@end ignore
+@macro refbugs
+@unnumberedsubsec Bugs
+@end macro
+
+
@c .{Reference Manual}
@node Reference Manual
@chapter Reference Manual
-This document describes GNU LilyPond and its input format. This document
-has been revised for LilyPond 1.3.131
-
+This document describes GNU LilyPond and its input format. The last
+revision of this document was for LilyPond 1.3.136.
@menu
* Overview::
* Note entry::
-* Music notation::
+* Staff notation::
* Polyphony::
-* Spanners::
+* Beaming::
+* Expressive marks::
* Ornaments::
* Repeats::
* Piano music::
* Page layout::
* Sound::
* Music entry::
-* Engravers::
+* Interpretation context::
* Syntactic details::
+* Lexical details::
@end menu
@c . {Overview}
The purpose of LilyPond is explained informally by the term `music
typesetter'. This is not a fully correct name: not only does the
-program print musical symbols, it also makes esthetic decisions. All
-symbols and their placement is @emph{generated} from a high-level
+program print musical symbols, it also makes esthetic 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'.
-Internally, LilyPond is written in a mixture of Scheme and C++. Most of
-the algorithms and low-level routines are written in C++, but these low
-level components are glued together using Scheme data
-structures. LilyPond is linked to GUILE, GNU's Scheme library for
-extension.
+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++
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 .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. in the same order as your eyes scan sheet music, and in the
-same order that you hear the notes play.
+@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.
@item typesetting:
in this step, the results of the interpretation, a typesetting
@item the visible results ("virtual ink") is written to the output file.
@end itemize
-These stages, involve data of a specific type: 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 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.
+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
+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
tasks. With each concept will be explained to which of the three parts
it belongs.
-LilyPond input can be classified into three types:
-@itemize @bullet
- @item musical expressions: a musical expression is some combination of
-rest, notes, lyrics
- @item output definitions: recipes for translating those musical
-expressions into performances (MIDI) or graphics (eg. PostScript).
-
- @item declarations: by declaring and naming musical expressions, you
-can enter and edit them in manageable chunks.
-@end itemize
-
-
-
@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 obligotary lint such as @code{\score} blocks and
+@code{\paper} declarations.
+
+
@menu
-* Notes mode::
* Pitches::
* Defining pitch names::
* Durations::
* Notes::
-* Note head tweaks::
+* Easy Notation note heads ::
+* Tie::
* Rests::
* Skip::
+* Note mode::
@end menu
-@c . {Notes mode}
-@node Notes mode
-@subsection Notes mode
-
-@cindex note mode
-
-@cindex @code{\notes}
-Note mode is introduced by the keyword
-@code{\notes}. In Note mode, words can only
-contain alphabetic characters. If @code{word} is encountered,
-LilyPond first checks for a notename of @code{word}. If no
-notename is found, then @code{word} is treated as a string.
-
-Since combinations of numbers and dots are used for indicating
-durations, it is not possible to enter real numbers in this mode.
-
-@cindex Notes mode
-
@c . {Pitches}
@node Pitches
@subsection Pitches
In Note and Chord mode, pitches may be designated by names. The default
names are the Dutch note names. The notes are specified by the letters
-@code{c} through @code{b}, where @code{c} is an octave below middle C
-and the letters span the octave above that C. In Dutch,
+@code{a} through @code{g} (where the octave is formed by notes ranging
+from @code{c}, to @code{b}). The pitch @code{c} is an octave below
+middle C and the letters span the octave above that C.
+
@cindex note names, Dutch
-a sharp is formed by adding @code{-is} to the end of a pitch name. A
-flat is formed by adding @code{-es}. Double sharps and double flats are
-obtained by adding @code{-isis} or @code{-eses}. @code{aes} and
-@code{ees} are contracted to @code{as} and @code{es} in Dutch, but both
-forms will be accepted.
+
+In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
+name. A flat is formed by adding @code{-es}. Double sharps and double
+flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
+and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
+both forms are accepted.
LilyPond has predefined sets of notenames for various other languages.
To use them, simply include the language specific init file. For
-
The optional octave specification takes the form of a series of
single quote (`@code{'}') characters or a series of comma
(`@code{,}') characters. Each @code{'} raises the pitch by one
octave; each @code{,} lowers the pitch by an octave.
@lilypond[fragment,verbatim,center]
- c' d' e' f' g' a' b' c''
-@end lilypond
-
-@lilypond[fragment,verbatim,center]
- cis' dis' eis' fis' gis' ais' bis'
-@end lilypond
-
-@lilypond[fragment,verbatim,center]
- ces' des' es' fes' ges' as' bes'
-@end lilypond
-
-@lilypond[fragment,verbatim,center]
- cisis' eisis' gisis' aisis' beses'
-@end lilypond
-
-@lilypond[fragment,verbatim,center]
- ceses' eses' geses' ases' beses'
+ c' c'' es' g' as' gisis' ais'
@end lilypond
-
@c . {Defining pitch names}
@node Defining pitch names
@subsection Defining pitch names
@end example
See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
-specific examples how to do this. Some national note names have been
-provided, among others: Norwegian, Swedish, German, Italian, Catalan,
-French, Dutch and English.
+specific examples how to do this.
+
@c . {Durations}
@cindex duration
@cindex @code{\duration}
-The syntax for an verbose duration specification is
+The syntax for a verbose duration specification is
@example
\duration @var{scmduration}
@end example
+Here, @var{scmduration} is a Scheme object of type 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
have to use a mensural note heads. This is done accomplished by setting
the @code{style} property of the NoteHead grob to @code{mensural}.
-If the duration is omitted then it is set equal to the previous duration
-entered. At the start of parsing there is no previous duration, so then
-a quarter note is assumed. The duration can be followed by a dot
-(`@code{.}') to obtain dotted note lengths.
+If the duration is omitted then it is set to the previous duration
+entered. At the start of parsing a quarter note is assumed. The
+duration can be followed by a dot (`@code{.}') to obtain dotted note
+lengths.
@cindex @code{.}
@lilypond[fragment,verbatim,center]
- a'4. b'4. c'2..
+ a'4. b'4.. c'8.
@end lilypond
@cindex @code{r}
@cindex @code{s}
-You can alter the length of duration by writing `@code{*}@var{fraction}'
-after it. This will not affect the appearance of note heads or rests.
+You can alter the length of duration by appending
+`@code{*}@var{fraction}'. This will not affect the appearance of the
+notes or rests produced.
@c . {Notes}
@node Notes
@var{pitch}[@var{octavespec}][!][?][@var{duration}]
@end example
-
LilyPond will determine what accidentals to typeset depending on the key
-and context, so alteration refer to what note is heard, not to whether
-accidentals are printed. A reminder accidental
+and context. The alteration refers to what note is heard, not to whether
+an accidental is printed. A reminder accidental
@cindex reminder accidental
@cindex @code{?}
-can be forced by adding an exclamation mark @code{!} after the pitch.
-A cautionary accidental,
+can be forced by adding an exclamation mark @code{!} after the pitch. A
+cautionary accidental,
@cindex cautionary accidental
-
i.e., an accidental within parentheses can be obtained by adding the
question mark `@code{?}' after the pitch.
@end lilypond
-@node Note head tweaks
-@subsection Note head tweaks
-
-[TODO]
-
-The note head style can be adjusted with the @code{style} property of
-@code{NoteHead}.
-
-@lilypond[fragment,singleline,relative,verbatim]
-c'4
-\property Voice.NoteHead \set #'style = #'cross
-c'4
-@end lilypond
-
-[discuss more options]
+@node Easy Notation note heads
+@subsection Easy Notation note heads
@cindex easy notation
@cindex Hal Leonard
A entirely different type of note head is the "easyplay" note head: a
note head that includes a note name. It is used in some publications by
-the Hal-Leonard Corporation (a music publishing company).
+Hal-Leonard Inc. music publishers.
@lilypond[singleline,verbatim]
+\include "paper26.ly"
\score {
\notes { c'2 e'4 f' | g'1 }
\paper { \translator { \EasyNotation } }
probably will want to print it with magnification to make it better
readable.
-Limitations: The staff-lines show through the letters.
+@cindex Xdvi
+@cindex ghostscript
+
+If you view the result with Xdvi, then staff lines will show through the
+letters. Printing the postscript file obtained either by using dvips or
+the @code{-f ps} option of lilypond will produce the desired result.
+
+
+@node Tie
+@subsection Tie
+
+@cindex Tie
+@cindex ties
+@cindex @code{~}
+
+A tie connects two adjacent note heads of the same pitch. When used
+with chords, it connects all of the note heads whose pitches match.
+Ties are indicated using the tilde symbol `@code{~}'.
+If you try to tie together chords which have no common pitches, a
+warning message will appear and no ties will be created.
+
+@lilypond[fragment,verbatim,center]
+ e' ~ e' <c' e' g'> ~ <c' e' g'>
+@end lilypond
+
+If you dislike the amount of ties created for a chord, you set
+@code{Thread.sparseTies} to true, resulting in a smaller number of
+ties:
+@lilypond[fragment,verbatim,center]
+ \property Thread.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
+exactly the same concept.
+@lilypond[fragment, singleline]
+c'2 c'4 ~ c'4
+@end lilypond
+
+@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.
+
+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.
+
+
+@c . {Tuplets}
+@menu
+* Tuplets::
+@end menu
+
+@node Tuplets
+@subsubsection Tuplets
+@cindex Tuplets
+@cindex Times
+
+Tuplets are made out of a music expression by multiplying their duration
+with a fraction.
+
+@cindex @code{\times}
+@example
+ \times @var{fraction} @var{musicexpr}
+@end example
+
+The duration of @var{musicexpr} will be multiplied by the fraction.
+In print, the fraction's denominator will be printed over the notes,
+optionally with a bracket. The most common tuplet is the triplet in
+which 3 notes have the length of 2, so the notes are 2/3 of
+their written length:
+
+@lilypond[fragment,verbatim,center]
+ g'4 \times 2/3 {c'4 c' c'} d'4 d'4
+@end lilypond
+
+[todo: document tupletSpannerDuration]
+
+
@c . {Rests}
@cindex Rests
Rests are entered like notes, with note name `@code{r}'.
