of a grob. For this reason, there is a more advanced
+mechanism.
+The definition of a grob is actually a list of default grob
+properties. For example, the definition of the Stem grob (available in
+@file{scm/grob-description.scm}), defines the following values for
+@internalsref{Stem}
-@lilypond[verbatim,singleline]
-\score { \notes {
- c'4 c'4 }
- \paper {
- \translator { \StaffContext
- \remove Clef_engraver
- } } }
+@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.
-@cindex engraver
-You can also set properties in a translator definition. The syntax is as
-follows:
+Formally the syntax for these constructions is
@example
- @var{propname} = @var{value}
- @var{propname} \set @var{grob-propname} = @var{pvalue}
- @var{propname} \override @var{grob-propname} = @var{pvalue}
- @var{propname} \revert @var{grob-propname}
+\property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
+\property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
+\property @var{context}.@var{grobname} \revert @var{symbol}
@end example
-@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.
+Here @var{symbol} is a Scheme expression of symbol type, @var{context}
+and @var{grobname} are strings and @var{value} is a Scheme expression.
- To simplify editing translators, all standard contexts have standard
-identifiers called @var{name}@code{Context}, e.g. @code{StaffContext},
-@code{VoiceContext}, see @file{ly/engraver.ly}.
+If you revert a setting which was not set in the first place, then it
+has no effect. However, if the setting was set as a system default, it
+may remove the default value, and this may give surprising results,
+including crashes. In other words, @code{\override} and @code{\revert},
+must be carefully balanced.
-@node Defining new contexts
-@subsection Defining new contexts
+These are examples of correct nesting of @code{\override}, @code{\set},
+@code{\revert}.
-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}}.
+A clumsy but correct form:
+@example
+ \override \revert \override \revert \override \revert
+@end example
- @item A cooperation module. This is specified by @code{\type
-@var{typename}}.
-@end itemize
+Shorter version of the same:
+@example
+ \override \set \set \revert
+@end example
-This is an example:
+A short form, using only @code{\set}. This requires you to know the
+default value:
@example
-\translator @code{
- \type "Engraver_group_engraver"
- \name "SimpleStaff"
- \alias "Staff"
- \consists "Staff_symbol_engraver"
- \consists "Note_head_engraver"
- \consistsend "Axis_group_engraver"
-}@
+ \set \set \set \set @var{to default value}
@end example
-The argument of @code{\type} is the name for a special engraver that
-handles cooperation between simple engravers such as
-@code{Note_head_engraver} and @code{Staff_symbol_engraver}. Alternatives
-for this engraver are the following:
-@table @code
-@cindex @code{Engraver_group_engraver}
- @item @code{Engraver_group_engraver}
- The standard cooperation engraver.
+If there is no default (i.e. by default, the grob property is unset),
+then you can use
+@example
+ \set \set \set \revert
+@end example
-@cindex @code{Score_engraver}
+For the digirati, the grob description is an Scheme association
+list. Since a Scheme list is a singly linked list, we can treat it as a
+stack, and @code{\override} and @code{\revert} are just push and pop
+operations. This pushing and popping is also used for overriding
+automatic beaming settings.
- @item @code{Score_engraver}
- This is cooperation module that should be in the top level context,
-and only the top level context.
+@refbugs
-@cindex @code{Grace_engraver_group}
+LilyPond will hang or crash if @var{value} contains cyclic references.
+The backend is not very strict in type-checking grob properties. If you
+@code{\revert} properties that are expected to be set by default,
+LilyPond may crash.
- @item @code{Grace_engraver_group}
- This is a special cooperation module (resembling
- @code{Score_engraver}) that is used to create an embedded
- `miniscore'.
-@end table
-Other modifiers are
-@itemize @bullet
- @item @code{\alias} @var{alternate-name}
- This specifies a different name. In the above example,
-@code{\property Staff.X = Y} will also work on @code{SimpleStaff}s
-
- @item @code{\consistsend} @var{engravername}
- Analogous to @code{\consists}, but makes sure that
- @var{engravername} is always added to the end of the list of
- engravers.
-
- Some engraver types need to be at the end of the list; this
- insures they stay there even if a user adds or removes engravers.
-End-users generally don't need this command.
-
- @item @code{\accepts} @var{contextname}
- Add @var{contextname} to the list of contexts this context can
- contain in the context hierarchy. The first listed context is the
- context to create by default.
-
- @item @code{\denies}. The opposite of @code{\accepts}. Added for
-completeness, but is never used in practice.
-
-
- @item @code{\name} @var{contextname}
- This sets the type name of the context, e.g. @internalsref{Staff},
- @internalsref{Voice}. If the name is not specified, the translator won't do
- anything.
-@end itemize
-In the @code{\paper} block, it is also possible to define translator
-identifiers. Like other block identifiers, the identifier can only
-be used as the very first item of a translator. In order to define
-such an identifier outside of @code{\score}, you must do
+@node Tuning per grob
+@subsection Tuning per grob
-@quotation
-@example
-\paper @{
- foo = \translator @{ @dots{} @}
-@}
-\score @{
- \notes @{
- @dots{}
- @}
- \paper @{
- \translator @{ \foo @dots{} @}
- @}
-@}
-@end example
+@cindex \outputproperty
-@end quotation
+A second way of tuning grobs is the more arcane @code{\outputproperty}
+feature. The syntax is as follows:
+@example
+\outputproperty @var{predicate} @var{symbol} = @var{value}
+@end example
+Here @code{predicate} is a Scheme function taking a grob argument, and
+returning a boolean. This statement is processed by the
+@code{Output_property_engraver}. It instructs the engraver to feed all
+grobs that it sees to @var{predicate}. Whenever the predicate returns
+true, the grob property @var{symbol} will be set to @var{value}.
