-
-@c Note:
+@c Note: -*-texinfo-*-
@c
-@c A menu is needed before every deeper *section nesting of @nodes
-@c Run M-x texinfo-all-menus-update
-@c to automagically fill in these menus
-@c before saving changes
-
+@c A menu is needed before every deeper *section nesting of @node's; run
+@c M-x texinfo-all-menus-update
+@c to automagically fill in these menus before saving changes
-@ignore
- TODO:
+@c FIXME: singular vs. plural: Beams/Beam
- fix all FIXMEs
- Rhythm staff (clef, x-notehead)
+@macro refbugs
+@strong{BUGS}
-@end ignore
+@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
+@html
+<!--- @@WEB-TITLE@@=Reference Manual --->
+@end html
+This document describes GNU LilyPond and its input format. The last
+revision of this document was made for LilyPond 1.4.1. It supposes a
+passing familiarity with how LilyPond input works. New users are
+encouraged to study the tutorial first.
@menu
-* Overview::
* Note entry::
-* Music notation::
+* Easier music entry::
+* Staff notation::
* Polyphony::
-* Spanners::
+* Beaming::
+* Accidentals::
+* Expressive marks::
+* Ornaments::
* Repeats::
+* Rhythmic music::
* Piano music::
-* Lyrics::
+* Tablatures::
* Chords::
* Writing parts::
-* Custodes::
+* Ancient notation ::
* Tuning output::
-* Page layout::
+* Global layout::
+* Output formats::
* Sound::
-* Music entry::
-* Engravers::
-* Syntactic details::
@end menu
-@c . {Overview}
-@node Overview
-@section Overview
-
-
-The purpose of LilyPond is explained informally by the term `music
-typesetter'. This is not a fully correct name: not only does the
-program print musical symbols, it also makes esthetic decisions. All
-symbols and their placement is @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.
-
-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 typesetting:
-in this step, the results of the interpretation, a typesetting
-specification, is solved.
-
-@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.
-
-These threemanship of tasks (parsing, translating, typesetting) and
-data-structures (music, context, graphical objects) permeates the entire
-design of the program. This manual is ordered in terms of user
-tasks. With each concept will be explained to which of the three parts
-it belongs.
-
-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 FIXME: Note entry vs Music entry at top level menu is confusing.
@c . {Note entry}
@node Note entry
@section Note entry
@cindex Note entry
+The most basic forms of music are notes. Notes on their own don't
+form valid input, but for the sake of brevity we omit @code{\score}
+blocks and @code{\paper} declarations.
+
+
@menu
-* Notes mode::
-* Pitches::
-* Defining pitch names::
-* Durations::
* Notes::
-* Note head tweaks::
+* Pitches::
+* Chromatic alterations::
* Rests::
-* Skip::
+* Skips::
+* Durations::
+* Ties::
+* Automatic note splitting ::
+* Tuplets::
+* Easy Notation note heads ::
@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.
+@c . {Notes}
+@node Notes
+@subsection Notes
-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
+A note is printed by specifying its pitch, and then its duration.
+@lilypond[fragment,verbatim]
+ cis'4 d'8 e'16 c'16
+@end lilypond
@c . {Pitches}
@node Pitches
\pitch @var{scmpitch}
@end example
-@var{scmpitch} is a pitch scheme object, see @ref{Pitch data type}.
+@var{scmpitch} is a pitch scheme object.
In Note and Chord mode, pitches may be designated by names. The default
names are the Dutch note names. The notes are specified by the letters
-@code{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.
-LilyPond has predefined sets of notenames for various other languages.
+In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
+name and a flat is formed by adding @code{-es}. Double sharps and double
+flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
+and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
+both forms are accepted.
+
+LilyPond has predefined sets of note names for various other languages.
To use them, simply include the language specific init file. For
example: @code{\include "english.ly"}. The available language files and
the names they define are:
svenska.ly c d e f g a b h -iss -ess
italiano.ly do re mi fa sol la sib si -d -b
catalan.ly do re mi fa sol la sib si -d/-s -b
+espanol.ly do re mi fa sol la sib si -s -b
+
@end example
@cindex @code{'}
-
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''
+ c' c'' es' g' as' gisis' ais'
@end lilypond
-@lilypond[fragment,verbatim,center]
- cis' dis' eis' fis' gis' ais' bis'
-@end lilypond
+@node Chromatic alterations
+@subsection Chromatic alterations
-@lilypond[fragment,verbatim,center]
- ces' des' es' fes' ges' as' bes'
+Normally, accidentals are printed automatically, but you may force
+accidentals in the following ways: A reminder accidental
+@cindex reminder accidental
+@cindex @code{?}
+can be forced by adding an exclamation mark @code{!} after the pitch. A
+cautionary accidental,
+@cindex cautionary accidental
+@cindex parenthesized accidental
+i.e., an accidental within parentheses can be obtained by adding the
+question mark `@code{?}' after the pitch.
+
+The automatic production of accidentals can be tuned in many
+ways. Refer to @ref{Accidentals} for more information.
+
+@c . {Rests}
+@node Rests
+@subsection Rests
+@cindex Rests
+
+A rest is entered like a note, with note name `@code{r}':
+
+@lilypond[singleline,verbatim]
+r1 r2 r4 r8
@end lilypond
-@lilypond[fragment,verbatim,center]
- cisis' eisis' gisis' aisis' beses'
+Whole bar rests centered in the bar are specified using @code{R}, see
+@ref{Multi measure rests}. See also @seeinternals{Rest}.
+
+For polyphonic music, it can be convenient to specify the rest position
+directly. You can do that by entering a note, with the keyword
+@code{\rest} appended, e.g. Rest collisions will leave these rests alone.
+
+@lilypond[singleline,verbatim]
+a'4\rest d'4\rest
@end lilypond
-@lilypond[fragment,verbatim,center]
- ceses' eses' geses' ases' beses'
+
+@c . {Skips}
+@c FIXME: naming.
+@node Skips
+@subsection Skips
+@cindex Skip
+@cindex Invisible rest
+@cindex Space note
+
+An invisible rest, or skip, can be entered like a note with note name
+@code{s}, or with @code{\skip @var{duration}}:
+
+@lilypond[singleline,verbatim]
+a2 s4 a4 \skip 1 a4
@end lilypond
+The @code{s} syntax is only available in Note mode and Chord mode.
+In other situations, you should use the @code{\skip} command, and it is
+only available in Note mode and Chord mode.
-@c . {Defining pitch names}
-@node Defining pitch names
-@subsection Defining pitch names
+@c FIXME: in lyrics mode, we have " " and _
-@cindex defining pitch names
-@cindex pitch names, defining
+In Lyrics mode, you can use `@code{" "}' and `@code{_}':
+@lilypond[singleline,verbatim]
+<
+ \context Lyrics \lyrics { lah2 di4 " " dah2 _4 di }
+ \notes\relative c'' { a2 a4 a a2 a4 a }
+>
+@end lilypond
-Note names and chord modifiers can be customised for nationalities. The
-syntax is as follows.
+The unabbreviated `@code{\skip} @var{duration}' also works outside of
+note mode:
-@cindex @code{\pitchnames}
-@cindex @code{\chordmodifiers}
-@example
- \pitchnames @var{scheme-alist}
- \chordmodifiers @var{scheme-alist}
-@end example
+@lilypond[singleline,verbatim]
+\score {
+ \context Staff <
+ { \time 4/8 \skip 2 \time 4/4 }
+ \notes\relative c'' { a2 a1 }
+ >
+}
+@end lilypond
-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.
+The skip command is merely a empty musical placeholder. It does not
+produce any output, not even transparent output.
@c . {Durations}
@cindex duration
@cindex @code{\duration}
-The syntax for an verbose duration specification is
-@example
- \duration @var{scmduration}
-@end example
In Note, Chord, and Lyrics mode, durations may be designated by numbers
and dots: durations are entered as their reciprocal values. For notes
-longer than a whole note, use identifiers.
-
-@quotation
+longer than a whole you must use identifiers.
@example
-c'\longa c'\breve
+ c'\breve
c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
r\longa r\breve
r1 r2 r4 r8 r16 r32 r64 r64
@lilypond[]
\score {
\notes \relative c'' {
- a\longa a\breve \autoBeamOff
+ a\breve \autoBeamOff
a1 a2 a4 a8 a16 a32 a64 a64
r\longa r\breve
r1 r2 r4 r8 r16 r32 r64 r64
\paper {
\translator {
\StaffContext
- \remove "Clef_engraver";
- \remove "Staff_symbol_engraver";
- \remove "Time_signature_engraver";
- \consists "Pitch_squash_engraver";
+ \remove "Clef_engraver"
+ \remove "Staff_symbol_engraver"
+ \remove "Time_signature_engraver"
+ \consists "Pitch_squash_engraver"
}
}
}
@end lilypond
-@end quotation
-As you can see, the longa is not printed. To get a longa note head, you
-have to use a mensural note heads. This is done accomplished by setting
-the @code{style} property of the NoteHead grob to @code{mensural}.
-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 dots (`@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 a fraction @var{N/M} by
+appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
+will not affect the appearance of the notes or rests produced.
-@c . {Notes}
-@node Notes
-@subsection Notes
+Durations can also be produced through GUILE extension mechanism.
+@lilypond[verbatim,fragment]
+ c\duration #(make-duration 2 1)
+@end lilypond
-A note specification has the form
-@example
- @var{pitch}[@var{octavespec}][!][?][@var{duration}]
-@end example
+@node Ties
+@subsection Ties
+@cindex Tie
+@cindex ties
+@cindex @code{~}
-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
-@cindex reminder accidental
-@cindex @code{?}
-can be forced by adding an exclamation mark @code{!} after the pitch.
-A cautionary accidental,
-@cindex cautionary accidental
+A tie connects two adjacent note heads of the same pitch. The tie in
+effect extends the length of a note. A tie is entered with @code{~}.
-i.e., an accidental within parentheses can be obtained by adding the
-question mark `@code{?}' after the pitch.
+@lilypond[fragment,verbatim,center]
+ e' ~ e' <c' e' g'> ~ <c' e' g'>
+@end lilypond
+When ties are used with chords, all note heads whose pitches match are
+connected. Ties are indicated using the tilde symbol `@code{~}'. If
+you try to tie together chords which have no common pitches then no
+ties will be created.
+
+If you want less ties created for a chord, you can set
+@code{Voice.sparseTies} to true. In this case, a single tie is used
+for every tied chord.
@lilypond[fragment,verbatim,center]
- cis' d' e' cis' c'? d' e' c'!
+ \property Voice.sparseTies = ##t
+ <c' e' g'> ~ <c' e' g'>
+@end lilypond
+
+In its meaning a tie is just a way of extending a note duration, similar
+to the augmentation dot: the following example are two ways of notating
+exactly the same concept.
+@c
+@lilypond[fragment, singleline]
+\time 3/4 c'2. c'2 ~ c'4
@end lilypond
+Ties should not be confused with slurs, which indicate articulation,
+and phrasing slurs, which indicate musical phrasing.
+See also @seeinternals{Tie}.
-@node Note head tweaks
-@subsection Note head tweaks
-[TODO]
+@refbugs
-The note head style can be adjusted with the @code{style} property of
-@code{NoteHead}.
+At present, the tie is represented as a separate event, temporally
+located in between the notes. Tieing only a subset of the note heads
+of a chord is not supported in a simple way. It can be achieved by
+moving the tie-engraver into the Thread context and turning on and off
+ties per Thread.
-@lilypond[fragment,singleline,relative,verbatim]
-c'4
-\property Voice.NoteHead \set #'style = #'cross
-c'4
+@node Automatic note splitting
+@subsection Automatic note splitting
+@c FIXME: This subsection doesn't belong in @ref{Note entry}.
+
+There is a facility for automatically converting long notes to tied
+notes. This is done by replacing the @code{Note_heads_engraver} by the
+@code{Completion_heads_engraver}.
+
+@lilypond[verbatim,center]
+\score{
+ \notes\relative c'{ \time 2/4
+ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
+ }
+ \paper{ \translator{
+ \ThreadContext
+ \remove "Note_heads_engraver"
+ \consists "Completion_heads_engraver"
+ } } }
+@end lilypond
+
+This engraver splits all running notes at the bar line, and inserts
+ties. One of its uses is to debug complex scores: if the measures are
+not entirely filled, then the ties exactly show how much each measure
+is off.
+
+@refbugs
+
+Not all durations (especially those containing tuplets) can be
+represented exactly; the engraver will not insert tuplets.
+
+@node Tuplets
+@subsection Tuplets
+
+@cindex tuplets
+@cindex triplets
+@cindex @code{\times}
+
+Tuplets are made out of a music expression by multiplying all 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
-[discuss more options]
+The property @code{tupletSpannerDuration} specifies how long each bracket
+should last. With this, you can make lots of tuplets while typing
+@code{\times} only once, thus saving typing work.
+
+@lilypond[fragment, relative, singleline, verbatim]
+\property Voice.tupletSpannerDuration = #(make-moment 1 4)
+\times 2/3 { c'8 c c c c c }
+@end lilypond
+
+The format of the number is determined by the property
+@code{tupletNumberFormatFunction}. The default prints only the
+denominator, but if you set it to the Scheme function
+@code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
+instead.
+
+
+@cindex @code{tupletNumberFormatFunction}
+@cindex tuplet formatting
+
+See also @seeinternals{TupletBracket}.
+
+@refbugs
+
+Nested tuplets are not formatted automatically. In this case, outer
+tuplet brackets should be moved automatically.
+
+@node Easy Notation note heads
+@subsection Easy Notation note heads
@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 "paper23.ly"
\score {
- \notes { c'2 e'4 f' | g'1 }
- \paper { \translator { \EasyNotation } }
+ \notes { c'2 e'4 f' | g'1 }
+ \paper { \translator { \EasyNotation } }
}
@end lilypond
-Note that @code{EasyNotation} overrides a @code{Score} context. You
-probably will want to print it with magnification to make it better
+Note that @code{EasyNotation} overrides a @internalsref{Score} context. You
+probably will want to print it with magnification to make it more
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 with ly2dvi does
+produce the correct result.
-@c . {Rests}
-@node Rests
-@subsection 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.
+@node Easier music entry
+@section Easier music entry
+@cindex Music entry
+@menu
+* Relative octaves::
+* Bar check::
+* Point and click::
+* Skipping corrected music::
+@end menu
+When entering music with LilyPond, it is easy to introduce errors. This
+section deals with tricks and features that help you enter music, and
+find and correct mistakes.
-@c . {Skip}
-@node Skip
-@subsection Skip
-@cindex Skip
+@c . {Relative}
+@node Relative octaves
+@subsection Relative octaves
+@cindex Relative
+@cindex relative octave specification
+Octaves are specified by adding @code{'} and @code{,} to pitch names.
+When you copy existing music, it is easy to accidentally put a pitch in
+the wrong octave and hard to find such an error. To prevent these
+errors, LilyPond features octave entry.
+@cindex @code{\relative}
@example
- \skip @var{duration} @code{;}
+ \relative @var{startpitch} @var{musicexpr}
@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.
+The octave of notes that appear in @var{musicexpr} are calculated as
+follows: If no octave changing marks are used, the basic interval
+between this and the last note is always taken to be a fourth or less
+(This distance is determined without regarding alterations; a
+@code{fisis} following a @code{ceses} will be put above the
+@code{ceses})
+The octave changing marks @code{'} and @code{,} can be added to raise or
+lower the pitch by an extra octave. Upon entering relative mode, an
+absolute starting pitch must be specified that will act as the
+predecessor of the first note of @var{musicexpr}.
-@c . {Music notation}
-@node Music notation
-@section Music notation
-@cindex Music notation
-@menu
-* Key::
-* Breath marks::
-* Time signature::
-@end menu
+Entering music that changes octave frequently is easy in relative mode.
+@lilypond[fragment,singleline,verbatim,center]
+ \relative c'' {
+ b c d c b c bes a
+ }
+@end lilypond
-@c . {Key}
-@node Key
-@subsection Key
-@cindex Key
+And octave changing marks are used for intervals greater than a fourth.
+@lilypond[fragment,verbatim,center]
+ \relative c'' {
+ c g c f, c' a, e'' }
+@end lilypond
-@cindex @code{\key}
+If the preceding item is a chord, the first note of the chord is used
+to determine the first note of the next chord. However, other notes
+within the second chord are determined by looking at the immediately
+preceding note.
-@example
- @code{\key} @var{pitch} @var{type} @code{;}
-@end example
-@cindex @code{\minor}
-@cindex @code{\major}
-@cindex @code{\minor}
-@cindex @code{\ionian}
-@cindex @code{\locrian}
-@cindex @code{\aeolian}
-@cindex @code{\mixolydian}
-@cindex @code{\lydian}
-@cindex @code{\phrygian}
-@cindex @code{\dorian}
+@lilypond[fragment,verbatim,center]
+ \relative c' {
+ c <c e g>
+ <c' e g>
+ <c, e' g>
+ }
+@end lilypond
+@cindex @code{\notes}
-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.
+The pitch after the @code{\relative} contains a note name. To parse
+the pitch as a note name, you have to be in note mode, so there must
+be a surrounding @code{\notes} keyword (which is not
+shown here).
-This command sets @code{Staff.keySignature}.
+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 @code{keySignature}
+@cindex bar check
+@cindex @code{barCheckSynchronize}
+@cindex @code{|}
-@c . {Clef changes}
-@subsubsection Clef changes
-@cindex @code{\clef}
-@example
- \clef @var{clefname} @code{;}
-@end example
-Short-cut for
+Whenever a bar check is encountered during interpretation, a warning
+message is issued if it doesn't fall at a measure boundary. This can
+help you find errors in the input. Depending on the value of
+@code{barCheckSynchronize}, the beginning of the measure will be
+relocated, so this can also be used to shorten measures.
+A bar check is entered using the bar symbol, @code{|}:
@example
- \property Staff.clefGlyph = @var{symbol associated with clefname}
- \property Staff.clefPosition = @var{clef Y-position for clefname}
- \property Staff.clefOctavation = @var{extra pitch of clefname}
+ \time 3/4 c2 e4 | g2.
@end example
-Supported clef-names include
-
-@itemize @bullet
-@item treble, violin, G, G2: G clef on 2nd line
-@item french: G clef on 1st line
-@item soprano: C clef on 1st line
-@item mezzosoprano: C clef on 2nd line
-@item alto: C clef on 3rd line
-@item tenor: C clef on 4th line
-@item baritone: C clef on 5th line
-@item varbaritone: F clef on 3rd line
-@item bass, F: F clef on 4th line
-@item subbass: F clef on 5th line
-@item percussion: percussion clef
-@end itemize
-
-Supported associated symbols (for Staff.clefGlyph) are:
-@itemize @bullet
-@item clefs-C: modern style C clef
-@item clefs-F: modern style F clef
-@item clefs-G: modern style G clef
-@item clefs-vaticana_do: Editio Vaticana style do clef
-@item clefs-vaticana_fa: Editio Vaticana style fa clef
-@item clefs-medicaea_do: Editio Medicaea style do clef
-@item clefs-medicaea_fa: Editio Medicaea style fa clef
-@item clefs-mensural1_c: modern style mensural C clef
-@item clefs-mensural2_c: historic style small mensural C clef
-@item clefs-mensural3_c: historic style big mensural C clef
-@item clefs-mensural1_f: historic style traditional mensural F clef
-@item clefs-mensural2_f: historic style new mensural F clef
-@item clefs-mensural_g: historic style mensural G clef
-@item clefs-hufnagel_do: historic style hufnagel do clef
-@item clefs-hufnagel_fa: historic style hufnagel fa clef
-@item clefs-hufnagel_do_fa: historic style hufnagel combined do/fa clef
-@item clefs-percussion: modern style percussion clef
-@end itemize
-@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 skipTypesetting
-@node Breath marks
-@subsection Breath marks
+Failed bar checks are most often caused by entering incorrect
+durations. Incorrect durations often completely garble up the score,
+especially if it is polyphonic, so you should start correcting the score
+by scanning for failed bar checks and incorrect durations. To speed up
+this process, you can use @code{skipTypesetting} (See @ref{Skipping
+corrected music})).
-Breath marks are entered using @code{\breathe}:
+@c . {Point and click}
+@node Point and click
+@subsection Point and click
-@lilypond[fragment,relative]
-c'4 \breathe d4
-@end lilypond
+Point and click lets you find notes in the input by clicking on them in
+the Xdvi window. This makes it very easy to find input that causes some
+error in the sheet music.
+To use it, you need the following software
+@itemize @bullet
+@item
+@uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
+Xdvi} version 22.36 or newer.
+
+ Note that most @TeX{} distributions ship with xdvik, which is a
+ different and less well maintained program. To find out which xdvi you
+ are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
+@item Emacs. Emacs is an extensible text-editor It is available from
+@uref{http://www.gnu.org/software/emacs/}. You need version 21 to use
+column location.
+@end itemize
-@c . {Time signature}
-@node Time signature
-@subsection Time signature
-@cindex Time signature
-@cindex meter
-@cindex @code{\time}
+Xdvi must be configured to find the @TeX{} fonts and music
+fonts. Refer to the Xdvi documentation for more information.
+To use point-and-click, add one of these lines to the top of your .ly
+file.
@example
- \time @var{numerator}@code{/}@var{denominator} @code{;}
+#(set! point-and-click line-location)
@end example
-A short-cut for doing
+In the emacs startup file (usually @file{~/.emacs}), add the following
@example
- \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
+(server-start)
@end example
-See the documentation of @code{timeSignatureFraction}
-
-
-@c . {Partial}
-@subsubsection Partial
-@cindex Partial
-@cindex anacrusis
-@cindex upstep
-@cindex partial measure
-@cindex measure, partial
-@cindex shorten measures
-@cindex @code{\partial}
+Make sure that the environment variable @code{XEDITOR} is set to
@example
- \partial @var{duration} @code{;}
+emacsclient --no-wait +%l %f
@end example
-Short cut for
+When viewing, Control-Mousebutton 1 will take you to the originating
+spot in the @file{.ly} file. Control-Mousebutton 2 will show all
+clickable boxes.
+If you use Emacs version 21, then you can make emacs jump to the exact
+spot (and not just the line) on a click, you must enable column
+positioning. At the top of the @code{ly} file, replace the
+@code{set!} line with the following line
@example
- \property Score.measurePosition = @var{length of duration}
+#(set! point-and-click line-column-location)
@end example
-@cindex @code{|}
+Set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}.
-See the documentation of @code{measurePosition}.
+If you correct large files with point-and-click, be sure to start
+correcting at the end of the file. When you start at the top, and
+insert one line, all following locations will be off by a line.