-There is also a note name
-`@code{s}', which produces a space of the specified
-duration.
@c . {Skip}
@example
\skip @var{duration} @code{;}
+ 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. It works in Note Mode or Lyrics Mode. In Note mode,
-this has the same effect as the spacer rest.
+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
-@c . {Music notation}
-@node Music notation
-@section Music notation
-@cindex Music notation
+
+@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.
+
+Numbers and dots indicate durations, so you can enter floating point
+numbers in this mode.
+
+
+@node Staff notation
+@section Staff notation
+
+@cindex Staff notation
+
@menu
-* Key::
-* Breath marks::
+* Key signature::
* Time signature::
+* Bar lines::
@end menu
@c . {Key}
-@node Key
-@subsection Key
+@node Key signature
+@subsection Key signature
@cindex Key
@cindex @code{\key}
+Changing the key signature is done with the @code{\key} command.
@example
@code{\key} @var{pitch} @var{type} @code{;}
@end example
+
@cindex @code{\minor}
@cindex @code{\major}
@cindex @code{\minor}
@cindex @code{\phrygian}
@cindex @code{\dorian}
-Change the key signature. @var{type} should be @code{\major} or
-@code{\minor} to get @var{pitch}-major or @var{pitch}-minor,
-respectively. The second argument is optional; the default is major
-keys. The @var{\context} argument can also be given as an integer,
-which tells the number of semitones that should be added to the pitch
-given in the subsequent @code{\key} commands to get the corresponding
-major key, e.g., @code{\minor} is defined as 3. The standard mode names
-@code{\ionian}, @code{\locrian}, @code{\aeolian}, @code{\mixolydian},
-@code{\lydian}, @code{\phrygian}, and @code{\dorian} are also defined.
-
-This command sets @code{Staff.keySignature}.
-
+Here, @var{type} should be @code{\major} or @code{\minor} to get
+@var{pitch}-major or @var{pitch}-minor, respectively. The second
+argument is optional; the default is major keys. The @var{\context}
+argument can also be given as an integer, which tells the number of
+semitones that should be added to the pitch given in the subsequent
+@code{\key} commands to get the corresponding major key, e.g.,
+@code{\minor} is defined as 3. The standard mode names @code{\ionian},
+@code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
+@code{\phrygian}, and @code{\dorian} are also defined.
+This command sets context property @code{Staff.keySignature}.
@cindex @code{keySignature}
Short-cut for
@example
- \property Staff.clefGlyph = @var{symbol associated with clefname}
+ \property Staff.clefGlyph = @var{glyph associated with clefname}
\property Staff.clefPosition = @var{clef Y-position for clefname}
\property Staff.clefOctavation = @var{extra pitch of clefname}
@end example
@item percussion: percussion clef
@end itemize
-Supported associated symbols (for Staff.clefGlyph) are:
+Supported associated glyphs (for @code{Staff.clefGlyph}) are:
@itemize @bullet
@item clefs-C: modern style C clef
@item clefs-percussion: modern style percussion clef
@end itemize
-@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".
-
-@node Breath marks
-@subsection Breath marks
-
-Breath marks are entered using @code{\breathe}:
-
-@lilypond[fragment,relative]
-c'4 \breathe d4
-@end lilypond
+@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.''
+@cindex Vaticana, Editio
+@cindex Medicaea, Editio
+@cindex hufnagel clefs
@c . {Time signature}
@cindex meter
@cindex @code{\time}
+The time signature is changed by the @code{\time} command. Syntax:
@example
\time @var{numerator}@code{/}@var{denominator} @code{;}
@end example
-
-A short-cut for doing
+Internally, this is a short-cut for doing
@example
\property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
@end example
-See the documentation of @code{timeSignatureFraction}
-
+[TODO: discuss options for layout]
@c . {Partial}
@subsubsection Partial
@cindex measure, partial
@cindex shorten measures
@cindex @code{\partial}
+
+Partial measures are entered using the @code{\partial} command:
@example
\partial @var{duration} @code{;}
@end example
-Short cut for
+Internally, this is a short cut for
@example
- \property Score.measurePosition = @var{length of duration}
+ \property Score.measurePosition = -@var{length of duration}
@end example
@cindex @code{|}
-See the documentation of @code{measurePosition}.
+@c . {Bar lines}
+@node Bar lines
+@subsection Bar lines
+@cindex Bar lines
+
+@cindex @code{\bar}
+@cindex measure lines
+@cindex repeat bars
+
+@example
+ \bar @var{bartype};
+@end example
+
+This is a short-cut 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.
+
+@cindex Bar_line_engraver
+@cindex whichBar
+@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.
+@code{whichBar} can also be set directly, using @code{\property} or
+@code{\bar ; }. These settings take precedence over automatic @code{whichBar}
+settings.
@c . {Polyphony}
@section Polyphony
@cindex Polyphony
-[todo : collisiosn, rest-collisinos, voiceX identifiers, how to
+[TODO: collisions, rest-collisinos, voiceX identifiers, how to
which contexts to instantiate.]
shifted horiztonally. Also @code{\shiftOnn} and @code{\shiftOnnn}
set different shift values.
-@cindex @code{\stemBoth}
+@cindex @code{\stemBoth}
@item @code{\stemBoth}
- Allow stems, beams, and slurs to point either upwards or
+ Allow stems and beams to point either upwards or
downwards, decided automatically by LilyPond.
@cindex @code{\stemDown}
@item @code{\stemDown}
- Force stems, beams, and slurs to point down.
+ Force stems and beams to point down.
@cindex @code{\stemUp}
@item @code{\stemUp}
- Force stems, beams and slurs to point up.
+ Force stems and beams to point up.
@end table
-@c . {Spanners}
-@node Spanners
-@section Spanners
-@cindex Spanners
-
-@menu
-* Beam::
-* Slur ::
-* Phrasing slur::
-@end menu
+@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}.
+@node Beaming
+@section Beaming
-@c . {Beam}
-@node Beam
-@subsection Beams
+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.
-@cindex beams
@c . {Automatic beams}
-@subsubsection Automatic beams
-
-
-@cindex automatic beam generation
-@cindex autobeam
-@cindex @code{Voice.noAutoBeaming}
-
-LilyPond will group flagged notes and generate beams autmatically, where
-appropriate.
-
-This feature can be disabled by setting the @code{Voice.noAutoBeaming}
-property to true, which you may find necessary for the melody that goes
-with lyrics, eg. Automatic beaming can easily be overridden for
-specific cases by specifying explicit beams. This is discussed in the
-next subsubsection.
-
-
+@subsection Automatic beams
@cindex @code{Voice.autoBeamSettings}
@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}. In
-general, beams can begin anywhere, but their ending location is
-significant. Beams can end on a beat, or at durations specified by the
-properties in @code{Voice.autoBeamSettings}. To end beams every quarter
-note, for example, you could set the property @code{(end * * * *)} to
-@code{(make-moment 1 4)}. To end beams at every three eighth notes you
-would set it to @code{(make-moment 1 8)}. The same syntax can be used
-to specify beam starting points using @code{(begin * * * *)}, eg:
-@quotation
+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
+@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
+@code{\override} and unset using @code{\revert}:
+@example
+\property Voice.autoBeamSettings \override #'(@var{BE} @var{N} @var{M} @var{P} @var{Q}) = @var{dur}
+\property Voice.autoBeamSettings \revert #'(@var{BE} @var{N} @var{M} @var{P} @var{Q})
+@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).
+
+If you want automatic beams to end on every quarter note, you can
+use the following:
@example
\property Voice.autoBeamSettings \override
#'(end * * * *) = #(make-moment 1 4)
+@end example
+The duration a quarter note is 1/4 of a whole note. It is entered as
+@code{(make-moment 1 4)}.
+
+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
\property Voice.autoBeamSettings \override
- #'(begin * * * *) = #(make-moment 1 8)
+ #'(begin * * * *) = #(make-moment 3 8)
@end example
-@end quotation
+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).
-To allow different settings for different time signatures, instead of
-the first two asterisks @code{* *} you can specify a time signature; use
-@code{(end N M * *)} to restrict the definition to
-`@var{N}@code{/}@var{M}' time. For example, to specify beams ending
-only for 6/8 time you would use the property @code{(end 6 8 * *)}.
+You can also restrict rules to specific time signatures. A rule that
+should only be applied in @var{N}/@var{M} time signature is formed by
+replacing the first asterisks by @var{N} and @var{M}. For example, a
+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
+second 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)}.
-To allow different endings for notes of different durations, instead of
-th last two asterisks you can specify a duration; use @code{(end * * N
-M)} to restrict the definition to beams that contain notes of
-`@var{N}@code{/}@var{M}' duration.
+[say something about irregular meters. eg 5/8 = 2+3/8, 3+2/8]
-For example, to specify beam endings for beams that contain 32nd notes,
-you would use @code{(end * * 1 32)}.
+Automatic beams can not be put on the last note in a score.
+@cindex automatic beam generation
+@cindex autobeam
+@cindex @code{Voice.noAutoBeaming}
+Automatic beaming is on by default, but it can switched off by setting
+@code{Voice.noAutoBeaming} to true. You you may find this necessary for
+a melody that goes with lyrics.
@c . {Manual beams}
@cindex Automatic beams
r4 [r8 g'' a r8] r8 [g | a] r8
}
@end lilypond
-
+Whenever an manual beam is busy, the auto beam 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
-y@code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}.
+@code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}.
@lilypond[fragment,relative,verbatim]
\context Staff {
@cindex @code{stemRightBeamCount}
-@c . {Adjusting beams}
-@unnumberedsubsubsec Adjusting beams
-@cindex Adjusting beams
-
-FIXME
+[FIXME: explain common tweaks.]