+
+You will need to combine this statement with @code{\context} to select
+the appropriate context to apply this to.
+Here are some random examples.
-@cindex paper types, engravers, and pre-defined translators
-
+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
+ \context Staff \outputproperty
+ #(make-type-checker 'note-head-interface)
+ #'extra-offset = #'(0.5 . 0.75)
+ <c8 e g> }
+@end lilypond
+@cindex @code{extra-offset}
+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))))
-@c . {Syntactic details}
-@node Syntactic details
-@section Syntactic details
-@cindex Syntactic details
+\score {
+ \notes\relative c''' {
+ \property Voice.Stem \set #'direction = #1
+ \outputproperty #(make-text-checker "m.d.")
+ #'extra-offset = #'(-3.5 . -4.5)
+ a^2^"m.d."
+ }
+}
+@end lilypond
-This section describes details that were too boring to be put elsewhere.
+@refbugs
-@menu
-* Top level::
-* Identifiers::
-* Music expressions::
-* Manipulating music expressions::
-* Assignments::
-* Lexical modes::
-* Ambiguities::
-@end menu
+If possible, avoid this feature: the semantics are not very clean, and
+the syntax and semantics are up for rewrite.
-@c . {Top level}
-@node Top level
-@subsection Top level
-@cindex Top level
-This section describes what you may enter at top level.
-@c . {Score}
-@subsubsection Score
-@cindex Score
+@node Font selection
+@subsection Font selection
-@cindex score definition
+The most common thing to change about the appearance of fonts is
+their size. The font size of a @internalsref{Voice},
+@internalsref{Staff} or @internalsref{Thread} context, can be easily
+changed by setting the @code{fontSize} property for that context:
+@lilypond[fragment,relative=1]
+ c4 c4 \property Voice.fontSize = #-1
+ f4 g4
+@end lilypond
+ This command will not change the size of variable symbols, such as
+beams or slurs. You can use this command to get smaller symbol for
+cue notes, but that involves some more subtleties. An elaborate
+example of those is in @file{input/test/cue-notes.ly}.
-The output is generated combining a music expression with an output
-definition. A score block has the following syntax:
+@cindex cue notes
+@cindex font size
+@cindex size
+The font used for printing a grob can be selected by setting
+@code{font-name}, e.g.
@example
- \score @{ @var{musicexpr} @var{outputdefs} @}
+ \property Staff.TimeSignature
+ \set #'font-name = #"cmr17"
@end example
+You may use any font which is available to @TeX{}, such as foreign
+fonts or fonts that do not belong to the Computer Modern font family.
+Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
+can also be adjusted with a more fine-grained mechanism. By setting
+the grob properties described below, you can select a different font.
+All three mechanisms work for every grob that supports
+@code{font-interface}.
-@var{outputdefs} are zero or more output definitions. If none is
-supplied, the default @code{\paper} block will be added.
-
-
-
-@c . {Default output}
-@subsubsection Default output
-
-Default values for the @code{\paper} and @code{\midi} block are set by
-entering such a block at the top level.
+@table @code
+@item font-family
+ A symbol indicating the general class of the typeface. Supported are
+@code{roman} (Computer Modern), @code{braces} (for piano staff
+braces), @code{music} (the standard music font), @code{ancient} (the
+ancient notation font) @code{dynamic} (font for dynamic signs) and
+@code{typewriter}.
+
+@item font-shape
+ A symbol indicating the shape of the font, there are typically several
+ font shapes available for each font family. Choices are @code{italic},
+ @code{caps} and @code{upright}
-@c . {Header}
-@subsubsection Header
-@cindex Header
-@cindex @code{\header}
+@item font-series
+A symbol indicating the series of the font. There are typically several
+font series for each font family and shape. Choices are @code{medium}
+and @code{bold}.
+@item font-relative-size
+ A number indicating the size relative the standard size. For example,
+ with 20pt staff height, relative size -1 corresponds to 16pt staff
+ height, and relative size +1 corresponds to 23 pt staff height.
-A header describes bibliographic information of the file's contents. It
-can also appear in a @code{\score} block. Tools like @code{ly2dvi} can
-use this information for generating titles. Key values that are used by
-@code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
-meter, arranger, piece and tagline.
+@item font-design-size
+A number indicating the design size of the font.
-@cindex @code{ly2dvi}
+This is a feature of the Computer Modern Font: each point size has a
+slightly different design. Smaller design sizes are relatively wider,
+which enhances readability.
