@c before saving changes
+@
+
@macro refbugs
-@unnumberedsubsec Bugs
+@strong{BUGS}
@end macro
@chapter Reference Manual
This document describes GNU LilyPond and its input format. The last
-revision of this document was for LilyPond 1.3.138.
+revision of this document was made for LilyPond 1.3.145.
@menu
* Custodes::
* Tuning output::
* Page layout::
+* Output formats::
* Sound::
* Music entry::
+* Skipping corrected music::
* Interpretation context::
* Syntactic details::
* Lexical details::
LilyPond is linked to GUILE, GNU's Scheme library for extension. The
Scheme library provides the glue that holds together the low-level
-routines and separate modules general, which are C++
+routines and separate modules which are written in C++.
When lilypond is run to typeset sheet music, the following happens:
@itemize @bullet
then the user @file{ly} file is read.
@item interpretation: the music in the file is processed ``in playing
order'', i.e. the order that you use to read sheet music, or the
-order in which notes are played.
+order in which notes are played. The result of this step is a typesetting
+specification.
@item typesetting:
-in this step, the results of the interpretation, a typesetting
-specification, is solved.
+The typesetting specification is solved: positions and formatting is
+calculated.
-@item the visible results ("virtual ink") is written to the output file.
+@item the visible results ("virtual ink") are written to the output file.
@end itemize
During these stages different types of data play the the main role:
during parsing, @strong{Music} objects are created. During the
-interpretation, @strong{context} is constructed, and with this context
-af network of @strong{graphical objects} (``grobs'') is created. The
+interpretation, @strong{context}s are constructed, and with these contexts
+a network of @strong{graphical objects} (``grobs'') is created. These
grobs contain unknown variables, and the network forms a set of
equations. After solving the equations and filling in these variables,
the printed output (in the form of @strong{molecules}) is written to an
These threemanship of tasks (parsing, translating, typesetting) and
data-structures (music, context, graphical objects) permeates the entire
-design of the program. This manual is ordered in terms of user
-tasks. With each concept will be explained to which of the three parts
-it belongs.
-
+design of the program.
@c . {Note entry}
@node Note entry
The most basic forms of music are notes. We discuss how you enter them
here. Notes on their own don't form valid input, but for the sake of
-brevity we omit obligotary lint such as @code{\score} blocks and
+brevity we omit obligatory lint such as @code{\score} blocks and
@code{\paper} declarations.
* Tuplets::
* Rests::
* Skip::
-* Note mode::
@end menu
@c . {Pitches}
@example
\pitch @var{scmpitch}
@end example
-9
+
@var{scmpitch} is a pitch scheme object, see @ref{Pitch data type}.
In Note and Chord mode, pitches may be designated by names. The default
@example
\duration @var{scmduration}
@end example
-Here, @var{scmduration} is a Scheme object of type Duration. See
+Here, @var{scmduration} is a Scheme object of type @code{Duration}. See
@ref{Duration} for more information.
In Note, Chord, and Lyrics mode, durations may be designated by numbers
and dots: durations are entered as their reciprocal values. For notes
-longer than a whole note, use identifiers.
-
-@quotation
+longer than a whole you must use identifiers.
@example
-c'\longa c'\breve
+ c'\breve
c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
r\longa r\breve
r1 r2 r4 r8 r16 r32 r64 r64
@lilypond[]
\score {
\notes \relative c'' {
- a\longa a\breve \autoBeamOff
+ a\breve \autoBeamOff
a1 a2 a4 a8 a16 a32 a64 a64
r\longa r\breve
r1 r2 r4 r8 r16 r32 r64 r64
\paper {
\translator {
\StaffContext
- \remove "Clef_engraver";
- \remove "Staff_symbol_engraver";
- \remove "Time_signature_engraver";
- \consists "Pitch_squash_engraver";
+ \remove "Clef_engraver"
+ \remove "Staff_symbol_engraver"
+ \remove "Time_signature_engraver"
+ \consists "Pitch_squash_engraver"
}
}
}
@end lilypond
-@end quotation
-As you can see, the longa is not printed. To get a longa note head, you
-have to use a mensural note heads. This is done accomplished by setting
-the @code{style} property of the NoteHead grob to @code{mensural}.
+ To get a longa note head, you have to use a mensural note heads. This
+is done accomplished by setting the @code{style} property of the
+NoteHead grob to @code{mensural}.
+
+@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
A note specification has the form
@example
- @var{pitch}[@var{octavespec}][!][?][@var{duration}]
+ @var{pitch}[!][?][@var{duration}]
@end example
-LilyPond will determine what accidentals to typeset depending on the key
-and context. The alteration refers to what note is heard, not to whether
-an accidental is printed. A reminder accidental
+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
Hal-Leonard Inc. music publishers.
@lilypond[singleline,verbatim]
-\include "paper26.ly"
+\include "paper23.ly"
\score {
\notes { c'2 e'4 f' | g'1 }
\paper { \translator { \EasyNotation } }
Note that @code{EasyNotation} overrides a @code{Score} context. You
probably will want to print it with magnification to make it better
-readable.
+readable, see @ref{Output scaling}.
+
@cindex Xdvi
@cindex ghostscript
If you view the result with Xdvi, then staff lines will show through the
letters. Printing the postscript file obtained either by using dvips or
-the @code{-f ps} option of lilypond will produce the desired result.
+the @code{-f ps} option of lilypond produces the correct result.
@node Tie
A tie connects two adjacent note heads of the same pitch. When used
with chords, it connects all of the note heads whose pitches match.
-Ties are indicated using the tilde symbol `@code{~}'.
-If you try to tie together chords which have no common pitches, a
-warning message will appear and no ties will be created.
+Ties are indicated using the tilde symbol `@code{~}'. If you try to tie
+together chords which have no common pitches then no ties will be
+created.
@lilypond[fragment,verbatim,center]
e' ~ e' <c' e' g'> ~ <c' e' g'>
@code{Voice.sparseTies} to true, resulting in a smaller number of
ties:
@lilypond[fragment,verbatim,center]
-%oops: core dump
-% \property Voice.sparseTies = ##t
+ \property Voice.sparseTies = ##t
<c' e' g'> ~ <c' e' g'>
@end lilypond
In its meaning a tie is just a way of extending a note duration, similar
-to the augmentation dot: the following example are three ways of notating
+to the augmentation dot: the following example are two ways of notating
exactly the same concept.
+@c
@lilypond[fragment, singleline]
c'2 c'4 ~ c'4
@end lilypond
+The name of the tie grob is @code{Voice.Tie}.
+
@refbugs
At present, the tie is implemented as a separate thing, temporally
Tieing only a subset of the note heads of a chord is not supported in a
simple way. It can be achieved by moving the tie-engraver into Thread
-context and turning off ties per Thread.
+context and turning on an off ties per Thread.
@node Tuplets
The property @code{tupletSpannerDuration} specifies how long brackets
should last. With this, you can make lots of tuplets while typing
-@code{\times} only once. This saves typing work when you must make lots
-of tuplets.
+@code{\times} only once, thus saving typing work.
@lilypond[fragment, relative, singleline, verbatim]
\property Voice.tupletSpannerDuration = #(make-moment 1 4)
\times 2/3 { c''8 c c c c c }
@end lilypond
+The format of the number is determined by the property
+@code{tupletNumberFormatFunction}. The default prints only the
+denominator, but if you set it to the Scheme function
+@code{fraction-tuplet-formatter} will print @var{num}:@var{den} instead.
+
+@cindex @code{tupletNumberFormatFunction}
+@cindex tuplet formatting
+
+Tuplet brackets are printed as @code{TupletBracket} grobs
+
+
@c . {Rests}
@node Rests
@subsection Rests
@cindex Rests
-Rests are entered like notes, with note name `@code{r}'.
+Rests are entered like notes, with note name `@code{r}'. The grob is
+@code{Rest}.
@c . {Skip}
@example
- \skip @var{duration} @code{;}
+ \skip @var{duration}
s@var{duration}
@end example
@cindex @code{\skip}
Skips the amount of time specified by @var{duration}. If no other music
-is played, a gap will be left for the skipped time with no notes
-printed. The short hand is only available in Note and Chord mode.
-
-
-
-@node Note mode
-@subsection Note mode
-
-
-
-@cindex note mode
-@cindex @code{\notes}
-
-Note mode is the lexical mode generally used for inputting notes. The
-syntax is
-@example
-\notes @var{expr}
-@end example
-
-This instructs the tokenizer to interpret @var{expr} in note mode. If a
-a sequence of alfabetical characters, like @code{foobar}, LilyPond first
-checks if @code{foobar} is a pitch name. If it is not a pitch name,
-then it is treated as a string.
+is played, a gap will be left for the skipped time without any notes
+printed. The shorthand is only available in Note and Chord mode.
-Numbers and dots indicate durations, so you can enter floating point
-numbers in this mode.
@node Staff notation
@menu
* Key signature::
+* Clef::
* Time signature::
* Unmetered music::
* Bar lines::
Changing the key signature is done with the @code{\key} command.
@example
- @code{\key} @var{pitch} @var{type} @code{;}
+ @code{\key} @var{pitch} @var{type}
@end example
@cindex @code{\minor}
This command sets context property @code{Staff.keySignature}.
+The printed signature is a @code{KeySignature} grob.
+
@cindex @code{keySignature}
@c . {Clef}
-@subsection Clef changes
+@node Clef
+@subsection Clef
@cindex @code{\clef}
@example
\clef @var{clefname} @code{;}
@end example
-Short-cut for
+Shortcut for
@example
\property Staff.clefGlyph = @var{glyph associated with clefname}
\property Staff.clefOctavation = @var{extra pitch of clefname}
@end example
+Any change in these properties creates a clef (a @code{Clef} grob).