-
+@node Expressive marks
+@section Expressive marks
@c . {Slur}
-@node Slur
-@subsection Slur
-@cindex slur
-
@menu
-* Slur attachments::
+* Slur ::
+* Phrasing slur::
+* Breath marks::
@end menu
-A slur connects chords and is used to indicate legato. Slurs avoid
-crossing stems. A slur is started with @code{(} and stopped with
-@code{)}. The starting @code{(} appears to the right of the first note
-in the slur. The terminal @code{)} appears to the left of the last note
-in the slur. This makes it possible to put a note in slurs from both
-sides:
+@node Slur
+@subsection Slur
+@cindex slur
+A slur indicates that notes are to be played bound or @emph{legato}. In
+lilypond, they are entered using parentheses:
@lilypond[fragment,verbatim,center]
f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
@end lilypond
-@c . {Adjusting slurs}
-@unnumberedsubsubsec Adjusting slurs
-
-@node Slur attachments
-@subsubsection Slur attachments
-
-The ending of a slur should whenever possible be attached to a note
-head. Only in some instances where beams are involved, LilyPond may
-attach a slur to a stem end. In some cases, you may want to override
-LilyPond's decision, e.g., to attach the slur to the stem end. This can
-be done through @code{Voice.Slur}'s grob-property @code{attachment}:
+Slurs avoid crossing stems, and are attached to note heads whenever
+possible. In some instances involving beams slurs may be attached to a
+stem end. If you want to override this layout you can do this through
+@code{Voice.Slur}'s grob-property @code{attachment}:
+[TODO: remove this section]
+Maybe reinclude other slur features and move back to tricks? Esp. the
+second example, how to fix, can be very helpful.
@quotation
@lilypond[fragment,relative,verbatim]
@end lilypond
@end quotation
-Similarly, slurs can be attached to note heads even when beams are
-involved:
-
-@quotation
-@lilypond[fragment,relative,verbatim]
- \property Voice.Slur \set #'direction = #1
- \property Voice.Slur \set #'attachment = #'(head . head)
- g''16()g()g()g()d'()d()d()d
-@end lilypond
-@end quotation
-
-If a slur would strike through a stem or beam, LilyPond will move the
-slur away vertically (upward or downward). In some cases, this may
-cause ugly slurs that you may want to correct:
+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]
@end lilypond
@end quotation
-LilyPond will increase the curvature of a slur trying to stay free of
-note heads and stems. However, if the curvature would increase too much,
-the slur will be reverted to its default shape. This decision is based
-on @code{Voice.Slur}'s grob-property @code{beautiful} value. In some
-cases, you may find ugly slurs beautiful, and tell LilyPond so by
-increasing the @code{beautiful} value:
-[hoe gedefd?? wat betekent beautiful = X?]
+Similarly, the curvature of a slur is adjusted to stay clear of note
+heads and stems. When that would increase the curvature too much, the
+slur is reverted to its default shape. The threshold for this decision
+is in @code{Voice.Slur}'s grob-property @code{beautiful}. In some
+cases, you may prefer curved slurs to vertically moved ones. You can
+express this by increasing the @code{beautiful} value:
+
+[hoe gedefd?? wat betekent beautiful = X?]
+
+[dit voorbeeld is te lang: junken, of inkorten]
@quotation
-@lilypond[verbatim]
+@lilypond[verbatim,singleline]
\score {
\notes \context PianoStaff <
\time 6/4;
>
>
\paper {
- linewidth = -1.;
\translator {
\VoiceContext
Slur \override #'beautiful = #5.0
@cindex Adusting slurs
-
-
-@c . {Phrasing slur}
@node Phrasing slur
@subsection Phrasing slur
+
@cindex phrasing slur
@cindex phrasing mark
A phrasing slur (or phrasing mark) connects chords and is used to
-indicate a musical sentence. Phrasing slurs avoid crossing stems. A
-phrasing slur is started with @code{\(} and stopped with @code{\)}. The
-starting @code{\(} appears to the right of the first note in the
-phrasing slur. The terminal @code{\)} appears to the left of the last
-note in the phrasing slur.
+indicate a musical sentence. It is entered using @code{\(} and
+@code{\)}.
@lilypond[fragment,verbatim,center,relative]
\time 6/4; c''\((d)e f(e)\)d
@end lilypond
-[TODO: put together with breath mark.]
-
+Typographically, the phrasing slur behaves almost exactly like a normal
+slur. The grob associated with it is @code{Voice.PhrasingSlur}.
-@c . {Tie}
-@menu
-* Tie::
-* Tuplets::
-* Text spanner::
-* Ottava::
-* Span requests::
-@end menu
+@node Breath marks
+@subsection Breath marks
-@node Tie
-@subsubsection Tie
+Breath marks are entered using @code{\breathe}:
-@cindex Tie
-@cindex ties
-@cindex @code{~}
+@lilypond[fragment,relative]
+c'4 \breathe d4
+@end lilypond
-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.
+Currently, only tick marks are supported, comma style breath marks are
+not. The grob for this object is called @code{Voice.BreathingSign}.
-@lilypond[fragment,verbatim,center]
- e' ~ e' <c' e' g'> ~ <c' e' g'>
-@end lilypond
-[sparseTies]
+@refbugs
+ Currently, only tick marks are supported, comma style breath marks are
+not.
-@c . {Tuplets}
-@node Tuplets
-@subsubsection Tuplets
-@cindex Tuplets
-@cindex Times
-Tuplets are made out of a music expression by multiplying their duration
-with a fraction.
+@c . {Tempo}
+@node Tempo
+@subsection Tempo
+@cindex Tempo
+@cindex beats per minute
+@cindex metronome marking
-@cindex @code{\times}
+@cindex @code{\tempo}
@example
- \times @var{fraction} @var{musicexpr}
+ \tempo @var{duration} = @var{perminute} @code{;}
@end example
-The duration of @var{musicexpr} will be multiplied by the fraction.
-In print, the fraction's denominator will be printed over the notes,
-optionally with a bracket. The most common tuplet is the triplet in
-which 3 notes have the length of 2, so the notes are 2/3 of
-their written length:
-
-@lilypond[fragment,verbatim,center]
- g'4 \times 2/3 {c'4 c' c'} d'4 d'4
-@end lilypond
-
-[todo: document tupletSpannerDuration]
+Used to specify the tempo. 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.
+
@c . {Text spanner}
+@menu
+* Text spanner::
+@end menu
+
@node Text spanner
@subsubsection Text spanner
@cindex Text spanner
-@c . {Ottava}
-@node Ottava
-@subsubsection Ottava
-@cindex Ottava
-@unnumberedsubsubsec Ottava
-
-[move to trick. Not a supported feature.]
+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:
+@example
+\spanrequest \start "text"
+\spanrequest \stop "text"
+@end example
+LilyPond will respond by creating a @code{Voice.TextSpanner} grob. The
+string to be printed, as well as the style is set through grob
+properties.
+An application---or rather, a hack---is to fake octavation indications.
@lilypond[fragment,relative,verbatim]
- 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 " . "")
\property Staff.centralCPosition = #-13
- a\spanrequest \start "text" b c a \spanrequest \stop "text"
-@end lilypond
-
-
-
-@c . {Span requests}
-@node Span requests
-@subsubsection Span requests
-@cindex Span requests
-
-@cindex @code{\spanrequest}
-
-@example
- \spanrequest @var{startstop} @var{type}
-@end example
-@cindex @code{\start}
-@cindex @code{\stop}
-
-Define 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. Among the supported types are
-@code{crescendo}, @code{decrescendo}, @code{beam}, @code{slur}.This is
-an internal command. Users should use the shorthands which are defined
-in the initialization file @file{spanners.ly}.
-
-You can attach a (general) span request to a note using the following
-syntax.
-
-@lilypond[fragment,verbatim,center]
- c'4-\spanrequest \start "slur"
- c'4-\spanrequest \stop "slur"
+ a\spanrequest \start "text" b c a \spanrequest \stop "text" }
@end lilypond
-The slur syntax with parentheses is a shorthand for this.
@c . {Ornaments}
@node Ornaments
* Articulation::
* Text scripts::
* Grace notes::
-* Bar check::
@end menu
@c . {Articulation}
name of the corresponding symbol appearing underneath.
@lilypond[]
-
\score {
< \notes {
\property Score.LyricSyllable \override #'font-family =
indent = 0.0;
}
}
-
@end lilypond
-@c . {Text scripts}
-@node Text scripts
-@subsection Text scripts
-@cindex Text scripts
-
-In addition, it is possible to place arbitrary strings of text or markup
-text (see @ref{Text markup}) above or below notes by using a string
-instead of an identifier: @code{c^"text"}. It is possible to use @TeX{}
-commands, 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. Fingerings can be placed by simply using digits. All of these
-note ornaments appear in the printed output but have no effect on the
-MIDI rendering of the music.
-
-@c . {Fingerings}
-@subsubsection Fingerings
-@cindex Fingerings
-
-To save typing, fingering instructions (digits 0 to 9 are
-supported) and single characters shorthands exist for a few
-common symbols
-
-@lilypond[]
+To save typing work, some shorthands are available:
+@lilypond[singleline]
\score {
\notes \context Voice {
\property Voice.TextScript \set #'font-family = #'typewriter
c''4-|_"c-|" s4
c''4->_"c->" s4
c''4-^_"c-\\^{ }" s4
- c''4-1_"c-1" s4
- c''4-2_"c-2" s4
- c''4-3_"c-3" s4
- c''4-4_"c-4" s4
- }
- \paper {
- linewidth = 5.875 \in;
- indent = 0.0;
}
}
-
@end lilypond
+@cindex fingering
-@cindex @code{\textscript}
-
-@example
-
- \textscript @var{text} @var{style}
-@end example
-
-Defines a text to be printed over or under a note. @var{style} is a
-string that may be one of @code{roman}, @code{italic}, @code{typewriter},
-@code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.
-
-You can attach a general textscript request using this syntax:
-
-@quotation
-
-@example
-c4-\textscript "6" "finger"
-c4-\textscript "foo" "normal"
-@end example
-
-@end quotation
+Fingering instructions can also be entered in this shorthand.