+@end table
-The syntax is
+For any of these properties, the value @code{*} (i.e. the @emph{symbol},
+@code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
+to override default setting, which are always present. For example:
@example
- \header @{ @var{key1} = @var{val1}
- @var{key2} = @var{val2} @dots{} @}
+ \property Lyrics . LyricText \override #'font-series = #'bold
+ \property Lyrics . LyricText \override #'font-family = #'typewriter
+ \property Lyrics . LyricText \override #'font-shape = #'*
@end example
-It is customary to put the @code{\header} at the top of the file.
-
-@subsubsection Default output
-
-A @code{\midi} or @code{\paper} block at top level sets the default
-paper block for all scores that lack an explicit paper block.
-
-@c . {Identifiers}
-@node Identifiers
-@subsection Identifiers
-@cindex Identifiers
-
-@ignore
- What has this section got to do with identifiers?
- It seems more appropriate in the introduction to Chapter 4,
- "Internals".
-
- /MB
-@end ignore
-
-All of the information in a LilyPond input file, is internally
-represented as a Scheme value. In addition to normal Scheme data types
-(such as pair, number, boolean, etc.), LilyPond has a number of
-specialized data types,
-
-@itemize @bullet
-@item Input
-@item c++-function
-@item Music
-@item Identifier
-@item Translator_def
-@item Duration
-@item Pitch
-@item Score
-@item Music_output_def
-@item Moment (rational number)
-@end itemize
+@cindex @code{font-style}
-LilyPond also includes some transient object types. Objects of these
-types are built during a LilyPond run, and do not `exist' per se within
-your input file. These objects are created as a result of your input
-file, so you can include commands in the input to manipulate them,
-during a lilypond run.
+There are also pre-cooked font selection qualifiers. These are
+selected through the grob property @code{font-style}. For example,
+the style @code{finger} selects family @code{number} and relative size
+@code{-3}. Styles available include @code{volta}, @code{finger},
+@code{tuplet}, @code{timesig}, @code{mmrest}, @code{script},
+@code{large}, @code{Large} and @code{dynamic}. The style sheets and
+tables for selecting fonts are located in @file{scm/font.scm}. Refer
+to this file for more information.
-@itemize @bullet
-@item Grob: short for Graphical object. See @ref{Grobs}.
-@item Molecule: device-independent page output object,
-including dimensions. Produced by some Grob functions
-See @ref{Molecules}
-@item Translator: object that produces audio objects or Grobs. This is
-not yet user accessible.
-@item Font_metric: object representing a font.
-@end itemize
+@cindex magnification
+The size of the font may be scaled with the grob property
+@code{font-magnification}. For example, @code{2.0} blows up all
+letters by a factor 2 in both directions.
-@node Music expressions
-@subsection Music expressions
+@refbugs
-@cindex music expressions
+Relative size is not linked to any real size.
-Music in LilyPond is entered as a music expression. Notes, rests, lyric
-syllables are music expressions, and you can combine music expressions
-to form new ones, for example by enclosing a list of expressions in
-@code{\sequential @{ @}} or @code{< >}. In the following example, a
-compound expression is formed out of the quarter note @code{c} and a
-quarter note @code{d}:
+There is no style sheet provided for other fonts besides the @TeX{}
+family, and the style sheet can not be modified easiyl.
-@example
-\sequential @{ c4 d4 @}
-@end example
+@cindex font selection
+@cindex font magnification
+@cindex @code{font-interface}
-@cindex Sequential music
-@cindex @code{\sequential}
-@cindex sequential music
-@cindex @code{<}
-@cindex @code{>}
-@cindex Simultaneous music
-@cindex @code{\simultaneous}
-The two basic compound music expressions are simultaneous and
-sequential music.
+@node Text markup
+@subsection Text markup
+@cindex text markup
+@cindex markup text
-@example
- \sequential @code{@{} @var{musicexprlist} @code{@}}
- \simultaneous @code{@{} @var{musicexprlist} @code{@}}
-@end example
-For both, there is a shorthand:
-@example
- @code{@{} @var{musicexprlist} @code{@}}
-@end example
-for sequential and
-@example
- @code{<} @var{musicexprlist} @code{>}
-@end example
-for simultaneous music.
-In principle, the way in which you nest sequential and simultaneous to
-produce music is not relevant. In the following example, three chords
-are expressed in two different ways:
+LilyPond has an internal mechanism to typeset texts. You can
+form text markup expressions by composing scheme expressions
+in the following way.
-@lilypond[fragment,verbatim,center]
- \notes \context Voice {
- <a c'> <b d' > <c' e'>
- < { a b c' } { c' d' e' } >
+@lilypond[verbatim, singleline]
+ \relative c' {
+ \fatText
+ a^#"upright"
+ b_#'(bold "bold")
+ c^#'(italic "italic")
+ d_#'((bold italic) "ff")
+ e^#'(dynamic "ff")
+ f_#'(lines "one" (bold "two"))
+ g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
}
@end lilypond
+Normally, the Scheme markup text is stored in the @code{text} property
+of a grob. Formally, it is defined as follows:
-Other compound music expressions include
@example
- \repeat @var{expr}
- \transpose @var{pitch} @var{expr}
- \apply @var{func} @var{expr}
- \context @var{type} = @var{id} @var{expr}
- \times @var{fraction} @var{expr}
+text: string | (head? text+)
+head: markup | (markup+)
+markup-item: property | abbrev
+property: (@var{key} . @var{value})
+abbrev: @code{columns lines roman music bold italic named super sub}
+ @code{overstrike text finger volta timesig mmrest mark script}
+ @code{large Large dynamic}
@end example
+The markup is broken down and converted into a list of grob properties,
+which are prepended to the property list. The @var{key}-@var{value}
+pair is a grob property. A list of properties available is included in
+the generated documentation for @internalsref{text-interface}.