+@refbugs
+When you convert the @TeX{} file to PostScript using @code{dvips}, it
+will complain about not finding @code{src:X:Y} files. These complaints
+are harmless, and can be ignored.
+@node Skipping corrected music
+@subsection Skipping corrected music
-@c . {Polyphony}
-@node Polyphony
-@section Polyphony
-@cindex Polyphony
+The property @code{Score.skipTypesetting} can be used to switch on and
+off typesetting completely during the interpretation phase. When
+typesetting is switched off, the music is processed much more quickly.
+You can use this to skip over the parts of a score that you have already
+checked for errors.
-[todo : collisiosn, rest-collisinos, voiceX identifiers, how to
-which contexts to instantiate.]
+@lilypond[fragment,singleline,verbatim]
+\relative c'' { c8 d
+\property Score.skipTypesetting = ##t
+ e f g a g c, f e d
+\property Score.skipTypesetting = ##f
+c d b bes a g c2 }
+@end lilypond
-@table @code
-@cindex @code{\shiftOff}
- @item @code{\shiftOff}
- Disable horizontal shifting of note heads that collide.
-
-@cindex @code{\shiftOn}
- @item @code{\shiftOn}
- Enable note heads that collide with other note heads to be
- shifted horiztonally. Also @code{\shiftOnn} and @code{\shiftOnnn}
-set different shift values.
-
-@cindex @code{\stemBoth}
- @item @code{\stemBoth}
- Allow stems, beams, and slurs to point either upwards or
- downwards, decided automatically by LilyPond.
-
-@cindex @code{\stemDown}
- @item @code{\stemDown}
- Force stems, beams, and slurs to point down.
-
-@cindex @code{\stemUp}
- @item @code{\stemUp}
- Force stems, beams and slurs to point up.
-@end table
-@c . {Spanners}
-@node Spanners
-@section Spanners
-@cindex Spanners
+
+@node Staff notation
+@section Staff notation
+
+This section deals with music notation that occurs on staff level,
+such as keys, clefs and time signatures.
+
+@cindex Staff notation
@menu
-* Beam::
-* Slur ::
-* Phrasing slur::
-* Ornaments::
-* Grace notes::
-* Bar check::
+* Key signature::
+* Clef::
+* Time signature::
+* Unmetered music::
+* Bar lines::
@end menu
+@c . {Key}
+@node Key signature
+@subsection Key signature
+@cindex Key
+
+@cindex @code{\key}
+
+Setting or changing the key signature is done with the @code{\key}
+command.
+@example
+ @code{\key} @var{pitch} @var{type}
+@end example
+@cindex @code{\minor}
+@cindex @code{\major}
+@cindex @code{\minor}
+@cindex @code{\ionian}
+@cindex @code{\locrian}
+@cindex @code{\aeolian}
+@cindex @code{\mixolydian}
+@cindex @code{\lydian}
+@cindex @code{\phrygian}
+@cindex @code{\dorian}
-@c . {Beam}
-@node Beam
-@subsection Beams
+Here, @var{type} should be @code{\major} or @code{\minor} to get
+@var{pitch}-major or @var{pitch}-minor, respectively.
+The standard mode names @code{\ionian},
+@code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
+@code{\phrygian}, and @code{\dorian} are also defined.
-@cindex beams
+This command sets the context property @code{Staff.keySignature}.
+Non-standard key signatures can be specified by setting this property
+directly.
-@c . {Automatic beams}
-@subsubsection Automatic beams
+The printed signature is a @internalsref{KeySignature} grob, typically
+created in @internalsref{Staff} context.
+@cindex @code{keySignature}
-@cindex automatic beam generation
-@cindex autobeam
-@cindex @code{Voice.noAutoBeaming}
+@c . {Clef}
+@node Clef
+@subsection Clef
+@cindex @code{\clef}
-LilyPond will group flagged notes and generate beams autmatically, where
-appropriate.
+The clef can be set or changed with the @code{\clef} command:
+@lilypond[fragment,verbatim]
+ \key f\major c''2 \clef alto g'2
+@end lilypond
-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.
+Supported clef-names include
+@c Moved standard clefs to the top /MB
+@table @code
+@item treble, violin, G, G2
+G clef on 2nd line
+@item alto, C
+ C clef on 3rd line
+@item tenor
+ C clef on 4th line
+@item bass, F
+ F clef on 4th line
+@item french
+ G clef on 1st line, so-called French violin clef
+@item soprano
+ C clef on 1st line
+@item mezzosoprano
+ C clef on 2nd line
+@item baritone
+ C clef on 5th line
+@item varbaritone
+ F clef on 3rd line
+@item subbass
+ F clef on 5th line
+@item percussion
+ percussion clef
+@end table
+By adding @code{_8} or @code{^8} to the clef name, the clef is
+transposed one octave down or up, respectively. Note that you have to
+enclose @var{clefname} in quotes if you use underscores or digits in the
+name. For example,
+@example
+ \clef "G_8"
+@end example
+The grob for this symbol is @internalsref{Clef}.
-@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
+This command is equivalent to setting @code{clefGlyph},
+@code{clefPosition} (which controls the Y position of the clef),
+@code{centralCPosition} and @code{clefOctavation}. A clef is created
+when any of these properties are changed.
+
+
+@c . {Time signature}
+@node Time signature
+@subsection Time signature
+@cindex Time signature
+@cindex meter
+@cindex @code{\time}
+
+The time signature is set or changed by the @code{\time}
+command.
+@lilypond[fragment,verbatim]
+ \time 2/4 c'2 \time 3/4 c'2.
+@end lilypond
+
+The actual symbol that's printed can be customized with the @code{style}
+property. Setting it to @code{#'()} uses fraction style for 4/4 and
+2/2 time.
+
+
+The grob for this symbol is @internalsref{TimeSignature}. There are
+many more options for its layout. They are selected through the
+@code{style} grob property. See @file{input/test/time.ly} for more
+examples.
+
+This command sets the property @code{timeSignatureFraction},
+@code{beatLength} and @code{measureLength}. The property
+@code{timeSignatureFraction} determine where bar lines should be
+inserted, and how automatic beams should be generated. Changing the
+value of @code{timeSignatureFraction} also causes a time signature
+symbol to be printed.
+
+@c . {Partial}
+@subsection Partial
+@cindex Partial
+@cindex anacrusis
+@cindex upbeat
+@cindex partial measure
+@cindex measure, partial
+@cindex shorten measures
+@cindex @code{\partial}
+
+Partial measures, for example in upbeats, are entered using the
+@code{\partial} command:
+@lilypond[fragment,verbatim]
+\partial 4* 5/16 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
+@end lilypond
+
+The syntax for this command is
@example
-\property Voice.autoBeamSettings \override
- #'(end * * * *) = #(make-moment 1 4)
-\property Voice.autoBeamSettings \override
- #'(begin * * * *) = #(make-moment 1 8)
+ \partial @var{duration}
+@end example
+This is internally translated into
+@example
+ \property Score.measurePosition = -@var{length of duration}
@end example
-@end quotation
+@cindex @code{|}
+The property @code{measurePosition} contains a rational number
+indicating how much of the measure has passed at this point.
-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 * *)}.
-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.
+@node Unmetered music
+@subsection Unmetered music
-For example, to specify beam endings for beams that contain 32nd notes,
-you would use @code{(end * * 1 32)}.
+Bar lines and bar numbers are calculated automatically. For unmetered
+music (e.g. cadenzas), this is not desirable. The commands
+@code{\cadenzaOn} and @code{\cadenzaOff} can be used to switch off the
+timing information:
+@lilypond[fragment,relative,singleline,verbatim]
+c'2.
+\cadenzaOn
+c2
+\cadenzaOff
+c4 c4 c4
+@end lilypond
+The property @code{Score.timing} can be used to switch off this
+automatic timing
-@c . {Manual beams}
-@cindex Automatic beams
-@subsubsection Manual beams
-@cindex beams, manual
-@cindex @code{]}
-@cindex @code{[}
+@c . {Bar lines}
+@node Bar lines
+@subsection Bar lines
+@cindex Bar lines
-In some cases it may be necessary to override LilyPond's automatic
-beaming algorithm. For example, the auto beamer will not beam over
-rests or bar lines, so if you want that, specify the begin and end point
-manually using @code{[} and @code{]}:
+@cindex @code{\bar}
+@cindex measure lines
+@cindex repeat bars
-@quotation
-@lilypond[fragment,relative,verbatim]
- \context Staff {
- r4 [r8 g'' a r8] r8 [g | a] r8
- }
+Bar lines are inserted automatically, but if you need a special type
+of barline, you can force one using the @code{\bar} command:
+@lilypond[fragment,verbatim] c4 \bar "|:" c4
@end lilypond
+The following bar types are available
+@lilypond[fragment, relative, singleline, verbatim]
+c4
+\bar "|" c
+\bar "" c
+\bar "|:" c
+\bar "||" c
+\bar ":|" c
+\bar ".|" c
+\bar ".|." c
+\bar "|."
+@end lilypond
-@cindex @code{stemLeftBeamCount}
+You are encouraged to use @code{\repeat} for repetitions. See
+@ref{Repeats}.
+
+In scores with many staffs, the barlines are automatically placed at
+top level, and they are connected between different staffs of a
+@internalsref{StaffGroup}:
+@lilypond[fragment, verbatim]
+< \context StaffGroup <
+ \context Staff = up { e'4 d'
+ \bar "||"
+ f' e' }
+ \context Staff = down { \clef bass c4 g e g } >
+\context Staff = pedal { \clef bass c2 c2 } >
+@end lilypond
-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}.
+The grobs that are created at @internalsref{Staff} level. The name is
+@internalsref{BarLine}.
-@lilypond[fragment,relative,verbatim]
- \context Staff {
- [f'8 r16 f g a]
- [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
- }
+The command @code{\bar @var{bartype}} is a short cut for
+doing @code{\property Score.whichBar = @var{bartype}}
+Whenever @code{whichBar} is set to a string, a bar line of that type is
+created. @code{whichBar} is usually set automatically: at the start of
+a measure it is set to @code{defaultBarType}. The contents of
+@code{repeatCommands} is used to override default measure bars.
+
+@code{whichBar} can also be set directly, using @code{\property} or
+@code{\bar }. These settings take precedence over the automatic
+@code{whichBar} settings.
+
+
+@cindex Bar_line_engraver
+@cindex whichBar
+@cindex repeatCommands
+@cindex defaultBarType
+
+
+
+@c . {Polyphony}
+@node Polyphony
+@section Polyphony
+@cindex polyphony
+
+The easiest way to enter such fragments with more than one voice on a
+staff is to split chords using the separator @code{\\}. You can use
+it for small, short-lived voices (make a chord of voices) or for
+single chords:
+
+@lilypond[verbatim,fragment]
+\context Voice = VA \relative c'' {
+ c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f \\ d >
+}
@end lilypond
-@end quotation
-@cindex @code{stemRightBeamCount}
+The separator causes @internalsref{Voice} contexts to be instantiated,
+bearing the names @code{"1"}, @code{"2"}, etc.
-@c . {Adjusting beams}
-@unnumberedsubsubsec Adjusting beams
-@cindex Adjusting beams
+Sometimes, it is necessary to instantiate these contexts by hand: For
+Instantiate a separate Voice context for each part, and use
+@code{\voiceOne}, up to @code{\voiceFour} to assign a stem directions
+and horizontal shift for each part.
+@c
-FIXME
+@lilypond[singleline, verbatim]
+\relative c''
+\context Staff < \context Voice = VA { \voiceOne cis2 b }
+ \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
+ \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
+@end lilypond
+The identifiers @code{\voiceOne} to @code{\voiceFour} set directions
+ties, slurs and stems, and set shift directions.
+
+If you want more than four voices, you can also manually set
+horizontal shifts and stem directions, as is shown in the following example:
+@lilypond[fragment, verbatim]
+ \context Staff \notes\relative c''<
+ \context Voice=one {
+ \shiftOff \stemUp e4
+ }
+ \context Voice=two {
+ \shiftOn \stemUp cis
+ }
+ \context Voice=three {
+ \shiftOnn \stemUp ais
+ }
+ \context Voice=four {
+ \shiftOnnn \stemUp fis
+ }
+ >
+@end lilypond
-
-@c . {Slur}
-@node Slur
-@subsection Slur
-@cindex slur
+Normally, note heads with a different number of dots are not merged, but
+if you set the grob property @code{merge-differently-dotted}, they are:
+@lilypond[verbatim,fragment,singleline]
+\context Voice < {
+ g'8 g'8
+ \property Staff.NoteCollision \override
+ #'merge-differently-dotted = ##t
+ g'8 g'8
+ } \\ { [g'8. f16] [g'8. f'16] }
+ >
+@end lilypond
-@menu
-* Slur attachments::
-@end menu
+Similarly, you can merge half note heads with eighth notes, by setting
+@code{merge-differently-headed}:
+@lilypond[fragment, relative=2,verbatim]
+\context Voice < {
+ c8 c4.
+ \property Staff.NoteCollision
+ \override #'merge-differently-headed = ##t
+ c8 c4. } \\ { c2 c2 } >
+@end lilypond
-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:
+LilyPond also vertically shifts rests that are opposite of a stem.
-@lilypond[fragment,verbatim,center]
- f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
+@lilypond[singleline,fragment,verbatim]
+\context Voice < c''4 \\ r4 >
@end lilypond
-@c . {Adjusting slurs}
-@unnumberedsubsubsec Adjusting slurs
+See also @internalsref{NoteCollision} and @internalsref{RestCollision}
+@refbugs
-@node Slur attachments
-@subsubsection Slur attachments
+Resolving collisions is a very intricate subject, and LilyPond only
+handles a few situations. When it can not cope, you are advised to use
+@code{force-hshift} of the @internalsref{NoteColumn} grob and pitched
+rests to override typesetting decisions.
-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}:
+@node Beaming
+@section Beaming
+Beams are used to group short notes into chunks that are aligned with
+the metrum. They are inserted automatically in most cases.
-@quotation
-@lilypond[fragment,relative,verbatim]
- \property Voice.Slur \set #'direction = #1
- \property Voice.Stem \set #'length = #5.5
- g''8(g)g4
- \property Voice.Slur \set #'attachment = #'(stem . stem)
- g8(g)g4
+@lilypond[fragment,verbatim, relative=2]
+\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
@end lilypond
-@end quotation
-Similarly, slurs can be attached to note heads even when beams are
-involved:
+If you're not satisfied with the automatic beaming, you can enter the
+beams explicitly. If you have beaming patterns that differ from the
+defaults, you can also set the patterns for automatic beamer.
+
+See also @internalsref{Beam}.
+
+@c . {Manual beams}
+@cindex Automatic beams
+@subsection Manual beams
+@cindex beams, manual
+@cindex @code{]}
+@cindex @code{[}
+
+In some cases it may be necessary to override LilyPond's automatic
+beaming algorithm. For example, the auto beamer will not beam over
+rests or bar lines, If you want that, specify the begin and end point
+manually using a @code{[} before the first beamed note and a @code{]}
+after the last note:
-@quotation
@lilypond[fragment,relative,verbatim]
- \property Voice.Slur \set #'direction = #1
- \property Voice.Slur \set #'attachment = #'(head . head)
- g''16()g()g()g()d'()d()d()d
+ \context Staff {
+ r4 [r8 g' a r8] r8 [g | a] r8
+ }
@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:
+@cindex @code{stemLeftBeamCount}
+
+Normally, beaming patterns within a beam are determined automatically.
+When this mechanism fouls up, the properties
+@code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
+be used to control the beam subdivision on a stem. If you set either
+property, its value will be used only once, and then it is erased.
-@quotation
@lilypond[fragment,relative,verbatim]
- \property Voice.Stem \set #'direction = #1
- \property Voice.Slur \set #'direction = #1
- d'32( d'4 )d8..
- \property Voice.Slur \set #'attachment = #'(stem . stem)
- d,32( d'4 )d8..
+ \context Staff {
+ [f8 r16 f g a]
+ [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
+ }
@end lilypond
-@end quotation
+@cindex @code{stemRightBeamCount}
-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?]
+The property @code{subdivideBeams} can be set in order to subdivide
+all 16th or shorter beams at beat positions. This accomplishes the
+same effect as twiddling with @code{stemLeftBeamCount} and
+@code{stemRightBeamCount}, but it take less typing.
-@quotation
-@lilypond[verbatim]
+
+@example
+[c16 c c c c c c c]
+\property Voice.subdivideBeams = ##t
+[c16 c c c c c c c]
+[c32 c c c c c c c c c c c c c c c]
+\property Score.beatLength = #(make-moment 1 8)
+[c32 c c c c c c c c c c c c c c c]
+@end example
+@lilypond[]
\score {
- \notes \context PianoStaff <
- \time 6/4;
- \context Staff=up { s1 * 6/4 }
- \context Staff=down <
- \clef bass;
- \autochange Staff \context Voice
- \notes \relative c {
- d,8( a' d f a d f d a f d )a
- }
- >
- >
- \paper {
- linewidth = -1.;
- \translator {
- \VoiceContext
- Slur \override #'beautiful = #5.0
- Slur \override #'direction = #1
- Stem \override #'direction = #-1
- autoBeamSettings \override #'(end * * * *)
- = #(make-moment 1 2)
- }
- \translator {
- \PianoStaffContext
- VerticalAlignment \override #'threshold = #'(5 . 5)
+ \notes \relative c' {
+ [c16 c c c c c c c]
+ \property Voice.subdivideBeams = ##t
+ [c16 c c c c c c c]
+ [c32 c c c c c c c c c c c c c c c]
+ \property Score.beatLength = #(make-moment 1 8)
+ [c32 c c c c c c c c c c c c c c c]
}
- }
}
@end lilypond
-@end quotation
-
-@cindex Adusting slurs
-
+@cindex subdivideBeams
+Kneed beams are inserted automatically, when a large gap between two
+adjacent beamed notes is detected. This behavior can be tuned through
+the grob property @code{auto-knee-gap}.
-@c . {Phrasing slur}
-@node Phrasing slur
-@subsection Phrasing slur
-@cindex phrasing slur
-@cindex phrasing mark
+@cindex beams, kneed
+@cindex kneed beams
+@cindex auto-knee-gap
+@cindex hara kiri
-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.
-@lilypond[fragment,verbatim,center,relative]
- \time 6/4; c''\((d)e f(e)\)d
-@end lilypond
+@c TODO -> why this ref? Document?
+@cindex @code{neutral-direction}
-[TODO: put together with breath mark.]
+@refbugs
+Auto knee beams can not be used together with hara kiri staffs.
-@c . {Tie}
@menu
-* Tie::
-* Tuplets::
-* Text spanner::
-* Ottava::
-* Span requests::
+* Setting automatic beam behavior ::
@end menu
-@node Tie
-@subsubsection Tie
+@ignore
+@no de Beam typography
+@sub section Beam typography
-@cindex Tie
-@cindex ties
-@cindex @code{~}
+One of the strong points of LilyPond is how beams are formatted. Beams
+are quantized, meaning that the left and right endpoints beams start
+exactly on staff lines. Without quantization, small wedges of white
+space appear between the beam and staff line, and this looks untidy.
-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.
+Beams are also slope-damped: melodies that go up or down should also
+have beams that go up or down, but the slope of the beams should be
+less than the slope of the notes themselves.
-@lilypond[fragment,verbatim,center]
- e' ~ e' <c' e' g'> ~ <c' e' g'>
-@end lilypond
+Some beams should be horizontal. These are so-called concave beams.
-[sparseTies]
+[TODO: some pictures.]
+@end ignore
+@c . {Automatic beams}
+@node Setting automatic beam behavior
+@subsection Setting automatic beam behavior
-@c . {Tuplets}
-@node Tuplets
-@subsubsection Tuplets
-@cindex Tuplets
-@cindex Times
+@cindex @code{autoBeamSettings}
+@cindex @code{(end * * * *)}
+@cindex @code{(begin * * * *)}
+@cindex automatic beams, tuning
+@cindex tuning automatic beaming
-Tuplets are made out of a music expression by multiplying their duration
-with a fraction.
+In normal time signatures, automatic beams can start on any note but can
+only end in a few positions within the measure: beams can end on a beat,
+or at durations specified by the properties in
+@code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
+are defined in @file{scm/auto-beam.scm}.
-@cindex @code{\times}
+The value of @code{autoBeamSettings} is changed using
+@code{\override} and unset using @code{\revert}:
@example
- \times @var{fraction} @var{musicexpr}
+\property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
+\property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
+@end example
+Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
+whether the rule applies to begin or end-points. The quantity
+@var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
+*}' designates notes of any length), @var{N}/@var{M} refers to a time
+signature (wildcards, `@code{* *}' may be entered to designate all time
+signatures).
+
+For example, if you want automatic beams to end on every quarter note,
+you can use the following:
+@example
+\property Voice.autoBeamSettings \override
+ #'(end * * * *) = #(make-moment 1 4)
@end example
+Since the duration of a quarter note is 1/4 of a whole note, it is
+entered as @code{(make-moment 1 4)}.
-The 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:
+The same syntax can be used to specify beam starting points. In this
+example, automatic beams can only end on a dotted quarter note.
+@example
+\property Voice.autoBeamSettings \override
+ #'(end * * * *) = #(make-moment 3 8)
+@end example
+In 4/4 time signature, this means that automatic beams could end only on
+3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
+3/8 has passed within the measure).
+
+You can also restrict rules to specific time signatures. A rule that
+should only be applied in @var{N}/@var{M} time signature is formed by
+replacing the second asterisks by @var{N} and @var{M}. For example, a
+rule for 6/8 time exclusively looks like
+@example
+\property Voice.autoBeamSettings \override
+ #'(begin * * 6 8) = ...
+@end example
-@lilypond[fragment,verbatim,center]
- g'4 \times 2/3 {c'4 c' c'} d'4 d'4
-@end lilypond
+If you want a rule to apply to certain types of beams, you can use the
+first pair of asterisks. Beams are classified according to the shortest
+note they contain. For a beam ending rule that only applies to beams
+with 32nd notes (and no shorter notes), you would use @code{(end 1
+32 * *)}.
-[todo: document tupletSpannerDuration]
+@c not true
+@c Automatic beams can not be put on the last note in a score.
+If a score ends while an automatic beam has not been ended and is still
+accepting notes, this last beam will not be typeset at all.
+@cindex automatic beam generation
+@cindex autobeam
+@cindex @code{Voice.autoBeaming}
+@cindex lyrics
-@c . {Text spanner}
-@node Text spanner
-@subsubsection Text spanner
-@cindex Text spanner
+For melodies that have lyrics, you may want to switch off
+automatic beaming. This is done by setting @code{Voice.autoBeaming} to
+@code{#f}.