+@lilypond[verbatim, singleline, fragment]
+ c'4-1 c'4-2 c'4-3 c'4-4
+@end lilypond
-This is equivalent to @code{c4-6 c4-"foo"}.
@cindex @code{\script}
@cindex scripts
\script @var{alias}
@end example
-Prints a symbol above or below a note. The argument is a string which
+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}.
+@refbugs
+
+All of these note ornaments appear in the printed output but have no
+effect on the MIDI rendering of the music.
+
+Unfortunately, there is no support adding fingering instructions or
+ornaments to individual note heads. Some hacks exist, though. See
+@file{input/test/script-horizontal.ly}.
+
+
+@c . {Text scripts}
+@node Text scripts
+@subsection Text scripts
+@cindex Text scripts
+
+In addition, it is possible to place arbitrary strings of text or markup
+text (see @ref{Text markup}) above or below notes by using a string:
+@code{c^"text"}. The text is typeset in italic by default.
+
+The amount of space taken by these indications by default does not
+influence, spacing, but setting @code{Voice.textNonEmpty} to true will
+take the widths into account. The identifier @code{\fattext} is defined
+in the standard includes.
+@lilypond[fragment,singleline]
+\relative c' { c4^"longtext" \fatText c4_"longlongtext" c4 }
+@end lilypond
+
+Text scripts are created in form of @code{Voice.TextScript} grobs.
+
+For purposes of defining identifiers, a more verbose form also exists:
+
+@example
+ \textscript @var{text}
+@end example
+
+Defines a text to be printed over or under a note. @var{text} is a
+string or a markup text.
+@quotation
+
+@example
+foo = \textscript #'(finger "6")
+ [..]
+c4-\foo
+@end example
+
+@end quotation
+
+This is equivalent to @code{c4-6 c4-"foo"}.
@c . {Grace notes}
@cindex grace notes
@cindex @code{graceAlignPosition}
+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
-A grace note expression has duration 0; the next real note is
-assumed to be the main note.
-
-You cannot have the grace note after the main note, in terms of
-duration, and main notes, but you can typeset the grace notes to the
-right of the main note using the property
-@code{graceAlignPosition}.
-@cindex @code{flag-style}
-
When grace music is interpreted, a score-within-a-score is set up:
@var{musicexpr} has its own time bookkeeping, and you could (for
example) have a separate time signature within grace notes. While in
@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
+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.
-The present implementation is not robust and generally kludgy. We expect
-it to change after LilyPond 1.4. Syntax changes might also be
-implemented.
-
-
+A grace note expression has duration 0; the next real note is assumed to
+be the main note. If you want the note to appear after the main note,
+set @code{Voice.graceAlignPosition} to @code{1}.
+@refbugs
+The present implementation of grace notes is not robust and generally
+kludgy. We expect it to change after LilyPond 1.4. Syntax changes might
+also be implemented.
@menu
* Glissando ::
* Dynamics::
-* Crescendo and Decrescendo::
-* Bar lines::
@end menu
@end lilypond
@end quotation
+@refbugs
+
Printing of an additional text (such as @emph{gliss.}) must be done
manually.
@cindex @code{\rfz}
+Absolute dynamic marks are specified by using an identifier after a
+note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
+@code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
+@code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
+@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
-
-
-Dynamic marks are specified by using an identifier after a note:
-@code{c4-\ff}. The available dynamic marks are:
-@code{\ppp}, @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f},
-@code{\ff}, @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf},
-@code{\sff}, @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
-
-@c . {Crescendo and Decrescendo}
-@node Crescendo and Decrescendo
-@subsubsection Crescendo and Decrescendo
-
@cindex Crescendo and Decrescendo
@cindex crescendo
@cindex @code{\cr}
@cindex @code{\"!}
-
A crescendo mark is started with @code{\cr} and terminated with
-@code{\rc}, the textual reverse of @code{cr}. A decrescendo mark is
+@code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
started with @code{\decr} and terminated with @code{\rced}. There are
also shorthands for these marks. A crescendo can be started with
@code{\<} and a decrescendo can be started with @code{\>}. Either one
< f''1 { s4 \< \! s2 \> \! 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:
-@c . {Bar lines}
-@node Bar lines
-@subsubsection Bar lines
-@cindex Bar lines
-
-@cindex @code{\bar}
-@cindex measure lines
-@cindex repeat bars
-
-@example
- \bar @var{bartype};
-@end example
-
-This is a short-cut 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
-docuemntation.
-
-[FIXME]
-
-
-@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{|}
-
-
@cindex repeats
@cindex @code{\repeat}
-In order to specify repeats, use the @code{\repeat}
-keyword. Since repeats look and sound differently when played or
-printed, there are a few different variants of repeats.
+To specify repeats, use the @code{\repeat} keyword. Since repeats
+should work differently when played or printed, there are a few
+different variants of repeats.
@table @asis
@item unfolded
@item percent
Make measure repeats. These look like percent signs.
-
@end table
@menu
@end example
If you have alternative endings, you may add
-
@cindex @code{\alternative}
@example
\alternative @code{@{} @var{alternative1}
@var{alternative2}
@var{alternative3} @dots{} @code{@}}
@end example
-
-where each @var{alternative} is a Music expression.
+where each @var{alternative} is a music expression.
Normal notation repeats are used like this:
-
-@quotation
-
@lilypond[fragment,verbatim]
c'1
\repeat volta 2 { c'4 d' e' f' }
\repeat volta 2 { f' e' d' c' }
@end lilypond
-@end quotation
With alternative endings:
-
@quotation
-
@lilypond[fragment,verbatim]
c'1
\repeat volta 2 {c'4 d' e' f'}
implemented at some point in the future.}
@quotation
-
@lilypond[fragment,verbatim]
c'1
\repeat fold 2 {c'4 d' e' f'}
\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, eg using bar-checks, @code{Score.measurePosition} or
-@code{\partial}. We hope to fix this after 1.4.
+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.
It is possible to nest @code{\repeat}, although it probably is only
meaningful for unfolded repeats.
To place tremolo marks between notes, use @code{\repeat} with tremolo
style.
-@lilypond[verbatim,center]
+@lilypond[verbatim,center,singleline]
\score {
\context Voice \notes\relative c' {
\repeat "tremolo" 8 { c16 d16 }
\repeat "tremolo" 2 { c16 d16 }
\repeat "tremolo" 4 c16
}
- \paper {
- linewidth = 40*\staffspace;
- }
}
@end lilypond
+@refbugs
+
+
+At present, the spacing between tremolo beams is not regular, since the
+spacing engine does not notice that not all notes are printed.
+
@node Tremolo subdivision
@subsection Tremolo subdivision
@cindex tremolo marks
Tremolo marks can be printed on a single note by adding
`@code{:}[@var{length}]' after the note. The length must be at least 8.
A @var{length} value of 8 gives one line across the note stem. If the
-length is omitted, then the last value is used, or the value of the
-@code{tremoloFlags} property if there was no last value.
+length is omitted, then then the last value (stored in
+@code{Voice.tremoloFlags}) is used.
@lilypond[verbatim,fragment,center]
c'2:8 c':32
@end lilypond
-
-Tremolos in this style do not carry over into the MIDI output.
-
Using this mechanism pays off when you entering many tremolos, since the
default argument saves a lot of typing.
+@refbugs
+Tremolos in this style do not carry over into the MIDI output.
+
@node Measure repeats
@subsection Measure repeats
At present, only repeats of whole measures are supported.
-
@c . {Piano music}
@node Piano music
@section Piano music
+
+Piano music is an odd type of notation: two staffs are largely
+independent, but sometimes voices can cross between the two staffs. The
+@code{PianoStaff} is especially built to handle this cross-staffing
+behavior. In this section we discuss the @code{PianoStaff} and some
+other pianistic peculiarities.
+
@menu
* Automatic staff changes::
* Manual staff switches::
@lilypond[verbatim,singleline]
\score { \notes \context PianoStaff <
- \context Staff = "up" {
- \autochange Staff \context Voice = VA < \relative c' { g4 a b c d r4 a g } >
- }
- \context Staff = "down" {
- \clef bass;
- s1*2
- } > }
+ \context Staff = "up" {
+ \autochange Staff \context Voice = VA < \relative c' {
+ g4 a b c d r4 a g } > }
+ \context Staff = "down" {
+ \clef bass;
+ s1*2
+} > }
@end lilypond
-
+Note how spacer rests are used to prevent the bottom staff from
+terminating too soon.
@node Manual staff switches
@cindex manual staff switches
@cindex staff switch, manual
-@cindex @code{\translator}
+Voices can be switched between staffs manually, using the following command:
@example
- \translator @var{contexttype} = @var{name}
+ \translator Staff = @var{which} @var{music}
@end example
+The string @var{which} is the name of the staff. Typically it is
+@code{"up"} or @code{"down"}.
-A music expression indicating that the context which is a direct
-child of the a context of type @var{contexttype} should be shifted to
-a context of type @var{contexttype} and the specified name.
-
-Usually this is used to switch staffs in Piano music, e.g.
+Formally, this construct is a music expression indicating that the
+context which is a direct child of the a context of type
+@var{contexttype} should be shifted to a context of type
+@var{contexttype} and the specified name.
+@cindex @code{\translator}
@example
- \translator Staff = top @var{Music}
+ \translator @var{contexttype} = @var{name}
@end example
@subsection Pedals
@cindex Pedals
-Piano pedals can be entered using the following span requests of the
-types @code{Sustain}, @code{UnaChorda} and @code{Sostenuto}:
+Piano pedal instruction can be expressed using
+@code{\sustainDown}, @code{\sustainUp}, @code{\unaChorda},
+@code{\treChorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
+
+These identifiers are short hands for spanner commands of the types
+@code{Sustain}, @code{UnaChorda} and @code{Sostenuto}:
+
@lilypond[fragment,verbatim]
-c''4 \spanrequest \start "Sustain" c4 c4 \spanrequest \stop "Sustain"
+c''4 \spanrequest \start "Sustain" c''4 c''4 \spanrequest \stop "Sustain"
@end lilypond
-For these verbose expressions, standard shorthands have been defined:
-@table @code
-@item sustainDown
-@item sustainUp
-@item unaChorda
-@item treChorde
-@item sostenutoDown
-@item sostenutoUp
-@end table
+The symbols that are printed can be modified by setting
+@code{pedal@var{X}Strings}, where @var{X} is one of the pedal
+types. Refer to the generated documentation for more information.