-@c . {Manipulating music expressions}
-@node Manipulating music expressions
-@subsection Manipulating music expressions
-
-The @code{\apply} mechanism gives you access to the internal
-representation of music. You can write Scheme-functions that operate
-directly on it. The syntax is
-@example
- \apply #@var{func} @var{music}
-@end example
-This means that @var{func} is applied to @var{music}. The function
-@var{func} should return a music expression.
-
-This example replaces the text string of a script. It also shows a dump
-of the music it processes, which is useful if you want to know more
-about how music is stored.
+The following abbreviations are defined:
+@table @code
+@item columns
+ horizontal mode: set all text on one line (default)
+@item lines
+ vertical mode: set every text on a new line
+@item roman
+ select roman font
+@item music
+ selects the Feta font (the standard font for music notation glyphs),
+and uses named lookup
-@lilypond[verbatim,singleline]
-#(define (testfunc x)
- (if (equal? (ly-get-mus-property x 'text) "foo")
- (ly-set-mus-property x 'text "bar"))
- ;; recurse
- (ly-set-mus-property x 'elements
- (map testfunc (ly-get-mus-property x 'elements)))
- (display x)
- x
-)
-\score { \notes
- \apply #testfunc { c'4_"foo" }
-}
-@end lilypond
+@item bold
+ select bold series
+@item italic
+ select italic shape
+@item named
+ lookup by character name
+@item text
+ plain text lookup (by character value)
+@item super
+ superscript
+@item sub
+ subscript
+@item overstrike
+ the next text or character overstrikes this one
+@item finger
+ select fingering number fontstyle
+@item volta
+ select volta number fontstyle
+@item timesig
+ select time signature number fontstyle
+@item mmrest
+ select multi measure rest number fontstyle
+@item mark
+ select mark number fontstyle
+@item script
+ select scriptsize roman fontstyle
+@item large
+ select large roman fontstyle
+@item Large
+ select Large roman fontstyle
+@item dynamic
+ select dynamics fontstyle
+@end table
-For more information on what is possible, see the automatically
-generated documentation.
+@cindex metronome mark
-Directly accessing internal representations is dangerous: the
-implementation is subject to changes, so you should avoid this feature
-if possible.
+One practical application of complicated markup is to fake a metronome
+marking:
-A final example is a function that reverses a piece of music in time:
+@lilypond[verbatim]
+#(define note '(columns
+ (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
+#(define eight-note `(columns ,note ((kern . -0.1)
+ (music ((raise . 3.5) "flags-u3")))))
+#(define dotted-eight-note
+ `(columns ,eight-note (music "dots-dot")))
-@lilypond[verbatim,singleline]
-#(define (reverse-music music)
- (let* ((elements (ly-get-mus-property music 'elements))
- (reversed (reverse elements))
- (span-dir (ly-get-mus-property music 'span-direction)))
- (ly-set-mus-property music 'elements reversed)
- (if (dir? span-dir)
- (ly-set-mus-property music 'span-direction (- span-dir)))
- (map reverse-music reversed)
- music))
-
-music = \notes { c'4 d'4( e'4 f'4 }
-
-\score { \context Voice {
- \music
- \apply #reverse-music \music
+\score {
+ \notes\relative c'' {
+ a1^#`((columns (font-relative-size . -1))
+ ,dotted-eight-note " = 64")
+ }
+ \paper {
+ linewidth = -1.
+ \translator{
+ \ScoreContext
+ TextScript \override #'font-shape = #'upright
+ }
}
}
@end lilypond
-More examples are given in the distributed example files in
-@code{input/test/}.
-
-@c . {Span requests}
-@menu
-* Span requests::
-@end menu
-
-@node Span requests
-@subsubsection Span requests
-@cindex Span requests
-
-Notational constructs that start and end on different notes can be
-entered using span requests. The syntax is as follows:
+@refbugs
+The syntax and semantics of markup texts are not clean, and both
+syntax and semantics are slated for a rewrite.
-@example
- \spanrequest @var{startstop} @var{type}
-@end example
+LilyPond does not do kerning, and there generally spaces texts
+slightly too wide.
-@cindex @code{\start}
-@cindex @code{\stop}
-This defines a spanning request. The @var{startstop} parameter is either
--1 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
-describes what should be started. Much of the syntactic sugar is a
-shorthand for @code{\spanrequest}, for example,
+@node Global layout
+@section Global layout
-@lilypond[fragment,verbatim,center]
- c'4-\spanrequest \start "slur"
- c'4-\spanrequest \stop "slur"
-@end lilypond
+The global layout determined by three factors: the page layout, the
+iline breaks and the spacing. These all influence each other: The
+choice of spacing determines how densely each system of music is set,
+whree line breaks breaks are chosen, and thus ultimately how many
+pages a piece of music takes. In this section we will explain how the
+lilypond spacing engine works, and how you can tune its results.