+
Supported clef-names include
-@itemize @bullet
-@item treble, violin, G, G2: G clef on 2nd line
-@item french: G clef on 1st line
-@item soprano: C clef on 1st line
-@item mezzosoprano: C clef on 2nd line
-@item alto: C clef on 3rd line
-@item tenor: C clef on 4th line
-@item baritone: C clef on 5th line
-@item varbaritone: F clef on 3rd line
-@item bass, F: F clef on 4th line
-@item subbass: F clef on 5th line
-@item percussion: percussion clef
-@end itemize
+@table @code
+@item treble, violin, G, G2
+G clef on 2nd line
+@item french
+ G clef on 1st line
+@item soprano
+ C clef on 1st line
+@item mezzosoprano
+ C clef on 2nd line
+@item alto
+ C clef on 3rd line
+@item tenor
+ C clef on 4th line
+@item baritone
+ C clef on 5th line
+@item varbaritone
+ F clef on 3rd line
+@item bass, F
+ F clef on 4th line
+@item subbass
+ F clef on 5th line
+@item percussion
+ percussion clef
+@end table
Supported associated glyphs (for @code{Staff.clefGlyph}) are:
-@itemize @bullet
-@item clefs-C: modern style C clef
-@item clefs-F: modern style F clef
-@item clefs-G: modern style G clef
-@item clefs-vaticana_do: Editio Vaticana style do clef
-@item clefs-vaticana_fa: Editio Vaticana style fa clef
-@item clefs-medicaea_do: Editio Medicaea style do clef
-@item clefs-medicaea_fa: Editio Medicaea style fa clef
-@item clefs-mensural1_c: modern style mensural C clef
-@item clefs-mensural2_c: historic style small mensural C clef
-@item clefs-mensural3_c: historic style big mensural C clef
-@item clefs-mensural1_f: historic style traditional mensural F clef
-@item clefs-mensural2_f: historic style new mensural F clef
-@item clefs-mensural_g: historic style mensural G clef
-@item clefs-hufnagel_do: historic style hufnagel do clef
-@item clefs-hufnagel_fa: historic style hufnagel fa clef
-@item clefs-hufnagel_do_fa: historic style hufnagel combined do/fa clef
-@item clefs-percussion: modern style percussion clef
-@end itemize
+@table @code
+@item clefs-C
+ modern style C clef
+@item clefs-F
+ modern style F clef
+@item clefs-G
+ modern style G clef
+@item clefs-vaticana_do
+ Editio Vaticana style do clef
+@item clefs-vaticana_fa
+ Editio Vaticana style fa clef
+@item clefs-medicaea_do
+ Editio Medicaea style do clef
+@item clefs-medicaea_fa
+ Editio Medicaea style fa clef
+@item clefs-mensural1_c
+ modern style mensural C clef
+@item clefs-mensural2_c
+ historic style small mensural C clef
+@item clefs-mensural3_c
+ historic style big mensural C clef
+@item clefs-mensural1_f
+ historic style traditional mensural F clef
+@item clefs-mensural2_f
+ historic style new mensural F clef
+@item clefs-mensural_g
+ historic style mensural G clef
+@item clefs-hufnagel_do
+ historic style hufnagel do clef
+@item clefs-hufnagel_fa
+ historic style hufnagel fa clef
+@item clefs-hufnagel_do_fa
+ historic style hufnagel combined do/fa clef
+@item clefs-percussion
+ modern style percussion clef
+@end table
@emph{Modern style} means ``as is typeset in current editions.''
@emph{Historic style} means ``as was typeset or written in contemporary
The time signature is changed by the @code{\time} command. Syntax:
@example
- \time @var{numerator}@code{/}@var{denominator} @code{;}
+ \time @var{numerator}@code{/}@var{denominator}
@end example
-Internally, this is a short-cut for doing
+Internally, this is a shortcut for doing
@example
\property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
@end example
-[TODO: discuss options for layout]
+The property @code{timeSignatureFraction} is used to determine where bar
+lines should be inserted, and how automatic beams should be generated.
+
+The grob is @code{TimeSignature}. There are many options for the layout
+of this grob. They are selected through the @code{style} grob
+property. See @file{input/test/time.ly} for examples.
@c . {Partial}
@subsection Partial
Partial measures are entered using the @code{\partial} command:
@example
- \partial @var{duration} @code{;}
+ \partial @var{duration}
@end example
-Internally, this is a short cut for
+Internally, this is a shortcut for
@example
\property Score.measurePosition = -@var{length of duration}
@end example
@cindex @code{|}
+The property @code{measurePosition} contains a rational number
+indicating how much of the measure has passed at this point.
+
@node Unmetered music
@subsection Unmetered music
@lilypond[fragment,relative,singleline,verbatim]
c'2.
\property Score.timing = ##f
-c4 c4 c4
+c2
\property Score.timing = ##t
c4 c4 c4
@end lilypond
@cindex repeat bars
@example
- \bar @var{bartype};
+ \bar @var{bartype}
@end example
-This is a short-cut for doing
+This is a shortcut for doing
@example
\property Score.whichBar = @var{bartype}
@end example
You are encouraged to use @code{\repeat} for repetitions. See
-@ref{Repeats}, and the documentation of @code{whichBar} in the generated
-documentation.
+@ref{Repeats}.
@cindex Bar_line_engraver
@cindex repeatCommands
@cindex defaultBarType
-Bar lines are created by the @code{Bar_line_engraver}. That engraver examines
-@code{whichBar} at every moment. Whenever it is set to a string, it will
-create a bar with that type. @code{whichBar} is usually set
-automatically: at the start of a measure it is set to
-@code{defaultBarType}. The contents of @code{repeatCommands} is used to
-override default measure bars.
+Whenever @code{whichBar} is set to a string, a bar line of that type is
+created. @code{whichBar} is usually set automatically: at the start of
+a measure it is set to @code{defaultBarType}. The contents of
+@code{repeatCommands} is used to override default measure bars.
@code{whichBar} can also be set directly, using @code{\property} or
-@code{\bar ; }. These settings take precedence over automatic @code{whichBar}
+@code{\bar }. These settings take precedence over automatic @code{whichBar}
settings.
+@code{Bar_engraver} creates @code{BarLine} grobs.
@c . {Polyphony}
@node Polyphony
@section Polyphony
-@cindex Polyphony
+@cindex polyphony
+
+Polyphonic parts, i.e. parts with more than one voice on a staff can be
+typeset with LilyPond. To use this, instantiate a separate Voice
+context for each part, and assign a stem direction to each part.
+@lilypond[fragment,verbatim]
+\context Staff
+< \context Voice = VA { \stemUp b'4 a' g' f' e' }
+ \context Voice = VB { \stemDown g'4 g' g' g' g' } >
+@end lilypond
-[TODO: collisions, rest-collisinos, voiceX identifiers, how to
-which contexts to instantiate. some small examples? ]
+When there are more than two voices on a staff, you must also indicate
+which voice should moved horizontally in case of a collision. This can
+be done with the identifiers @code{\shiftOff}, @code{\shiftOn},
+@code{\shiftOnn}, etc. (which sets grob property @code{horizontal-shift}
+in @code{NoteColumn}).
+
+@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.
-@table @code
-@cindex @code{\shiftOff}
- @item @code{\shiftOff}
- Disable horizontal shifting of note heads that collide.
-
-@cindex @code{\shiftOn}
- @item @code{\shiftOn}
- Enable note heads that collide with other note heads to be
- shifted horiztonally. Also @code{\shiftOnn} and @code{\shiftOnnn}
-set different shift values.
-
-@cindex @code{\stemBoth}
- @item @code{\stemBoth}
- Allow stems and beams to point either upwards or
- downwards, decided automatically by LilyPond.
-
-@cindex @code{\stemDown}
- @item @code{\stemDown}
- Force stems and beams to point down.
-
-@cindex @code{\stemUp}
- @item @code{\stemUp}
- Force stems and beams to point up.
-@end table
+@lilypond[singleline, verbatim]
+\relative c''
+\context Staff < \context Voice = VA { \voiceOne cis2 b }
+ \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
+ \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
+@end lilypond
+
+Normally, note heads with a different number of dots are not merged, but
+if you set the grob property @code{merge-differently-dotted}, they are:
-@cindex @code{\slurBoth}
-@cindex @code{\slurDown}
-@cindex @code{\slurUp}
-Similarly, for slurs use
-@code{\slurBoth},
-@code{\slurDown},
-@code{\slurUp}.
-@cindex @code{\slurBoth}
-@cindex @code{\slurDown}
-@cindex @code{\slurUp}
-Aand for ties use
-@code{\tieBoth},
-@code{\tieDown},
-@code{\tieUp}.
-
-@cindex @code{\voiceOne}
-@cindex @code{\voiceTwo}
-@cindex @code{\voiceThree}
-@cindex @code{\voiceFour}
-@cindex @code{\oneVoice}
-@cindex @code{\shiftOn}
-@cindex @code{\shiftOff}
-
-If two voices sharing one staff have the same stem directions, their
-note heads may collide. You can shift the note heads of one voice by
-setting @code{\shiftOn}. This can be undone by setting
-@code{\shiftOff}.
-
-For simple polyphonic music, shorthands are available that combine
-directions and shift settings: @code{\voiceOne}, @code{\voiceTwo},
-@code{\voiceThree}, @code{\voiceFour} and @code{\oneVoice}.
+@lilypond[verbatim,fragment,singleline]
+ \context Staff <
+ \context Voice = VA { \voiceOne
+ g'8 g'8
+ \property Staff.NoteCollision \override #'merge-differently-dotted = ##t
+ g'8 g'8
+ }
+ \context Voice = VB { \voiceTwo [g'8. f16] [g'8. f'16] }
+ >
+@end lilypond
+
+LilyPond also vertically shifts rests that are opposite of a stem.