-@c . {Ottava}
-@node Ottava
-@subsubsection Ottava
-@cindex Ottava
-@unnumberedsubsubsec Ottava
-[move to trick. Not a supported feature.]
+@refbugs
-@lilypond[fragment,relative,verbatim]
- 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"
+It is not possible to specify beaming parameters for beams with mixed
+durations, that differ from the beaming parameters of all separate
+durations, i.e., you'll have to specify manual beams to get:
+@lilypond[fragment,singleline,relative]
+ \property Voice.autoBeamSettings
+ \override #'(end * * * *) = #(make-moment 3 8)
+ \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
@end lilypond
+It is not possible to specify beaming parameters that act differently in
+different parts of a measure. This means that it is not possible to use
+automatic beaming in irregular meters such as @code{5/8}.
+@node Accidentals
+@section Accidentals
+@cindex Accidentals
+This section describes how to change the way that LilyPond automatically
+inserts accidentals before the running notes.
-@c . {Span requests}
-@node Span requests
-@subsubsection Span requests
-@cindex Span requests
-
-@cindex @code{\spanrequest}
+@menu
+* Using the predefined accidental macros::
+* Defining your own accidental typesettings::
+@end menu
+@node Using the predefined accidental macros
+@subsection Using the predefined accidental macros
+The constructs for describing the accidental typesetting rules are
+quite hairy, so non-experts should stick to the macros defined in
+@file{ly/property-init.ly}.
+@cindex @file{property-init.ly}
+
+The normal way of using the macros is to enter the macro name right after the
+creation of the context in which the accidental typesetting described
+by the macro is to take effect. I.e. if you want to use
+piano-accidentals in a pianostaff then you issue
+@code{\pianoAccidentals} first thing after the creation of the piano
+staff:
@example
- \spanrequest @var{startstop} @var{type}
+\score @{
+ \notes \relative c'' <
+ \context Staff = sa @{ cis4 d e2 @}
+ \context GrandStaff <
+ \pianoAccidentals
+ \context Staff = sb @{ cis4 d e2 @}
+ \context Staff = sc @{ es2 c @}
+ >
+ \context Staff = sd @{ es2 c @}
+ >
+@}
@end example
-@cindex @code{\start}
-@cindex @code{\stop}
+@lilypond[singleline]
+\score {
+ \notes \relative c'' <
+ \context Staff = sa { cis4 d e2 }
+ \context GrandStaff <
+ \pianoAccidentals
+ \context Staff = sb { cis4 d e2 }
+ \context Staff = sc { es2 c }
+ >
+ \context Staff = sd { es2 c }
+ >
+ \paper {
+ \translator {
+ \StaffContext
+ minimumVerticalExtent = #'(-4.0 . 4.0)
+ }
+ }
+}
+@end lilypond
+
+The macros are:
+@table @code
+@item \defaultAccidentals
+ @cindex @code{\defaultAccidentals}
+ This is the default typesetting behaviour. It should correspond
+ to 18th century common practice: Accidentals are
+ remembered to the end of the measure in which they occur and
+ only on their own octave.
+
+@item \voiceAccidentals
+ @cindex @code{\voiceAccidentals}
+ The normal behaviour is to remember the accidentals on
+ Staff-level.
+ This macro, however, typesets accidentals individually for each
+ voice.
+ Apart from that the rule is similar to
+ @code{\defaultAccidentals}.
+
+ Warning: This leads to some weird and often unwanted results
+ because accidentals from one voice DO NOT get cancelled in other
+ voices:
+@lilypond[singleline,relative,fragment,verbatim]
+ \context Staff <
+ \voiceAccidentals
+ \context Voice=va { \voiceOne es g }
+ \context Voice=vb { \voiceTwo c, e }
+ >
+@end lilypond
+ Hence you should only use @code{\voiceAccidentals}
+ if the voices are to be read solely by
+ individual musicians. if the staff should be readable also
+ by one musician/conductor then you should use
+ @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
+ instead.
+
+@item \modernAccidentals
+ @cindex @code{\modernAccidentals}
+ This rule should correspond to the common practice in the 20th
+ century.
+ The rule is a bit more complex than @code{\defaultAccidentals}:
+ You get all the same accidentals, but temporary
+ accidentals also get cancelled in other octaves. Further more,
+ in the same octave, they also get cancelled in the following measure:
+@lilypond[singleline,fragment,verbatim]
+ \modernAccidentals
+ cis' c'' cis'2 | c'' c'
+@end lilypond
-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}.
+@item \modernCautionaries
+ @cindex @code{\modernCautionaries}
+ This rule is similar to @code{\modernAccidentals}, but the
+ ``extra'' accidentals (the ones not typeset by
+ @code{\defaultAccidentals}) are typeset as cautionary accidentals
+ (i.e. in reduced size):
+@lilypond[singleline,fragment,verbatim]
+ \modernCautionaries
+ cis' c'' cis'2 | c'' c'
+@end lilypond
-You can attach a (general) span request to a note using the following
-syntax.
+@item \modernVoiceAccidentals
+ @cindex @code{\modernVoiceAccidentals}
+ Multivoice accidentals to be read both by musicians playing one voice
+ and musicians playing all voices.
+
+ Accidentals are typeset for each voice, but they ARE cancelled
+ across voices in the same @internalsref{Staff}.
+
+@item \modernVoiceCautionaries
+ @cindex @code{\modernVoiceCautionaries}
+ The same as @code{\modernVoiceAccidentals}, but with the
+ extra accidentals (the ones not typeset by
+ @code{\voiceAccidentals}) typeset as cautionaries.
+ Notice that even though all accidentals typeset by
+ @code{\defaultAccidentals} ARE typeset by this macro then some
+ of them are typeset as cautionaries.
+
+@item \pianoAccidentals
+ @cindex @code{\pianoAccidentals}
+ 20th century practice for piano notation. Very similar to
+ @code{\modernAccidentals} but accidentals also get cancelled
+ across the staves in the same @internalsref{GrandStaff} or
+ @internalsref{PianoStaff}.
+
+@item \pianoCautionaries
+ @cindex @code{\pianoCautionaries}
+ As @code{\pianoAccidentals} but with the extra accidentals
+ typeset as cationaries.
+
+@item \noResetKey
+ @cindex @code{\noResetKey}
+ Same as @code{\defaultAccidentals} but with accidentals lasting
+ ``forever'' and not only until the next measure:
+@lilypond[singleline,fragment,verbatim,relative]
+ \noResetKey
+ c1 cis cis c
+@end lilypond
-@lilypond[fragment,verbatim,center]
- c'4-\spanrequest \start "slur"
- c'4-\spanrequest \stop "slur"
+@item \forgetAccidentals
+ @cindex @code{\forgetAccidentals}
+ This is sort of the opposite of @code{\noResetKey}: Accidentals
+ are not remembered at all - and hence all accidentals are
+ typeset relative to the key signature, regardless of what was
+ before in the music:
+@lilypond[singleline,fragment,verbatim,relative]
+ \forgetAccidentals
+ \key d\major c4 c cis cis d d dis dis
@end lilypond
+@end table
-The slur syntax with parentheses is a shorthand for this.
+@node Defining your own accidental typesettings
+@subsection Defining your own accidental typesettings
-@c . {Ornaments}
-@node Ornaments
-@subsection Ornaments
-@cindex Ornaments
+This section must be considered gurus-only, and hence it must be
+sufficient with a short description of the system and a reference to
+the internal documentation.
+
+The idea of the algorithm is to try several different rules and then
+use the rule that gives the highest number of accidentals.
+Each rule cosists of
+@table @asis
+@item Context:
+ In which context is the rule applied. I.e. if context is
+ @internalsref{Score} then all staves share accidentals, and if
+ context is @internalsref{Staff} then all voices in the same
+ staff share accidentals, but staves don't - like normally.
+@item Octavation:
+ Whether the accidental changes all octaves or only the current
+ octave.
+@item Lazyness:
+ Over how many barlines the accidental lasts.
+ If lazyness is @code{-1} then the accidental is forget
+ immidiately, and if lazyness is @code{#t} then the accidental
+ lasts forever.
+@end table
+
+As described in the internal documentation of
+@reng{Accidental_engraver}, the properties @code{autoAccidentals} and
+@code{autoCautionaries} contain lists of rule descriptions. Notice
+that the contexts must be listed from in to out - that is
+@internalsref{Thread} before @internalsref{Voice},
+@internalsref{Voice} before @internalsref{Staff}, etc.
+see the macros in @file{ly/property-init.ly} for examples of how the
+properties are set.
+
+@refbugs
+
+Currently the simultaneous notes are considered to be entered in
+sequential mode. This means that in a chord the accidentals are
+typeset as if the notes in the chord happened one at a time - in the
+order in which they appear in the input file.
+
+Of course this is only a problem when you have simultainous notes
+which accidentals should depend on each other.
+Notice that the problem only occurs when using non-default accidentals
+- as the default accidentals only depend on other accidentals on the
+same staff and same pitch and hence cannot depend on other
+simultainous notes.
+
+This example shows two examples of the same music giving different
+accidentals depending on the order in which the notes occur in the
+input file:
+
+@lilypond[singleline,fragment,verbatim]
+\property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
+cis'4 <c'' c'> r2 | cis'4 <c' c''> r2 | <cis' c''> r | <c'' cis'> r |
+@end lilypond
+
+The only solution is to manually insert the problematic
+accidentals using @code{!} and @code{?}.
+
+@node Expressive marks
+@section Expressive marks
+
+@c . {Slurs}
@menu
-* Articulation::
-* Text scripts::
+* Slurs ::
+* Phrasing slurs::
+* Breath marks::
+* Tempo::
+* Text spanners::
@end menu
-@c . {Articulation}
-@node Articulation
-@subsubsection Articulation
-@cindex Articulation
+@node Slurs
+@subsection Slurs
+@cindex Slurs
-@cindex articulations
-@cindex scripts
-@cindex ornaments
+A slur indicates that notes are to be played bound or @emph{legato}.
+They are entered using parentheses:
+@lilypond[fragment,verbatim,center]
+ f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
+@end lilypond
-A variety of symbols can appear above and below notes to indicate
-different characteristics of the performance. These symbols can be
-added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
-are defined in @file{script.ly} and @file{script.scm}. Symbols can be
-forced to appear above or below the note by writing
-`@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
-respectively. Here is a chart showing symbols above notes, with the
-name of the corresponding symbol appearing underneath.
+See also @seeinternals{Slur}.
-@lilypond[]
+Slurs avoid crossing stems, and are generally attached to note heads.
+However, in some situations with beams, slurs may be attached to stem
+ends. If you want to override this layout you can do this through the
+grob-property @code{attachment} of @internalsref{Slur} in
+@internalsref{Voice} context It's value is a pair of symbols, specifying
+the attachment type of the left and right end points.
- \score {
- < \notes {
- \property Score.LyricSyllable \override #'font-family =
-#'typewriter
- \property Score.LyricSyllable \override #'font-shape = #'upright
- c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
- c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
- c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
- c''-\rtoe c''-\turn c''-\open c''-\flageolet
- c''-\reverseturn c''-\trill c''-\prall c''-\mordent
- c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
- c''-\thumb c''-\segno c''-\coda
- }
- \context Lyrics \lyrics {
- accent__ marcato__ staccatissimo__ fermata
- stopped__ staccato__ tenuto__ upbow
- downbow__ lheel__ rheel__ ltoe
- rtoe__ turn__ open__ flageolet
- reverseturn__ trill__ prall__ mordent
- prallprall__ prallmordent__ uprall__ downprall
- thumb__ segno__ coda
- }
- >
- \paper {
- linewidth = 5.875\in;
- indent = 0.0;
- }
- }
+@lilypond[fragment,relative,verbatim]
+ \slurUp
+ \property Voice.Stem \set #'length = #5.5
+ g'8(g)g4
+ \property Voice.Slur \set #'attachment = #'(stem . stem)
+ g8(g)g4
+@end lilypond
+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:
+
+@lilypond[fragment,relative,verbatim]
+ \stemUp \slurUp
+ d32( d'4 )d8..
+ \property Voice.Slur \set #'attachment = #'(stem . stem)
+ d,32( d'4 )d8..
@end lilypond
-@c . {Text scripts}
-@node Text scripts
-@subsubsection Text scripts
-@cindex Text scripts
+@ignore
+Similarly, the curvature of a slur is adjusted to stay clear of note
+heads and stems. When that would increase the curvature too much, the
+slur is reverted to its default shape. The threshold for this
+decision is in @internalsref{Slur}'s grob-property @code{beautiful}.
+It is loosely related to the enclosed area between the slur and the
+notes. Usually, the default setting works well, but in some cases you
+may prefer a curved slur when LilyPond decides for a vertically moved
+one. You can indicate this preference by increasing the
+@code{beautiful} value:
+
+@lilyp ond[verbatim,singleline,relative]
+ \stemDown \slurUp
+ c16( a' f' a a f a, )c,
+ c( a' f' a a f d, )c
+ \property Voice.Slur \override #'beautiful = #5.0
+ c( a' f' a a f d, )c
+@end lilypond
+@end ignore
-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}
-@unnumberedsubsubsec Fingerings
-@cindex Fingerings
-
-To save typing, fingering instructions (digits 0 to 9 are
-supported) and single characters shorthands exist for a few
-common symbols
+@refbugs
-@lilypond[]
+Producing nice slurs is a difficult problem, and LilyPond currently
+uses a simple, empiric method to produce slurs. In some cases, the
+results of this method are ugly.
+
+@ignore
+This is reflected by the
+@code{beautiful} property, which it is an arbitrary parameter in the
+slur formatter. Useful values can only be determined by trial and
+error.
+@end ignore
+
+@cindex Adjusting slurs
+
+@node Phrasing slurs
+@subsection Phrasing slurs
+
+@cindex phrasing slurs
+@cindex phrasing marks
+
+A phrasing slur (or phrasing mark) connects chords and is used to
+indicate a musical sentence. It is started using @code{\(} and @code{\)}
+respectively.
+
+@lilypond[fragment,verbatim,center,relative]
+ \time 6/4 c' \( d () e f () e \) d
+@end lilypond
+
+Typographically, the phrasing slur behaves almost exactly like a normal
+slur. See also @seeinternals{PhrasingSlur}.
+
+
+@node Breath marks
+@subsection Breath marks
+
+Breath marks are entered using @code{\breathe}. See also
+@seeinternals{BreathingSign}.
+
+@lilypond[fragment,relative]
+c'4 \breathe d4
+@end lilypond
+
+
+@c . {Tempo}
+@node Tempo
+@subsection Tempo
+@cindex Tempo
+@cindex beats per minute
+@cindex metronome marking
+
+Metronome settings can be entered as follows:
+
+@cindex @code{\tempo}
+@example
+ \tempo @var{duration} = @var{perminute}
+@end example
+
+For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
+per minute.
+
+@refbugs
+
+The tempo setting is not printed, but is only used in the MIDI
+output. You can trick lily into producing a metronome mark,
+though. Details are in @ref{Text markup}.
+
+
+
+@node Text spanners
+@subsection Text spanners
+@cindex Text spanners
+
+Some textual indications, e.g. rallentando or accelerando, often extend
+over many measures. This is indicated by following the text with a
+dotted line. You can create such texts using text spanners. The syntax
+is as follows:
+@example
+\spanrequest \start "text"
+\spanrequest \stop "text"
+@end example
+LilyPond will respond by creating a @internalsref{TextSpanner} grob (typically
+in @internalsref{Voice} context). The string to be printed, as well as the
+style is set through grob properties.
+
+An application---or rather, a hack---is to fake octavation indications.
+@lilypond[fragment,relative,verbatim]
+ \relative c' { a''' b c a
+ \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 . {Ornaments}
+@node Ornaments
+@section Ornaments
+@cindex Ornaments
+@menu
+* Articulations::
+* Text scripts::
+* Grace notes::
+* Glissando ::
+* Dynamics::
+@end menu
+
+@c . {Articulation}
+@node Articulations
+@subsection Articulations
+@cindex Articulations
+
+@cindex articulations
+@cindex scripts
+@cindex ornaments
+
+A variety of symbols can appear above and below notes to indicate
+different characteristics of the performance. They are added to a note
+by adding a dash and the the character signifying the
+articulation. They are demonstrated here.
+@lilypond[singleline]
\score {
\notes \context Voice {
\property Voice.TextScript \set #'font-family = #'typewriter
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
+The script is automatically placed, but if you need to force
+directions, you can use @code{_} to force them down, or @code{^} to
+put them up:
+@lilypond[fragment, verbatim]
+ c''4^^ c''4_^
+@end lilypond
-@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:
+Other symbols can be added using the syntax
+@var{note}@code{-\}@var{name}. Again, they can be forced up or down
+using @code{^} and @code{_}.
+@lilypond[]
+ \score {
+ <
+ \property Score.LyricText \override #'font-family =#'typewriter
+ \property Score.LyricText \override #'font-shape = #'upright
+ \context Staff \notes {
+ c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
+ c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
+ c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
+ c''-\rtoe c''-\turn c''-\open c''-\flageolet
+ c''-\reverseturn c''-\trill c''-\prall c''-\mordent
+ c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
+ c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup
+ c''-\lineprall c''-\thumb c''-\segno c''-\coda
+ }
+ \context Lyrics \lyrics {
+ accent__ marcato__ staccatissimo__ fermata
+ stopped__ staccato__ tenuto__ upbow
+ downbow__ lheel__ rheel__ ltoe
+ rtoe__ turn__ open__ flageolet
+ reverseturn__ trill__ prall__ mordent
+ prallprall__ prallmordent__ uprall__ downprall
+ upmordent__ downmordent__ pralldown__ prallup__
+ lineprall__ thumb__ segno__ coda
+ }
+ >
+ \paper {
+ linewidth = 5.875\in
+ indent = 0.0
+ }
+ }
+@end lilypond
-@quotation
-@example
-c4-\textscript "6" "finger"
-c4-\textscript "foo" "normal"
-@end example
+@cindex fingering
-@end quotation
+Fingering instructions can also be entered in this shorthand. For
+finger changes, use markup texts:
+@c
+@lilypond[verbatim, singleline, fragment]
+ c'4-1 c'4-2 c'4-3 c'4-4
+ c^#'(finger "2-3")
+@end lilypond
-This is equivalent to @code{c4-6 c4-"foo"}.
@cindex @code{\script}
@cindex scripts
@cindex superscript
@cindex subscript
-@example
- \script @var{alias}
-@end example
+See also @seeinternals{Script} and @seeinternals{Fingering}.
-Prints a symbol above or below a note. 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}.
+@refbugs
-For information on how to add scripts, consult @file{scm/script.scm}.
+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 for 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
-@c . {Grace notes}
-@node Grace notes
-@subsection Grace notes
+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"}.
+
+By default, these indications do not influence the note spacing, but
+by using the command @code{\fatText}, the widths will be taken into
+account.
+@c
+@lilypond[fragment,singleline,verbatim] \relative c' {
+c4^"longtext" \fatText c4_"longlongtext" c4 }
+@end lilypond
+It is possible to use @TeX{} commands in the strings, but this should be
+avoided because it makes it impossible for LilyPond to compute the
+exact length of the string, which may lead to collisions. Also, @TeX{}
+commands won't work with direct PostScript output (see @ref{PostScript
+output}).
+Text scripts are created in form of @internalsref{TextScript} grobs, in
+@internalsref{Voice} context.
+@ref{Text markup} describes how to change the font or access
+special symbols in text scripts.
+@c . {Grace notes}
+@node Grace notes
+@subsection Grace notes
+
-@cindex Grace music
@cindex @code{\grace}
@cindex ornaments
@cindex grace notes
-@cindex @code{graceAlignPosition}
-@example
- \grace @var{musicexpr}
-@end example
-
-A grace note expression has duration 0; the next real note is
-assumed to be the main note.
+Grace notes are ornaments are written out ornaments
+@lilypond[relative=2,verbatim,ifragment]
+ c4 \grace c16 c4 \grace { [c16 d16] } c4
+@end lilypond
-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{flagStyle}
+In normal notation, grace notes are supposed to take up no logical
+time in a measure. Such an idea is practical for normal notation, but
+is not strict enough to put it into a program. The model that LilyPond
+uses for grace notes internally is that all timing is done in two
+steps:
-When grace music is interpreted, a score-within-a-score is set up:
-@var{musicexpr} has its own time bookkeeping, and you could (for
-example) have a separate time signature within grace notes. While in
-this score-within-a-score, you can create notes, beams, slurs, etc.
-Unbeamed eighth notes and shorter by default have a slash through the
-stem. This behavior can be controlled with the
-@code{flagStyle} property.
+Every point in musical time consists of two rational numbers: one
+denotes the logical time, one denotes the grace timing. The above
+example is shown here with timing tuples.
-@quotation
-@lilypond[fragment,verbatim]
-\relative c'' {
- \grace c8 c4 \grace { [c16 c16] } c4
- \grace { \property Grace.flagStyle = "" c16 } c4
+@lilypond[]
+\score { \notes \relative c''{
+ c4^"(0,0)" \grace c16_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
+ [c16_"(2/4,-1/8)" d16^"(2/4,-1/16)" ] } c4_"(2/4,0)"
+ }
+\paper { linewidth = 8.\cm }
}
-
@end lilypond
-@end quotation
+The advantage of this approach is that you can use almost any lilypond
+construction together with grace notes, for example slurs and clef
+changes may appear halfway in between grace notes:
-At present, nesting @code{\grace} notes is not supported. The following
-may cause run-time errors:
-@example
- @code{\grace @{ \grace c32 c16 @} c4}
-@end example
-Since the meaning of such a construct is unclear, we don't consider
-this a loss. Similarly, juxtaposing two @code{\grace} sections is
-syntactically valid, but makes no sense and may cause runtime errors.
+@lilypond[relative=2,verbatim,fragment]
+ c4 \grace { [ c16 c, \clef bass c, b(] } )c4
+@end lilypond
+
+The placement of these grace notes is synchronized between different
+staffs, using this grace timing.
-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.
+@lilypond[relative=2,verbatim,fragment]
+\context Staff = SA { e4 \grace { c16 d e f } e4 }
+\context Staff = SB { c4 \grace { g8 b } c4 }
+@end lilypond
-The present implementation is not robust and generally kludgy. We expect
-it to change after LilyPond 1.4. Syntax changes might also be
-implemented.
+The syntax is as follows.
+@example
+ \grace @var{musicexpr}
+@end example
+Unbeamed eighth notes and shorter by default have a slash through the
+stem.