-Among the supported types are @code{crescendo}, @code{decrescendo},
-@code{beam}, @code{slur}. This is an internal command. Users are
-encouraged to use the shorthands which are defined in the initialization
-file @file{spanners.ly}.
+Globally spoken, this procedure happens in three steps: first,
+flexible distances (``springs'') are chosen, based on durations. All
+possible line breaking combination are tried, and the one with the
+best results---a layout that has uniform density and requires as
+little stretching or cramping as possible---is chosen. When the score
+is processed by @TeX{}, page are filled with systems, and page breaks
+are chosen whenever the page gets full.
+@menu
+* Vertical spacing::
+* Horizontal spacing::
+* Font Size::
+* Line breaking::
+* Page layout::
+@end menu
-@c . {Assignments}
-@node Assignments
-@subsection Assignments
-@cindex Assignments
-Identifiers allow objects to be assigned to names during the parse
-stage. To assign an identifier, you use @var{name}@code{=}@var{value}
-and to refer to an identifier, you precede its name with a backslash:
-`@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
-the input-types listed above. Identifier assignments can appear at top
-level in the LilyPond file, but also in @code{\paper} blocks.
+@node Vertical spacing
+@subsection Vertical spacing
-An identifier can be created with any string for its name, but you will
-only be able to refer to identifiers whose names begin with a letter,
-being entirely alphabetical. It is impossible to refer to an identifier
-whose name is the same as the name of a keyword.
+@cindex vertical spacing
+@cindex distance between staffs
+@cindex staff distance
+@cindex between staves, distance
-The right hand side of an identifier assignment is parsed completely
-before the assignment is done, so it is allowed to redefine an
-identifier in terms of its old value, e.g.
+The height of each system is determined automatically by lilypond, to
+keep systems from bumping into each other, some minimum distances are
+set. By changing these, you can put staffs closer together, and thus
+put more systems onto one page.
+Normally staves are stacked vertically. To make
+staves maintain a distance, their vertical size is padded. This is
+done with the property @code{minimumVerticalExtent}. It takes a pair
+of numbers, so if you want to make it smaller from its, then you could
+set
@example
-foo = \foo * 2.0
+ \property Staff.minimumVerticalExtent = #'(-4 . 4)
@end example
-
-When an identifier is referenced, the information it points to is
-copied. For this reason, an identifier reference must always be the
-first item in a block.
+This sets the vertical size of the current staff to 4 staff-space on
+either side of the center staff line. The argument of
+@code{minimumVerticalExtent} is interpreted as an interval, where the
+center line is the 0, so the first number is generally negative. you
+could also make the staff larger at the bottom by setting it to
+@code{(-6 . 4)}. The default value is @code{(-6 . 6)}.
+
+Vertical aligment of staves is handled by the
+@internalsref{VerticalAlignment} grob, which lives at
+@internalsref{Score} level.
+
+The piano staffs are handled a little differently: to make cross-staff
+beaming work correctly, it necessary that the distance between staves
+is fixed. This is also done with a @internalsref{VerticalAlignment}
+grob, created in @internalsref{PianoStaff}, but a forced distance is
+set. This is done with the grob property #'forced-distance. If you
+want to override this, use a @code{\translator} block as follows:
@example
-\paper @{
- foo = 1.0
- \paperIdent % wrong and invalid
-@}
-
-\paper @{
- \paperIdent % correct
- foo = 1.0 @}
+ \translator @{
+ \PianoStaffContext
+ VerticalAlignment \override #'forced-distance = #9
+ @}
@end example
+This would bring the staffs together at a distance of 9 staff spaces,
+and again this is measured from the center line of each staff.
-@c . {Lexical modes}
-@node Lexical modes
-@subsection Lexical modes
-@cindex Lexical modes
-@cindex input mode
-@cindex mode, input
-@cindex @code{\notes}
-@cindex @code{\chords}
-@cindex @code{\lyrics}
-
-To simplify entering notes, lyrics, and chords, LilyPond has three
-special input modes in addition to the default mode: note, lyrics and
-chords mode. These input modes change the way that normal, unquoted
-words are interpreted: for example, the word @code{cis} may be
-interpreted as a C-sharp, as a lyric syllable `cis' or as a C-sharp
-major triad respectively.
-
-A mode switch is entered as a compound music expression
-@example
-@code{\notes} @var{musicexpr}
-@code{\chords} @var{musicexpr}
-@code{\lyrics} @var{musicexpr}.
-@end example
-In each of these cases, these expressions do not add anything to the
-meaning of their arguments. They just instruct the parser in what mode
-to parse their arguments. The modes are treated in more detail in
-@ref{Lyrics} and @ref{Chords}.
+@node Horizontal spacing
+@subsection Horizontal Spacing
-Different input modes may be nested.
+The spacing engine translates differences in durations into
+stretchable distances (``springs'') of differing lengths. Longer
+durations get more space, shorter durations get less. The basis for
+assigning spaces to durations, is that the shortest durations get a
+fixed amount of space, and the longer durations get more: doubling a
+duration adds a fixed amount of space to the note.
-@c . {Ambiguities}
-@node Ambiguities
-@subsection Ambiguities
-@cindex ambiguities
-@cindex grammar
+For example, the following piece contains lots of half, quarter and
+8th notes, the eighth note is followed by 1 note head width. The The
+quarter note is followed by 2 NHW, the half by 3 NHW, etc.