+
+@lilypond[singleline,verbatim]
+\context Staff <
+\context Voice { \stemUp c''4 }
+\context Voice =VB { r4 }
+>
+@end lilypond
+
+Note head collisions (horizontal shifting of note heads) are handled by
+the @code{NoteCollision} grob. @code{RestCollision} handles vertical
+shifting of rests.
+
+@cindex @code{NoteCollision}
+@cindex @code{RestCollision}
+
+
+@refbugs
+Resolving collisions is a very intricate subject, and LilyPond only
+handles a few situations. When it can not cope, you are advised to use
+@code{force-hshift} of the NoteColumn grob and @code{staff-position} of
+the Rest grob to override typesetting decisions.
@node Beaming
@section Beaming
Beams are used to group short notes into chunks that are aligned with
-the metrum. LilyPond guesses where beams should be inserted, but if
-you're not satisfied with the automatic beaming, you can either instruct
-lilypond which patterns to beam automatically. In specific cases, you
-can also specify explicitly what to beam and what not.
+the metrum. LilyPond guesses where beams should be inserted. If you're
+not satisfied with the automatic beaming, you can specify which patterns
+to beam automatically. In specific cases, you can also explicitly enter
+beams.
@c . {Automatic beams}
@cindex @code{(end * * * *)}
@cindex @code{(begin * * * *)}
-A large number of Voice properties are used to decide how to generate
-beams. Their default values appear in @file{scm/auto-beam.scm}.
-By default, automatic beams can start on any note@footnote{In exotic
-time signatures such as 1/8 and 1/16 this is not true} but can only end
-in a few positions within the measure: they can end on a beat, or at
-durations specified by the properties in
+In normal time signatures, automatic beams can start on any note but can
+only end in a few positions within the measure: beams can end on a beat,
+or at durations specified by the properties in
@code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
are defined in @file{scm/auto-beam.scm}.
-The syntax for changing the value @code{autoBeamSettings} is set using
+Changing the value of @code{autoBeamSettings} is done using
@code{\override} and unset using @code{\revert}:
@example
\property Voice.autoBeamSettings \override #'(@var{BE} @var{N} @var{M} @var{P} @var{Q}) = @var{dur}
@end example
Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
whether the rule applies to begin or end-points. The quantity
-@var{N}/@var{M} refers to a time signature (@code{* *} may be entered to
-designate all time signatures), @var{P}/@var{Q} refers to the length of
-the beamed notes (@code{* *} designate notes of any length).
+@var{N}/@var{M} refers to a time signature (wildcards, `@code{* *}' may
+be entered to designate all time signatures), @var{P}/@var{Q} refers to
+the length of the beamed notes (and `@code{* *}' designates notes of any
+length).
-If you want automatic beams to end on every quarter note, you can
-use the following:
+For example, if you want automatic beams to end on every quarter note,
+you can use the following:
@example
\property Voice.autoBeamSettings \override
#'(end * * * *) = #(make-moment 1 4)
@code{(make-moment 1 4)}.
The same syntax can be used to specify beam starting points. In this
-example, you automatic beams can only end on a dotted quarter note.
+example, automatic beams can only end on a dotted quarter note.
@example
\property Voice.autoBeamSettings \override
#'(begin * * * *) = #(make-moment 3 8)
with 32nd notes (and no shorter notes), you would use @code{(end * * 1
32)}.
-[say something about irregular meters. eg 5/8 = 2+3/8, 3+2/8]
+@c not true
+@c Automatic beams can not be put on the last note in a score.
-Automatic beams can not be put on the last note in a score.
+If a score ends while an automatic beam has not been ended and is still
+accepting notes, this last beam will not be typeset at all.
@cindex automatic beam generation
@cindex autobeam
@code{Voice.noAutoBeaming} to true. You you may find this necessary for
a melody that goes with lyrics.
+@refbugs
+
+It is not possible to specify beaming parameters for beams with mixed
+durations, that differ from the beaming parameters of all separate
+durations, ie, you'll have to specify manual beams to get:
+@lilypond[fragment,singleline,relative]
+ \property Voice.autoBeamSettings
+ \override #'(end * * * *) = #(make-moment 3 8)
+ \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
+@end lilypond
+
+It is not possible to specify beaming parameters that act differently in
+different parts of a measure. This means that it is not possible to use
+automatic beaming in irregular meters such as @code{5/8}.
+
@c . {Manual beams}
@cindex Automatic beams
@subsection Manual beams
In some cases it may be necessary to override LilyPond's automatic
beaming algorithm. For example, the auto beamer will not beam over
-rests or bar lines, so if you want that, specify the begin and end point
+rests or bar lines, If you want that, specify the begin and end point
manually using @code{[} and @code{]}:
-@quotation
@lilypond[fragment,relative,verbatim]
\context Staff {
r4 [r8 g'' a r8] r8 [g | a] r8
}
@end lilypond
-Whenever an manual beam is busy, the auto beam will not produce
+Whenever an manual beam is busy, the automatic beamer will not produce
anything.
@cindex @code{stemLeftBeamCount}
-If you have specific wishes for the number of beams, you can fully
-control the number of beams through the properties
-@code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}.
+Normally, beaming patterns within a beam are determined automatically.
+When this mechanism fouls up, the properties
+@code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}. can
+be used to control the beam subdivision on a stem. If you set either
+property, it's value will be used only once, and then it is erased.
@lilypond[fragment,relative,verbatim]
\context Staff {
[f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
}
@end lilypond
-@end quotation
@cindex @code{stemRightBeamCount}
-The beam symbol can be tweaked through @code{Voice.Beam}'s
-grob-properties @code{height} and @code{staff-position},
-in staff-spaces.
+The beam symbol (grob @code{Voice.Beam}, both for automatic and manual
+beams) can be tweaked through grob-properties @code{height} and
+@code{staff-position}. These specify vertical location and vertical
+span. Both are measured half staff-spaces.
+
Set @code{height} to zero, to get horizontal beams:
-@quotation
@lilypond[fragment,relative,verbatim]
\property Voice.Beam \set #'direction = #1
\property Voice.Beam \set #'height = #0
[a''8 e' d c]
@end lilypond
-@end quotation
Here's how you'd specify a weird looking beam that instead of being
horizontal, falls two staff spaces:
-@quotation
@lilypond[fragment,relative,verbatim]
- \property Voice.Beam \set #'staff-position = #2
- \property Voice.Beam \set #'height = #-2
+ \property Voice.Beam \set #'staff-position = #4
+ \property Voice.Beam \set #'height = #-4
[c'8 c]
@end lilypond
-@end quotation
@cindex @code{default-neutral-direction}
@node Expressive marks
@subsection Slur
@cindex slur
-A slur indicates that notes are to be played bound or @emph{legato}. In
-lilypond, they are entered using parentheses:
+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
-Slurs avoid crossing stems, and are attached to note heads whenever
-possible. In some instances involving beams slurs may be attached to a
-stem end. If you want to override this layout you can do this through
-@code{Voice.Slur}'s grob-property @code{attachment}:
-
-Maybe reinclude other slur features and move back to tricks? Esp. the
-second example, how to fix, can be very helpful.
+Slurs avoid crossing stems, and are generally attached to note heads.
+However, in some situations with beams, slurs may be attached to stem
+ends. If you want to override this layout you can do this through
+@code{Voice.Slur}'s grob-property @code{attachment}. It's value is a
+pair of symbols, specifying the attachment type of the left and right end points.
-@quotation
@lilypond[fragment,relative,verbatim]
\property Voice.Slur \set #'direction = #1
\property Voice.Stem \set #'length = #5.5
\property Voice.Slur \set #'attachment = #'(stem . stem)
g8(g)g4
@end lilypond
-@end quotation
If a slur would strike through a stem or beam, the slur will be moved
away upward or downward. If this happens, attaching the slur to the
stems might look better:
-@quotation
@lilypond[fragment,relative,verbatim]
\property Voice.Stem \set #'direction = #1
\property Voice.Slur \set #'direction = #1
\property Voice.Slur \set #'attachment = #'(stem . stem)
d,32( d'4 )d8..
@end lilypond
-@end quotation
Similarly, the curvature of a slur is adjusted to stay clear of note
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
-express this by increasing the @code{beautiful} value:
+indicate this preference by increasing the @code{beautiful} value:
@lilypond[verbatim,singleline,relative]
\property Voice.Beam \override #'direction = #-1
@refbugs
-The definition for @code{beautiful} is vague, the default setting is
-experimental computer science.
+@code{beautiful} is an arbitrary parameter in the slur formatter.
+Useful values can only be determined by trial and error.
@cindex Adusting slurs
@cindex phrasing mark
A phrasing slur (or phrasing mark) connects chords and is used to
-indicate a musical sentence. It is entered using @code{\(} and
-@code{\)}.
+indicate a musical sentence. It is started using @code{\(} and @code{\)}
+respectively.
@lilypond[fragment,verbatim,center,relative]
- \time 6/4; c''\((d)e f(e)\)d
+ \time 6/4 c''\((d)e f(e)\)d
@end lilypond
Typographically, the phrasing slur behaves almost exactly like a normal
@node Breath marks
@subsection Breath marks
-Breath marks are entered using @code{\breathe}:
+Breath marks are entered using @code{\breathe}. The result is
+@code{Voice.BreathingSign} grob.
@lilypond[fragment,relative]
c'4 \breathe d4
@end lilypond
-Currently, only tick marks are supported, comma style breath marks are
-not. The grob for this object is called @code{Voice.BreathingSign}.