+
+@refbugs
-The symbols that are printed can be modified by setting pedalXStrings,
-where one of the pedal types. Refer to the generaetd documentation for
-more information.
Currently, brackets are not supported, only text markings (ie. *Ped
style).
When an arpeggio crosses staffs in piano music, you attach an arpeggio
to the chords in both staffs, and set
-@code{PianoStaff.connectArpeggios}. LilyPond will connect the arpeggios
-in both staffs.
+@code{PianoStaff.connectArpeggios}.
@quotation
@lilypond[fragment,relative,verbatim]
@end lilypond
@end quotation
+This command creates @code{Arpeggio} grobs.
+
+@refbugs
+
+ It is not possible to mix
+connected arpeggios and unconnected arpeggios at the same time.
@c . {Follow Thread}
-@node Follow Thread
+@node Follow Thread
@subsection Follow Thread
+
@cindex follow thread
@cindex staff switching
@cindex cross staff
-[todo: different name, eg. voice line ? ]
+[todo: figure out different name, eg. voice line, switch indicator ? ]
@cindex @code{followThread}
@subsection Lyrics mode
@cindex Lyrics mode
-@cindex lyric mode
-@cindex @code{\lyrics}
+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.
-Lyrics mode is introduced by the keyword @code{\lyrics}. This mode has
-rules that make it easy to include punctuation and diacritical marks in
-words: The purpose of Lyrics mode is that you can enter lyrics in @TeX{}
-format or a standard encoding without needing quotes. The precise
-definition of this mode 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.
-
-A word in Lyrics mode begins with: an alphabetic character, @code{_},
-@code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
-through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
-any 8-bit character with ASCII code over 127, or a two-character
-combination of a backslash followed by one of @code{`}, @code{'},
-@code{"}, or @code{^}.
-
-Subsequent characters of a word can be any character that is not a digit
-and not white space. One important consequence of this is that a word
-can end with `@code{@}}', which may be confusing. However, LilyPond will
-issue a warning. Any @code{_} character which appears in an unquoted
-word is converted to a space. This provides a mechanism for introducing
-spaces into words without using quotes. Quoted words can also be used
-in Lyrics mode to specify words that cannot be written with the above
-rules. Here are some examples. Not all of these words are printable by
-@TeX{}.
-@example
-Ah! % a word
-2B_||_!2B % not a word because it starts with a digit
-``Hello'' % not a word because it starts with `
-_ _ _ _ % 4 words, each one a space
-@end example
+@cindex lyric mode
+@cindex @code{\lyrics}
-Since combinations of numbers and dots are used for indicating
-durations, you can not enter real numbers in this mode.
+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.
-@cindex lyrics expressions
+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-4 kle4 twin-4 kle4} enters four syllables, each
-with quarter note duration. Note that the hyphen has no special
-meaning for lyrics, and does not introduce special symbols. See
-section @ref{Lexical modes} for a description of what is interpreted as
-lyrics.
+example, @code{Twin- kle twin- kle} enters four syllables. Note that
+the hyphen has no special meaning for lyrics, and does not introduce
+special symbols.
Spaces can be introduced into a lyric either by using quotes
(@code{"}) or by using an underscore without quotes: @code{He_could4
-not4}. All unquoted underscores are converted to spaces. Printing
-lyrics is discussed in the next section.
-
+not4}. All unquoted underscores are converted to spaces.
@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.
-Lyric syllables must be interpreted within a @code{Lyrics} context for
-printing them. Here is a full example:
-
-@quotation
-@lilypond[verbatim]
-\score {
- <
- \notes \transpose c'' {
- c d e c | c d e c |
- e f g2 | e4 f g2 \bar "|.";
- }
+@lilypond[verbatim,singleline]
+\addlyrics \notes \relative c' {
+ \time 7/4;
+ \property Staff.automaticMelismata = ##t
+ d'2 c4 b2 a2
+ b2 c4 b4 () a4 g2 }
\context Lyrics \lyrics {
- Va-4 der Ja- cob Va- der Ja- cob
- Slaapt gij nog?2 Slaapt4 gij nog?2
- }
- >
-}
-
+ Join us now and
+ share the so -- ftware; }
@end lilypond
-@end quotation
-
-
-
@cindex extender
@cindex lyric extender
+@cindex melisma
-You may want a continuous line after the syllables to show melismata.
-To achieve this effect, add a @code{__} lyric as a separate word
-after the lyric to be extended. 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{_}).
-
-@quotation
-
-@lilypond[verbatim]
-\score {
- <
- \notes \relative c'' {
- a4 () b () c () d | c () d () b () a | c () d () b () a
- }
- \context Lyrics \lyrics {
- foo1 __ | bar2. __ _4 | baz1 __
- }
- >
-}
-
-@end lilypond
-@end quotation
+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{_}).
-@cindex Lyric hyphen
+@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.
-For example:
-
-@quotation
-
-@lilypond[verbatim]
-\score {
- <
- \notes \transpose c'' {
- c d e c | c d e c |
- e f g2 | e4 f g2 \bar "|.";
- }
- \context Lyrics \lyrics {
- Va4 -- der Ja -- cob | Va -- der Ja -- cob |
- Slaapt gij nog?2 | Slaapt4 gij nog?2
- }
- >
-}
-
-@end lilypond
-@end quotation
+@cindex Lyric hyphen
-@c . {Automatic syllable durations}
@node Automatic syllable durations
@subsection Automatic syllable durations
@cindex Automatic syllable durations
-
@cindex automatic lyric durations
@cindex @code{\addlyrics}
context of @var{musicexpr1}, no lyrics will be put on slurred or tied
notes.
-@quotation
@lilypond[verbatim,fragment]
\addlyrics
\transpose c'' {
\context Lyrics \lyrics {
do4 re mi fa }
@end lilypond
-@end quotation
-You should use a single rhythm melody, and single rhythm lyrics (a
-constant duration is the obvious choice). If you do not, you will get
-undesired effects when using multiple stanzas:
+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:
-@quotation
@lilypond[verbatim,fragment]
\addlyrics
\transpose c'' {
\context Lyrics \lyrics
< { do4 re mi fa }
{ do8 re mi fa } >
-
@end lilypond
-@end quotation
It is valid (but probably not very useful) to use notes instead of
lyrics for @var{musicexpr2}.
@lilypond[singleline,verbatim]
\score {
\addlyrics
- \notes \relative c'' \context Voice = duet { \time 3/4; g2 e4 a2 f4 g2. }
+ \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"
@section Chords
@cindex Chords
-[chords vs. simultaneous music]
+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:
+
+
+@lilypond[verbatim,singleline]
+twoWays = \notes \transpose c'' {
+ \chords {
+ c1 f:sus4 bes/f
+ }
+ <c e g>
+ <f bes c'>
+ <f bes d'>
+ }
+
+\score {
+ < \context ChordNames \twoWays
+ \context Staff \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.
@menu
* Chords mode::
-* Entering named chords::
* Printing named chords::
@end menu
@subsection Chords mode
@cindex Chords mode
-Chord mode 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).
-
-Since combinations of numbers and dots are used for indicating
-durations, you can not enter real numbers in this mode. Dashes
-and carets are used to indicate chord additions and subtractions,
-so scripts can not be entered in Chord mode.
-
-@c . {Entering named chords}
-@node Entering named chords
-@subsection Entering named chords
-@cindex Chords names
+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).
-Chord names are a way to generate simultaneous music expressions that
-correspond with traditional chord names. It can only be used in
-Chord mode (see section @ref{Lexical modes}).
+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}].
chord, and it may lower or raise the specified interval. Intervals
must be separated by a dot (@code{.}).
-
Throughout these examples, chords have been shifted around the staff
using @code{\transpose}.
@end lilypond
@cindex @code{/}
-Chord inversions can be specified by appending `@code{/}' and
-the name of a single note to a chord. This has the effect of
-lowering the specified note by an octave so it becomes the lowest
-note in the chord. If the specified note is not in the chord, a
-warning will be printed.
+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.
@lilypond[fragment,verbatim,center]
\transpose c''' {
@end lilypond
-The most interesting application is printing chord names, which is
-explained in the next subsection.
-You should not combine @code{\relative} with named chords. [FIXME]
+
@c . {Printing named chords}
@node Printing named chords
@subsection Printing named chords
-
-
-
-
@cindex printing chord names
@cindex chord names
@cindex chords
@cindex @code{ChordNames}
-@cindex @code{ChordNameVoice}
-For displaying printed chord names, use the @code{ChordNames} and
-@code{ChordNameVoice} contexts. The chords may be entered either using
-the notation described above, or directly using simultaneous music.
+
+For displaying printed chord names, use the @code{ChordNames} context.
+The chords may be entered either using the notation described above, or
+directly using simultaneous music.
@quotation
@lilypond[verbatim,singleline]
}
\score {
\notes<
- \context ChordNamesVoice \scheme
+ \context ChordNames \scheme
\context Staff \transpose c'' \scheme
>
}
@end lilypond
@end quotation
-You can make the chord changes stand out more by setting property
+You can make the chord changes stand out by setting property
@code{ChordNames.chordChanges} to true. This will only display chord
-names when there's a change in the chords scheme, but always display the
-chord name after a line break:
+names when there's a change in the chords scheme and at the start of the
+line.