+@lilypond[fragment, verbatim, relative=1]
+ c2 c4. c8 c4. c8 c4. c8 c8 c8 c4 c4 c4
+@end lilypond
+These two amounts of space are @code{shortest-duration-space}
+@code{spacing-increment}, grob properties of
+@internalsref{SpacingSpanner}. Normally @code{spacing-increment} is
+set to 1.2, which is the width of a note head, and
+@code{shortest-duration-space} is set to 2.0, meaning that the
+shortest note gets 2 noteheads of space. For normal notes, this space
+is always counted from the left edge of the symbol, so the short notes
+in a score is generally followed by one note head width of space.
+
+If one would follow the above procedure exactly, then adding a single
+32th note to a score that uses 8th and 16th notes, would widen up the
+entire score a lot. The shortest note is no longer a 16th, but a 64th,
+thus adding 2 noteheads of space to every note. To prevent this, the
+shortest duration for spacing is not the shortest note in the score,
+but the most commonly found shortest note. Notes that are even
+shorter this are followed by a space that is proportonial to their
+duration relative to the common shortest note. So if we were to add
+only a few 16th notes to the example above, they would be followed by
+half a NHW:
+
+@lilypond[fragment, verbatim, relative=1]
+ c2 c4. c8 c4. [c16 c] c4. c8 c8 c8 c4 c4 c4
+@end lilypond
-The grammar contains a number of ambiguities. We hope to resolve them at
-some time.
+The most common shortest duration is determined as follows: in every
+measure, the shortest duration is determined. The most common short
+duration, is taken as the basis for the spacing, with the stipulation
+that this shortest duration should always be equal to or shorter than
+1/8th note. The shortest duration is printed when you run lilypond
+with @code{--verbose}. These durations may also be customized. If you
+set the @code{common-shortest-duration} in
+@internalsref{SpacingSpanner}, then this sets the base duration for
+spacing. The maximum duration for this base (normally 1/8th), is set
+through @code{base-shortest-duration}.
+
+@cindex @code{common-shortest-duration}
+@cindex @code{base-shortest-duration}
+@cindex @code{stem-spacing-correction}
+@cindex @code{spacing}
+
+In the introduction it was explained that stem directions influence
+spacing. This is controlled with @code{stem-spacing-correction} in
+@internalsref{NoteSpacing}. The @code{StaffSpacing} grob contains the
+same property for controlling the stem/barline spacing. In the
+following example shows these corrections, once with default settings,
+and once with exaggerated corrections.
+
+@lilypond
+ \score { \notes {
+ c'4 e''4 e'4 b'4 |
+ b'4 e''4 b'4 e''4|
+ \property Staff.NoteSpacing \override #'stem-spacing-correction
+ = #1.5
+ \property Staff.StaffSpacing \override #'stem-spacing-correction
+ = #1.5
+ c'4 e''4 e'4 b'4 |
+ b'4 e''4 b'4 e''4|
+ }
+ \paper { linewidth = -1. } }
+@end lilypond
-@itemize @bullet
- @item The assignment
-@example
-foo = bar
-@end example
- is interpreted as the string identifier assignment. However,
-it can also be interpreted as making a string identifier @code{\foo}
- containing @code{"bar"}, or a music identifier @code{\foo}
- containing the syllable `bar'.
- @item If you do a nested repeat like
+@refbugs
- @quotation
+Spacing is determined on a score wide basis. If you have a score that
+changes its character (measured in durations) half way during the
+score, the part containing the longer durations will be spaced too
+widely.
-@example
-\repeat @dots{}
-\repeat @dots{}
-\alternative
-@end example
+Generating optically pleasing spacing is black magic. LilyPond tries
+to deal with a number of frequent cases. Here is an example that is
+not handled correctly, due to the combination of chord collisions and
+kneed stems.
- @end quotation
+@lilypond
+\score {
+ \context PianoStaff \notes \transpose c''' <
+ \context Staff = up { s1 }
+ \context Staff = down { [c8 c \translator Staff=up <c d> c
+\translator Staff=down c c c] }
+ >
+ \paper { linewidth = -1 }
+}
+@end lilypond
- then it is ambiguous to which @code{\repeat} the
- @code{\alternative} belongs. This is the classic if-then-else
- dilemma. It may be solved by using braces.
- @item The parser is not sophisticated enough to distinguish at the
-right time between
- @code{c4*2 / 3 } and @code{c4*2 / g} (in chord mode).
+@c . {Font size}
+@node Font Size
+@subsection Font size
+@cindex font size, setting
+@cindex staff size, setting
+@cindex @code{paper} file
-[checkme]
+The Feta font provides musical symbols at seven different sizes.
+These fonts are 11 point, 13 point, 16 point, 19 pt, 20 point, 23
+point, and 26 point. The point size of a font is the height of the
+five lines in a staff when displayed in the font.
-@end itemize
+Definitions for these sizes are the files @file{paperSZ.ly}, where
+@code{SZ} is one of 11, 13, 16, 19, 20, 23 and 26. If you include any
+of these files, the identifiers @code{paperEleven},
+@code{paperThirteen}, @code{paperSixteen}, @code{paperNineteen},
+@code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
+are defined respectively. The default @code{\paper} block is also
+set. These files should be imported at toplevel, i.e.