+@lilypond[fragment,verbatim]
+\relative c'' \context Voice {
+ \grace c8 c4 \grace { [c16 c16] } c4
+ \grace {
+ \property Voice.Stem \override #'flag-style = #'()
+ c16
+ \property Voice.Stem \revert #'flag-style
+ } c4
+}
+@end lilypond
+@refbugs
+Grace note synchronization can also lead to surprises. Staff notation,
+such as key signatures, barlines, etc. are also synchronized. Take
+care when you mix staffs with grace notes and staffs without.
+@lilypond[relative=2,fragment]
+< \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
+ \context Staff = SB { c4 \bar "|:" d4 } >
+@end lilypond
+Grace sections should only be used within sequential music
+expressions. Nesting, juxtaposing, or ending sequential music with a
+grace section is not supported, and might produce crashes or other
+errors.
@menu
* Glissando ::
* Dynamics::
-* Crescendo and Decrescendo::
-* Bar lines::
@end menu
@c . {Glissando}
@node Glissando
-@subsubsection Glissando
+@subsection Glissando
@cindex Glissando
@cindex @code{\glissando}
-A glissando line can be requested by attaching a @code{\glissando} to a
-note:
+A glissando line can be requested by attaching a @code{\glissando} to
+a note:
-@quotation
@lilypond[fragment,relative,verbatim]
- c'' \glissando c'
+ c'-\glissando c'
@end lilypond
-@end quotation
+
+@refbugs
Printing of an additional text (such as @emph{gliss.}) must be done
-manually.
+manually. See also @seeinternals{Glissando}.
@c . {Dynamics}
@node Dynamics
-@subsubsection Dynamics
+@subsection Dynamics
@cindex Dynamics
@cindex @code{\rfz}
+Absolute dynamic marks are specified using an identifier after a
+note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
+@code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
+@code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
+@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
+@lilypond[verbatim,singleline,fragment,relative]
+ c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
+ c2\sf c\rfz
+@end lilypond
-
-
-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{\rc}
@cindex @code{\decr}
@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
can be terminated with @code{\!}. Note that @code{\!} must go before
the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
after the last note. Because these marks are bound to notes, if you
-want to get several marks during one note, you must use spacer notes.
+want several marks during one note, you have to use spacer notes.
@lilypond[fragment,verbatim,center]
c'' \< \! c'' d'' \decr e'' \rced
- < f''1 { s4 \< \! s2 \> \! s4 } >
+ < f''1 { s4 s4 \< \! s4 \> \! s4 } >
@end lilypond
You can also use a text saying @emph{cresc.} instead of hairpins. Here
is an example how to do it:
+@lilypond[fragment,relative=2,verbatim]
+ c4 \cresc c4 \endcresc c4
+@end lilypond
+
+
+@cindex crescendo
+@cindex decrescendo
+
+You can also supply your own texts:
@lilypond[fragment,relative,verbatim]
\context Voice {
- \property Voice.crescendoText = "cresc."
+ \property Voice.crescendoText = "cresc. poco"
\property Voice.crescendoSpanner = #'dashed-line
- a''2\mf\< a a \!a
+ a'2\mf\< a a \!a
}
@end lilypond
+@cindex diminuendo
+Dynamics are grobs of @internalsref{DynamicText} and
+@internalsref{Hairpin}. Vertical positioning of these symbols is
+handled by the @internalsref{DynamicLineSpanner} grob. If you want to
+adjust padding or vertical direction of the dynamics, you must set
+properties for the @internalsref{DynamicLineSpanner} grob. Predefined
+identifiers to set the vertical direction are \dynamicUp and
+\dynamicDown.
-@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
-@ref{(lilypond-internals)LilyPond context properties}.
-
-
-[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 direction, of dynamics
+@cindex @code{\dynamicDown}
+@cindex @code{\dynamicUp}
@c . {Repeats}
@node Repeats
@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
+@table @code
+@item unfold
Repeated music is fully written (played) out. Useful for MIDI
-output.
+output, and entering repetitive music.
-@item volta
+@item volta
This is the normal notation: Repeats are not written out, but
alternative endings (voltas) are printed, left to right.
-@item folded
-Alternative endings are written stacked. Which is unfortunately not
-practical for anything right now.
+@item fold
+Alternative endings are written stacked. This has limited use but may be
+used to typeset two lines of lyrics in songs with repeats, see
+@file{input/star-spangled-banner.ly}.
@item tremolo
Make tremolo beams.
+
+@item percent
+Make beat or measure repeats. These look like percent signs.
+
@end table
@menu
* Repeat syntax::
+* Repeats and MIDI::
* Manual repeat commands::
* Tremolo repeats::
-* Tremolo subdivision::
+* Tremolo subdivisions::
+* Measure repeats::
@end menu
@node Repeat syntax
@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'}
\alternative { {d'2 d'} {f' f} }
@end lilypond
-@end quotation
-Folded repeats look like this:@footnote{Folded repeats offer little
-more over simultaneous music. However, it is to be expected that
-more functionality -- especially for the MIDI backend -- will be
-implemented at some point in the future.}
+Folded repeats look like this:
-@quotation
@lilypond[fragment,verbatim]
c'1
\alternative { {d'2 d'} {f' f} }
@end lilypond
-@end quotation
-
If you don't give enough alternatives for all of the repeats, then
the first alternative is assumed to be repeated often enough to equal
the specified number of repeats.
-@quotation
@lilypond[fragment,verbatim]
\context Staff {
\relative c' {
- \partial 4;
- \repeat volta 3 { e | c2 d2 | e2 f2 | }
+ \partial 4
+ \repeat volta 4 { e | c2 d2 | e2 f2 | }
\alternative { { g4 g g } { a | a a a a | b2. } }
}
}
-
@end lilypond
-@end quotation
+@node Repeats and MIDI
+@subsection Repeats and MIDI
+
+@cindex expanding repeats
+
+For instructions on how to unfoldi repeats for MIDI output, see
+the example file @file{input/test/unfold-all-repeats.ly}.
-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.
-It is possible to nest @code{\repeat}, although it probably is only
+@refbugs
+
+Notice that timing information is not remembered at the start of an
+alternative, so you have to reset timing information after a repeat,
+e.g. using a bar-check (See @ref{Bar check}), setting
+@code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
+are also not repeated.
+
+It is possible to nest @code{\repeat}s, although this probably is only
meaningful for unfolded repeats.
+Folded repeats offer little more over simultaneous music.
+
@node Manual repeat commands
@subsection Manual repeat commands
@table @code
@item 'start-repeat
Print a |: bar line
-@item 'stop-repeat
+@item 'end-repeat
Print a :| bar line
@item (volta . @var{text})
Print a volta bracket saying @var{text}.
@lilypond[verbatim, fragment]
c''4
\property Score.repeatCommands = #'((volta "93") end-repeat)
- c4 c4
+ c''4 c''4
\property Score.repeatCommands = #'((volta #f))
- c4 c4
+ c''4 c''4
@end lilypond
+Repeats brackets are @internalsref{VoltaBracket} grobs.
+
@node Tremolo repeats
@subsection Tremolo repeats
@cindex tremolo beams
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
-@node Tremolo subdivision
-@subsection Tremolo subdivision
+Tremolo beams are @internalsref{Beam} grobs. Single stem tremolos are
+@internalsref{StemTremolo}.
+
+@refbugs
+
+Tremolo beams confuse the spacing engine.
+
+@node Tremolo subdivisions
+@subsection Tremolo subdivisions
@cindex tremolo marks
@cindex @code{tremoloFlags}
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
+ c'2:8 c':32 | c': c': |
@end lilypond
-Tremolos in this style do not carry over into the MIDI output.
+@refbugs
-Using this mechanism pays off when you entering many tremolos, since the
-default argument saves a lot of typing.
+Tremolos in this style do not carry over into the MIDI output.
+@node Measure repeats
+@subsection Measure repeats
+@cindex percent repeats
+@cindex measure repeats
+
+In the @code{percent} style, a note pattern can be repeated. It is
+printed once, and then the pattern is replaced with a special sign.
+Patterns of a one and two measures are replaced by percent-like signs,
+patterns that divide the measure length are replaced by slashes.
+
+@lilypond[verbatim,singleline]
+ \context Voice { \repeat "percent" 4 { c'4 }
+ \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
+}
+@end lilypond
+
+The signs are represented by these grobs: @internalsref{RepeatSlash} and
+@internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
+
+@refbugs
+
+You can not nest percent repeats, e.g. by filling in the first measure
+with slashes, and repeating that measure with percents.
+
+@node Rhythmic music
+@section Rhythmic music
+
+Sometimes you might want to show only the rhythm of a melody. This can
+be done with the rhythmic staff. All pitches of notes on such a staff
+are squashed, and the staff itself looks has a single staff line:
+
+@lilypond[fragment,relative,verbatim]
+ \context RhythmicStaff {
+ \time 4/4
+ c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
+ }
+@end lilypond
+
+@menu
+* Percussion staves::
+@end menu
+
+@node Percussion staves
+@subsection Percussion staves
+@cindex percussion
+@cindex drums
+To typeset more than one piece of percussion to be played by the same
+musician one typically uses a multiline staff where each staff
+position refers to a specific piece of percussion.
+
+LilyPond is shipped with a bunch of scheme functions which allows you
+to do this fairly easily.
+
+The system is based on the general midi drum-pitches.
+In order to use the drum pitches you include
+@file{ly/drumpitch-init.ly}. This file defines the pitches from the scheme
+variable @code{drum-pitch-names} - which definition can be read in
+@file{scm/drums.scm}. You see that each piece of percussion has a full
+name and an abbreviated name - and you may freely select whether to
+refer to the full name or the abbreviation in your music definition.
+
+To typeset the music on a staff you apply the scheme function
+@code{drums->paper} to the percussion music. This function takes a
+list of percussion instrument names, notehead scripts and staff
+positions (that is: pitches relative to the C-clef) and uses this to
+transform the input music by moving the pitch, changing the notehead
+and (optionally) adding a script:
+@lilypond[singleline,verbatim]
+\include "drumpitch-init.ly"
+up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
+down = \notes { bassdrum4 snare8 bd r bd sn4 }
+\score {
+ \apply #(drums->paper 'drums) \context Staff <
+ \clef percussion
+ \context Voice = up { \voiceOne \up }
+ \context Voice = down { \voiceTwo \down }
+ >
+}
+
+@end lilypond
+In the above example the music was transformed using the list @code{'drums}.
+Currently the following lists are defined in @file{scm/drums.scm}:
+@table @code
+@item 'drums
+To typeset a typical drum kit on a five line staff.
+@lilypond[]
+\include "drumpitch-init.ly"
+nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
+ bd sn ss tomh tommh tomml toml tomfh tomfl }
+mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
+ bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
+\score {
+ <
+ \apply #(drums->paper 'drums) \context Staff <
+ \clef percussion
+ \mus
+ >
+ \context Lyrics \nam
+ >
+ \paper {
+ \translator {
+ \StaffContext
+ \remove Bar_engraver
+ \remove Time_signature_engraver
+ minimumVerticalExtent = #'(-4.0 . 5.0)
+ }
+ \translator {
+ \VoiceContext
+ \remove Stem_engraver
+ }
+ }
+}
+@end lilypond
+Notice that the scheme supports six different toms.
+If you are using fewer toms then you simply select the toms that produce
+the desired result - i.e. to get toms on the three middle lines you
+use @code{tommh}, @code{tomml} and @code{tomfh}.
+
+Because the general midi contain no rimshots we use the sidestick for
+this purpose instead.
+@item 'timbales
+To typeset timbales on a two line staff.
+@lilypond[singleline]
+\include "drumpitch-init.ly"
+nam = \lyrics { timh ssh timl ssl cb }
+mus = \notes { timh ssh timl ssl cb s16 }
+\score {
+ <
+ \apply #(drums->paper 'timbales) \context Staff <
+ \clef percussion
+ \mus
+ >
+ \context Lyrics \nam
+ >
+ \paper {
+ \translator {
+ \StaffContext
+ \remove Bar_engraver
+ \remove Time_signature_engraver
+ StaffSymbol \override #'line-count = #2
+ StaffSymbol \override #'staff-space = #2
+ minimumVerticalExtent = #'(-3.0 . 4.0)
+ }
+ \translator {
+ \VoiceContext
+ \remove Stem_engraver
+ }
+
+ }
+}
+@end lilypond
+@item 'congas
+To typeset congas on a two line staff.
+@lilypond[singleline]
+\include "drumpitch-init.ly"
+nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
+mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
+\score {
+ <
+ \apply #(drums->paper 'congas) \context Staff <
+ \clef percussion
+ \mus
+ >
+ \context Lyrics \nam
+ >
+ \paper {
+ \translator {
+ \StaffContext
+ \remove Bar_engraver
+ \remove Time_signature_engraver
+ StaffSymbol \override #'line-count = #2
+ StaffSymbol \override #'staff-space = #2
+ minimumVerticalExtent = #'(-3.0 . 4.0)
+ }
+ \translator {
+ \VoiceContext
+ \remove Stem_engraver
+ }
+ }
+}
+@end lilypond
+@item 'bongos
+To typeset bongos on a two line staff.
+@lilypond[singleline]
+\include "drumpitch-init.ly"
+nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
+mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
+\score {
+ <
+ \apply #(drums->paper 'bongos) \context Staff <
+ \clef percussion
+ \mus
+ >
+ \context Lyrics \nam
+ >
+ \paper {
+ \translator {
+ \StaffContext
+ \remove Bar_engraver
+ \remove Time_signature_engraver
+ StaffSymbol \override #'line-count = #2
+ StaffSymbol \override #'staff-space = #2
+ minimumVerticalExtent = #'(-3.0 . 4.0)
+ }
+ \translator {
+ \VoiceContext
+ \remove Stem_engraver
+ }
+ }
+}
+@end lilypond
+@item 'percussion
+To typeset all kinds of simple percussion on one line staves.
+@lilypond[singleline]
+\include "drumpitch-init.ly"
+nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
+mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
+\score {
+ <
+ \apply #(drums->paper 'percussion) \context Staff <
+ \clef percussion
+ \mus
+ >
+ \context Lyrics \nam
+ >
+ \paper {
+ \translator {
+ \StaffContext
+ \remove Bar_engraver
+ \remove Time_signature_engraver
+ StaffSymbol \override #'line-count = #1
+ minimumVerticalExtent = #'(-2.0 . 3.0)
+ }
+ \translator {
+ \VoiceContext
+ \remove Stem_engraver
+ }
+ }
+}
+@end lilypond
+@end table
+
+If you don't like any of the predefined lists you can define your own
+list at the top of your file:
+
+@lilypond[singleline, verbatim]
+#(define mydrums `(
+ (bassdrum default #f ,(make-pitch -1 2 0))
+ (snare default #f ,(make-pitch 0 1 0))
+ (hihat cross #f ,(make-pitch 0 5 0))
+ (pedalhihat xcircle "stopped" ,(make-pitch 0 5 0))
+ (lowtom diamond #f ,(make-pitch -1 6 0))
+))
+\include "drumpitch-init.ly"
+up = \notes { hh8 hh hh hh hhp4 hhp }
+down = \notes { bd4 sn bd toml8 toml }
+\score {
+ \apply #(drums->paper 'mydrums) \context Staff <
+ \clef percussion
+ \context Voice = up { \voiceOne \up }
+ \context Voice = down { \voiceTwo \down }
+ >
+}
+@end lilypond
+
+To use a modified existing list instead of building your own from
+scratch you can append your modifications to the start of the existing
+list:
+
+@example
+#(define mydrums (append `(
+ (bassdrum default #f ,(make-pitch -1 2 0))
+ (lowtom diamond #f ,(make-pitch -1 6 0))
+) drums ))
+@end example
+
+@c FIXME: Too many levels of headers when using subsubsections.
+@c Perhaps junk subsection ``Percussion staves''
+@subsubsection Percussion staves with normal staves
+When you include @file{drumpitch-init.ly} then the default pitches
+are overridden so that you after the inclusion cannot use the common
+dutch pitch names anymore. Hence you might wan't to reinclude
+@file{nederlands.ly} after the drum-pattern-definitions:
+@lilypond[singleline,verbatim]
+\include "drumpitch-init.ly"
+up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
+down = \notes { bassdrum4 snare8 bd r bd sn4 }
+\include "nederlands.ly"
+bass = \notes \transpose c, { a4. e8 r e g e }
+\score {
+ <
+ \apply #(drums->paper 'drums) \context Staff = drums <
+ \clef percussion
+ \context Voice = up { \voiceOne \up }
+ \context Voice = down { \voiceTwo \down }
+ >
+ \context Staff = bass { \clef "F_8" \bass }
+ >
+}
+@end lilypond
+
+@subsubsection Percussion midi output
+In order to produce correct midi output you need to produce two score
+blocks - one for the paper and one for the midi.
+To use the percussion channel you set the property @code{instrument}
+to @code{'drums}. Because the drum-pitches themself are similar to the
+general midi pitches all you have to do is to insert the voices with
+none of the scheme functions to get the correct midi output:
+
+@example
+\score @{
+ \apply #(drums->paper 'mydrums) \context Staff <
+ \clef percussion
+ \context Voice = up @{ \voiceOne \up @}
+ \context Voice = down @{ \voiceTwo \down @}
+ >
+ \paper@{@}
+@}
+\score @{
+ \context Staff <
+ \property Staff.instrument = #'drums
+ \up \down
+ >
+ \midi@{@}
+@}
+@end example
+
+@refbugs
+
+This scheme is to be considered a temporary implementation. Even
+though the scheme will probably keep on working then the future might
+bring some other way of typesetting drums, and probably
+there will be made no great efforts in keeping things downwards
+compatible.
@c . {Piano music}
@node Piano music
@section Piano music
+
+Piano music is an odd type of notation. Piano staves are two normal
+staves coupled with a brace. The staves are largely independent, but
+sometimes voices can cross between the two staves. The
+@internalsref{PianoStaff} is especially built to handle this cross-staffing
+behavior. In this section we discuss the @internalsref{PianoStaff} and some
+other pianistic peculiarities.
+
@menu
* Automatic staff changes::
* Manual staff switches::
* Pedals::
* Arpeggio::
-* Follow Thread::
+* Voice follower lines::
@end menu
@subsection Automatic staff changes
@cindex Automatic staff changes
-Voices can be switched from top to bottom staff automatically. The
-syntax for this is
+Voices can switch automatically between the top and the bottom
+staff. The syntax for this is
@example
- \autochange @var{contexttype} @var{musicexp}
-@end example
-This will switch notation context of @var{musicexp} between a
-@var{contexttype} named @code{up} and @code{down}. Typically, you use
-@code{Staff} for @var{contexttype}. The autochanger switches on basis
-of pitch (central C is the turning point), and it looks ahead skipping
-over rests to switch rests in advance.
+ \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
+@end example
+The autochanger switches on basis of pitch (central C is the turning
+point), and it looks ahead skipping over rests to switch rests in
+advance. Here is a practical example:
@lilypond[verbatim,singleline]
\score { \notes \context PianoStaff <
- \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
-
-
+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}
-@example
- \translator @var{contexttype} = @var{name}
-@end example
-
-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.
-
+Voices can be switched between staves manually, using the following command:
@example
- \translator Staff = top @var{Music}
+ \translator Staff = @var{staffname} @var{music}
@end example
-
+The string @var{staffname} is the name of the staff. It switches the
+current voice from its current staff to the Staff called
+@var{staffname}. Typically @var{staffname} is @code{"up"} or
+@code{"down"}.
@c . {Pedals}
@node Pedals
@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{\unaCorda},
+@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
+
+These identifiers are shorthands for spanner commands of the types
+@internalsref{Sustain}, @internalsref{UnaCorda} and @internalsref{Sostenuto}:
+
@lilypond[fragment,verbatim]
-c''4 \spanrequest \start "Sustain" 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:
+Sustain, Sostenuto or UnaCorda. Refer to the generated documentation of
+@rgrob{SustainPedal}, for example, for more information.
+
+Pedals can also be indicated by a sequence of brackets, by setting the
+@code{pedal-type} property of SustainPedal grobs:
+
+@lilypond[fragment,verbatim]
+\property Staff.SustainPedal \override #'pedal-type = #'bracket
+c''4 \sustainDown d''4 e''4 a'4
+\sustainUp \sustainDown
+ f'4 g'4 a'4 \sustainUp
+@end lilypond
+
+A third style of pedal notation is a mixture of text and brackets,
+obtained by setting @code{pedal-type} to @code{mixed}:
+
+@lilypond[fragment,verbatim]
+\property Staff.SustainPedal \override #'pedal-type = #'mixed
+c''4 \sustainDown d''4 e''4 c'4
+\sustainUp \sustainDown
+ f'4 g'4 a'4 \sustainUp
+@end lilypond
+
+The default '*Ped' style for sustain and damper pedals corresponds to
+@code{\pedal-type = #'text}. However, @code{mixed} is the default style
+for a sostenuto pedal:
+
+@lilypond[fragment,verbatim]
+c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
+@end lilypond
-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.
+For fine-tuning of the appearance of a pedal bracket, the properties
+@code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
+@code{PianoPedalBracket} grobs (see the detailed documentation of
+@rgrob{PianoPedalBracket}) can be modified. For example, the bracket
+may be extended to the end of the note head.
+
+@lilypond[fragment,verbatim]
+\property Staff.PianoPedalBracket \override
+ #'shorten-pair = #'(0 . -1.0)
+c''4 \sostenutoDown d''4 e''4 c'4
+f'4 g'4 a'4 \sostenutoUp
+@end lilypond
-Currently, brackets are not supported, only text markings (ie. *Ped
-style).
@c . {Arpeggio}
@code{\arpeggio} to a note of the chord.
-@quotation
@lilypond[fragment,relative,verbatim]
- \context Voice <c'\arpeggio e g c>
+ \context Voice <c\arpeggio e g c>
@end lilypond
-@end quotation
-When an arpeggio crosses staffs in piano music, you attach an arpeggio
-to the chords in both staffs, and set
-@code{PianoStaff.connectArpeggios}. LilyPond will connect the arpeggios
-in both staffs.
+When an arpeggio crosses staves in piano music, you attach an arpeggio
+to the chords in both staves, and set
+@code{PianoStaff.connectArpeggios}.
-@quotation
@lilypond[fragment,relative,verbatim]
\context PianoStaff <
\property PianoStaff.connectArpeggios = ##t
- \context Voice = one { <c''\arpeggio e g c> }
- \context Voice = other { \clef bass; <c,,\arpeggio e g>}
+ \context Voice = one { <c'\arpeggio e g c> }
+ \context Voice = other { \clef bass <c,,\arpeggio e g>}
>
@end lilypond
-@end quotation
-
+This command creates @internalsref{Arpeggio} grobs. Cross staff arpeggios
+are @code{PianoStaff.Arpeggio}.