-@c bug
@quotation
@lilypond[verbatim]
scheme = \chords {
\score {
\notes <
- \context ChordNames \scheme
+ \context ChordNames {
+ \property ChordNames.chordChanges = ##t
+ \scheme }
\context Staff \transpose c'' \scheme
- >
- \paper{
- linewidth = 40 * \staffspace;
- \translator {
- \ChordNamesContext
- chordChanges = ##t
- }
- }
-}
+ > }
@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:
-
-LilyPond examines chords specified as lists of notes to determine a
-name to give the chord. LilyPond will not try to
-identify chord inversions or added base, which may result in strange
-chord names when chords are entered as a list of pitches:
+[base vs. bass ?]
@quotation
@lilypond[verbatim,center,singleline]
@end lilypond
@end quotation
-To specify chord inversions, append @code{/<notename>}. To specify an
-added bass note, append @code{/+<notename}:
-
-@quotation
-@lilypond[verbatim,center,singleline]
-scheme = \chords {
- d1 d/a d/+gis
-}
-
-\score {
- \notes <
- \context ChordNames \scheme
- \context Staff \transpose c'' \scheme
- >
-}
-@end lilypond
-@end quotation
-
-The chord names that LilyPond should print are fully customizable. The
-code to print chord names is written in Scheme. It can be found in
-@file{scm/chord-name.scm}. Chord names are based on Banter style
-naming, which is unambiguous and has a logical structure. Typical
-American style chord names are implemented as a variation on Banter
-names, they can be selected by setting property @code{ChordName.style}
-to @code{american}:
-@quotation
-@lilypond[verbatim]
-\include "english.ly"
-
-scheme = \chords {
- c % Major triad
- cs:m % Minor triad
- df:m5- % Diminished triad
- c:5^3 % Root-fifth chord
- c:4^3 % Suspended fourth triad
- c:5+ % Augmented triad
- c:2^3 % "2" chord
- c:m5-.7- % Diminished seventh
- c:7+ % Major seventh
- c:7.4^3 % Dominant seventh suspended fourth
- c:5+.7 % Augmented dominant seventh
- c:m5-.7 % "Half" diminished seventh
- c:5-.7 % Dominant seventh flat fifth
- c:5-.7+ % Major seventh flat fifth
- c:m7+ % Minor-major seventh
- c:m7 % Minor seventh
- c:7 % Dominant seventh
- c:6 % Major sixth
- c:m6 % Minor sixth
- c:9^7 % Major triad w/added ninth
- c:6.9^7 % Six/Nine chord
- c:9 % Dominant ninth
- c:7+.9 % Major ninth
- c:m7.9 % Minor ninth
-}
-
-\score {
- \notes <
- \context ChordNames \scheme
- \context Staff \transpose c'' \scheme
- >
- \paper {
- \translator {
- \ChordNamesContext
- ChordName \override #'word-space = #1
- ChordName \override #'style = #'american
- }
- }
-}
-@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.
-Similarly, Jazz style chord names are implemented as a variation on
-American style names:
-@quotation
-@lilypond[verbatim]
-scheme = \chords {
- % major chords
- c
- c:6 % 6 = major triad with added sixth
- c:maj % triangle = maj
- c:6.9^7 % 6/9
- c:9^7 % add9
-
- % minor chords
- c:m % m = minor triad
- c:m.6 % m6 = minor triad with added sixth
- c:m.7+ % m triangle = minor major seventh chord
- c:3-.6.9^7 % m6/9
- c:m.7 % m7
- c:3-.9 % m9
- c:3-.9^7 % madd9
-
- % dominant chords
- c:7 % 7 = dominant
- c:7.5+ % +7 = augmented dominant
- c:7.5- % 7b5 = hard diminished dominant
- c:9 % 7(9)
- c:9- % 7(b9)
- c:9+ % 7(#9)
- c:13^9.11 % 7(13)
- c:13-^9.11 % 7(b13)
- c:13^11 % 7(9,13)
- c:13.9-^11 % 7(b9,13)
- c:13.9+^11 % 7(#9,13)
- c:13-^11 % 7(9,b13)
- c:13-.9-^11 % 7(b9,b13)
- c:13-.9+^11 % 7(#9,b13)
-
- % half diminished chords
- c:m5-.7 % slashed o = m7b5
- c:9.3-.5- % o/7(pure 9)
-
- % diminished chords
- c:m5-.7- % o = diminished seventh chord
-}
+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}.
-\score {
- \notes <
- \context ChordNames \scheme
- \context Staff \transpose c'' \scheme
- >
- \paper {
- \translator {
- \ChordNamesContext
- ChordName \override #'word-space = #1
- ChordName \override #'style = #'jazz
- }
- }
-}
-@end lilypond
-@end quotation
+[3 short examples showing differences between american, banter and jazz]
@node Writing parts
@section Writing parts
+Orchestral music involves some special notation, both in the full score,
+as in the individual parts. This section explains how to tackle common
+problems in orchestral music.
+
+
@c . {Transpose}
@menu
* Rehearsal marks::
+* Bar numbers::
* Instrument names::
* Transpose::
* Sound output for transposing instruments::
* Multi measure rests::
* Automatic part combining::
+* Hara-kiri staffs::
@end menu
@c . {Rehearsal marks}
}
@end lilypond
+@node Bar numbers
+@subsection Bar numbers
+
+Bar numbers are printed at the start of the line by default. This is
+done by the @code{Bar_number_engraver} in the Score context.
+
+@refbugs
+
+It is currently not possible to make boxed bar numbers, or print them at
+regular intervals.
+
+
@node Instrument names
@subsection Instrument names
@lilypond[verbatim,singleline]
\score { \notes {
- \property Staff.instrument = "instr " { c''4 } }
+ \property Staff.instrument = "ploink " { c''4 } }
\paper {
\translator { \StaffContext
\consists "Instrument_name_engraver"; } } }
When you want to play 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
-@code{transposing}.
+semitones) for the transposed instruments. This is done using the
+@code{transposing} property. It does not affect printed output.
@cindex @code{transposing}
Automatic part combining is used to merge two parts of music onto on
staff in an intelligent way. It is aimed primarily at typesetting Hymns
and orchestral scores. When the two parts are identical for a period of
-time, only will be shown. In places where the two parts differ, stem
+time, only one is shown. In places where the two parts differ, stem
directions are set automatically. Also, soli and @`{a} due parts can be
identified and marke.
-
-@subsubsection Part combine syntax
-
The syntax for part combining is
@example
combined into one context @var{context}. The names of the music
expressions must start with the prefixes @code{one} and @code{two}.
-@subsubsection Part combine usage
-
-@cindex @code{Thread_devnull_engraver}
-@cindex @code{Voice_engraver}
-@cindex @code{A2_engraver}
+[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:
\context Staff <
\context Voice=one \partcombine Voice
\context Thread=one \notes\relative c'' {
- g a b r
+ g g a b r2
}
\context Thread=two \notes\relative c'' {
- g r2 f4
+ g g r2 g4 f4
}
>
@end lilypond
-If you have developed a bit of a feel for LilyPond's functioning, you
-will notice that what you see above is quite unusual. The first
-@code{g} appears only once, although it was specified twice (once in
-each Thread). That is the work of the
-@code{Thread_devnull_engraver}@footnote{On unix systems, the file
-@file{/dev/null} is special device: anything written to it is
-discarded.}, that works closely together with the part combiner. When
-the part combiner notices that two threads are identical, it tells the
-@code{Thread_devnull_engraver} to discard everything in the second
-thread.
-
-Similarly, the markings @emph{@`{a}2}, @emph{Solo} and @emph{Solo II},
-are created by the @code{A2_engraver}. The @code{A2_engraver} also acts
-upon instructions of the part combiner. Another thing that the
-@code{A2_engraver} does, is forcing of stem, slur and tie directions,
-always when both threads are not identical; up for the musicexpr called
-@code{one}, down for the musicexpr called @code{two}.
+Notice that the first @code{g} appears only once, although it was
+specified twice (once in each Thread). Also note that stem, slur and tie
+directions are set automatically, depending whether there is a solo or
+unisono.
There is actually a third engraver involved in part combining; the
@code{Voice_devnull_engraver}. This one takes care of removing
-redundant spanners such as beams, slurs, ties, crescendi, etc.
+redundant spanners such as beams, slurs, ties, crescendi, etc. Note that
+the Thread called one always gets up stems, and "solo", while @code{two}
+always gets down stems and "Solo II".
If you just want the splitting of Threads and setting of directions, and
-not the textual markings, you may set the property @var{soloADue} to false:
+not the textual markings, you may set the property @var{soloADue} to
+false. There are a number of other properties that you can use to tweak
+the behavior of part combining, refer to the automatically generated
+documentation. Look for @code{Thread_devnull_engraver}
+@code{Voice_engraver} and @code{A2_engraver}.
-@lilypond[verbatim,singleline]
- \score {
- \notes \context Staff <
- \context Voice=one \partcombine Voice
- \context Thread=one\relative c'' {
- b4 a c g
- }
- \context Thread=two\relative c'' {
- d,2 a4 g'
- }
- >
- \paper{
- \translator {
- \VoiceContext
- soloADue = ##f
- }
- }
-}
-@end lilypond
+@cindex @code{Thread_devnull_engraver}
+@cindex @code{Voice_engraver}
+@cindex @code{A2_engraver}
+
+@node Hara-kiri staffs
+@subsection Hara-kiri staffs
+
+
+[TODO]@footnote{Harakiri, also called Seppuku, is the ritual suicide of
+the Japanese Samourai warriors.}
-There are a number of other properties that you can use to tweak the
-behavior of part combining, refer to the automatically generated
-documentation of the involved engravers and the examples in the tutorial.
@c . {Custodes}
Custodes were frequently used in music notation until the 16th century.
There were different appearences for different notation styles.
Nowadays, they have survived only in special forms of musical notation
-such as via the editio vaticana dating back to the beginning of the 20th
-century.
+such as via the @emph{editio vaticana} dating back to the beginning of
+the 20th century.
For typesetting custodes, just put a @code{Custos_engraver} into the
@code{StaffContext} when declaring the @code{\paper} block. In this
are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
@code{mensural}.