+
@refbugs
@cindex beats per minute
@cindex metronome marking
+Metronome settings can be entered as follows:
+
@cindex @code{\tempo}
@example
- \tempo @var{duration} = @var{perminute} @code{;}
+ \tempo @var{duration} = @var{perminute}
@end example
-Used to specify the tempo. For example, @code{\tempo 4 = 76;} requests
-output with 76 quarter notes per minute.
+For example, @code{\tempo 4 = 76;} requests output with 76 quarter notes
+per minute.
@refbugs
-The tempo setting is not printed, but is currently only used in the MIDI
-output.
+The tempo setting is not printed, but is only used in the MIDI
+output. You can trick lily into producing a metronome mark,
+though. Details are in @ref{Text markup}.
Some textual indications, e.g. rallentando, accelerando, often extend
over a many measures. This is indicated by following the text with a
-dotted line. You can create such texts in LilyPond using
-text spanners. The syntax is as follows:
+dotted line. You can create such texts using text spanners. The syntax
+is as follows:
@example
\spanrequest \start "text"
\spanrequest \stop "text"
An application---or rather, a hack---is to fake octavation indications.
@lilypond[fragment,relative,verbatim]
- \relative c' { a'''' b c a
+ \relative c' { a''' b c a
\property Voice.TextSpanner \set #'type = #'dotted-line
\property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
\property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
* Articulation::
* Text scripts::
* Grace notes::
+* Glissando ::
+* Dynamics::
@end menu
@c . {Articulation}
A variety of symbols can appear above and below notes to indicate
different characteristics of the performance. These symbols can be
added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
-are defined in @file{script.ly} and @file{script.scm}. Symbols can be
-forced to appear above or below the note by writing
-`@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
-respectively. Here is a chart showing symbols above notes, with the
-name of the corresponding symbol appearing underneath.
+are defined in @file{script.ly}. Symbols can be forced to appear above
+or below the note by writing `@var{note}@code{^\}@var{name}' and
+`@var{note}@code{_\}@var{name}' respectively. Here is a chart showing
+symbols on notes, with the name of the corresponding symbol appearing
+underneath.
@lilypond[]
\score {
- < \notes {
- \property Score.LyricSyllable \override #'font-family =
-#'typewriter
- \property Score.LyricSyllable \override #'font-shape = #'upright
+ <
+ \property Score.LyricSyllable \override #'font-family =#'typewriter
+ \property Score.LyricSyllable \override #'font-shape = #'upright
+ \context Staff \notes {
c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
}
>
\paper {
- linewidth = 5.875\in;
- indent = 0.0;
+ linewidth = 5.875\in
+ indent = 0.0
}
}
@end lilypond
@cindex superscript
@cindex subscript
+You can add scripts by editing @file{scm/script.scm}. This file contains
+a table, listing script definitions and aliases. The following syntax
+accesses a script definition from the table:
+
@example
\script @var{alias}
@end example
-Defines a script printing request. The argument is a string which
-points into the script-alias table defined in @file{scm/script.scm}.
Usually the @code{\script} keyword is not used directly. Various
helpful identifier definitions appear in @file{script.ly}.
-For information on how to add scripts, consult @file{scm/script.scm}.
-
+Grobs for these objects are @code{Script} and @code{Fingering}.
@refbugs
text (see @ref{Text markup}) above or below notes by using a string:
@code{c^"text"}. The text is typeset in italic by default.
+@c FIXME italic, are we sure?
+
The amount of space taken by these indications by default does not
influence, spacing, but setting @code{Voice.textNonEmpty} to true will
-take the widths into account. The identifier @code{\fattext} is defined
+take the widths into account. The identifier @code{\fatText} is defined
in the standard includes.
@lilypond[fragment,singleline,verbatim]
\relative c' { c4^"longtext" \fatText c4_"longlongtext" c4 }
@end quotation
-This is equivalent to @code{c4-6 c4-"foo"}.
+This is equivalent to @code{c4-6}.
@c . {Grace notes}
example) have a separate time signature within grace notes. While in
this score-within-a-score, you can create notes, beams, slurs, etc.
Unbeamed eighth notes and shorter by default have a slash through the
-stem. This behavior can be controlled with the
-@code{Stem}.@code{flag-style} property.
+stem.
-@quotation
@lilypond[fragment,verbatim]
\relative c'' {
\grace c8 c4 \grace { [c16 c16] } c4
\grace { \property Grace.Stem \override #'flag-style = #'() c16 } c4
}
-
@end lilypond
-@end quotation
+
+
+A grace note expression has duration 0; the next real note is assumed to
+be the main note. If you want the note to appear after the main note,
+set @code{Voice.graceAlignPosition} to @code{1}.
+
+@refbugs
At present, nesting @code{\grace} notes is not supported. The following
error, since there will be no main note to attach the grace notes to.
-A grace note expression has duration 0; the next real note is assumed to
-be the main note. If you want the note to appear after the main note,
-set @code{Voice.graceAlignPosition} to @code{1}.
-
-@refbugs
-
The present implementation of grace notes is not robust and generally
kludgy. We expect it to change after LilyPond 1.4. Syntax changes might
also be implemented.
@c . {Glissando}
@node Glissando
-@subsubsection Glissando
+@subsection Glissando
@cindex Glissando
@cindex @code{\glissando}
-A glissando line can be requested by attaching a @code{\glissando} to a
-note:
+A glissando line (grob @code{Voice.Glissando}) can be requested by attaching a
+@code{\glissando} to a note:
-@quotation
@lilypond[fragment,relative,verbatim]
- c'' \glissando c'
+ c''-\glissando c'
@end lilypond
-@end quotation
@refbugs
@c . {Dynamics}
@node Dynamics
-@subsubsection Dynamics
+@subsection Dynamics
@cindex Dynamics
@code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
+@lilypond[verbatim,singleline,fragment,relative]
+ c''\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
+ c2\sf c\rfz
+@end lilypond
-@cindex Crescendo and Decrescendo
-@cindex crescendo
@cindex @code{\cr}
@cindex @code{\rc}
@cindex @code{\decr}
@lilypond[fragment,verbatim,center]
c'' \< \! c'' d'' \decr e'' \rced
- < f''1 { s4 \< \! s2 \> \! s4 } >
+ < f''1 { s4 s4 \< \! s4 \> \! s4 } >
@end lilypond
-[BUG in \> ! ]
-
You can also use a text saying @emph{cresc.} instead of hairpins. Here
is an example how to do it:
+@cindex crescendo
+@cindex decrescendo
+
@lilypond[fragment,relative,verbatim]
\context Voice {
\property Voice.crescendoText = "cresc."
}
@end lilypond
+For everyday use, we recommend the identifiers @code{\cresc},
+@code{endcresc}, @code{\dim} and @code{\enddim}.
+@cindex diminuendo
-
+Dynamics are grobs of @code{Voice.DynamicText} and
+@code{Voice.Hairpin}. They are put together on
+@code{Voice.DynamicLineSpanner} to align them vertically.
@c . {Repeats}
different variants of repeats.
@table @asis
-@item unfolded
+@item unfold
Repeated music is fully written (played) out. Useful for MIDI
-output.
+output, and entering repetitive music.
@item volta
This is the normal notation: Repeats are not written out, but
alternative endings (voltas) are printed, left to right.
@item folded
-Alternative endings are written stacked. Which is unfortunately not
-practical for anything right now.
+Alternative endings are written stacked. This has no practical use
+right now.
@item tremolo
Make tremolo beams.
@end lilypond
With alternative endings:
-@quotation
@lilypond[fragment,verbatim]
c'1
\repeat volta 2 {c'4 d' e' f'}
\alternative { {d'2 d'} {f' f} }
@end lilypond
-@end quotation
-Folded repeats look like this:@footnote{Folded repeats offer little
-more over simultaneous music. However, it is to be expected that
-more functionality -- especially for the MIDI backend -- will be
-implemented at some point in the future.}
+Folded repeats look like this:
+
-@quotation
@lilypond[fragment,verbatim]
c'1
\repeat fold 2 {c'4 d' e' f'}
\alternative { {d'2 d'} {f' f} }
@end lilypond
-@end quotation
-
If you don't give enough alternatives for all of the repeats, then
the first alternative is assumed to be repeated often enough to equal
the specified number of repeats.
-@quotation
@lilypond[fragment,verbatim]
\context Staff {
\relative c' {
- \partial 4;
- \repeat volta 3 { e | c2 d2 | e2 f2 | }
+ \partial 4
+ \repeat volta 4 { e | c2 d2 | e2 f2 | }
\alternative { { g4 g g } { a | a a a a | b2. } }
}
}
@end lilypond
-@end quotation
@refbugs
-As you can see, LilyPond doesn't remember the timing information, nor
-are slurs or ties repeated, so you have to reset timing information
-after a repeat, e.g. using a bar-check (See @ref{Bar check}),
-@code{Score.measurePosition} or @code{\partial}. We hope to fix this
-after 1.4.
+Notice that timing information is not rembered at the start of an
+alternative, so you have to reset timing information after a repeat,
+e.g. using a bar-check (See @ref{Bar check}), setting
+@code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
+are also not repeated.
It is possible to nest @code{\repeat}, although it probably is only
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.
+
@node Manual repeat commands
@subsection Manual repeat commands
@end lilypond
+Repeats brackets are @code{Staff.VoltaBracket} grobs.
+
@node Tremolo repeats
@subsection Tremolo repeats
@cindex tremolo beams
}
@end lilypond
+Tremolo beams are @code{Voice.Beam} grobs. Single stem tremolos are
+@code{Voice.StemTremolo}.
+
@refbugs
In the @code{percent} style, a note pattern can be repeated. It is
printed once, and then the pattern is replaced with a special sign.
+Patterns of a one and two measures are replaced by percent signs,
+patterns that divide the measure length are replaced by slashes.