-@c . {Follow Thread}
-@node Follow Thread
-@subsection Follow Thread
-@cindex follow thread
-@cindex staff switching
-@cindex cross staff
-
-[todo: different name, eg. voice line ? ]
+To add an arrow head to explicitly specify the direction of the
+arpeggio, you should set the arpeggio grob property
+@code{arpeggio-direction}.
-@cindex @code{followThread}
+@lilypond[fragment,relative,verbatim]
+ \context Voice {
+ \property Voice.Arpeggio \set #'arpeggio-direction = #1
+ <c\arpeggio e g c>
+ \property Voice.Arpeggio \set #'arpeggio-direction = #-1
+ <c\arpeggio e g c>
+ }
+@end lilypond
-Whenever a voice switches to another staff a line connecting the notes
-can be printed automatically. This is enabled if the property
-@code{PianoStaff.followThread} is set to true:
+A square bracket on the left indicates that the player should not
+arpeggiate the chord. To draw these brackets, set the
+@code{molecule-callback} property of @code{Arpeggio} or
+@code{PianoStaff.Arpeggio} grobs to @code{\arpeggioBracket}, and use
+@code{\arpeggio} statements within the chords as before.
-@quotation
@lilypond[fragment,relative,verbatim]
\context PianoStaff <
- \property PianoStaff.followThread = ##t
- \context Staff \context Voice {
- c'1
- \translator Staff=two
- b2 a
- }
- \context Staff=two {\clef bass; \skip 1*2;}
+ \property PianoStaff.connectArpeggios = ##t
+ \property PianoStaff.Arpeggio \override
+ #'molecule-callback = \arpeggioBracket
+ \context Voice = one { <c'\arpeggio e g c> }
+ \context Voice = other { \clef bass <c,,\arpeggio e g>}
>
@end lilypond
-@end quotation
-
-
-@c . {Lyrics}
-@node Lyrics
-@section Lyrics
-
-
-@menu
-* Lyrics mode::
-* Printing lyrics::
-* Automatic syllable durations::
-* More stanzas::
-@end menu
-@c . {Lyrics mode}
-@node Lyrics mode
-@subsection Lyrics mode
-@cindex Lyrics mode
-
-@cindex lyric mode
-@cindex @code{\lyrics}
-
-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
-Since combinations of numbers and dots are used for indicating
-durations, you can not enter real numbers in this mode.
+@refbugs
-@cindex lyrics expressions
+It is not possible to mix connected arpeggios and unconnected
+arpeggios in one PianoStaff at the same time.
-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.
-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.
+@node Voice follower lines
+@subsection Voice follower lines
-@c . {Printing lyrics}
-@node Printing lyrics
-@subsection Printing lyrics
-@cindex lyrics
+@cindex follow voice
+@cindex staff switching
+@cindex cross staff
+@cindex @code{followVoice}
-Lyric syllables must be interpreted within a @code{Lyrics} context for
-printing them. Here is a full example:
+Whenever a voice switches to another staff a line connecting the notes
+can be printed automatically. This is enabled if the property
+@code{PianoStaff.followVoice} is set to true:
-@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 {
- Va-4 der Ja- cob Va- der Ja- cob
- Slaapt gij nog?2 Slaapt4 gij nog?2
+@lilypond[fragment,relative,verbatim]
+ \context PianoStaff <
+ \property PianoStaff.followVoice = ##t
+ \context Staff \context Voice {
+ c1
+ \translator Staff=two
+ b2 a
}
- >
-}
-
+ \context Staff=two {\clef bass \skip 1*2 }
+ >
@end lilypond
-@end quotation
-
+The associated grob is @internalsref{VoiceFollower}.
-@cindex extender
-@cindex lyric extender
+@node Tablatures
+@section Tablatures
-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{_}).
+Tablature notation is used music for plucked string instruments. It
+notates pitches not by using note heads, but by indicating on which
+string and fret a note must be played. LilyPond offers limited
+support for tablature, by abusing the fingering system.
-@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
+@menu
+* Tablatures basic::
+* Non-guitar tablatures::
+* Tablature in addition to normal staff::
+@end menu
-@cindex Lyric hyphen
+@node Tablatures basic
+@subsection Tablatures basic
+@cindex Tablatures basic
-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:
+Tablature can be typeset with Lilypond by using the
+@internalsref{TabStaff} and @internalsref{TabVoice} contexts. As
+tablature is a recent feature in Lilypond, most of the guitar special
+effects such as hammer, pull, bend are not yet supported.
-@quotation
+With the @internalsref{TabStaff}, the string number associated to a note
+is given though the fingering mechanism, e.g. @code{c4-3} for a C
+quarter on the third string. The string 1 is the lowest one, and the
+tuning defaults to the standard guitar tuning (with 6 strings).
-@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
+@lilypond[fragment,verbatim]
+ \context TabStaff <
+ \notes {
+ \property Staff.Stem \override #'direction = #1
+
+ a,4-2 c'-5 a-4 e'-6
+ e-3 c'-5 a-4 e'-6
}
- >
-}
-
+ >
@end lilypond
-@end quotation
-@c . {Automatic syllable durations}
-@node Automatic syllable durations
-@subsection Automatic syllable durations
-@cindex Automatic syllable durations
+@node Non-guitar tablatures
+@subsection Non-guitar tablatures
+@cindex Non-guitar tablatures
+There are many ways to customize Lilypond tablatures.
-@cindex automatic lyric durations
-@cindex @code{\addlyrics}
-
-If you have lyrics that are set to a melody, you can import the rhythm
-of that melody into the lyrics using @code{\addlyrics}. The syntax for
-this is
-@example
- \addlyrics @var{musicexpr1 musicexpr2}
-@end example
+First you can change the number of strings, by setting the number of
+lines in the @internalsref{TabStaff}. You can change the strings
+tuning. A string tuning is given as a Scheme list with one integer
+number for each string, the number being the pitch of an open string.
-This means that both @var{musicexpr1} and @var{musicexpr2} are
-interpreted, but that every non-command atomic music expression
-(``every syllable'') in @var{musicexpr2} is interpreted using timing
-of @var{musicexpr1}.
-@cindex @code{automaticMelismata}
+Finally, it is possible to change the Scheme function to format the
+tablature note text. The default is @var{fret-number-tablature-format},
+which uses the fret number, but for some instruments that may not use
+this notation, just create your own tablature-format function. This
+function takes three argument: the string number, the string tuning and
+the note pitch.
-If the property @code{automaticMelismata} is set in the
-context of @var{musicexpr1}, no lyrics will be put on slurred or tied
-notes.
-@quotation
-@lilypond[verbatim,fragment]
-\addlyrics
-\transpose c'' {
- \property Voice.automaticMelismata = ##t
- c8 () cis d8. e16 f2
-}
-\context Lyrics \lyrics {
- do4 re mi fa }
-@end lilypond
-@end quotation
+@node Tablature in addition to normal staff
+@subsection Tablature in addition to normal staff
+@cindex Tablature in addition to normal staff
-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:
+It is possible to typeset both tablature and a "normal" staff, as
+commonly done in many parts.
-@quotation
-@lilypond[verbatim,fragment]
-\addlyrics
-\transpose c'' {
- c8 () cis d8. e16 f2
-}
-\context Lyrics \lyrics
-< { do4 re mi fa }
- { do8 re mi fa } >
+A common trick for that is to put the notes in a variables, and to hide
+the fingering information (which correspond to the string number) for
+the standard staff.
+@lilypond[verbatim]
+ part = \notes {
+ a,4-2 c'-5 a-4 e'-6
+ e-3 c'-5 a-4 e'-6
+ }
+ \score{
+ \context StaffGroup <
+ \context Staff <
+ % Hide fingering number (used for string number) for the "normal" staff
+ \property Staff.Fingering \override #'transparent = ##t
+
+ \part
+ >
+ \context TabStaff <
+ \property Staff.Stem \override #'direction = #1
+
+ \part
+ >
+ >
+ }
@end lilypond
-@end quotation
-It is valid (but probably not very useful) to use notes instead of
-lyrics for @var{musicexpr2}.
-@node More stanzas
-@subsection More stanzas
-
-@cindex phrasing
-
-If you have multiple stanzas printed underneath each other, the separate
-syllables should be aligned around punctuation. LilyPond can do this if
-you explain it which lyric lines belong to which melody.
-
-To this end, give the Voice context an identity, and set the LyricsVoice
-to name starting with that identity. In the following example, the Voice
-identity is @code{duet}, and the identities of the LyricsVoices are
-@code{duet-1} and @code{duet-2}.
+@c . {Chords}
+@node Chords
+@section Chords
+@cindex Chords
+LilyPond has support for both entering and printing chords.
+@lilypond[verbatim,singleline]
+twoWays = \notes \transpose c'' {
+ \chords {
+ c1 f:sus4 bes/f
+ }
+ <c e g>
+ <f bes c'>
+ <f bes d'>
+ }
-@lilypond[singleline,verbatim]
\score {
-\addlyrics
- \notes \relative c'' \context Voice = duet { \time 3/4; g2 e4 a2 f4 g2. }
- \lyrics \context Lyrics <
- \context LyricsVoice = "duet-1" {
- \property LyricsVoice . stanza = "Bert"
- Hi, my name is bert. }
- \context LyricsVoice = "duet-2" {
- \property LyricsVoice . stanza = "Ernie"
- Ooooo, ch\'e -- ri, je t'aime. }
- >
-}
+ < \context ChordNames \twoWays
+ \context Voice \twoWays > }
@end lilypond
-You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
-first system) and @code{LyricsVoice.stz} for the following systems.
-
-@cindex stanza numbering
-
-
-@c . {Chords}
-@node Chords
-@section Chords
-@cindex Chords
+This example also shows that the chord printing routines do not try to
+be intelligent. If you enter @code{f bes d}, it does not interpret
+this as an inversion.
-[chords vs. simultaneous music]
+As you can see chords really are a set of pitches. They are internally
+stored as simultaneous music expressions. This means you can enter
+chords by name and print them as notes, enter them as notes and print
+them as chord names, or (the most common case) enter them by name, and
+print them as name.
@menu
* Chords mode::
-* 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 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}).
-
-@example
-
- @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
-@end example
-
-@var{tonic} should be the tonic note of the chord, and @var{duration}
-is the chord duration in the usual notation. There are two kinds of
-modifiers. One type is @emph{chord additions}, which are obtained by
-listing intervals separated by dots. An interval is written by its
-number with an optional @code{+} or @code{-} to indicate raising or
-lowering by half a step. Chord additions has two effects: It adds
-the specified interval and all lower odd numbered intervals to the
-chord, and it may lower or raise the specified interval. Intervals
-must be separated by a dot (@code{.}).
-
+Chord mode is a mode where you can input sets of pitches using common
+names. It is introduced by the keyword @code{\chords}. It is similar
+to note mode, but words are also looked up in a chord modifier table
+(containing @code{maj}, @code{dim}, etc). Dashes and carets are used
+to indicate chord additions and subtractions, so articulation scripts
+can not be entered in Chord mode.
Throughout these examples, chords have been shifted around the staff
using @code{\transpose}.
-
-@quotation
-
@lilypond[fragment,verbatim]
\transpose c'' {
\chords {
c1 c:3- c:7 c:8
- c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
+ c:9 c:9-.5+.7+ c:3-.5-
}
}
-
@end lilypond
-@end quotation
@cindex @code{aug}
@cindex @code{dim}
`@code{maj}' which adds a raised 7th, and `@code{sus}'
which replaces the 5th with a 4th.
-@quotation
-
@lilypond[fragment,verbatim]
\transpose c'' {
\chords {
c1:m c:min7 c:maj c:aug c:dim c:sus
}
}
-
@end lilypond
-@end quotation
Chord subtractions are used to eliminate notes from a chord. The
@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 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.
+The formal syntax for named chords is as follows:
+@example
+ @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
+@end example
-You should not combine @code{\relative} with named chords. [FIXME]
+@var{tonic} should be the tonic note of the chord, and @var{duration} is
+the chord duration in the usual notation. There are two kinds of
+modifiers. One type is formed by @emph{chord additions}. Additions are
+obtained by listing intervals separated by dots. An interval is written
+by its number with an optional @code{+} or @code{-} to indicate raising
+or lowering by half a step. Chord additions have two effects: they adds
+the specified interval and all lower odd numbered intervals to the
+chord, and they may lower or raise the specified interval.
-@c . {Printing named chords}
-@node Printing named chords
-@subsection Printing named chords
+@refbugs
+Implementation details are gory. For example @code{c:4} not only adds
+a fourth, but also removes the third.
+@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 @internalsref{ChordNames} context.
+The chords may be entered either using the notation described above, or
+directly using simultaneous music.
-@quotation
@lilypond[verbatim,singleline]
scheme = \notes {
\chords {a1 b c} <d f g> <e g b>
}
\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
@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 a
+new line.
-@c bug
-@quotation
@lilypond[verbatim]
scheme = \chords {
- c1:m \break c:m c:m c:m d
+ c1:m c:m \break c:m c:m d
}
-
\score {
\notes <
- \context ChordNames \scheme
+ \context ChordNames {
+ \property ChordNames.chordChanges = ##t
+ \scheme }
\context Staff \transpose c'' \scheme
>
- \paper{
- linewidth = 40 * \staffspace;
- \translator {
- \ChordNamesContext
- chordChanges = ##t
- }
- }
+\paper{linewidth= 9.\cm}
}
@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
+an added bass note, which may result in strange chord names when chords
+are entered as a list of pitches:
-@quotation
@lilypond[verbatim,center,singleline]
scheme = \notes {
<c'1 e' g'>
\score {
<
- \context ChordNamesVoice \scheme
+ \context ChordNames \scheme
\context Staff \scheme
>
}
-@end lilypond
-@end quotation
-
-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
-
-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
-}
-
-\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
-
-@node Writing parts
-@section Writing parts
-
-@c . {Transpose}
-@menu
-* Rehearsal marks::
-* Instrument names::
-* Transpose::
-* Sound output for transposing instruments::
-* Multi measure rests::
-* Automatic part combining::
-@end menu
-
-@c . {Rehearsal marks}
-@node Rehearsal marks
-@subsection Rehearsal marks
-@cindex Rehearsal marks
-@cindex mark
-@cindex @code{\mark}
-@cindex @code{Mark_engraver}
-
-@example
- \mark @var{unsigned};
- \mark @var{string};
- \mark ;
-@end example
-
-With this command, you can print a rehearsal mark above the system. You
-can provide a number, a string or a markup text as argument. If there is
-no argument, the property @code{rehearsalMark} is used and automatically
-incremented.
-
-@lilypond[fragment,verbatim]
-\relative c'' {
- c1 \mark "A2";
- c1 \mark ;
- c1 \mark ;
- c1 \mark "12";
- c1 \mark #'(music "scripts-segno") ;
- c1
-}
-@end lilypond
-
-@node Instrument names
-@subsection Instrument names
-
-You can specify an instrument name for a staff by setting
-@code{Staff.instrument} and @code{Staff.instr}. This will print a string
-before the start of the staff. For the first start, @code{instrument} is
-used, for the next ones @code{instr} is used.
-
-@lilypond[verbatim,singleline]
-\score { \notes {
- \property Staff.instrument = "instr " { c''4 } }
- \paper {
- \translator { \StaffContext
- \consists "Instrument_name_engraver"; } } }
-@end lilypond
-
-This requires that you add the @code{Instrument_name_engraver} to the
-staff context.
-
-
-@node Transpose
-@subsection Transpose
-@cindex Transpose
-@cindex transposition of pitches
-@cindex @code{\transpose}
-
-A music expression can be transposed with @code{\transpose}. The syntax
-is
-@example
- \transpose @var{pitch} @var{musicexpr}
-@end example
-
-This means that middle C in @var{musicexpr} is transposed to
-@var{pitch}.
-
-@code{\transpose} distinguishes between enharmonic pitches: both
-@code{\transpose cis'} or @code{\transpose des'} will transpose up half
-a tone. The first version will print sharps and the second version
-will print flats.
-
-@quotation
-@lilypond[fragment,verbatim]
-\context Staff {
- \clef "F";
- { \key e \major; c d e f }
- \clef "G";
- \transpose des'' { \key e \major; c d e f }
- \transpose cis'' { \key e \major; c d e f }
-}
-
-@end lilypond
-@end quotation
-
-If you want to use both @code{\transpose} and @code{\relative}, then
-you must use @code{\transpose} first. @code{\relative} will have no
-effect music that appears inside a @code{\transpose}.
-
-@node Sound output for transposing instruments
-@subsection Sound output transposing instruments
-
-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}.
-
-@cindex @code{transposing}
-
-@example
- \property Staff.instrument = #"Cl. in B-flat"
- \property Staff.transposing = #-2
-@end example
-
-
-@c . {Multi measure rests}
-@node Multi measure rests
-@subsection Multi measure rests
-@cindex Multi measure rests
-
-@cindex @code{R}
-
-Multi measure rests are entered using `@code{R}'. It is specifically
-meant for entering parts: the rest can expand to fill a score with
-rests, or it can be printed as a single multimeasure rest This expansion
-is controlled by the property @code{Score.skipBars}. If this is set to true,
-Lily will not expand empty measures, and the appropriate number is added
-automatically.
-
-@lilypond[fragment,verbatim]
- \time 3/4; R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
-@end lilypond
-
-Currently, there is no way to condense multiple rests into a single
-multimeasure rest.
-
-@cindex condensing rests
-
-@node Automatic part combining
-@subsection Automatic part combining
-
-[TODO]
-
-
-@c . {Custodes}
-@node Custodes
-@section Custodes
-@cindex Custos
-@cindex Custodes
-
-A @emph{custos} (plural: @emph{custodes}; latin word for "guard") is a
-staff context symbol that appears at the end of a staff line. It
-anticipates the pitch of the first note(s) of the following line and
-thus helps the player or singer to manage line breaks during
-performance, thus enhancing readability of a score.
-
-@quotation
-@lilypond[verbatim]
-\score {
- \notes { c'1 d' e' d' \break c' d' e' d' }
- \paper {
- \translator {
- \StaffContext
- \consists Custos_engraver;
- Custos \override #'style = #'mensural;
- }
- }
-}
-@end lilypond
-@end quotation
-
-Custodes were frequently used in music notation until the 16th century.
-There were different appearences for different notation styles.
-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.
-
-For typesetting custodes, just put a @code{Custos_engraver} into the
-@code{StaffContext} when declaring the @code{\paper} block. In this
-block, you can also globally control the appearance of the custos symbol
-by setting the custos @code{style} property. Currently supported styles
-are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
-@code{mensural}.
-
-@quotation
-\paper @{
- \translator @{
- \StaffContext
- \consists Custos_engraver;
- Custos \override #'style = #'mensural;
- @}
-@}
-@end quotation
-
-The property can also be set locally, for example in a @code{\notes}
-block:
-
-@quotation
-\notes @{
- \property Staff.Custos \override #'style = #'vaticana
- c'1 d' e' d' \break c' d' e' d'
-@}
-@end quotation
-
-@c . {Tuning output}
-@node Tuning output
-@section Tuning output
-
-LilyPond tries to take as much formatting as possible out of your
-hands. Nevertheless, there are situations where it needs some help, or
-where you want to override its decisions.
-
-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
-specifically select a set of grobs at one point, and set properties as
-you wish, or secondly, you can (temporarily) modify the definition of a
-grob, thereby affecting an entire group of grobs.
-
-@menu
-* Tuning groups of grobs ::
-* Tuning per grob ::
-* What to tune?::
-* Text markup::
-@end menu
-
-@node Tuning groups of grobs
-@subsection Tuning groups of grobs
-
-@cindex grob description
-
-A grob definition is an association list, that is stored in a context
-property. By assigning to that property (using plain @code{\property}),
-you can change the resulting grobs.
-@lilypond[verbatim, fragment]
-c'4 \property Voice.Stem = #'((meta . ((interfaces . ())))) c'4
-@end lilypond
-The @code{\property} 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 \override
-@cindex \revert
-@cindex \set
-
-
-This mechanism is fairly crude, since you can only set, but not modify,
-the definition of a grob. For this reason, there is a more advanced
-mechanism: 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
-c'4
-@end lilypond
-
-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.
-
-If you revert a setting which was not set in the first place, then it
-has no effect. However, if the setting was set as a system default, it
-may remove the default value, and this may give surprising results,
-including crashes. In other words, if you use @code{\override} and
-@code{\revert}, be sure to balance the overrides and reverts.
-
-If balancing them is too much work, use the following shorthand:
-@code{\set} performs a revert followed by an override:
-@example
-\property Voice.Stem \set #'thickness = #2.0
-@end example
-
-Formally the syntax for these constructions is
-@example
-\property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
-\property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
-\property @var{context}.@var{grobname} \revert @var{symbol}
-@end example
-Here @var{symbol} is a Scheme expression of symbol type, @var{context}
-and @var{grobname} are strings and @var{value} is a Scheme expression.
-
-LilyPond will hang or crash if @var{value} contains cyclic references.
-
-
-
-@node Tuning per grob
-@subsection Tuning per grob
-
-@cindex \outputproperty
-
-A second way of tuning grobs is the more arcane @code{\outputproperty}
-feature.
-Syntax is as follows
-@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
-@code{Output_property_engraver}. It instructs the engraver to feed all
-grobs that it sees to @var{predicate}. Whenever the predicate returns
-true, the grob property @var{symbol} will be set to @var{value}.
-
-You will need to combine this statement with @code{\context} to select
-the appropriate context to apply this to.
-
-If possible, avoid this feature: the semantics are not very clean, and
-the syntax and semantics are up for rewrite.
-
-Here are some random examples:
-
-@lilypond[fragment,verbatim,singleline]
-\relative c'' { c4
- \context Staff \outputproperty
- #(make-type-checker 'note-head-interface)
- #'extra-offset = #'(0.5 . 0.75)
- <c8 e g> }
-@end lilypond
-
-@cindex @code{extra-offset}
-
-This selects all note heads occurring at current staff level, and sets
-the @code{extra-offset} of those heads to @code{(0.5,0.75)}, shifting
-them up and right.
-
-Move the text "m.d.", but not the fingering instruction "2".
-@lilypond[verbatim,singleline]
-#(define (make-text-checker text)
- (lambda (grob) (equal? text (ly-get-elt-property grob 'text))))
-
-\score {
- \notes\relative c''' {
- \property Voice.Stem \set #'direction = #1
- \outputproperty #(make-text-checker "m.d.")
- #'extra-offset = #'(-3.5 . -4.5)
- a^2^"m.d."
- }
-}
-@end lilypond
-
-
-
-
-@node What to tune?