+@example
+ \include "paper26.ly"
+ \score @{ ... @}
+@end example
+The font definitions are generated using a Scheme function. For more
+details, see the file @file{scm/font.scm}.
-@c . {Lexical details}
-@node Lexical details
-@section Lexical details
-Even more boring details, now on lexical side of the input parser.
+@c . {Line break}
+@node Line breaking
+@subsection Line breaking
-@menu
-* Comments::
-* Direct Scheme::
-* Keywords::
-* Integers::
-* Reals::
-* Strings::
-* Main input::
-* File inclusion::
-* Version information::
-@end menu
+@cindex line breaks
+@cindex breaking lines
+Line breaks are normally computed automatically. They are chosen such
+that it looks neither cramped nor loose, and that consecutive lines have
+similar density.
-@node Comments
-@subsection Comments
+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. Line breaks can only occur at places where there are bar
+lines. If you want to have a line break where there is no bar line,
+you can force an invisible bar line by entering @code{\bar
+""}. Similarly, @code{\noBreak} forbids a line break at a certain
+point.
-@cindex comments
-@cindex block comment
-@cindex line comment
-@cindex @code{%}
+@cindex regular line breaks
+@cindex four bar music.
-A one line comment is introduced by a @code{%} character.
-Block comments are started by @code{%@{} and ended by @code{%@}}.
-They cannot be nested.
+If you want linebreaks at regular intervals, you can use the following:
+@example
+< \repeat 7 unfold @{ s1 * 4 \break @}
+ @emph{real music}
+>
+@end example
+This makes the following 28 measures (assuming 4/4 time) be broken every
+4 measures.
-@node Direct Scheme
-@subsection Direct Scheme
+@node Page layout
+@subsection Page layout
-@cindex Scheme
-@cindex GUILE
-@cindex Scheme, in-line code
+@cindex page breaks
+@cindex breaking pages
+@cindex @code{indent}
+@cindex @code{linewidth}
-LilyPond contains a Scheme interpreter (the GUILE library) for
-internal use. In some places, Scheme expressions also form valid syntax:
-wherever it is allowed,
-@example
- #@var{scheme}
-@end example
-evaluates the specified Scheme code. Example:
-@example
- \property Staff.TestObject \override #'foobar = #(+ 1 2)
-@end example
-@code{\override} expects two Scheme expressions, so there are two Scheme
-expressions. The first one is a symbol (@code{foobar}), the second one
-an integer (namely, 3).
+The most basic settings influencing the spacing are @code{linewidth}
+and @code{indent}, both set in the @code{\paper} block. They control
+the indentation of the first line of music, and the lengths of the
+lines. If @code{linewidth} set to a negative value, a single
+unjustified line is produced. A similar effect for scores that are
+longer than one line, can be produced by setting @code{raggedright} to
+true in the @code{\paper} block.
+
+@cindex page layout
+
+The page layout process happens outside lilypond. Ly2dvi sets page
+layout instructions. Ly2dvi responds to the following variables in the
+@code{\paper} block. The variable @code{textheight} sets the total
+height of the music on each page. The spacing between systems is
+controlled with @code{interscoreline}, its default is 16pt.
+The distance between the score lines will stretch in order to fill the
+full page @code{interscorelinefill} is set to a positive number. In
+that case @code{interscoreline} specifies the minimum spacing.
-In-line scheme may be used at the top level. In this case the result is
-discarded.
+@cindex @code{textheight}
+@cindex @code{interscoreline}
+@cindex @code{interscorelinefill}
-Scheme is a full-blown programming language, and a full discussion is
-outside the scope of this document. Interested readers are referred to
-the website @uref{http://www.schemers.org/} for more information on
-Scheme.
+If the variable @code{lastpagefill} is defined (that is, it gets any
+value assigned in the @code{\paper} block), systems are evenly
+distributed vertically on the last page. This might produce ugly
+results in case there are not enough systems on the last page. Note
+that @command{lilypond-book} ignores @code{lastpagefill}. See
+@ref{lilypond-book: integrating text and music} for
+more information.
+@cindex @code{lastpagefill}
-@node Keywords
-@subsection Keywords
-@cindex Keywords
+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. You
+can insert a @code{\newpage} from within lilypond. This is done by
+setting the @code{between-systems-strings} on the
+@internalsref{NonMusicalPaperColumn} where the system is broken.
+@cindex paper size
+@cindex page size
+@cindex @code{papersize}
-Keywords start with a backslash, followed by a number of lower case
-alphabetic characters. These are all the keywords.
+To change the paper size, you must first set the
+@code{papersize} paper variable variable. Set it to
+the strings @code{a4}, @code{letter}, or @code{legal}. After this
+specification, you must set the font as described above. If you want
+the default font, then use the 20 point font.