@lilypond[verbatim,singleline]
- \context Voice { \repeat "percent" 5 { c'1 } }
+ \context Voice { \repeat "percent" 4 { c'4 }
+ \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
+}
@end lilypond
-At present, only repeats of whole measures are supported.
+The signs are represented by these grobs: @code{Voice.RepeatSlash} and
+@code{Voice.PercentRepeat} and @code{Voice.DoublePercentRepeat}.
+
+@refbugs
+
+You can not nest percent repeats, e.g. by filling in the first measure
+with slashes, and repeating that measure with percents.
@node Rhythmic music
@section Rhythmic music
be done with the rhythmic staff. All pitches of notes on such a staff
are squashed, and the staff itself looks has a single staff line:
-@lilypond[fragment,relative ]
+@lilypond[fragment,relative,verbatim]
\context RhythmicStaff {
- \time 4/4;
+ \time 4/4
c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
}
@end lilypond
@node Piano music
@section Piano music
-Piano music is an odd type of notation: two staffs are largely
-independent, but sometimes voices can cross between the two staffs. The
+Piano music is an odd type of notation. Piano staffs are two normal
+staffs coupled with a brace. The staffs are largely independent, but
+sometimes voices can cross between the two staffs. The
@code{PianoStaff} is especially built to handle this cross-staffing
behavior. In this section we discuss the @code{PianoStaff} and some
other pianistic peculiarities.
* Manual staff switches::
* Pedals::
* Arpeggio::
-* VoiceFollower::
+* Voice follower line::
@end menu
@example
\autochange @var{contexttype} @var{musicexp}
@end example
-This will switch notation context of @var{musicexp} between a
+This will switch the interpretation context of @var{musicexp} between a
@var{contexttype} named @code{up} and @code{down}. Typically, you use
@code{Staff} for @var{contexttype}. The autochanger switches on basis
of pitch (central C is the turning point), and it looks ahead skipping
\autochange Staff \context Voice = VA < \relative c' {
g4 a b c d r4 a g } > }
\context Staff = "down" {
- \clef bass;
+ \clef bass
s1*2
} > }
@end lilypond
Voices can be switched between staffs manually, using the following command:
@example
- \translator Staff = @var{which} @var{music}
+ \translator Staff = @var{staffname} @var{music}
@end example
-The string @var{which} is the name of the staff. Typically it is
+The string @var{staffname} is the name of the staff. Typically it is
@code{"up"} or @code{"down"}.
Formally, this construct is a music expression indicating that the
@cindex Pedals
Piano pedal instruction can be expressed using
-@code{\sustainDown}, @code{\sustainUp}, @code{\unaChorda},
-@code{\treChorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
+@code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
+@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
-These identifiers are short hands for spanner commands of the types
-@code{Sustain}, @code{UnaChorda} and @code{Sostenuto}:
+These identifiers are shorthands for spanner commands of the types
+@code{Sustain}, @code{UnaCorda} and @code{Sostenuto}:
@lilypond[fragment,verbatim]
-c''4 \spanrequest \start "Sustain" c''4 c''4 \spanrequest \stop "Sustain"
+c''4 \spanrequest \start "Sustain" c''4
+c''4 \spanrequest \stop "Sustain"
@end lilypond
The symbols that are printed can be modified by setting
@refbugs
-Currently, brackets are not supported, only text markings (ie. *Ped
+Currently, brackets are not supported, only text markings (i.e. `*Ped'
style).
@code{\arpeggio} to a note of the chord.
-@quotation
@lilypond[fragment,relative,verbatim]
\context Voice <c'\arpeggio e g c>
@end lilypond
-@end quotation
When an arpeggio crosses staffs in piano music, you attach an arpeggio
to the chords in both staffs, and set
@code{PianoStaff.connectArpeggios}.
-@quotation
@lilypond[fragment,relative,verbatim]
\context PianoStaff <
\property PianoStaff.connectArpeggios = ##t
\context Voice = one { <c''\arpeggio e g c> }
- \context Voice = other { \clef bass; <c,,\arpeggio e g>}
+ \context Voice = other { \clef bass <c,,\arpeggio e g>}
>
@end lilypond
-@end quotation
-This command creates @code{Arpeggio} grobs.
+This command creates @code{Voice.Arpeggio} grobs. Cross staff arpeggios
+are @code{PianoStaff.Arpeggio}.
@refbugs
- It is not possible to mix
-connected arpeggios and unconnected arpeggios at the same time.
+It is not possible to mix connected arpeggios and unconnected arpeggios
+at the same time.
-@c . {VoiceFollower}
-@node VoiceFollower
-@subsection VoiceFollower
+
+@node Voice follower line
+@subsection Voice follower line
@cindex follow voice
@cindex staff switching
can be printed automatically. This is enabled if the property
@code{PianoStaff.followVoice} is set to true:
-@quotation
@lilypond[fragment,relative,verbatim]
\context PianoStaff <
\property PianoStaff.followVoice = ##t
\translator Staff=two
b2 a
}
- \context Staff=two {\clef bass; \skip 1*2;}
+ \context Staff=two {\clef bass \skip 1*2 }
>
@end lilypond
-@end quotation
+
+The associated grob is @code{Voice.VoiceFollower}.
-@c . {Lyrics}
@node Lyrics
@section Lyrics
@subsection Lyrics mode
@cindex Lyrics mode
-To print lyrics in LilyPond, you must first make a music expression from
-the lyric text. When they're in a music expression, that music
-expression can be printed by selecting an appropriate context. We shall
-discuss lyric printing in this order.
-
+To print lyrics, you must first make a music expression from the lyric
+text. That music expression can be printed by selecting an appropriate
+context.
@cindex lyric mode
@cindex @code{\lyrics}
The purpose of this mode is that you can enter lyrics as plain text,
punctuation and accents without any hassle.
-The precise definition of this mode is in @ref{Lyrics mode
-definition}. The definition itself is ludicrous, and this will remain so
-until the authors of LilyPond acquire a deeper understanding of
-character encoding, or someone else steps up to fix this.
-
Syllables are entered like notes, with pitches replaced by text. For
example, @code{Twin- kle twin- kle} enters four syllables. Note that
the hyphen has no special meaning for lyrics, and does not introduce
(@code{"}) or by using an underscore without quotes: @code{He_could4
not4}. All unquoted underscores are converted to spaces.
+The precise definition of this mode is in @ref{Lyrics mode
+definition}.
+
@c . {Printing lyrics}
@node Printing lyrics
@subsection Printing lyrics
@cindex lyrics
-Normally, you will want to have notes and syllables matched
-automatically. This is accomplished using @code{\addlyrics}, which is
-documented in @ref{Automatic syllable durations}. Setting
-@code{automaticMelismata} in the melody staff, will cause slurs to be
-interpreted as melismata. Lyric syllables must be interpreted within a
-@code{Lyrics} context in order to printing them.
+Lyrics are printed by interpreting them in the @code{Lyrics} context.
@lilypond[verbatim,singleline]
\addlyrics \notes \relative c' {
- \time 7/4;
+ \time 7/4
\property Staff.automaticMelismata = ##t
d'2 c4 b2 a2
- b2 c4 b4 () a4 g2 }
+ b2 c4 b4 () a4 g2 }
\context Lyrics \lyrics {
Join us now and
- share the so -- ftware; }
+ share the soft- __ ware; }
@end lilypond
+
+Notes and syllable durations are matched automatically. This is
+accomplished using @code{\addlyrics}, which is documented in
+@ref{Automatic syllable durations}. Setting @code{automaticMelismata} in
+the melody staff will cause slurs to be interpreted as melismata.
+
+The Lyric syllables are @code{LyricsVoice.LyricSyllable} grobs.
+
@cindex extender
@cindex lyric extender
@cindex melisma
create an extender, a line that extends over the entire duration of the
lyric. This line will run all the way to the start of the next lyric,
so you may want to shorten it by using a blank lyric (using @code{_}).
+The grob for this symbol is @code{LyricsVoice.LyricExtender}.
+
@cindex hyphen
If you want to have hyphens centered between syllables (rather than
attached to the end of the first syllable) you can use the special
`@code{-}@code{-}' lyric as a separate word between syllables. This
-will result in a hyphen which length varies depending on the space
-between syllables, and which will be centered between the syllables.
+will result in a hyphen whose length varies depending on the space
+between syllables. It will be centered between the syllables. The grob
+for this symbol is @code{LyricsVoice.LyricHyphen}.
@cindex Lyric hyphen
\addlyrics @var{musicexpr1 musicexpr2}
@end example
-This means that both @var{musicexpr1} and @var{musicexpr2} are
-interpreted, but that every non-command atomic music expression
-(``every syllable'') in @var{musicexpr2} is interpreted using timing
-of @var{musicexpr1}.
+Both @var{musicexpr1} and @var{musicexpr2} are interpreted, but every
+music event (``every syllable'') in @var{musicexpr2} is interpreted only
+when there are events in @var{musicexpr1}.
+
@cindex @code{automaticMelismata}
If the property @code{automaticMelismata} is set in the
c8 () cis d8. e16 f2
}
\context Lyrics \lyrics
-< { do4 re mi fa }
- { do8 re mi fa } >
+< { do4 re fa sol }
+ { do8 re fa sol } >
@end lilypond
It is valid (but probably not very useful) to use notes instead of
@cindex phrasing
-If you have multiple stanzas printed underneath each other, the separate
-syllables should be aligned around punctuation. LilyPond can do this if
-you explain it which lyric lines belong to which melody.
+If you have multiple stanzas printed underneath each other, the vertical
+groups of syllables should be aligned around punctuation. LilyPond can
+do this if you explain it which lyric lines belong to which melody.
To this end, give the Voice context an identity, and set the LyricsVoice
-to name starting with that identity. In the following example, the Voice
+to a name starting with that identity followed by a dash.