-@subsection What to tune?
-
-This all tells you how to tune grobs, but what variables are there? The
-question is not answered in this manual (although you may encounter
-some examples.).
-
-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
-
-@itemize @bullet
-@item
-which grob to modify
-@item
-which property to modify
-@item
-which context the grob comes from.
-@end itemize
-
-Included with the automatically generated documentation is a master list
-of grobs. Each one can be clicked, taking you to a overview of the
-available properties.
-
-There is also a master list of contexts. Clicking each takes you to an
-overview of the context, listing which grob types are created there.
-
-
-
-@node Text markup
-@subsection Text markup
-@cindex text markup
-@cindex markup text
-
-LilyPond has an internal mechanism to typeset texts. You can
-form text markup expressions by composing scheme expressions
-in the following way.
-
-@lilypond[verbatim]
-\score { \notes \relative c' {
- b-#"text"
- c-#'(bold "text")
- d-#'(lines "one" (bold "text"))
- 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
-of a grob. Formally, it is defined as follows:
-
-@example
-text: string | (head? text+)
-head: markup | (markup+)
-markup-item: property | abbrev | @var{fontstyle}
-property: (@var{key} . @var{value})
-abbrev: @code{rows lines roman music bold italic named super sub text}
-@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.
-
-The following abbreviations are currently
-defined:
-
-@table @code
-@item rows
-horizontal mode: set all text on one line (default)
-@item lines
- vertical mode: set every text on new line
-@item roman
- select roman font
-@item music
- select feta font
-@item bold
- select bold series
-@item italic
- select italic shape
-@item named
- lookup by character name
-@item text
- plain text lookup (by character value)
-@item super
- superscript
-@item sub
- subscript
-@end table
-
-@var{fontstyle} may be any of @code{finger volta timesig mmrest mark
-script large Large dynamic}
-
-
-@c . {Page layout}
-@node Page layout
-@section Page layout
-@cindex Page layout
-
-@menu
-* Paper block::
-* Paper variables::
-* Font Size::
-* Paper size::
-* Line break::
-* Page break::
-@end menu
-
-@c . {Paper block}
-@node Paper block
-@subsection Paper block
-@cindex Paper block
-
-The most important output definition is the @code{\paper} block, for
-music notation. The syntax is
-
-@example
- @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
-@end example
-
-where each of the items is one of
-
-@itemize @bullet
- @item An assignment. The assignment must be terminated by a
- semicolon.
-
- @item A context definition. See Section @ref{Notation Contexts} for
- more information on context definitions.
-
- @item \stylesheet declaration. Its syntax is
- @example
- \stylesheet @var{alist}
- @end example
-
- See @file{font.scm} for details of @var{alist}.
-@end itemize
-
-@c . {Paper variables}
-@node Paper variables
-@subsection Paper variables
-@cindex Paper variables
-
-The paper block has some variables you may want to use or change:
-
-@table @code
-@cindex @code{indent}
- @item @code{indent}
- The indentation of the first line of music.
-@cindex @code{staffspace}
-
- @item @code{staffspace}
- The distance between two staff lines, calculated from the center
- of the lines. You should use either this or @code{stafflinethickness}
- as a unit for distances you modify.
-
-@cindex @code{linewidth}
- @item @code{linewidth}
- Sets the width of the lines.
-
-If set to a negative value, a single
- unjustified line is produced.
-
-@cindex @code{textheight}
-
- @item @code{textheight}
- Sets the total height of the music on each page. Only used by
- ly2dvi.
-@cindex @code{interscoreline}
-
- @item @code{interscoreline}
- Sets the spacing between the score lines. Defaults to 16 pt.
-@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.
-@cindex @code{stafflinethickness}
-
- @item @code{stafflinethickness}
- Determines the thickness of staff lines, and also acts as a scaling
- parameter for other line thicknesses.
-@end table
-
-
-
-@c . {Font size}
-@node Font Size
-@subsection Font size
-@cindex font size
-
-The Feta font provides musical symbols at six different sizes. These
-fonts are 11 point, 13 point, 16 point, 20 point,
-23 point, and 26 point. The point size of a font is the
-height of the five lines in a staff when displayed in the font.
-
-Definitions for these sizes are the files @file{paperSZ.ly}, where
-@code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
-these files, the identifiers @code{paperEleven}, @code{paperThirteen},
-@code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
-@code{paperTwentysix} are defined respectively. The default
-@code{\paper} block is also set.
-
-The font definitions are generated using a Scheme function. For more
-details, see the file @file{font.scm}.
-
-
-
-@c . {Paper size}
-@node Paper size
-@subsection Paper size
-@cindex Paper size
-
-@cindex paper size
-@cindex page size
-@cindex @code{papersize}
-
-To change the paper size, you must first set the
-@code{papersize} variable at top level. Set it to
-the strings @code{a4}, @code{letter}, or @code{legal}. After this
-specification, you must set the font as described above. If you want
-the default font, then use the 20 point font. The new paper size will
-not take effect if the font is not loaded and selected afterwards.
-
-@example
- papersize = "a4"
- \include "paper16.ly"
-
- \score @{
- ...
- \paper @{ \paperSixteen @}
- @}
-@end example
-
-The file "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})
-
-
-
-
-
-
-
-@c . {Line break}
-@node Line break
-@subsection Line break
-
-@cindex line breaks
-@cindex breaking lines
-
-Line breaks are normally computed automatically. They are chosen such
-that the resulting spacing has low variation, and looks neither cramped
-nor loose.
-
-Occasionally you might want to override the automatic breaks; you can do
-this by specifying @code{\break}. This will force a line break at this
-point. Do remember that line breaks can only occur at places where there
-are barlines. If you want to have a line break where there is no
-barline, you can force a barline by entering @code{\bar "";}.
-
-Similarly, @code{\noBreak} forbids a line break at a certain point.
-
-@cindex @code{\penalty}
-
-The @code{\break} and @code{\noBreak} commands are defined in terms of
-the penalty command:
-@example
- \penalty @var{int} @code{;}
-@end example
-
-This imposes 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.
-
-@c . {Page break}
-@node Page break
-@subsection Page break
-
-@cindex page breaks
-@cindex breaking pages
-
-
-Page breaks are normally computed by @TeX{}, so they are not under direct
-control. 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? ]
-
-
-
-
-
-
-@c . {Sound}
-@node Sound
-@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.
-
-Also note that it is 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}
-@node MIDI block
-@subsection MIDI block
-@cindex MIDI block
-
-
-The MIDI block is analogous to the paper block, but it is somewhat
-simpler. The @code{\midi} block can contain:
-@cindex MIDI block
-
-@itemize @bullet
- @item a @code{\tempo} definition
- @item context definitions
-@end itemize
-
-Assignments in the @code{\midi} block are not allowed.
-
-
-
-@cindex context definition
-
-Context definitions follow precisely the same syntax as within the
-\paper block. Translation modules for sound are called performers.
-The contexts for MIDI output are defined in @file{ly/performer.ly}.
-
-
-@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
-
-
-
-
-
-@c . {Tempo}
-@node Tempo
-@subsection Tempo
-@cindex Tempo
-@cindex beats per minute
-@cindex metronome marking
+@end lilypond
-@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.
+By default, a chord name system proposed by Harald Banter (See
+@ref{Literature}) is used. The system is very regular and predictable.
+Typical American style chord names may be selected by setting the
+@code{style} property of the @code{ChordNames.ChordName} grob to
+@code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
+Routines that determine the names to be printed are written in Scheme,
+and may be customized by the user. The code can be found in
+@file{scm/chord-name.scm}. Here's an example showing the differences in
+chord name styles:
+@c too long?
+@c maybe just junk verbatim option?
+@lilypond[verbatim,singleline]
+scheme = \chords {
+ c1 c:5^3 c:4^3 c:5+
+ c:m7+ c:m5-.7
+ c:5-.7 c:5+.7
+ c:9^7
+}
+\score {
+ \notes <
+ \context ChordNames = banter \scheme
+ \context ChordNames = american {
+ \property ChordNames.ChordName \override
+ #'style = #'american \scheme }
+ \context ChordNames = jazz {
+ \property ChordNames.ChordName \override
+ #'style = #'jazz \scheme }
+ \context Staff \transpose c'' \scheme
+ >
+}
+@end lilypond
-@c . {Music entry}
-@node Music entry
-@section Music entry
-@cindex Music entry
+@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
-* Relative::
-* Point and click::
+* Rehearsal marks::
+* Bar numbers::
+* Instrument names::
+* Transpose::
+* Multi measure rests::
+* Automatic part combining::
+* Hara kiri staves::
+* Sound output for transposing instruments::
@end menu
+@c . {Rehearsal marks}
+@node Rehearsal marks
+@subsection Rehearsal marks
+@cindex Rehearsal marks
+@cindex mark
+@cindex @code{\mark}
+
+To print a rehearsal mark, use the @code{\mark} command.
+@lilypond[fragment,verbatim]
+\relative c'' {
+ c1 \mark "A"
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark "12"
+ c1 \mark \default
+ c1 \mark #'(music "scripts-segno")
+ c1
+}
+@end lilypond
+As you can see, the mark is incremented automatically if you use
+@code{\mark \default}. The value to use is stored in the property
+@code{rehearsalMark} is used and automatically incremented. The grob
+is @internalsref{RehearsalMark} in @internalsref{Score} context. See
+@code{input/test/boxed-molecule.ly} if you need boxes around the
+marks.
-@c . {Relative}
-@node Relative
-@subsection Relative
-@cindex Relative
-@cindex relative octave specification
+@node Bar numbers
+@subsection Bar numbers
-Octaves are specified by adding @code{'} and @code{,} to pitch names.
-When you copy existing music, it is easy to accidentally put a pitch in
-the wrong octave and hard to find such an error. To prevent these
-errors, LilyPond features octave entry.
-@cindex @code{\relative}
+@cindex bar numbers
+@cindex measure numbers
+@cindex currentBarNumber
+
+Bar numbers are printed by default at the start of the line. The
+number itself is a property that can be set by modifying the
+@code{currentBarNumber} property, i.e.
@example
- \relative @var{startpitch} @var{musicexpr}
+ \property Score.currentBarNumber = #217
@end example
-The octave of notes that appear in @var{musicexpr} are calculated as
-follows: If no octave changing marks are used, the basic interval
-between this and the last note is always taken to be a fourth or less.
- The octave changing marks @code{'} and @code{,} can then
-be added to raise or lower the pitch by an extra octave. Upon entering
-relative mode, an absolute starting pitch must be specified that will
-act as the predecessor of the first note of @var{musicexpr}.
+If you want boxed bar numbers, see the example file
+@code{input/test/boxed-molecule.ly}.
-This distance is determined without regarding accidentals: a
-@code{fisis} following a @code{ceses} will be put above the
-@code{ceses}.
+See also @seeinternals{BarNumber}.
-Entering scales is straightforward in relative mode.
+@refbugs
-@lilypond[fragment,verbatim,center]
- \relative c'' {
- g a b c d e f g g, g
- }
-@end lilypond
+Printing bar numbers at regular intervals is not implemented.
+Barnumbers can collide with the StaffGroup, if there is one at the
+top. To solve this, You have to twiddle with the
+@internalsref{padding} property of @internalsref{BarNumber} if your
+score starts with a @internalsref{StaffGroup}.
-And octave changing marks are used for intervals greater than a fourth.
+@node Instrument names
+@subsection Instrument names
-@lilypond[fragment,verbatim,center]
- \relative c'' {
- c g c f, c' a, e'' }
+In scores, the instrument name is printed before the staff. This can
+be done by setting @code{Staff.instrument} and
+@code{Staff.instr}. This will print a string before the start of the
+staff. For the first start, @code{instrument} is used, for the next
+ones @code{instr} is used.
+
+@lilypond[verbatim,singleline]
+ \property Staff.instrument = "ploink " { c''4 }
@end lilypond
-If the preceding item is a chord, the first note of the chord is used
-to determine the first note of the next chord. But other notes
-within the second chord are determined by looking at the immediately
-preceding note.
+You can also use markup texts to construct more complicated instrument
+names:
-@lilypond[fragment,verbatim,center]
- \relative c' {
- c <c e g>
- <c' e g>
- <c, e' g>
- }
-@end lilypond
-@cindex @code{\notes}
-The pitch after the @code{\relative} contains a 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).
+@lilypond[verbatim,singleline]
+#(define text-flat
+ '((font-relative-size . -2 ) (music "accidentals--1")))
-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}.
+\score { \notes {
+ \property Staff.instrument = #`((kern . 0.5) (lines
+ "2 Clarinetti" (columns " (B" ,text-flat ")")))
+ c'' 4 }
+}
+@end lilypond
-@c . {Point and click}
-@node Point and click
-@subsection Point and click
+@refbugs
-[todo]
+When you put a name on a grand staff or piano staff the width of the
+brace is not taken into account. You must add extra spaces to the end of
+the name to avoid a collision.
-@c . {Engravers}
-@node Engravers
-@section Engravers
-@cindex engravers
-@menu
-* Notation Contexts::
-* Creating contexts::
-* Default contexts::
-* Context properties::
-* Changing context definitions::
-* Defining new contexts::
-@end menu
+@node Transpose
+@subsection Transpose
+@cindex Transpose
+@cindex transposition of pitches
+@cindex @code{\transpose}
-@c . {Music expressions}
+A music expression can be transposed with @code{\transpose}. The syntax
+is
+@example
+ \transpose @var{pitch} @var{musicexpr}
+@end example
+This means that middle C in @var{musicexpr} is transposed to
+@var{pitch}.
+@code{\transpose} distinguishes between enharmonic pitches: both
+@code{\transpose cis'} or @code{\transpose des'} will transpose up half
+a tone. The first version will print sharps and the second version
+will print flats.
-@c . {Notation Contexts}
-@node Notation Contexts
-@subsection Notation Contexts
+@lilypond[singleline, verbatim]
+mus =\notes { \key e \major c d e f }
+\score { \notes \context Staff {
+ \clef "F" \mus
+ \clef "G"
+ \transpose des'' \mus
+ \transpose cis'' \mus
+}}
+@end lilypond
-@cindex notation contexts
+If you want to use both @code{\transpose} and @code{\relative}, then
+you must use @code{\transpose} first. @code{\relative} will have no
+effect music that appears inside a @code{\transpose}.
-Notation contexts are objects that only exist during a run of LilyPond.
-During the interpretation phase of LilyPond (when lily prints
-"interpreting music"), music a @code{\score} block is interpreted in
-time order, i.e. in much the same order that humans read, play, and
-write music.
+@c . {Multi measure rests}
+@node Multi measure rests
+@subsection Multi measure rests
+@cindex Multi measure rests
-During this reading, the notation context is holds the state
-for the current point within the music. It contains information like
+@cindex @code{R}
-@itemize @bullet
- @item What notes are playing at this point?
- @item What symbols will be printed at this point?
- @item What is the current key signature, time signature, point within
- the measure, etc.?
-@end itemize
+Multi measure rests are entered using `@code{R}'. It is specifically
+meant for full bar rests and for entering parts: the rest can expand to
+fill a score with
+rests, or it can be printed as a single multimeasure rest This expansion
+is controlled by the property @code{Score.skipBars}. If this is set to true,
+Lily will not expand empty measures, and the appropriate number is added
+automatically.
-Contexts are grouped hierarchically: A @code{Voice} context is
-contained in a @code{Staff} context (because a staff can contain
-multiple voices at any point), a @code{Staff} context is contained in
-a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
-these can all contain multiple staffs).
+@lilypond[fragment,verbatim]
+ \time 3/4 r2. | R2. | R2.*2
+ \property Score.skipBars = ##t R2.*17 R2.*4
+@end lilypond
+Notice that the @code{R2.} is printed as a whole rest, centered in the
+measure.
-Contexts associated with sheet music output are called @emph{notation
-contexts}, those for sound output are called performance contexts.
+@cindex whole rests for a full measure
+The grob for this object is @internalsref{MultiMeasureRest}.
-@node Creating contexts
-@subsection Creating contexts
+@refbugs
-@cindex @code{\context}
-@cindex context selection
+Currently, there is no way to automatically condense multiple rests
+into a single multimeasure rest. Multi measure rests do not take part
+in rest collisions.
-Contexts for a music expression can be selected manually, using the
-following music expression.
+@cindex condensing rests
-@example
- \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
-@end example
+@node Automatic part combining
+@subsection Automatic part combining
+@cindex automatic part combining
+@cindex part combiner
-This instructs lilypond to interpret @var{musicexpr} within the context
- of type @var{contexttype} and with name @var{contextname}. If this
-context does not exist, it will be created.
-@quotation
+Automatic part combining is used to merge two parts of music onto a
+staff in an intelligent way. It is aimed primarily at typesetting
+orchestral scores. When the two parts are identical for a period of
+time, only one is shown. In places where the two parts differ, they
+are typeset as separate voices, and stem directions are set
+automatically. Also, solo and @emph{a due} parts can be identified
+and marked.
-@lilypond[verbatim,singleline]
-\score {
- \notes \relative c'' {
- c4 <d4 \context Staff = "another" e4> f
- }
-}
+The syntax for part combining is
+@example
+ \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
+@end example
+where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
+combined into one context of type @var{context}. The music expressions
+must be interpreted by contexts whose names should start with @code{one}
+and @code{two}.
+
+The most useful function of the part combiner is to combine parts into
+one voice, as common for wind parts in orchestral scores:
+
+@lilypond[verbatim,singleline,fragment]
+ \context Staff <
+ \context Voice=one \partcombine Voice
+ \context Thread=one \relative c'' {
+ g a () b r
+ }
+ \context Thread=two \relative c'' {
+ g r4 r f
+ }
+ >
@end lilypond
-@end quotation
-
-In this example, the @code{c} and @code{d} are printed on the
-default staff. For the @code{e}, a context Staff called
-@code{another} is specified; since that does not exist, a new
-context is created. Within @code{another}, a (default) Voice context
-is created for the @code{e4}. When all music referring to a
-context is finished, the context is ended as well. So after the
-third quarter, @code{another} is removed.
+Notice that the first @code{g} appears only once, although it was
+specified twice (once in each part). Stem, slur and tie directions are
+set automatically, depending whether there is a solo or unisono. The
+first part (with context called @code{one}) always gets up stems, and
+`solo', while the second (called @code{two}) always gets down stems and
+`Solo II'.
+
+If you just want the merging parts, and not the textual markings, you
+may set the property @var{soloADue} to false.
+
+@lilypond[verbatim,singleline,fragment]
+ \context Staff <
+ \property Staff.soloADue = ##f
+ \context Voice=one \partcombine Voice
+ \context Thread=one \relative c'' {
+ b4 a c g
+ }
+ \context Thread=two \relative c'' {
+ d,2 a4 g'
+ }
+ >
+@end lilypond
+There are a number of other properties that you can use to tweak the
+behavior of part combining, refer to the automatically generated
+documentation of @reng{Thread_devnull_engraver} and
+@reng{Voice_devnull_engraver}. Look at the documentation of the
+responsible engravers, @code{Thread_devnull_engraver},
+@code{Voice_devnull_engraver} and @code{A2_engraver}.
-@node Default contexts
-@subsection Default contexts
+@refbugs
-Most music expressions don't need @code{\context}: they inherit the
-notation context from their parent. Each note is a music expression, and
-as you can see in the following example, only the sequential music
-enclosing the three notes has an explicit context.
+In @code{soloADue} mode, when the two voices play the same notes on and
+off, the part combiner may typeset @code{a2} more than once in a
+measure.
-@lilypond[verbatim,singleline]
-\score { \notes \context Voice = goUp { c'4 d' e' } }
+@lilypond[fragment,singleline]
+ \context Staff <
+ \context Voice=one \partcombine Voice
+ \context Thread=one \relative c'' {
+ c b c b c a c a
+ }
+ \context Thread=two \relative c'' {
+ b b b b f a f a
+ }
+ >
@end lilypond
-There are some quirks that you must keep in mind when dealing with
-defaults:
+@cindex @code{Thread_devnull_engraver}
+@cindex @code{Voice_engraver}
+@cindex @code{A2_engraver}
-Every top-level music is interpreted by the Score context, in other
-words, you may think of @code{\score} working like
-@example
- \score @{
- \context Score @var{music}
- @}
-@end example
-
-Sequential music follows the contexts of its "children". Take this example
-@lilypond[verbatim, singleline]
-\score { \context Score \notes { c'4 ( d' )e' } }
-@end lilypond
-
-The sequential music is interpreted by the Score context initially
-(notice that the @code{\context} specification is redundant), but when a
-note is encountered, contexts are setup to accept that note. In this
-case, a Thread, Voice and Staff are created. The rest of the sequential
-music is also interpreted with the same Thread, Voice and Staff context,
-putting the notes on the same staff, in the same voice.
+@node Hara kiri staves
+@subsection Hara kiri staves
-This is a convenient mechanism, but do not expect opening chords to work
-without @code{\context}. For every note, a separate staff is
-instantiated.
+In orchestral scores, staff lines that only have rests are usually removed.
+This saves some space. LilyPond also supports this through the hara
+kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
+the Japanese Samourai warriors.} staff. This staff commits suicide when
+it finds itself to be empty after the line-breaking process. It will
+not disappear when it contains normal rests, you must use multi measure
+rests.
-@lilypond[verbatim, singleline]
-\score { \notes <c'4 es'> }
-@end lilypond
+The hara kiri staff is specialized version of the @internalsref{Staff}
+context. It is available as the context identifier
+@code{\HaraKiriStaffContext}. Observe how the second staff in this
+example disappears in the second line.
-Of course, if the chord is preceded by a normal note in sequential
-music, the chord will be interpreted by the Thread of the preceding
-note:
-@lilypond[verbatim,singleline]
-\score { \notes { c'4 <c'4 es'> } }
+@lilypond[verbatim]
+\score {
+ \notes \relative c' <
+ \context Staff = SA { e4 f g a \break c1 }
+ \context Staff = SB { c4 d e f \break R1 }
+ >
+ \paper {
+ linewidth = 6.\cm
+ \translator { \HaraKiriStaffContext }
+ }
+}
@end lilypond
+@node Sound output for transposing instruments
+@subsection Sound output for transposing instruments
-@node Context properties
-@subsection Context properties
+When you want to make a MIDI file from a score containing transposed
+and untransposed instruments, you have to instruct LilyPond the pitch
+offset (in semitones) for the transposed instruments. This is done
+using the @code{transposing} property. It does not affect printed
+output.