-@quotation
+@example
\paper @{
\translator @{
\StaffContext
Custos \override #'style = #'mensural;
@}
@}
-@end quotation
+@end example
The property can also be set locally, for example in a @code{\notes}
block:
-@quotation
+@example
\notes @{
\property Staff.Custos \override #'style = #'vaticana
c'1 d' e' d' \break c' d' e' d'
@}
-@end quotation
+@end example
@c . {Tuning output}
@node 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.
+where you want to override its decisions. In this section we discuss
+ways to do just that.
+
+Notation output is specified in so called grobs (graphic objects). Each
+grob carries with it a set of properties (grob properties) specific to
+that object. For example, a stem grob has properties that specify its
+direction, length and thickness.
-Here we discuss how you can do that.
-Notational output is specified in so called grobs (graphic
-objects). Each grob carries with it a set of properties (grob
-properties) specific to that grob. For example, a stem grob has grob
-properties that specify its direction, length and thickness.
The most common way of tuning the output is to alter the values of these
properties. There are two ways of doing that: first, you can
you wish, or secondly, you can (temporarily) modify the definition of a
grob, thereby affecting an entire group of grobs.
+[Todo: onduidelijk]
+
@menu
* Tuning groups of grobs ::
* Tuning per grob ::
@cindex grob description
-A grob definition is an association list, that is stored in a context
+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.
+you can change the resulting grobs.
+
@lilypond[verbatim, fragment]
c'4 \property Voice.Stem \override #'meta = #'((interfaces . ())) c'4
@end lilypond
+
The @code{\property} statement effectively empties the definition of the
Stem object. One of the effects is that property specifying how it
should be printed is erased, with the effect of rendering it invisible.
@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: you can add a property on top of an existing definition, or
remove a property: @code{\override} adds a settings, @code{\revert}
removes that setting.
+
@lilypond[verbatim]
c'4 \property Voice.Stem \override #'thickness = #4.0
c'4 \property Voice.Stem \revert #'thickness
For the digirati, the grob description is an Scheme association
list. Since it is singly linked, we can treat it as a stack, and
@code{\override} and @code{\revert} are just push and pop
-operations. This pushing and popping is also used in the
-@code{autoBeamSettings} property.
+operations. This pushing and popping is also used for overriding automatic
+beaming settings.
If you revert a setting which was not set in the first place, then it
has no effect. However, if the setting was set as a system default, it
including crashes. In other words, if you use @code{\override} and
@code{\revert}, be sure to balance the overrides and reverts.
-If balancing them is too much work, use the following shorthand:
-@code{\set} performs a revert followed by an override:
+If balancing them is too much work, use the @code{\set} shorthand. It
+performs a revert followed by an override:
@example
\property Voice.Stem \set #'thickness = #2.0
@end example
Here @var{symbol} is a Scheme expression of symbol type, @var{context}
and @var{grobname} are strings and @var{value} is a Scheme expression.
+@refbugs
+
LilyPond will hang or crash if @var{value} contains cyclic references.
@example
\outputproperty @var{predicate} @var{symbol} = @var{value}
@end example
-Here @code{predicate} is a Scheme functoin taking a grob a argument
-argument, and returning a boolean. This statement is processed by the
+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}.
Move the text "m.d.", but not the fingering instruction "2".
@lilypond[verbatim,singleline]
#(define (make-text-checker text)
- (lambda (grob) (equal? text (ly-get-elt-property grob 'text))))
+ (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
\score {
\notes\relative c''' {
some examples.).
Grob properties are tied directly to the implementation of LilyPond, and
-they are thus a moving target. Refer to the automatically generated
-documentation of the internals (available from the website).
-
-You need the following information
+they are thus a moving target. Documentation of such variables are part
+of the generated documentation: this documentation is generated from the
+sourcecode of lily for each version, so it is usually mch more up to
+date than this manual. It should be available from the same place where
+you got this manual.
+To decide how to tune a grob, you need to find the following information
@itemize @bullet
@item
which grob to modify
form text markup expressions by composing scheme expressions
in the following way.
-@lilypond[verbatim]
-\score {
- \notes \relative c' {
- b-#"italic"
- c-#'(upright "upright")
- c-#'((bold upright) "bold")
- d-#'(lines "one" ((bold upright) "two"))
- e-#'(music (named "noteheads-2" "flags-u3"))
+
+[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"))
}
- \paper { linewidth = 10.\cm; }
-}
@end lilypond
Normally, the Scheme markup text is stored in the @code{text} property
@end example
The markup is broken down and converted into a list of grob properties,
-which are prepended to the grop's property list. The
-@var{key}-@var{value} pair is a grob property.
+which are prepended to the property list. The @var{key}-@var{value}
+pair is a grob property.
The following abbreviations are currently
defined:
@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.
@c . {Page layout}
@node Page layout
@item An assignment. The assignment must be terminated by a
semicolon.
- @item A context definition. See Section @ref{Notation Contexts} for
+ @item A context definition. See @ref{Notation Contexts} for
more information on context definitions.
@item \stylesheet declaration. Its syntax is
\stylesheet @var{alist}
@end example
- See @file{font.scm} for details of @var{alist}.
+ See @file{scm/font.scm} for details of @var{alist}.
+@item an \elementdescriptions declaration.
+ @example
+ \elementdescriptions @var{alist}
+ @end example
+ See @file{scm/grob-description.scm} for details of @var{alist}.
+
@end itemize
@c . {Paper variables}
@item @code{staffspace}
The distance between two staff lines, calculated from the center
- of the lines. You should use either this or @code{stafflinethickness}
+ of the lines. If you want scale independent output, then you should
+use either this or @code{stafflinethickness}
as a unit for distances you modify.
@cindex @code{linewidth}
@item @code{textheight}
Sets the total height of the music on each page. Only used by
- ly2dvi.
+@code{ly2dvi}.
+
@cindex @code{interscoreline}
@item @code{interscoreline}
- Sets the spacing between the score lines. Defaults to 16 pt.
+ Sets the spacing between systems.
+Not set by default.
@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.
- Defaults to 0.
+
+ Not set by default.
+
+
@cindex @code{stafflinethickness}
@item @code{stafflinethickness}
@}
@end example
-The file "paper16.ly" will now include a file named @file{a4.ly}, which
+The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
will set the paper variables @code{hsize} and @code{vsize} (used by
@code{ly2dvi})
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 a 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.
\penalty @var{int} @code{;}
@end example
-This imposes encourages or discourages LilyPond to make a line break
-at this point.
+This encourages or discourages LilyPond to make a line break at this
+point.
-@strong{Warning} do not use @code{\penalty} directly. It is rather
-kludgy, and slated for rewriting.
+@refbugs
+
+The scaling of the @code{\penalty} argument is not well-defined. The
+command is rather kludgy, and slated for rewriting.
@c . {Page break}
@node Page break
@cindex breaking pages
-Page breaks are normally computed by @TeX{}, so they are not under direct
-control. However, you can insert a commands into the @file{.tex} output to
-instruct @TeX{} where to break pages. For more details, see the
-example file @file{input/test/between-systems.ly}
-
-[or -> Tricks? ]
-
+Page breaks are normally computed by @TeX{}, so they are not under
+direct control of LilyPond. However, you can insert a commands into the
+@file{.tex} output to instruct @TeX{} where to break pages. For more
+details, see the example file @file{input/test/between-systems.ly}
@section Sound
@cindex Sound
-LilyPond allows MIDI output, with the purpose of proof-hearing the music
-you enter. The performance lacks lots of interesting effects, such as
-swing, articulation, slurring, tieing, etc.
+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]
+
+
+@refbugs
-Also note that it is not possible to use the percussion channel
-(generally channel 10 of a MIDI file).
+It is currently not possible to use the percussion channel (generally
+channel 10 of a MIDI file).
@menu
* MIDI block::
* MIDI instrument names::
-* Tempo::
@end menu
@c . {MIDI block}
\paper block. Translation modules for sound are called performers.
The contexts for MIDI output are defined in @file{ly/performer.ly}.
-[Volume control]
-[Instrument Equaliser]
-FIXME: would it be useful to refer to files like scm/midi.scm,
-or to give examples of how to tweak MIDI output volume?
-
-
-@c . {MIDI instrument names}
@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 following list.
-If the selected string does not exactly match, then LilyPond uses the
-default piano.
-
-[FIXME: to appendix ]
-
-
-@example
-"acoustic grand" "contrabass" "lead 7 (fifths)"
-"bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
-"electric grand" "pizzicato strings" "pad 1 (new age)"
-"honky-tonk" "orchestral strings" "pad 2 (warm)"
-"electric piano 1" "timpani" "pad 3 (polysynth)"
-"electric piano 2" "string ensemble 1" "pad 4 (choir)"
-"harpsichord" "string ensemble 2" "pad 5 (bowed)"
-"clav" "synthstrings 1" "pad 6 (metallic)"
-"celesta" "synthstrings 2" "pad 7 (halo)"
-"glockenspiel" "choir aahs" "pad 8 (sweep)"
-"music box" "voice oohs" "fx 1 (rain)"
-"vibraphone" "synth voice" "fx 2 (soundtrack)"
-"marimba" "orchestra hit" "fx 3 (crystal)"
-"xylophone" "trumpet" "fx 4 (atmosphere)"
-"tubular bells" "trombone" "fx 5 (brightness)"
-"dulcimer" "tuba" "fx 6 (goblins)"
-"drawbar organ" "muted trumpet" "fx 7 (echoes)"
-"percussive organ" "french horn" "fx 8 (sci-fi)"
-"rock organ" "brass section" "sitar"
-"church organ" "synthbrass 1" "banjo"
-"reed organ" "synthbrass 2" "shamisen"
-"accordion" "soprano sax" "koto"
-"harmonica" "alto sax" "kalimba"
-"concertina" "tenor sax" "bagpipe"
-"acoustic guitar (nylon)" "baritone sax" "fiddle"
-"acoustic guitar (steel)" "oboe" "shanai"
-"electric guitar (jazz)" "english horn" "tinkle bell"
-"electric guitar (clean)" "bassoon" "agogo"
-"electric guitar (muted)" "clarinet" "steel drums"
-"overdriven guitar" "piccolo" "woodblock"
-"distorted guitar" "flute" "taiko drum"
-"guitar harmonics" "recorder" "melodic tom"
-"acoustic bass" "pan flute" "synth drum"
-"electric bass (finger)" "blown bottle" "reverse cymbal"
-"electric bass (pick)" "skakuhachi" "guitar fret noise"
-"fretless bass" "whistle" "breath noise"
-"slap bass 1" "ocarina" "seashore"
-"slap bass 2" "lead 1 (square)" "bird tweet"
-"synth bass 1" "lead 2 (sawtooth)" "telephone ring"
-"synth bass 2" "lead 3 (calliope)" "helicopter"
-"violin" "lead 4 (chiff)" "applause"
-"viola" "lead 5 (charang)" "gunshot"
-"cello" "lead 6 (voice)"
-@end example
-
+property. The instrument name should be chosen from the list in
+@ref{MIDI Instrument}.