+In the following example, the Voice
identity is @code{duet}, and the identities of the LyricsVoices are
@code{duet-1} and @code{duet-2}.
@lilypond[singleline,verbatim]
\score {
\addlyrics
- \notes \relative c'' \context Voice = duet { \time 3/4;
+ \notes \relative c'' \context Voice = duet { \time 3/4
g2 e4 a2 f4 g2. }
\lyrics \context Lyrics <
\context LyricsVoice = "duet-1" {
@end lilypond
You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
-first system) and @code{LyricsVoice.stz} for the following systems.
+first system) and @code{LyricsVoice.stz} for the following
+systems. Notice how you must surround dots with spaces in @code{\lyrics}
+mode.
+
+
+
@cindex stanza numbering
@cindex Chords
LilyPond has support for both entering and printing chords. Chords are
-a harmonic device that is characterized by a set of pitches. It is
-something different from simultaneous music, although you can express a
-chord using simultaneous music. In fact, chords are internally stored as
-simultaneous music expressions. This means you can enter chords by name,
-and print them as note head, or enter as notes and print as chord names:
+a harmonic device that is characterized by a set of pitches. They are
+internally stored as simultaneous music expressions. This means you can
+enter chords by name and print them as note head, enter them as notes
+and print them as chord names, or (the most common case) enter them by
+name, and print them as name.
@lilypond[verbatim,singleline]
\score {
< \context ChordNames \twoWays
- \context Staff \twoWays > }
+ \context Voice \twoWays > }
@end lilypond
-Note that this example also shows that the LilyPond chord does not
-attempt to be intelligent, if you enter @code{f bes d}, it does no
-attempt to find out whether it this is an inversion.
+Note that this example also shows that the chord printing routines do
+not attempt to be intelligent. If you enter @code{f bes d}, it does not
+interpret this as an inversion.
@menu
* Chords mode::
The syntax for named chords is as follows:
@example
-
@var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
@end example
-@var{tonic} should be the tonic note of the chord, and @var{duration}
-is the chord duration in the usual notation. There are two kinds of
-modifiers. One type is @emph{chord additions}, which are obtained by
-listing intervals separated by dots. An interval is written by its
-number with an optional @code{+} or @code{-} to indicate raising or
-lowering by half a step. Chord additions has two effects: It adds
+@var{tonic} should be the tonic note of the chord, and @var{duration} is
+the chord duration in the usual notation. There are two kinds of
+modifiers. One type is formed by @emph{chord additions}. Additions are
+obtained by listing intervals separated by dots. An interval is written
+by its number with an optional @code{+} or @code{-} to indicate raising
+or lowering by half a step. Chord additions have two effects: they adds
the specified interval and all lower odd numbered intervals to the
-chord, and it may lower or raise the specified interval. Intervals
-must be separated by a dot (@code{.}).
+chord, and they may lower or raise the specified interval.
Throughout these examples, chords have been shifted around the staff
using @code{\transpose}.
-
-@quotation
-
@lilypond[fragment,verbatim]
\transpose c'' {
\chords {
c1 c:3- c:7 c:8
- c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
+ c:9 c:9-.5+.7+ c:3-.5-
}
}
-
@end lilypond
-@end quotation
@cindex @code{aug}
@cindex @code{dim}
`@code{maj}' which adds a raised 7th, and `@code{sus}'
which replaces the 5th with a 4th.
-@quotation
-
@lilypond[fragment,verbatim]
\transpose c'' {
\chords {
c1:m c:min7 c:maj c:aug c:dim c:sus
}
}
-
@end lilypond
-@end quotation
Chord subtractions are used to eliminate notes from a chord. The
Chord inversions can be specified by appending `@code{/}' and the name
of a single note to a chord. In a chord inversion, the inverted note is
-transposed down until it is the lowest note in the chord. If the
-specified note is not in the chord, a warning will be printed.
+transposed down until it is the lowest note in the chord. If the note
+is not in the chord, a warning will be printed.
@lilypond[fragment,verbatim,center]
\transpose c''' {
@end lilypond
+@refbugs
+Implementation details are quite gory. For example @code{c:4} not only
+adds a fourth, but also removes the third.
@c . {Printing named chords}
The chords may be entered either using the notation described above, or
directly using simultaneous music.
-@quotation
@lilypond[verbatim,singleline]
scheme = \notes {
\chords {a1 b c} <d f g> <e g b>
>
}
@end lilypond
-@end quotation
-You can make the chord changes stand out by setting property
+You can make the chord changes stand out by setting
@code{ChordNames.chordChanges} to true. This will only display chord
names when there's a change in the chords scheme and at the start of the
line.
-@quotation
@lilypond[verbatim]
scheme = \chords {
- c1:m \break c:m c:m c:m d
+ c1:m c:m \break c:m c:m d
}
-
\score {
\notes <
\context ChordNames {
\context Staff \transpose c'' \scheme
> }
@end lilypond
-@end quotation
LilyPond examines chords specified as lists of notes to determine a name
to give the chord. LilyPond will not try to identify chord inversions or
-added base, which may result in strange chord names when chords are
-entered as a list of pitches:
+an added bass note, which may result in strange chord names when chords
+are entered as a list of pitches:
-[base vs. bass ?]
-
-@quotation
@lilypond[verbatim,center,singleline]
scheme = \notes {
<c'1 e' g'>
\score {
<
- \context ChordNamesVoice \scheme
+ \context ChordNames \scheme
\context Staff \scheme
>
}
@end lilypond
-@end quotation
-By default LilyPond uses chord name system proposed by Harald Banter
-(See @ref{Literature}). The system is is unambiguous and has a logical
-structure. Typical American style chord names may be selected by
-setting the @code{style} property of the @code{ChordNames.ChordName}
-grob to @code{'american}. Similarly @code{'jazz} selects Jazz
-chordnames.
+By default, a chord name system proposed by Harald Banter (See
+@ref{Literature}) is used. The system is very regular and predictable.
+Typical American style chord names may be selected by setting the
+@code{style} property of the @code{ChordNames.ChordName} grob to
+@code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
Routines that determine the names to be printed are written in Scheme,
and may be customized by the user. The code can be found in
-@file{scm/chord-name.scm}.
+@file{scm/chord-name.scm}. Here's an example showing the differences in
+chord name styles:
+
+@c too long?
+@c maybe just junk verbatim option?
+@lilypond[verbatim,singleline]
+scheme = \chords {
+ c1 c:5^3 c:4^3 c:5+
+ c:m7+ c:m5-.7
+ c:5-.7 c:5+.7
+ c:9^7
+}
+
+\score {
+ \notes <
+ \context ChordNames = banter \scheme
+ \context ChordNames = american {
+ \property ChordNames.ChordName \override
+ #'style = #'american \scheme }
+ \context ChordNames = jazz {
+ \property ChordNames.ChordName \override
+ #'style = #'jazz \scheme }
+ \context Staff \transpose c'' \scheme
+ >
+}
+@end lilypond
-[3 short examples showing differences between american, banter and jazz]
@node Writing parts
@section Writing parts
@cindex @code{Mark_engraver}
@example
- \mark @var{unsigned};
- \mark @var{string};
- \mark ;
+ \mark @var{unsigned}
+ \mark @var{string}
+ \mark \default
@end example
-With this command, you can print a rehearsal mark above the system. You
-can provide a number, a string or a markup text as argument. If there is
-no argument, the property @code{rehearsalMark} is used and automatically
-incremented.
+This command prints a rehearsal mark above the system. You can provide
+a number, a string or a markup text as argument. If you use
+@code{\default}, the value of property @code{rehearsalMark} is used and
+automatically incremented.
@lilypond[fragment,verbatim]
\relative c'' {
- c1 \mark "A2";
- c1 \mark ;
- c1 \mark ;
- c1 \mark "12";
- c1 \mark #'(music "scripts-segno") ;
+ c1 \mark "A2"
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark "12"
+ c1 \mark #'(music "scripts-segno")
c1
}
@end lilypond
+The grob is @code{Score.RehearsalMark}. See
+@code{input/test/boxed-molecule.ly} if you need boxes around the marks.
+
@node Bar numbers
@subsection Bar numbers
-Bar numbers are printed at the start of the line by default. This is
-done by the @code{Bar_number_engraver} in the Score context.
+Bar numbers (grob: @code{BarNumber}) are printed at the start of the
+line. See @code{input/test/boxed-molecule.ly} for boxed bar numbers.
@refbugs
-It is currently not possible to make boxed bar numbers, or print them at
-regular intervals.
-
+It is not possible to have bar numbers printed at regular intervals
+only.
@node Instrument names
@subsection Instrument names
used, for the next ones @code{instr} is used.
@lilypond[verbatim,singleline]
+ \property Staff.instrument = "ploink " { c''4 }
+@end lilypond
+
+This requires that you add the @code{Instrument_name_engraver} to the
+staff context. You can also use markup texts to construct more
+complicated instrument names:
+
+
+@lilypond[verbatim,singleline]
+#(define text-flat
+ '((font-relative-size . -2 ) (music "accidentals--1")))
+
\score { \notes {
- \property Staff.instrument = "ploink " { c''4 } }
+ \property Staff.instrument = #`((kern . 0.5) (lines
+ "2 Clarinetti" (rows " (B" ,text-flat ")")))
+ c'' 4 }
\paper {
- \translator { \StaffContext
- \consists "Instrument_name_engraver"; } } }
+ \translator { \StaffContext } } }
@end lilypond
-This requires that you add the @code{Instrument_name_engraver} to the
-staff context.
+@refbugs
+
+When you put a name on a grand staff or piano staff the width of the
+brace is not taken into account. You must add extra spaces to the end of
+the name to avoid a collision.
@node Transpose
@subsection Transpose
a tone. The first version will print sharps and the second version
will print flats.