-Notation contexts can be modified from within the @file{.ly} file. The
-following music expression does that job:
+@cindex @code{transposing}
-@cindex @code{\property}
@example
- \property @var{contextname}.@var{propname} = @var{value}
+ \property Staff.instrument = #"Cl. in B-flat"
+ \property Staff.transposing = #-2
@end example
-Sets the @var{propname} property of the context @var{contextname} to the
-specified Scheme expression @var{value}. All @var{propname} and
-@var{contextname} are strings, which are typically unquoted.
-Properties that are set in one context are inherited by all of the
-contained contexts. This means that a property valid for the
-@code{Voice} context can be set in the @code{Score} context (for
-example) and thus take effect in all @code{Voice} contexts.
+@c . {Custodes}
+@node Ancient notation
+@section Ancient notation
+@menu
+* Ancient note heads::
+* Custodes::
+* Ancient clefs ::
+* Figured bass::
+@end menu
-@c . {Context definitions}
-@node Changing context definitions
-@subsection Changing context definitions
+@node Ancient note heads
+@subsection Ancient note heads
-@cindex context definition
-@cindex translator definition
+ To get a longa note head, you have to use mensural note heads. This
+is accomplished by setting the @code{style} property of the
+NoteHead grob to @code{mensural}. There is also a note head style
+@code{baroque} which gives mensural note heads for @code{\longa} and
+@code{\breve} but standard note heads for shorter notes.
-The most common way to define a context is by extending an existing
-context. You can change an existing context from the paper block, by
-first initializing a translator with an existing context identifier:
-@example
-\paper @{
- \translator @{
- @var{context-identifier}
- @} @}
-@end example
-Then you can add engravers, remove engravers and set context
-properties. The syntax for these operations are respectively
-@example
- \remove @var{engravername}
- \consists @var{engravername}
- @var{propname} = @var{value}
-@end example
+@lilypond[fragment,singleline,verbatim]
+ \property Voice.NoteHead \set #'style = #'mensural
+ \property Voice.NoteHead \set #'font-family = #'ancient
+ a'\longa
+@end lilypond
-Here @var{engravername} is a string, the name of an engraver in the
-system. @var{propname} is a string and @var{value} is a Scheme
-expression.
+@node Custodes
+@subsection Custodes
-@lilypond[verbatim,singleline]
-\score { \notes {
- c'4 c'4 }
+@cindex Custos
+@cindex Custodes
+
+A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
+staff context symbol that appears at the end of a staff line. It
+anticipates the pitch of the first note(s) of the following line and
+thus helps the player or singer to manage line breaks during
+performance, thus enhancing readability of a score.
+
+@lilypond[verbatim]
+\score {
+ \notes { c'1 \break
+ \property Staff.Custos \set #'style = #'mensural
+ d' }
\paper {
- \translator { \StaffContext
- \consists Instrument_name_engraver;
- instrument = #"foo"
- \remove Clef_engraver;
- } } }
+ \translator {
+ \StaffContext
+ \consists Custos_engraver
+ }
+ }
+}
@end lilypond
-@cindex engraver
+Custodes were frequently used in music notation until the 17th century.
+There were different appearances for different notation styles.
+Nowadays, they have survived only in special forms of musical notation
+such as via the @emph{editio vaticana} dating back to the beginning of
+the 20th century.
-These type of property assignments happen before interpretation starts,
-so a @code{\property} expression will override any predefined settings.
+For typesetting custodes, just put a @code{Custos_engraver} into the
+@internalsref{Staff} context when declaring the @code{\paper} block. In this
+block, you can also globally control the appearance of the custos symbol
+by setting the custos @code{style} property. Currently supported styles
+are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
+@code{mensural}.
-Engravers are the actual C++ modules that do the work in the
-interpretation phase.
+@example
+\paper @{
+ \translator @{
+ \StaffContext
+ \consists Custos_engraver
+ Custos \override #'style = #'mensural
+ @}
+@}
+@end example
+The property can also be set locally, for example in a @code{\notes}
+block:
-There are some pre-defined identifiers to simplify editing translators,
-they are defined in @file{ly/engraver.ly}. These pre-defined
-identifiers are:
+@example
+\notes @{
+ \property Staff.Custos \override #'style = #'vaticana
+ c'1 d' e' d' \break c' d' e' d'
+@}
+@end example
-@table @code
-@cindex @code{StaffContext}
- @item @code{StaffContext}
- Default Staff context.
-@cindex @code{RhythmicStaffContext}
+@node Ancient clefs
+@subsection Ancient clefs
- @item @code{RhythmicStaffContext}
- Default RhythmicStaff context.
-@cindex @code{VoiceContext}
+LilyPond supports a variety of clefs, many of them ancient. These can
+be selected from the @code{ancient} font family, by setting
+@code{Staff.clefGlyph}) to one of the following values
- @item @code{VoiceContext}
- Default Voice context.
-@cindex @code{ScoreContext}
+@table @code
+@item clefs-C
+ modern style C clef
+@item clefs-F
+ modern style F clef
+@item clefs-G
+ modern style G clef
+@item clefs-vaticana_do
+ Editio Vaticana style do clef
+@item clefs-vaticana_fa
+ Editio Vaticana style fa clef
+@item clefs-medicaea_do
+ Editio Medicaea style do clef
+@item clefs-medicaea_fa
+ Editio Medicaea style fa clef
+@item clefs-mensural1_c
+ modern style mensural C clef
+@item clefs-mensural2_c
+ historic style small mensural C clef
+@item clefs-mensural3_c
+ historic style big mensural C clef
+@item clefs-mensural1_f
+ historic style traditional mensural F clef
+@item clefs-mensural2_f
+ historic style new mensural F clef
+@item clefs-mensural_g
+ historic style mensural G clef
+@item clefs-hufnagel_do
+ historic style hufnagel do clef
+@item clefs-hufnagel_fa
+ historic style hufnagel fa clef
+@item clefs-hufnagel_do_fa
+ historic style hufnagel combined do/fa clef
+@item clefs-percussion
+ modern style percussion clef
+@end table
- @item @code{ScoreContext}
- Default Score context.
+@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 @code{HaraKiriStaffContext}
+@cindex Vaticana, Editio
+@cindex Medicaea, Editio
+@cindex hufnagel clefs
- @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.}
-@end table
-@node Defining new contexts
-@subsection Defining new contexts
+@node Figured bass
+@subsection Figured bass
-If you want to build a context from scratch, you must also supply the
-following extra information:
-@itemize @bullet
- @item A name, specified by @code{\name @var{contextname};}.
+@cindex Basso continuo
- @item A cooperation engraver. This is specified by @code{\type
-@var{typename};}.
-@end itemize
+LilyPond has limited support for figured bass:
+@lilypond[verbatim,fragment]
+<
+ \context FiguredBass
+ \figures {
+ <_! 3+ 5- >4
+ < [4 6] 8 >
+ }
+ \context Voice { c4 g8 }
+>
+@end lilypond
-A context definition has this syntax:
+The support for figured bass consists of two parts: there is an input
+mode, introduced by @code{\figures}, where you can enter bass figures
+as numbers, and there is a context called @internalsref{FiguredBass}
+that takes care of making @internalsref{BassFigure} grobs.
+In figures input mode, a group of bass figures is delimited by
+@code{<} and @code{>}. The duration is entered after the @code{>}.
@example
-
- \translator @code{@{}
- @var{translatorinit} @var{translatormodifierlist}
- @code{@}}
+ <4 6>
@end example
+@lilypond[fragment]
+\context FiguredBass
+\figures { <4 6> }
+@end lilypond
-@var{translatorinit} can be an identifier or
-@example
+Accidentals are added to the numbers if you alterate them by
+appending @code{-}, @code{!} and @code{+}.
+@example
+ <4- 6+ 7!>
@end example
-where @var{typename} is one of
-
-The cooperation engraver groups other engravers, and specifies how they
-should cooperate. Choices are:
-
-@table @code
-@cindex @code{Engraver_group_engraver}
- @item @code{Engraver_group_engraver}
- The standard cooperation engraver.
-
-@cindex @code{Score_engraver}
+@lilypond[fragment]
+ \context FiguredBass
+\figures { <4- 6+ 7!> }
+@end lilypond
- @item @code{Score_engraver}
- This is cooperation module that should be in the top level context,
-and only the toplevel context.
+Spaces or dashes may be inserted by using @code{_}. Brackets are
+introduced with @code{[} and @code{]}.
-@cindex @code{Grace_engraver_group}
+@example
+ < [4 6] 8 [_ 12]>
+@end example
+@lilypond[fragment]
+ \context FiguredBass
+\figures { < [4 6] 8 [_ 12]> }
+@end lilypond
- @item @code{Grace_engraver_group}
- This is a special cooperation module (resembling
- @code{Score_engraver}) that is used to created an embedded
- `miniscore'.
-@end table
+Although the support for figured bass may superficially resemble chord
+support, it works much simpler: in figured bass simply stores the
+numbers, and then prints the numbers you entered. There is no
+conversion to pitches, and no realizations of the bass are played in
+the MIDI file.
-@var{translatormodifierlist} is a list of items where each item is
-one of
-@itemize @bullet
- @item @code{\consists} @var{engravername} @code{;}
- Add @var{engravername} to the list of modules in this context.
- The order of engravers added with @code{\consists} is
- significant.
-
- @item @code{\consistsend} @var{engravername} @code{;}
- Analogous to @code{\consists}, but makes sure that
- @var{engravername} is always added to the end of the list of
- engravers.
-
- Some engraver types need to be at the end of the list; this
- insures they are put there, and stay there, if a user adds or
- removes engravers. This command is usually not needed for
- end-users.
-
- @item @code{\accepts} @var{contextname} @code{;}
- Add @var{contextname} to the list of context this context can
- contain. The first listed context is the context to create by
- default.
-
- @item @code{\denies}. The opposite of @code{\accepts}. Added for
-completeness, but is never used in practice.
-
-
- @item @code{\remove} @var{engravername} @code{;}
- Remove a previously added (with @code{\consists}) engraver.
-
- @item @code{\name} @var{contextname} @code{;}
- This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
- the name is not specified, the translator won't do anything.
+@c . {Tuning output}
+@node Tuning output
+@section Tuning output
- @item @var{propname} @code{=} @var{value} @code{;}
- A property assignment.
-@end itemize
+LilyPond tries to take as much formatting as possible out of your
+hands. Nevertheless, there are situations where it needs some help, or
+where you want to override its decisions. In this section we discuss
+ways to do just that.
-In the @code{\paper} block, it is also possible to define translator
-identifiers. Like other block identifiers, the identifier can only
-be used as the very first item of a translator. In order to define
-such an identifier outside of @code{\score}, you must do
+Formatting is internally done by manipulating so called grobs (graphic
+objects). Each grob carries with it a set of properties (grob
+properties) specific to that object. For example, a stem grob has
+properties that specify its direction, length and thickness.
-@quotation
+The most direct way of tuning the output is by altering the values of
+these properties. There are two ways of doing that: first, you can
+temporarily change the definition of a certain type of grob, thus
+affecting a whole set of objects. Second, you can select one specific
+object, and set a grob property in that object.
-@example
-\paper @{
- foo = \translator @{ @dots{} @}
-@}
-\score @{
- \notes @{
- @dots{}
- @}
- \paper @{
- \translator @{ \foo @dots{} @}
- @}
-@}
-@end example
+@menu
+* Tuning groups of grobs ::
+* Tuning per grob ::
+* Font selection::
+* Text markup::
+@end menu
-@end quotation
+@node Tuning groups of grobs
+@subsection Tuning groups of grobs
+@cindex grob description
-@cindex paper types, engravers, and pre-defined translators
-
+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.
- Properties can be preset within the @code{\translator} block
-corresponding to the appropriate context. In this case, the syntax
-is
+@lilypond[verbatim, fragment]
+c'4 \property Voice.Stem = #'()
+@end lilypond
+
+The @code{\property} assignment effectively empties the definition of
+the Stem object. One of the effects is that the recipe of how it should be
+printed is erased, with the effect of rendering it invisible. The above
+assignment is available as a standard identifier, for the case that you
+find this useful:
@example
- @var{propname} @code{=} @var{value}
+ \property Voice.Stem = \turnOff
@end example
-The property settings are used during the interpretation phase. They
-are read by the LilyPond modules where interpretation contexts are
-built of. These modules are called @emph{translators}. Translators for
-notation are called @emph{engravers}, and translators for sound are
-called @emph{performers}.
-
+@cindex \override
+@cindex \revert
+@cindex \set
+This mechanism is fairly crude, since you can only set, but not modify,
+the definition of a grob. For this reason, there is a more advanced
+mechanism.
+The definition of a grob is actually a list of default grob
+properties. For example, the definition of the Stem grob (available in
+@file{scm/grob-description.scm}), defines the following values for
+@internalsref{Stem}
-@c . {Syntactic details}
-@node Syntactic details
-@section Syntactic details
-@cindex Syntactic details
-@menu
-* Top level::
-* Identifiers::
-* Music expressions::
-* Manipulating music expressions::
-* Assignments::
-* Lexical details::
-* Lexical modes::
-* Ambiguities::
-@end menu
+@example
+ (thickness . 0.8)
+ (beamed-lengths . (0.0 2.5 2.0 1.5))
+ (Y-extent-callback . ,Stem::height)
+ @var{...}
+@end example
-@c . {Top level}
-@node Top level
-@subsection Top level
-@cindex Top level
+You can add a property on top of the existing definition, or remove a
+property, thus overriding the system defaults:
+@lilypond[verbatim]
+c'4 \property Voice.Stem \override #'thickness = #4.0
+c'4 \property Voice.Stem \revert #'thickness
+c'4
+@end lilypond
+You should balance @code{\override} and @code{\revert}. If that's too
+much work, you can use the @code{\set} shorthand. It performs a revert
+followed by an override. The following example gives exactly the same
+result as the previous one.
+@lilypond[verbatim]
+c'4 \property Voice.Stem \set #'thickness = #4.0
+c'4 \property Voice.Stem \set #'thickness = #0.8
+c'4
+@end lilypond
+If you use @code{\set}, you must explicitly restore the default.
-This section describes what you may enter at top level.
+Formally the syntax for these constructions is
+@example
+\property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
+\property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
+\property @var{context}.@var{grobname} \revert @var{symbol}
+@end example
+Here @var{symbol} is a Scheme expression of symbol type, @var{context}
+and @var{grobname} are strings and @var{value} is a Scheme expression.
-@c . {Score}
-@subsubsection Score
-@cindex Score
-@cindex score definition
+If you revert a setting which was not set in the first place, then it
+has no effect. However, if the setting was set as a system default, it
+may remove the default value, and this may give surprising results,
+including crashes. In other words, @code{\override} and @code{\revert},
+must be carefully balanced.
-The output is generated combining a music expression with an output
-definition. A score block has the following syntax:
+These are examples of correct nesting of @code{\override}, @code{\set},
+@code{\revert}.
+A clumsy but correct form:
@example
- \score @{ @var{musicexpr} @var{outputdefs} @}
+ \override \revert \override \revert \override \revert
@end example
-@var{outputdefs} are zero or more output definitions. If no output
-definition is supplied, the default @code{\paper} block will be added.
+Shorter version of the same:
+@example
+ \override \set \set \revert
+@end example
+A short form, using only @code{\set}. This requires you to know the
+default value:
+@example
+ \set \set \set \set @var{to default value}
+@end example
+If there is no default (i.e. by default, the grob property is unset),
+then you can use
+@example
+ \set \set \set \revert
+@end example
-@c . {Default output}
-@subsubsection Default output
+For the digirati, the grob description is an Scheme association
+list. Since a Scheme list is a singly linked list, we can treat it as a
+stack, and @code{\override} and @code{\revert} are just push and pop
+operations. This pushing and popping is also used for overriding
+automatic beaming settings.
-Default values for the @code{\paper} and @code{\midi} block are set by
-entering such a block at top-level.
+@refbugs
-@c . {Header}
-@subsubsection Header
-@cindex Header
-@cindex @code{\header}
+LilyPond will hang or crash if @var{value} contains cyclic references.
+The backend is not very strict in type-checking grob properties. If you
+@code{\revert} properties that are expected to be set by default,
+LilyPond may crash.
-The syntax is
-@example
- \header @{ @var{key1} = @var{val1};
-@cindex @code{ly2dvi}
- @var{key2} = @var{val2}; @dots{} @}
-@end example
+@cindex adjusting staff symbol
+@cindex StaffSymbol, using \property
+@cindex staff lines, setting number of
+Some grobs are created at the moment that their context is created. An
+example of such a grob is the staff itself (i.e. the horizontal lines).
+You can not change the appearance of the staff symbol by manipulating
+@code{\property Staff.StaffSymbol}. At the moment that @code{\property
+Staff} is interpreted, a Staff context is made, and the StaffSymbol is
+created before any @code{\override} is effective. You can deal with this
+either overriding properties in a @code{\translator} definition, or by
+using @code{\outputproperty}.
-A header describes the file's contents. It can also appear in a
-@code{\score} block. Tools like @code{ly2dvi} can use this
-information for generating titles. Key values that are used by
-@code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
-metre, arranger, piece and tagline.
-It is customary to put the @code{\header} at the top of the file.
-@subsubsection Default output
-A @code{\midi} or @code{\paper} block at top-level sets the default
+@node Tuning per grob
+@subsection Tuning per grob
-paper block for all scores that lack an explicit paper block.
+@cindex \outputproperty
-@c . {Identifiers}
-@node Identifiers
-@subsection Identifiers
-@cindex Identifiers
+A second way of tuning grobs is the more arcane @code{\outputproperty}
+feature. The syntax is as follows:
+@example
+\outputproperty @var{predicate} @var{symbol} = @var{value}
+@end example
+Here @code{predicate} is a Scheme function taking a grob argument, and
+returning a boolean. This statement is processed by the
+@code{Output_property_engraver}. It instructs the engraver to feed all
+grobs that it sees to @var{predicate}. Whenever the predicate returns
+true, the grob property @var{symbol} will be set to @var{value}.
-All of the information in a LilyPond input file, is represented as a
-Scheme value. In addition to normal Scheme data types (such as pair,
-number, boolean, etc.), LilyPond has a number of specialized data types,
+You will need to combine this statement with @code{\context} to select
+the appropriate context to apply this to.
-@itemize @bullet
-@item Input
-@item c++-function
-@item Music
-@item Identifier
-@item Translator_def
-@item Duration
-@item Pitch
-@item Score
-@item Music_output_def
-@item Moment (rational number)
-@end itemize
+Here are some random examples.
-LilyPond also includes some transient object types. Objects of these
-types are built during a LilyPond run, and do not `exist' per se within
-your input file. These objects are created as a result of your input
-file, so you can include commands in the input to manipulate them,
-during a lilypond run.
-@itemize @bullet
-@item Grob: short for Graphical object. See @ref{Grobs}.
-@item Molecule: device-independent page output object,
-including dimensions. Produced by some Grob functions
-See @ref{Molecules}
-@item Translator: object that produces audio objects or Grobs. This is
-not yet user accessible.
-@item Font_metric: object representing a font. (See @ref{Font metrics})
+In the following example, all note heads occurring at current staff
+level, are shifted up and right by setting their @code{extra-offset}
+property.
-@end itemize
+@lilypond[fragment,verbatim,singleline]
+\relative c'' { c4
+ \context Staff \outputproperty
+ #(make-type-checker 'note-head-interface)
+ #'extra-offset = #'(0.5 . 0.75)
+ <c8 e g> }
+@end lilypond
+@cindex @code{extra-offset}
-@node Music expressions
-@subsection Music expressions
+In this example, the predicate checks the @code{text} grob property, to
+shift only the `m.d.' text, but not the fingering instruction "2".
+@lilypond[verbatim,singleline]
+#(define (make-text-checker text)
+ (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
-@cindex music expressions
+\score {
+ \notes\relative c''' {
+ \property Voice.Stem \set #'direction = #1
+ \outputproperty #(make-text-checker "m.d.")
+ #'extra-offset = #'(-3.5 . -4.5)
+ a^2^"m.d."
+ }
+}
+@end lilypond
-Music in LilyPond is entered as a music expression. Notes, rests, lyric
-syllables are music expressions, and you can combine music expressions
-to form new ones, for example by enclosing a list of expressions in
-@code{\sequential @{ @}} or @code{< >}. In this example, a compound
-expression is formed out of the quarter note @code{c} and a quarter note
-@code{d}:
+@refbugs
-@example
-\sequential @{ c4 d4 @}
-@end example
+If possible, avoid this feature: the semantics are not very clean, and
+the syntax and semantics are up for rewrite.
-@cindex Sequential music
-@cindex @code{\sequential}
-@cindex sequential music
-@cindex @code{<}
-@cindex @code{>}
-@cindex Simultaneous music
-@cindex @code{\simultaneous}
-The two basic compound music expressions are simultaneous and
-sequential music.
-@example
- \sequential @code{@{} @var{musicexprlist} @code{@}}
- \simultaneous @code{@{} @var{musicexprlist} @code{@}}
-@end example
-For both, there is a shorthand:
-@example
- @code{@{} @var{musicexprlist} @code{@}}
-@end example
-for sequential and
-@example
- @code{<} @var{musicexprlist} @code{>}
-@end example
-for simultaneous music.
-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:
+@node Font selection
+@subsection Font selection
-@lilypond[fragment,verbatim,center]
- \notes \context Voice {
- <a c'> <b d' > <c' e'>
- < { a b c' } { c' d' e' } >
- }
-@end lilypond
+Most graphics in LilyPond are composed of characters of fonts. You can
+alter the characteristics of the font by setting certain grob
+properties. The mechanism that is used for this resembles La@TeX{}'s New
+Font Selection Scheme. Within this scheme, a font is entirely
+characterized by its font name.
-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.
+For each grob that uses fonts (in other words, each grob that supports
+@code{font-interface}) a font-name must be selected before it can be
+printed. The font name is selected by looking at a number of grob
+properties:
+
+@table @code
+@item font-family
+ A symbol indicating the general class of the typeface. Supported are
+@code{roman} (Computer Modern), @code{braces} (for piano staff
+braces), @code{music} (the standard music font), @code{ancient} (the
+ancient notation font) @code{dynamic} (font for dynamic signs) and
+@code{typewriter}
+
+@item font-shape
+ A symbol indicating the shape of the font, there are typically several
+ font shapes available for each font family. Choices are @code{italic},
+ @code{caps} and @code{upright}
+
+@item font-series
+A symbol indicating the series of the font. There are typically several
+font series for each font family and shape. Choices are @code{medium}
+and @code{bold}.
+
+@item font-relative-size
+ A number indicating the size relative the standard size. For example,
+ with 20pt staff height, relative size -1 corresponds to 16pt staff
+ height, and relative size +1 corresponds to 23 pt staff height.
+
+@item font-design-size
+A number indicating the design size of the font.