@example
-apply arpeggio autochange spanrequest commandspanrequest
-simultaneous sequential accepts alternative bar breathe
-char chordmodifiers chords clef cm consists consistsend
-context denies duration dynamicscript elementdescriptions
-font grace header in lyrics key mark pitch
-time times midi mm name pitchnames notes outputproperty
-override set revert partial paper penalty property pt
-relative remove repeat addlyrics partcombine score
-script stylesheet skip textscript tempo translator
-transpose type
+ \paper@{ papersize = "a4" @}
+ \include "paper16.ly"
@end example
-@node Integers
-@subsection Integers
-
-@cindex integers
-@cindex @code{+}
-@cindex @code{-}
-@cindex @code{*}
-@cindex @code{/}
+The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
+will set the paper variables @code{hsize} and @code{vsize} (used by
+Lilypond and @code{ly2dvi})
-Formed from an optional minus sign followed by digits. Arithmetic
-operations cannot be done with integers, and integers cannot be mixed
-with reals.
-@node Reals
-@subsection Reals
-@cindex real numbers
+@c . {Sound}
+@node Sound
+@section Sound
+@cindex Sound
+LilyPond can produce MIDI output. The performance lacks lots of
+interesting effects, such as swing, articulation, slurring, etc., but it
+is good enough for proof-hearing the music you have entered. Ties,
+dynamics and tempo changes are interpreted.
+Dynamic marks, crescendi and decrescendi translate into MIDI volume
+levels. Dynamic marks translate to a fixed fraction of the available
+MIDI volume range, crescendi and decrescendi make the the volume vary
+linearly between their two extremities. The fractions be adjusted by
+overriding the @code{absolute-volume-alist} defined in
+@file{scm/midi.scm}.
-Formed from an optional minus sign and a sequence of digits followed
-by a @emph{required} decimal point and an optional exponent such as
-@code{-1.2e3}. Reals can be built up using the usual operations:
-`@code{+}', `@code{-}', `@code{*}', and
-`@code{/}', with parentheses for grouping.
+For each type of musical instrument (that MIDI supports), a volume range
+can be defined. This gives you basic equalizer control, which can
+enhance the quality of the MIDI output remarkably. You can add
+instruments and ranges or change the default settings by overriding the
+@code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
-@cindex @code{\mm},
-@cindex @code{\in}
-@cindex @code{\cm}
-@cindex @code{\pt}
-@cindex dimensions
+Both loudness controls are combined to produce the final MIDI volume.
-A real constant can be followed by one of the dimension keywords:
-@code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
-points, inches and centimeters, respectively. This converts the number
-a number that is the internal representation of that dimension.
-@node Strings
-@subsection Strings
-@cindex string
-@cindex concatenate
+@menu
+* MIDI block::
+* MIDI instrument names::
+@end menu
-Begins and ends with the @code{"} character. To include a @code{"}
-character in a string write @code{\"}. Various other backslash
-sequences have special interpretations as in the C language. A string
-that contains no spaces can be written without the quotes. Strings can
-be concatenated with the @code{+} operator.
+@c . {MIDI block}
+@node MIDI block
+@subsection MIDI block
+@cindex MIDI block
-@node Main input
-@subsection Main input
-@cindex Main input
+The MIDI block is analogous to the paper block, but it is somewhat
+simpler. The @code{\midi} block can contain:
+@cindex MIDI block
-@cindex @code{\maininput}
+@itemize @bullet
+ @item a @code{\tempo} definition
+ @item context definitions
+@end itemize
-The @code{\maininput} command is used in init files to signal that the
-user file must be read. This command cannot be used in a user file.
+Assignments in the @code{\midi} block are not allowed.
-@node File inclusion
-@subsection File inclusion
-@cindex @code{\include}
-@example
- \include @var{filename}
-@end example
-Include @var{filename}. The argument @var{filename} may be a quoted string (an
-unquoted string will not work here!) or a string identifier. The full
-filename including the @file{.ly} extension must be given,
+@cindex context definition
-@node Version information
-@subsection Version information
-@cindex @code{\version}
-@example
- \version @var{string}
-@end example
+Context definitions follow precisely the same syntax as within the
+\paper block. Translation modules for sound are called performers.
+The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
-Specify the version of LilyPond that a file was written for. The
-argument is a version string in quotes, for example @code{"1.2.0"}.
-This is used to detect invalid input, and to aid
-@code{convert-ly} a tool that automatically upgrades input files. See
-See @ref{convert-ly} for more information on @code{convert-ly}.
-@cindex convert-ly
+@node MIDI instrument names
+@subsection MIDI instrument names
+@cindex instrument names
+@cindex @code{Staff.midiInstrument}
+@cindex @code{Staff.instrument}
+The MIDI instrument name is set by the @code{Staff.midiInstrument}
+property or, if that property is not set, the @code{Staff.instrument}
+property. The instrument name should be chosen from the list in
+@ref{MIDI instruments}.
+@refbugs
+If the selected string does not exactly match, then LilyPond uses the
+default (Grand Piano). It is not possible to select an instrument by
+number.
-@c broken with emacs-21
-@c {Local emac s vars}
-@c Local varia bles:
-@c mode: texi nfo
-@c minor-mod e: font-lock
-@c minor-mo de: outline
-@c outline -layout: (-1 : 0)
-@c outlin e-use-mode-specific-leader: "@c \."
-@c outli ne-primary-bullet: "{"
-@c outli ne-stylish-prefixes: nil
-@c outli ne-override-protect: t
-@c End:
projects / lilypond.git / blobdiff