-@quotation
@lilypond[fragment,verbatim]
\context Staff {
- \clef "F";
- { \key e \major; c d e f }
- \clef "G";
- \transpose des'' { \key e \major; c d e f }
- \transpose cis'' { \key e \major; c d e f }
+ \clef "F"
+ { \key e \major c d e f }
+ \clef "G"
+ \transpose des'' { \key e \major c d e f }
+ \transpose cis'' { \key e \major c d e f }
}
-
@end lilypond
-@end quotation
If you want to use both @code{\transpose} and @code{\relative}, then
you must use @code{\transpose} first. @code{\relative} will have no
@cindex @code{transposing}
@example
- \property Staff.instrument = #"Cl. in B-flat"
- \property Staff.transposing = #-2
+ \property Staff.instrument = #"Cl. in B-flat"
+ \property Staff.transposing = #-2
@end example
automatically.
@lilypond[fragment,verbatim]
- \time 3/4; R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
+ \time 3/4 R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
@end lilypond
Currently, there is no way to condense multiple rests into a single
@cindex automatic part combining
@cindex part combiner
-Automatic part combining is used to merge two parts of music onto on
-staff in an intelligent way. It is aimed primarily at typesetting Hymns
+Automatic part combining is used to merge two parts of music onto a
+staff in an intelligent way. It is aimed primarily at typesetting hymns
and orchestral scores. When the two parts are identical for a period of
time, only one is shown. In places where the two parts differ, stem
directions are set automatically. Also, soli and @emph{a due} parts can be
@end example
where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
-combined into one context @var{context}. The names of the music
+combined into one context @var{context}. The context names of the music
expressions must start with the prefixes @code{one} and @code{two}.
-[Name of music expressions? is that context name? ]
-
The most useful function of the part combiner to combining threads into
one voice, as common for wind parts in orchestral scores:
documentation. Look for @code{Thread_devnull_engraver}
@code{Voice_devnull_engraver} and @code{A2_engraver}.
+@refbugs
+
+In @code{soloADue} mode, when the two voices play the same notes on and
+off, the part combiner may typeset @code{a2} more than once in a
+measure.
+
+@lilypond[fragment,singleline]
+ \context Staff <
+ \context Voice=one \partcombine Voice
+ \context Thread=one \relative c'' {
+ c b c b c a c a
+ }
+ \context Thread=two \relative c'' {
+ b b b b f a f a
+ }
+ >
+@end lilypond
+
@cindex @code{Thread_devnull_engraver}
@cindex @code{Voice_engraver}
@cindex @code{A2_engraver}
\context Staff = SB { c4 d e f \break R1 }
>
\paper {
- linewidth = 6.\cm ;
+ linewidth = 6.\cm
\translator { \HaraKiriStaffContext }
}
}
thus helps the player or singer to manage line breaks during
performance, thus enhancing readability of a score.
-@quotation
@lilypond[verbatim]
\score {
\notes { c'1 d' e' d' \break c' d' e' d' }
\paper {
\translator {
\StaffContext
- \consists Custos_engraver;
- Custos \override #'style = #'mensural;
+ \consists Custos_engraver
+ Custos \override #'style = #'mensural
}
}
}
@end lilypond
-@end quotation
Custodes were frequently used in music notation until the 16th century.
There were different appearences for different notation styles.
\paper @{
\translator @{
\StaffContext
- \consists Custos_engraver;
- Custos \override #'style = #'mensural;
+ \consists Custos_engraver
+ Custos \override #'style = #'mensural
@}
@}
@end example
* What to tune?::
* Font selection::
* Text markup::
+* Invisible grobs::
+* Embedded TeX::
@end menu
@node Tuning groups of grobs
you can change the resulting grobs.
@lilypond[verbatim, fragment]
-c'4 \property Voice.Stem \override #'meta = #'((interfaces . ())) c'4
+c'4 \property Voice.Stem = #'((meta . ((interfaces . ())))) c'4
@end lilypond
-The @code{\property} statement effectively empties the definition of the
-Stem object. One of the effects is that property specifying how it
+The @code{\property} assignment effectively empties the definition of
+the Stem object. One of the effects is that property specifying how it
should be printed is erased, with the effect of rendering it invisible.
+The above assignment is available as a standard identifier, lest you
+find this useful:
+
+@example
+ \property Voice.Stem = \turnOff
+@end example
@cindex \override
@cindex \revert
Here @var{symbol} is a Scheme expression of symbol type, @var{context}
and @var{grobname} are strings and @var{value} is a Scheme expression.
+If you want to be
+Correct nesting of @code{\override}, @code{\set}, @code{\revert} is as
+follows
+
+@example
+\override \set \set \set \set
+\revert
+@end example
+
+This is always correct, but if you know the default value, you can also use
+@example
+\set \set \set \set
+\set @var{to default value}
+@end example
+
+If there is no default (i.e. by default, the grob property is unset),
+then you can use
+@example
+\set \set \set \set \set
+\revert
+@end example
+
+
@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}.
+
@refbugs
-Relative size is not linked to any real size. There is no mechanism to
-select magnifications of fonts, meaning that you can not scale fonts
-continuoussly. There is no style sheet provided for other fonts besides
-the @TeX{} family.
+Relative size is not linked to any real size.
+
+There is no mechanism to select magnification of particular fonts,
+meaning that you don't have access to continuously scaled fonts. You
+can scale the entire output, of course, see @ref{Output scaling}.
+
+There is no style sheet provided for other fonts besides the @TeX{}
+family.
@cindex font selection
@cindex font magnification
@cindex @code{font-interface}
-@refbugs
-
@node Text markup
@subsection Text markup
form text markup expressions by composing scheme expressions
in the following way.
-
-[BUG]
-
@lilypond[verbatim, singleline]
\relative c' {
- b_#"italic"
- c^#'(upright "upright")
- c_#'((bold upright) "bold")
- d^#'(lines "one" ((bold upright) "two"))
- e_#'(music (named "noteheads-2" "flags-u3"))
+ \fatText
+ a^#"upright"
+ b_#'(bold "bold")
+ c^#'(italic "italic")
+ d_#'((bold italic) "ff")
+ e^#'(dynamic "ff")
+ f_#'(lines "one" (bold "two"))
+ g^#'(music "noteheads-2" "flags-u3")
}
@end lilypond
@example
text: string | (head? text+)
head: markup | (markup+)
-markup-item: property | abbrev | @var{fontstyle}
+markup-item: property | abbrev
property: (@var{key} . @var{value})
abbrev: @code{rows lines roman music bold italic named super sub text}
+ @code{finger volta timesig mmrest mark script large Large dynamic}
@end example
The markup is broken down and converted into a list of grob properties,
which are prepended to the property list. The @var{key}-@var{value}
pair is a grob property.
-The following abbreviations are currently
-defined:
+The following abbreviations are currently defined:
@table @code
@item rows
superscript
@item sub
subscript
+@item finger
+ select fingering number fontstyle
+@item volta
+ select volta number fontstyle
+@item timesig
+ select time signature number fontstyle
+@item mmrest
+ select multi measure rest number fontstyle
+@item mark
+ select mark number fontstyle
+@item script
+ select scriptsize roman fontstyle
+@item large
+ select large roman fontstyle
+@item Large
+ select Large roman fontstyle
+@item dynamic
+ select dynamics fontstyle
@end table
-@var{fontstyle} may be any of @code{finger volta timesig mmrest mark
-script large Large dynamic}
-
-[wat is het verschil tussen fontstyle en abbrev? ]
-
-
It is possible to use @TeX{} commands in the strings, but this should be
avoided because this makes it impossible for LilyPond to compute the
exact length of the string, which may lead to collisions. Also, @TeX{}
-commands won't work with direct postscript output.
+commands won't work with direct PostScript output (see @ref{PostScript
+output}).
+
+@cindex metronome mark
+
+One practical application of complicated markup is to fake a metronome
+marking:
+
+@lilypond[verbatim]
+#(define note '(rows
+ (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
+#(define eight-note `(rows ,note ((kern . -0.1)
+ (music ((raise . 3.5) "flags-u3")))))
+#(define dotted-eight-note
+ `(rows ,eight-note (music "dots-dot")))
+
+\score {
+ \notes\relative c'' {
+ a1^#`((rows (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 situtations 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
+
+
+A very rigorous way of removing grobs from the output is to remove the
+engraver that creates them. For example,
+
+@lilypond[verbatim]
+\score {\notes { c'4 d'8 e'8 g2 }
+ \paper { \translator {
+ \VoiceContext
+ \remove Stem_engraver
+ } }
+}
+@end lilypond
+
+
+@node Embedded TeX
+@subsection Embeded TeX
+@cindex embedded tex
+@cindex embedded tex
+
+You can use @TeX{} commands in text scripts, but this should be avoided
+because this makes it impossible for LilyPond to compute the exact
+length of the string, which may lead to collisions. Also, @TeX{}
+commands won't work with direct PostScript output (see @ref{PostScript
+output}).
+
+@lilypond[fragment,relative,verbatim]
+ a''^"3 $\\times$ \\`a deux"
+@end lilypond
+
+@subsection Embedded PostScript
+@cindex embedded postscript
+@cindex embedded postscript
+
+You can also use raw PostScript commands embedded in text scripts. This
+offers ultimate flexibitily, but you'll have to learn the arcane
+PostScript language. Currently, embedded PostScript will @strong{not}
+work with direct PostScript output. Note that all dimensions that you
+use are in @code{staff-space}s.
+
+@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
* Paper size::
* Line break::
* Page break::
+* Output scaling::
@end menu
@c . {Paper block}
where each of the items is one of
@itemize @bullet
- @item An assignment. The assignment must be terminated by a
- semicolon.
+ @item An assignment.