+
+This is a feature of the Computer Modern Font: each point size has a
+slightly different design. Smaller design sizes are relatively wider,
+which enhances readability.
+
+@item font-name
+ The name of the font, as a string, e.g. @code{"cmr12"}. This overrides
+all other font-qualifiers.
+You may use this to use special fonts, which are not a part of the
+style sheet, or which have special encodings.
+@end table
-@c . {Manipulating music expressions}
-@node Manipulating music expressions
-@subsection Manipulating music expressions
+The font is selected by taking the first font that satisfies all
+qualifiers specified. You can override any of these fields through
+@code{\override} and @code{\revert}. The special value @code{*} matches
+any value for that qualifier. The value @code{*} is needed to
+override default settings which are always present.
-The @code{\apply} mechanism gives you access to the internal
-representation of music. You can write Scheme-functions that operate
-directly on it. The syntax is
@example
- \apply #@var{func} @var{music}
+ \property Lyrics.LyricText \override #'font-series = #'bold
+ \property Lyrics.LyricText \override #'font-shape = #'*
@end example
-This means that @var{func} is applied to @var{music}. The function
-@var{func} should return a music expression.
-This example replaces the text string of a script. It also shows a dump
-of the music it processes, which is useful if you want to know more
-about how music is stored.
-@lilypond[verbatim]
-#(define (testfunc x)
- (if (equal? (ly-get-mus-property x 'text) "foo")
- (ly-set-mus-property x 'text "bar"))
- ;; recurse
- (ly-set-mus-property x 'elements
- (map testfunc (ly-get-mus-property x 'elements)))
- (display x)
- x
-)
-\score { \notes
- \apply #testfunc { c4_"foo" }
-}
-@end lilypond
-
-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.
-
-
-@c . {Assignments}
-@node Assignments
-@subsection Assignments
-@cindex Assignments
-
-Identifiers allow objects to be assigned to names during the parse
-stage. To assign an identifier, you use @var{name}@code{=}@var{value}
-and to refer to an identifier, you preceed its name with a backslash:
-`@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
-the input-types listed above. Identifier assignments can appear at top
-level in the LilyPond file, but also in @code{\paper} blocks.
-
-Semicolons are forbidden after top level assignments, but mandatory in
-other places. The rules about semicolons and assignments are very
-confusing, but when LilyPond input evolves more towards Scheme, we hope
-that this problem will grow smaller.
-
-An identifier can be created with any string for its name, but you will
-only be able to refer to identifiers whose names begin with a letter,
-being entirely alphabetical. It is impossible to refer to an identifier
-whose name is the same as the name of a keyword.
-
-The right hand side of an identifier assignment is parsed completely
-before the assignment is done, so it is allowed to redefine an
-identifier in terms of its old value, e.g.
+@cindex @code{font-style}
-@example
-foo = \foo * 2.0
-@end example
+There are also pre-cooked font selection qualifiers. These are selected
+through the grob property @code{font-style}. For example, the style
+@code{finger} selects family @code{number} and relative size @code{-3}.
+Styles available include @code{volta}, @code{finger}, @code{tuplet},
+@code{timesig}, @code{mmrest}, @code{script}, @code{large}, @code{Large}
+and @code{dynamic}.
-When an identifier is referenced, the information it points to is
-copied. For this reason, an identifier reference must always be the
-first item in a block.
-@example
-\paper @{
- foo = 1.0
- \paperIdent % wrong and invalid
-@}
+The style sheets and tables for selecting fonts are located in
+@file{scm/font.scm}. Refer to this file for more information.
-\paper @{
- \paperIdent % correct
- foo = 1.0 @}
-@end example
+The size of the font may be scaled with the grob property
+@code{font-magnification}. For example, @code{2.0} blows up all
+letters by a factor 2 in both directions.
-@c . {Lexical details}
-@node Lexical details
-@subsection Lexical details
-@cindex Lexical details
-@menu
-@end menu
+@refbugs
-@c . {Comments}
-@subsubsection Comments
-@cindex Comments
+Relative size is not linked to any real size.
-@cindex @code{%}
+There is no style sheet provided for other fonts besides the @TeX{}
+family, and the style sheet can not be modified easiyl.
+@cindex font selection
+@cindex font magnification
+@cindex @code{font-interface}
-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
-@cindex Scheme
-@cindex GUILE
-@cindex Scheme, in-line code
+@node Text markup
+@subsection Text markup
+@cindex text markup
+@cindex markup text
+LilyPond has an internal mechanism to typeset texts. You can
+form text markup expressions by composing scheme expressions
+in the following way.
+
+@lilypond[verbatim, singleline]
+ \relative c' {
+ \fatText
+ a^#"upright"
+ b_#'(bold "bold")
+ c^#'(italic "italic")
+ d_#'((bold italic) "ff")
+ e^#'(dynamic "ff")
+ f_#'(lines "one" (bold "two"))
+ g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
+ }
+@end lilypond
+
+Normally, the Scheme markup text is stored in the @code{text} property
+of a grob. Formally, it is defined as follows:
-LilyPond contains a Scheme interpreter (the GUILE library) for
-internal use. In some places Scheme expressions also form valid syntax:
-whereever it is allowed,
-@example
- #@var{scheme}
-@end example
-evaluates the specified Scheme code. If this is used at toplevel, then
-the result is discarded. Example:
@example
- \property Staff.TestObject \override #'foobar = #(+ 1 2)
+text: string | (head? text+)
+head: markup | (markup+)
+markup-item: property | abbrev
+property: (@var{key} . @var{value})
+abbrev: @code{columns lines roman music bold italic named super sub}
+ @code{overstrike text finger volta timesig mmrest mark script}
+ @code{large Large dynamic}
@end example
-@code{\override} expects two Scheme expressions, so there are two Scheme
-expressions. The first one is a symbol (@code{foobar}), the second one
-an integer (namely, 3).
-
-Scheme is a full-blown programming language, and a full discussion is
-outside the scope of this document. Interested readers are referred to
-the website @uref{http://www.schemers.org/} for more information on
-Scheme.
+The markup is broken down and converted into a list of grob properties,
+which are prepended to the property list. The @var{key}-@var{value}
+pair is a grob property. A list of properties available is included in
+the generated documentation for @rint{Text_interface}.
+The following abbreviations are defined:
+@table @code
+@item columns
+ horizontal mode: set all text on one line (default)
+@item lines
+ vertical mode: set every text on a new line
+@item roman
+ select roman font
+@item music
+ selects the Feta font (the standard font for music notation glyphs),
+and uses named lookup
-@c . {Keywords}
-@subsubsection Keywords
-@cindex Keywords
+@item bold
+ select bold series
+@item italic
+ select italic shape
+@item named
+ lookup by character name
+@item text
+ plain text lookup (by character value)
+@item super
+ superscript
+@item sub
+ subscript
+@item overstrike
+ the next text or character overstrikes this one
+@item finger
+ select fingering number fontstyle
+@item volta
+ select volta number fontstyle
+@item timesig
+ select time signature number fontstyle
+@item mmrest
+ select multi measure rest number fontstyle
+@item mark
+ select mark number fontstyle
+@item script
+ select scriptsize roman fontstyle
+@item large
+ select large roman fontstyle
+@item Large
+ select Large roman fontstyle
+@item dynamic
+ select dynamics fontstyle
+@end table
-Keywords start with a backslash, followed by a number of lower case
-alphabetic characters. These are all the keywords.
+@cindex metronome mark
-@example
-apply arpeggio autochange spanrequest commandspanrequest
-simultaneous sequential accepts alternative bar breathe
-char chordmodifiers chords clef cm consists consistsend
-context denies duration dynamicscript elementdescriptions
-font grace header in lyrics key mark pitch
-time times midi mm name pitchnames notes outputproperty
-override set revert partial paper penalty property pt
-relative remove repeat addlyrics partcombine score
-script stylesheet skip textscript tempo translator
-transpose type
-@end example
+One practical application of complicated markup is to fake a metronome
+marking:
-@c . {Integers}
-@subsubsection Integers
+@lilypond[verbatim]
+#(define note '(columns
+ (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
+#(define eight-note `(columns ,note ((kern . -0.1)
+ (music ((raise . 3.5) "flags-u3")))))
+#(define dotted-eight-note
+ `(columns ,eight-note (music "dots-dot")))
-@cindex integers
-@cindex @code{+}
-@cindex @code{-}
-@cindex @code{*}
-@cindex @code{/}
+\score {
+ \notes\relative c'' {
+ a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
+ }
+ \paper {
+ linewidth = -1.
+ \translator{
+ \ScoreContext
+ TextScript \override #'font-shape = #'upright
+ }
+ }
+}
+@end lilypond
-Formed from an optional minus sign followed by digits. Arithmetic
-operations cannot be done with integers, and integers cannot be mixed
-with reals.
+@refbugs
-@c . {Reals}
-@subsubsection Reals
-@cindex real numbers
+The syntax and semantics of markup texts are not clean, and both
+syntax and semantics are slated for a rewrite.
+@node Global layout
+@section Global layout
+The global layout determined by three factors: the page layout, the
+line breaks and the spacing. These all influence each other: The
+choice of spacing determines how densely each system of music is set,
+whree line breaks breaks are chosen, and thus ultimately how many
+pages a piece of music takes. In this section we will explain how the
+lilypond spacing engine works, and how you can tune its results.
+Globally spoken, this procedure happens in three steps: first,
+flexible distances (``springs'') are chosen, based on durations. All
+possible line breaking combination are tried, and the one with the
+best results---a layout that has uniform density and requires as
+little stretching or cramping as possible---is chosen. When the score
+is processed by @TeX{}, page are filled with systems, and page breaks
+are chosen whenever the page gets full.
+@menu
+* Spacing::
+* Font Size::
+* Line breaking::
+* Page layout::
+@end menu
-Formed from an optional minus sign and a sequence of digits followed
-by a @emph{required} decimal point and an optional exponent such as
-@code{-1.2e3}. Reals can be built up using the usual operations:
-`@code{+}', `@code{-}', `@code{*}', and
-`@code{/}', with parentheses for grouping.
+@node Spacing
+@subsection Spacing
+
+The spacing engine translates differences in durations into
+stretchable distances (``springs'') of differing lengths. Longer
+durations get more space, shorter durations get less. The basis for
+assigning spaces to durations, is that the shortest durations get a
+fixed amount of space, and the longer durations get more: doubling a
+duration adds a fixed amount of space to the note.
+
+For example, the following piece contains lots of half, quarter and
+8th notes, the eighth note is followed by 1 note head width. The The
+quarter note is followed by 2 NHW, the half by 3 NHW, etc.
+@lilypond[fragment, verbatim, relative=1]
+ c2 c4. c8 c4. c8 c4. c8 c8 c8 c4 c4 c4
+@end lilypond
-@cindex @code{\mm},
-@cindex @code{\in}
-@cindex @code{\cm}
-@cindex @code{\pt}
-@cindex dimensions
+These two amounts of space are @code{shortest-duration-space}
+@code{spacing-increment}, grob properties of
+@internalsref{SpacingSpanner}. Normally @code{spacing-increment} is
+set to 1.2, which is the width of a note head, and
+@code{shortest-duration-space} is set to 2.0, meaning that the
+shortest note gets 2 noteheads of space. For normal notes, this space
+is always counted from the left edge of the symbol, so the short notes
+in a score is generally followed by one note head width of space.
+
+If one would follow the above procedure exactly, then adding a single
+32th note to a score that uses 8th and 16th notes, would widen up the
+entire score a lot. The shortest note is no longer a 16th, but a 64th,
+thus adding 2 noteheads of space to every note. To prevent this, the
+shortest duration for spacing is not the shortest note in the score,
+but the most commonly found shortest note. Notes that are even
+shorter this are followed by a space that is proportonial to their
+duration relative to the common shortest note. So if we were to add
+only a few 16th notes to the example above, they would be followed by
+half a NHW:
+
+@lilypond[fragment, verbatim, relative=1]
+ c2 c4. c8 c4. [c16 c] c4. c8 c8 c8 c4 c4 c4
+@end lilypond
-A real constant can be followed by one of the dimension keywords:
-@code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
-points, inches and centimeters, respectively. This converts the number
-to a real that is the internal representation of dimensions.
+The most common shortest duration is determined as follows: in every
+measure, the shortest duration is determined. The most common short
+duration, is taken as the basis for the spacing, with the stipulation
+that this shortest duration should always be equal to or shorter than
+1/8th note. The shortest duration is printed when you run lilypond
+with @code{--verbose}. These durations may also be customized. If you
+set the @code{common-shortest-duration} in
+@internalsref{SpacingSpanner}, then this sets the base duration for
+spacing. The maximum duration for this base (normally 1/8th), is set
+through @code{base-shortest-duration}.
+
+@cindex @code{common-shortest-duration}
+@cindex @code{base-shortest-duration}
+@cindex @code{stem-spacing-correction}
+@cindex @code{spacing}
+
+In the introduction it was explained that stem directions influence
+spacing. This is controlled with @code{stem-spacing-correction} in
+@internalsref{NoteSpacing}. The @code{StaffSpacing} grob contains the
+same property for controlling the stem/barline spacing. In the
+following example shows these corrections, once with default settings,
+and once with exaggerated corrections.
+
+@lilypond
+ \score { \notes {
+ c'4 e''4 e'4 b'4 |
+ b'4 e''4 b'4 e''4|
+ \property Staff.NoteSpacing \override #'stem-spacing-correction
+ = #1.5
+ \property Staff.StaffSpacing \override #'stem-spacing-correction
+ = #1.5
+ c'4 e''4 e'4 b'4 |
+ b'4 e''4 b'4 e''4|
+ }
+ \paper { linewidth = -1. } }
+@end lilypond
-@c . {Strings}
-@subsubsection Strings
-@cindex string
-@cindex concatenate
-Begins and ends with the @code{"} character. To include a @code{"}
-character in a string write @code{\"}. Various other backslash
-sequences have special interpretations as in the C language. A string
-that contains no spaces can be written without the quotes. See
-@ref{Lexical modes} for details on unquoted strings; their
-interpretation varies depending on the situation. Strings can be
-concatenated with the @code{+} operator.
+@refbugs
-The tokenizer accepts the following commands. They have no grammatical
-function, hence they can appear anywhere in the input.
+Spacing is determined on a score wide basis. If you have a score that
+changes its character (measured in durations) half way during the
+score, the part containing the longer durations will be spaced too
+widely.
+Generating optically pleasing spacing is black magic. LilyPond tries
+to deal with a number of frequent cases. Here is an example that is
+not handled correctly, due to the combination of chord collisions and
+kneed stems.
-@c . {Main input}
-@subsubsection Main input
-@cindex Main input
+@lilypond
+\score {
+ \context PianoStaff \notes \transpose c''' <
+ \context Staff = up { s1 }
+ \context Staff = down { [c8 c \translator Staff=up <c d> c
+\translator Staff=down c c c] }
+ >
+ \paper { linewidth = -1 }
+}
+@end lilypond
-@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 . {Font size}
+@node Font Size
+@subsection Font size
+@cindex font size, setting
+@cindex staff size, setting
+@cindex @code{paper} file
-@c . {File inclusion}
-@subsubsection Main input
-@cindex Main input
+The Feta font provides musical symbols at six different sizes. These
+fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and 26
+point. The point size of a font is the height of the five lines in a
+staff when displayed in the font.
-@subsubsection File inclusion
-@cindex @code{\include}
+Definitions for these sizes are the files @file{paperSZ.ly}, where
+@code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
+these files, the identifiers @code{paperEleven}, @code{paperThirteen},
+@code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
+@code{paperTwentysix} are defined respectively. The default
+@code{\paper} block is also set. These files should be imported at toplevel, i.e.
@example
- \include @var{filename}
+ \include "paper26.ly"
+ \score @{ ... @}
@end example
-Include @var{filename}. The argument @var{filename} may be a quoted string (an
-unquoted string will not work here!) or a string identifier. The full
-filename including the @file{.ly} extension must be given,
+The font definitions are generated using a Scheme function. For more
+details, see the file @file{scm/font.scm}.
+
+
+@c . {Line break}
+@node Line breaking
+@subsection Line breaking
+
+@cindex line breaks
+@cindex breaking lines
-@subsubsection Version information
-@cindex @code{\version}
+Line breaks are normally computed automatically. They are chosen such
+that it looks neither cramped nor loose, and that consecutive lines have
+similar density.
+
+Occasionally you might want to override the automatic breaks; you can
+do this by specifying @code{\break}. This will force a line break at
+this point. Line breaks can only occur at places where there are bar
+lines. If you want to have a line break where there is no bar line,
+you can force an invisible bar line by entering @code{\bar
+""}. Similarly, @code{\noBreak} forbids a line break at a certain
+point.
+
+If you want linebreaks at regular intervals, you can use the following:
@example
- \version @var{string} ;
-@end example
+< \repeat 7 unfold @{ s1 * 4 \break @}
+ @emph{real music}
+>
+@end example
+This makes the following 28 measures (assuming 4/4 time) be broken every
+4 measures.
-Specify the version of LilyPond that a file was written for. The
-argument is a version string in quotes, for example @code{"1.2.0"}.
-This is used to detect invalid input, and to aid
-@code{convert-ly} a tool that automatically upgrades input files. See
-See @ref{convert-ly} for more information on @code{convert-ly}.
+@node Page layout
+@subsection Page layout
-@cindex convert-ly
+@cindex page breaks
+@cindex breaking pages
+@cindex @code{indent}
+@cindex @code{linewidth}
-@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
+The most basic settings influencing the spacing are @code{linewidth}
+and @code{indent}, both set in the @code{\paper} block. They control
+the indentation of the first line of music, and the lengths of the
+lines. If @code{linewidth} set to a negative value, a single
+unjustified line is produced. A similar effect for scores that are
+longer than one line, can be produced by setting @code{raggedright} to
+true in the @code{\paper} block.
+
+@cindex page layout
+
+The page layout process happens outside lilypond. Ly2dvi sets page
+layout instructions. Ly2dvi responds to the following variables in the
+@code{\paper} block. The variable @code{textheight} sets the total
+height of the music on each page. The spacing between systems is
+controlled with @code{interscoreline}, its default is 16pt.
+The distance between the score lines will stretch in order to fill the
+full page @code{interscorelinefill} is set to a positive number. In
+that case @code{interscoreline} specifies the minimum spacing.
-A @code{\paper} block at top level sets the default paper block. A
-@code{\midi} block at top level works similarly.
+@cindex @code{textheight}
+@cindex @code{interscoreline}
+@cindex @code{interscorelinefill}
-@c . {Assignments}
-@subsubsection Assignments
-@cindex assignments
-@cindex @code{#}
+Page breaks are normally computed by @TeX{}, so they are not under
+direct control of LilyPond. However, you can insert a commands into
+the @file{.tex} output to instruct @TeX{} where to break pages. You
+can insert a @code{\newpage} from within lilypond. This is done by
+setting the @code{between-systems-strings} on the
+@internalsref{NonMusicalPaperColumn} where the system is broken.
-Identifier assignments may appear at top level. @ref{Assignments}
+@cindex paper size
+@cindex page size
+@cindex @code{papersize}
+To change the paper size, you must first set the
+@code{papersize} paper variable variable. Set it to
+the strings @code{a4}, @code{letter}, or @code{legal}. After this
+specification, you must set the font as described above. If you want
+the default font, then use the 20 point font.
+@example
+ \paper@{ papersize = "a4" @}
+ \include "paper16.ly"
+@end example
-@c . {Direct scheme}
-@subsubsection Direct scheme
-@cindex Direct scheme
+The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
+will set the paper variables @code{hsize} and @code{vsize} (used by
+Lilypond and @code{ly2dvi})
-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
+@c . {Sound}
+@node Sound
+@section Sound
+@cindex Sound
-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}.
+LilyPond can produce MIDI output. The performance lacks lots of
+interesting effects, such as swing, articulation, slurring, etc., but it
+is good enough for proof-hearing the music you have entered. Ties,
+dynamics and tempo changes are interpreted.
-You may nest different input modes.
+Dynamic marks, crescendi and decrescendi translate into MIDI volume
+levels. Dynamic marks translate to a fixed fraction of the available
+MIDI volume range, crescendi and decrescendi make the the volume vary
+linearly between their two extremities. The fractions be adjusted by
+overriding the @code{absolute-volume-alist} defined in
+@file{scm/midi.scm}.
-@c . {Ambiguities}
-@node Ambiguities
-@subsection Ambiguities
-@cindex ambiguities
-@cindex grammar
+For each type of musical instrument (that MIDI supports), a volume range
+can be defined. This gives you basic equalizer control, which can
+enhance the quality of the MIDI output remarkably. You can add
+instruments and ranges or change the default settings by overriding the
+@code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
+Both loudness controls are combined to produce the final MIDI volume.
-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
+@menu
+* MIDI block::
+* MIDI instrument names::
+@end menu
+
+@c . {MIDI block}
+@node MIDI block
+@subsection MIDI block
+@cindex MIDI block
- 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
+The MIDI block is analogous to the paper block, but it is somewhat
+simpler. The @code{\midi} block can contain:
+@cindex MIDI block
- @example
-foo = -6
-@end example
+@itemize @bullet
+ @item a @code{\tempo} definition
+ @item context definitions
+@end itemize
- can be interpreted as making an integer identifier
- containing -6, or a Request identifier containing the
- fingering `6' (with neutral direction).
+Assignments in the @code{\midi} block are not allowed.
- @item If you do a nested repeat like
- @quotation
-@example
-\repeat @dots{}
-\repeat @dots{}
-\alternative
-@end example
+@cindex context definition
- @end quotation
+Context definitions follow precisely the same syntax as within the
+\paper block. Translation modules for sound are called performers.
+The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
- 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
+@node MIDI instrument names
+@subsection MIDI instrument names
+@cindex instrument names
+@cindex @code{Staff.midiInstrument}
+@cindex @code{Staff.instrument}
+The MIDI instrument name is set by the @code{Staff.midiInstrument}
+property or, if that property is not set, the @code{Staff.instrument}
+property. The instrument name should be chosen from the list in
+@ref{MIDI instruments}.
+@refbugs
+If the selected string does not exactly match, then LilyPond uses the
+default (Grand Piano). It is not possible to select an instrument by
+number.
-@c .{Local emacs vars}
-@c Local variables:
-@c mode: texinfo
-@c minor-mode: font-lock
-@c minor-mode: outline
-@c outline-layout: (-1 : 0)
-@c outline-use-mode-specific-leader: "@c \."
-@c outline-primary-bullet: "{"
-@c outline-stylish-prefixes: nil
-@c outline-override-protect: t
-@c End:
projects / lilypond.git / blobdiff