+@refbugs
+If the selected string does not exactly match, then LilyPond uses the
+default piano. It is not possible to select an instrument by number.
-@c . {Tempo}
-@node Tempo
-@subsection Tempo
-@cindex Tempo
-@cindex beats per minute
-@cindex metronome marking
-@cindex @code{\tempo}
-@example
- \tempo @var{duration} = @var{perminute} @code{;}
-@end example
-Used to specify the tempo. For example, @code{\tempo 4 = 76;} requests
-output with 76 quarter notes per minute.
@cindex Music entry
@menu
* Relative::
+* Bar check::
* Point and click::
@end menu
@end lilypond
@cindex @code{\notes}
-The pitch after the @code{\relative} contains a notename. To parse
-the pitch as a notename, you have to be in note mode, so there must
-be a surrounding @code{\notes} keyword (which is not
-shown here).
+The pitch after the @code{\relative} contains a notename. To parse
+the pitch as a notename, you have to be in note mode, so there must
+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{|}
-The relative conversion will not affect @code{\transpose} 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 . {Point and click}
[todo]
-@c . {Engravers}
-@node Engravers
-@section Engravers
-@cindex engravers
+@node Interpretation context
+@section Interpretation context
+
@menu
* Notation Contexts::
* Creating contexts::
* Defining new contexts::
@end menu
-@c . {Music expressions}
-
-
@c . {Notation Contexts}
@node Notation Contexts
@code{Voice} context can be set in the @code{Score} context (for
example) and thus take effect in all @code{Voice} contexts.
+Properties can be unset using the following expression:
+@example
+ \property @var{contextname}.@var{propname} \unset
+@end example
+
+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}
+
@cindex @code{HaraKiriStaffContext}
@item @code{HaraKiriStaffContext}
- Staff context that does not print if it only contains rests.
- Useful for orchestral scores.@footnote{Harakiri, also called
- Seppuku, is the ritual suicide of the Japanese Samourai warriors.}
+ Staff context that does not print if it only contains rests. See
+@ref{Hara-kiri staffs}.
@end table
@node Defining new contexts
* Music expressions::
* Manipulating music expressions::
* Assignments::
-* Lexical details::
* Lexical modes::
* Ambiguities::
@end menu
@code{<} @var{musicexprlist} @code{>}
@end example
for simultaneous music.
-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}
-@end example
-
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:
}
@end lilypond
-However, in some cases, LilyPond will also try to choose contexts, and
-use the structure of the music expression to do so. This can have
-undesired effects: for example, LilyPond will create a separate staff
-for each note if you start a @code{\score} with a chord:
-@lilypond[verbatim,center,singleline]
- \score {
- \notes <c''4 e''>
- }
-@end lilypond
- The solution is to explicitly instantiate the context you desire.
-In this case this is typically a Voice context
-@lilypond[verbatim,center,singleline]
- \score {
- \notes\context Voice <c''4 e''>
- }
-@end lilypond
-If you use @code{\context Staff} you will get separate stems for each
-note head, leading to collisions, so don't use that.
+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}
+@end example
@c . {Manipulating music expressions}
For more information on what is possible, see the @ref{Tricks} and the
automatically generated documentation.
-As always: directly accessing internal representations is dangerous: the
-implementation is subject to changes, so you should not use this if
-possible.
+
+Directly accessing internal representations is dangerous: the
+implementation is subject to changes, so you should avoid this feature
+if possible.
+
+
+
+@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:
+
+
+@example
+ \spanrequest @var{startstop} @var{type}
+@end example
+
+
+@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,
+
+@lilypond[fragment,verbatim,center]
+ c'4-\spanrequest \start "slur"
+ c'4-\spanrequest \stop "slur"
+@end lilypond
+
+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}.
@c . {Assignments}
first item in a block.
@example
\paper @{
- foo = 1.0
- \paperIdent % wrong and invalid
+ foo = 1.0
+ \paperIdent % wrong and invalid
@}
\paper @{
- \paperIdent % correct
- foo = 1.0 @}
+ \paperIdent % correct
+ foo = 1.0 @}
+@end example
+
+
+@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 on top of the default mode: note, lyrics and chords
+mode. These input modes change the way that normal, unquoted words are
+interpreted: for example, the word @code{cis} may be interpreted as a
+C-sharp, as a lyric syllable `cis' or as a C-sharp major triad
+respectively.
+
+A mode switch is entered as a compound music expressions
+@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 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}.
+
+You may nest different input modes.
+
+@c . {Ambiguities}
+@node Ambiguities
+@subsection Ambiguities
+@cindex ambiguities
+@cindex grammar
+
+
+The grammar contains a number of ambiguities. We hope to resolve them at
+some time.
+
+@itemize @bullet
+ @item The assignment
+
+ @example
+foo = bar
+@end example
+
+ can 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).
+
+ @item If you do a nested repeat like
+
+ @quotation
+
+@example
+\repeat @dots{}
+\repeat @dots{}
+\alternative
+@end example
+
+ @end quotation
+
+ 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 (an as yet unidentified ambiguity :-)
+@end itemize
+
+
@c . {Lexical details}
@node Lexical details
-@subsection Lexical details
-@cindex Lexical details
+@section Lexical details
+
@menu
+* Comments::
+* Direct Scheme::
+* Keywords::
+* Integers::
+* Reals::
+* Strings::
+* Main input::
+* File inclusion::
+* Version information::
@end menu
-@c . {Comments}
-@subsubsection Comments
-@cindex Comments
-@cindex @code{%}
+@node Comments
+@subsection Comments
+@cindex comments
+@cindex block comment
+@cindex line comment
+
+@cindex @code{%}
A one line comment is introduced by a @code{%} character.
Block comments are started by @code{%@{} and ended by @code{%@}}.
They cannot be nested.
-@c . {Direct Scheme}
-@subsubsection Direct Scheme
+@node Direct Scheme
+@subsection Direct Scheme
+
@cindex Scheme
@cindex GUILE
@cindex Scheme, in-line code
Scheme.
-@c . {Keywords}
-@subsubsection Keywords
+@node Keywords
+@subsection Keywords
@cindex Keywords
transpose type
@end example
-@c . {Integers}
-@subsubsection Integers
+@node Integers
+@subsection Integers
@cindex integers
@cindex @code{+}
operations cannot be done with integers, and integers cannot be mixed
with reals.
-@c . {Reals}
-@subsubsection Reals
+@node Reals
+@subsection Reals
@cindex real numbers
to a real that is the internal representation of dimensions.
-@c . {Strings}
-@subsubsection Strings
+@node Strings
+@subsection Strings
@cindex string
@cindex concatenate
function, hence they can appear anywhere in the input.
-@c . {Main input}
-@subsubsection Main input
+@node Main input
+@subsection Main input
@cindex Main input
@cindex @code{\maininput}
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.
-@c . {File inclusion}
-@subsubsection Main input
-@cindex Main input
-
-@subsubsection File inclusion
+@node File inclusion
+@subsection File inclusion
@cindex @code{\include}
@example
\include @var{filename}
unquoted string will not work here!) or a string identifier. The full
filename including the @file{.ly} extension must be given,
-@subsubsection Version information
+
+@node Version information
+@subsection Version information
@cindex @code{\version}
@example
\version @var{string} ;
@cindex convert-ly
-@c . {Pitch names}
-@subsubsection Defining pitch names
-@cindex Lexical modes
-@cindex definining pitch names
-@cindex pitch names, definining
-@cindex note names
-@cindex chord modifier names
-
-A @code{\paper} block at top level sets the default paper block. A
-@code{\midi} block at top level works similarly.
-
-@c . {Assignments}
-@subsubsection Assignments
-@cindex assignments
-@cindex @code{#}
-
-Identifier assignments may appear at top level. @ref{Assignments}
-
-
-
-@c . {Direct scheme}
-@subsubsection Direct scheme
-@cindex Direct scheme
-
-Scheme statements maybe issued to produce interesting side-effects.
-
-
-@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 on top of the default mode: note, lyrics and chords
-mode. These input modes change the way that normal, unquoted words are
-interpreted: for example, the word @code{cis} may be interpreted as a
-C-sharp, as a lyric syllable `cis' or as a C-sharp major triad
-respectively.
-
-A mode switch is entered as a compound music expressions
-@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 are just a way to indicate that the
-arguments should be parsed in indicated mode. The modes are treated in
-more detail in the sections @ref{Note entry}, @ref{Lyrics} and
-@ref{Chords}.
-
-You may nest different input modes.
-
-@c . {Ambiguities}
-@node Ambiguities
-@subsection Ambiguities
-@cindex ambiguities
-@cindex grammar
-
-
-The grammar contains a number of ambiguities. We hope to resolve them at
-some time.
-
-@itemize @bullet
- @item The assignment
-
- @example
-foo = bar
-@end example
-
- can 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).
-
- @item If you do a nested repeat like
-
- @quotation
-
-@example
-\repeat @dots{}
-\repeat @dots{}
-\alternative
-@end example
-
- @end quotation
-
- 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 (an as yet unidentified ambiguity :-)
-@end itemize
-
projects / lilypond.git / blobdiff