@item A context definition. See @ref{Notation Contexts} for
more information on context definitions.
@item @code{linewidth}
Sets the width of the lines.
-If set to a negative value, a single
- unjustified line is produced.
+If set to a negative value, a single unjustified line is produced.
+@c rename to singleLinePaper ?
+The shorthand @code{\singleLine} defines a default paper block that
+produces a single line.
@cindex @code{textheight}
will set the paper variables @code{hsize} and @code{vsize} (used by
@code{ly2dvi})
-
-
-
-
-
-
@c . {Line break}
@node Line break
@subsection Line break
this by specifying @code{\break}. This will force a line break at this
point. Do remember that line breaks can only occur at places where there
are barlines. If you want to have a line break where there is no
-barline, you can force an invisible barline by entering @code{\bar "";}.
+barline, you can force an invisible barline by entering @code{\bar ""}.
Similarly, @code{\noBreak} forbids a line break at a certain point.
The @code{\break} and @code{\noBreak} commands are defined in terms of
the penalty command:
@example
- \penalty @var{int} @code{;}
+ \penalty @var{int}
@end example
This encourages or discourages LilyPond to make a line break at this
+@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.
+
+
+@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.
+
+Titling is not generated.
+
+@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 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, tuplets are missing.
+
+The poor looks of most ASCII Art output and its limited general
+usefulness make that ASCII Art output has a low priority; it may be
+dropped in future versions.
@c . {Sound}
@node Sound
@cindex Sound
LilyPond can produce MIDI output. The performance lacks lots of
-interesting effects, such as swing, articulation, slurring, tieing,
-etc., but it is good enough for proof-hearing the music you enter.
-
-Dynamics and tempo changes are interpreted.
-
-[TODO: mention volume control/Instrument Equaliser]
-
+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.
+
+The MIDI volume is composed of two elements: the current dynamics of the
+voice and the type of musical instrument.
+
+Dynamic marks, crescendi and decrescendi translate into MIDI volume
+levels. Dynamic marks translate to a fixed fraction of the available
+MIDI volume range, crescendi and decrescendi make the the volume vary
+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 equaliser control, which can
+enhance the quality of the MIDI output remarkably. You can add
+instruments and ranges or change the default settings by overriding
+the @code{instrument-equaliser-alist} defined in @file{scm/midi.scm}.
@refbugs
A bar check is entered using the bar symbol, @code{|}
-
-
@c . {Point and click}
@node Point and click
@subsection Point and click
@item emacs
@end itemize
-
-Add one these lines to the top of your .ly file. The first one is for
+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}.
+patching @code{emacsclient} and @code{server.el}.
@example
#(set! point-and-click line-location)
source code. Recompile and stick the recompiled emacsclient into a bin
directory, and put @file{server.el} into a elisp directory
(eg. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
-init file, beifore invoking server-start.
+init file, before invoking server-start.
@example
(setq load-path (cons "~/usr/share/emacs" load-path))
Xdvi must be configured to use the emacs editor. Before starting, set
-the environment variable @code{XEDITOR} to
+the environment variable @code{XEDITOR} to one of these strings. The
+second one, that also specifies the column, only works if you have
+patched your emacsclient and server, and have compiled your @code{.ly}
+file using the @code{line-column-location} setting (see above).
@example
-emacsclient --no-wait +%c:%l %f
+emacsclient --no-wait +%l %f
+emacsclient --no-wait +%l:%c %f
@end example
Xdvi also must be configured to find the fonts. Refer to the
xdvi documentation for more information.
will complain about not finding @code{src:X:Y} files. Those complaints are
harmless, and can be ignored.
+When using @code{line-colum-location}, the cursor will be one off; it
+will not jump to the exact note that you clicked, but to the next one.
+We hope to fix this before 1.4.
+
+@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
of type @var{contexttype} and with name @var{contextname}. If this
context does not exist, it will be created.
-@quotation
-
@lilypond[verbatim,singleline]
\score {
\notes \relative c'' {
}
@end lilypond
-@end quotation
In this example, the @code{c} and @code{d} are printed on the
default staff. For the @code{e}, a context Staff called
\property @var{contextname}.@var{propname} \unset
@end example
+@cindex properties, unsetting
+@cindex @code{\unset}
+
This removes the definition of @var{propname} in @var{contextname}. If
@var{propname} was not defined in @var{contextname} (but was inherited
from a higher context), then this has no effect.
@refbugs
-@code{\property \unset} is not the inverse of @code{\property \set}
-
-
+The syntax of @code{\unset} is asymetric: @code{\property \unset} is not
+the inverse of @code{\property \set}.
@c . {Context definitions}
c'4 c'4 }
\paper {
\translator { \StaffContext
- \remove Clef_engraver;
+ \remove Clef_engraver
} } }
@end lilypond
This is an example:
@example
\translator @code{
- \type "Engraver_group_engraver";
- \name "SimpleStaff";
- \alias "Staff";
- \consists "Staff_symbol_engraver";
- \consists "Note_head_engraver";
- \consistsend "Axis_group_engraver";
+ \type "Engraver_group_engraver"
+ \name "SimpleStaff"
+ \alias "Staff"
+ \consists "Staff_symbol_engraver"
+ \consists "Note_head_engraver"
+ \consistsend "Axis_group_engraver"
}@
@end example
Other modifiers are
@itemize @bullet
- @item @code{\alias} @var{alternate-name} @code{;}
+ @item @code{\alias} @var{alternate-name}
This specifies a different name. In the above example,
@code{\property Staff.X = Y} will also work on @code{SimpleStaff}s
- @item @code{\consistsend} @var{engravername} @code{;}
+ @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.
removes engravers. This command is usually not needed for
end-users.
- @item @code{\accepts} @var{contextname} @code{;}
+ @item @code{\accepts} @var{contextname}
Add @var{contextname} to the list of context this context can
contain. The first listed context is the context to create by
default.
completeness, but is never used in practice.
- @item @code{\name} @var{contextname} @code{;}
+ @item @code{\name} @var{contextname}
This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
the name is not specified, the translator won't do anything.
@end itemize
such an identifier outside of @code{\score}, you must do
@quotation
-
@example
\paper @{
foo = \translator @{ @dots{} @}
The syntax is
@example
- \header @{ @var{key1} = @var{val1};
- @var{key2} = @var{val2}; @dots{} @}
+ \header @{ @var{key1} = @var{val1}
+ @var{key2} = @var{val2} @dots{} @}
@end example
It is customary to put the @code{\header} at the top of the file.
This example replaces the text string of a script. It also shows a dump
of the music it processes, which is useful if you want to know more
about how music is stored.
-@lilypond[verbatim]
+
+@lilypond[verbatim,singleline]
#(define (testfunc x)
(if (equal? (ly-get-mus-property x 'text) "foo")
(ly-set-mus-property x 'text "bar"))
}
@end lilypond
-For more information on what is possible, see the @ref{Tricks} and the
-automatically generated documentation.
+For more information on what is possible, see the automatically
+generated documentation.
Directly accessing internal representations is dangerous: the
implementation is subject to changes, so you should avoid this feature
if possible.
-
-
+
+A final example is a function that reverses a piece of music in time:
+
+@lilypond[verbatim,singleline]
+#(define (reverse-music music)
+ (let* ((elements (ly-get-mus-property music 'elements))
+ (reversed (reverse elements))
+ (span-dir (ly-get-mus-property music 'span-direction)))
+ (ly-set-mus-property music 'elements reversed)
+ (if (dir? span-dir)
+ (ly-set-mus-property music 'span-direction (- span-dir)))
+ (map reverse-music reversed)
+ music))
+
+music = \notes { c'4 d'4( e'4 f'4 }
+
+\score { \context Voice {
+ \music
+ \apply #reverse-music \music
+ }
+}
+@end lilypond
+
@c . {Span requests}
@menu
the input-types listed above. Identifier assignments can appear at top
level in the LilyPond file, but also in @code{\paper} blocks.
-Semicolons are forbidden after top level assignments, but mandatory in
-other places. The rules about semicolons and assignments are very
-confusing, but when LilyPond input evolves more towards Scheme, we hope
-that this problem will grow smaller.
-
An identifier can be created with any string for its name, but you will
only be able to refer to identifiers whose names begin with a letter,
being entirely alphabetical. It is impossible to refer to an identifier
In each of these cases, these expressions do not add anything to the
meaning of their arguments. They are just a way to indicate that the
arguments should be parsed in indicated mode. The modes are treated in
-more detail in the @ref{Note entry}, @ref{Lyrics} and
-@ref{Chords}.
+more detail in @ref{Lyrics} and @ref{Chords}.
You may nest different input modes.
@itemize @bullet
@item The assignment
- @example
+@example
foo = bar
@end example
-
- can be interpreted as making a string identifier @code{\foo}
+ is interpreted as the string identifier assignment. However,
+it can also be interpreted as making a string identifier @code{\foo}
containing @code{"bar"}, or a music identifier @code{\foo}
- containing the syllable `bar'.
-
- @item The assignment
-
- @example
-foo = -6
-@end example
-
- can be interpreted as making an integer identifier
- containing -6, or a Request identifier containing the
- fingering `6' (with neutral direction).
+ containing the syllable `bar'.
@item If you do a nested repeat like
@code{\alternative} belongs. This is the classic if-then-else
dilemma. It may be solved by using braces.
- @item (an as yet unidentified ambiguity :-)
+ @item The parser is not sophisticated enough to distinguish at the
+right time between
+ @code{c4*2 / 3 } and @code{c4*2 / g} (in chord mode).
+
+[checkme]
+
@end itemize
@subsection Version information
@cindex @code{\version}
@example
- \version @var{string} ;
+ \version @var{string}
@end example
Specify the version of LilyPond that a file was written for. The
projects / lilypond.git / blobdiff