-
-@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}
-@subsection 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.
+
+@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
-[todo : collisiosn, rest-collisinos, voiceX identifiers, how to
-which contexts to instantiate.]
-@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::
+* 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}
+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.
-@c . {Beam}
-@node Beam
-@subsection Beams
+This command sets the context property @code{Staff.keySignature}.
+Non-standard key signatures can be specified by setting this property
+directly.
-@cindex beams
+The printed signature is a @internalsref{KeySignature} grob, typically
+created in @internalsref{Staff} context.
-@c . {Automatic beams}
-@subsubsection Automatic beams
+@cindex @code{keySignature}
+@c . {Clef}
+@node Clef
+@subsection Clef
+@cindex @code{\clef}
-@cindex automatic beam generation
-@cindex autobeam
-@cindex @code{Voice.noAutoBeaming}
+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
-LilyPond will group flagged notes and generate beams autmatically, where
-appropriate.
+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
-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.
+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 * * * *)}
+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}
-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
+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}.
+@cindex beams, kneed
+@cindex kneed beams
+@cindex auto-knee-gap
+@cindex hara kiri
-@c . {Phrasing slur}
-@node Phrasing slur
-@subsection Phrasing slur
-@cindex phrasing slur
-@cindex phrasing mark
-
-A phrasing slur (or phrasing mark) connects chords and is used to
-indicate a musical sentence. Phrasing slurs avoid crossing stems. A
-phrasing slur is started with @code{\(} and stopped with @code{\)}. The
-starting @code{\(} appears to the right of the first note in the
-phrasing slur. The terminal @code{\)} appears to the left of the last
-note in the phrasing slur.
-@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
-@section 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::
-* Grace notes::
-* Bar check::
+* Slurs ::
+* Phrasing slurs::
+* Breath marks::
+* Tempo::
+* Text spanners::
@end menu
-@c . {Articulation}
-@node Articulation
-@subsection 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.
+@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
+
+@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
+
+@refbugs
+
+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
+ \property Voice.TextScript \set #'font-shape = #'upright
+ c''4-._"c-." s4
+ c''4--_"c-{}-" s4
+ c''4-+_"c-+" s4
+ c''4-|_"c-|" s4
+ c''4->_"c->" s4
+ c''4-^_"c-\\^{ }" s4
+ }
+ }
+@end lilypond
+
+The script is automatically placed, but if you need to force
+directions, you can use @code{_} to force them down, or @code{^} to
+put them up:
+@lilypond[fragment, verbatim]
+ c''4^^ c''4_^
+@end lilypond
+
+
+Other symbols can be added using the syntax
+@var{note}@code{-\}@var{name}. Again, they can be forced up or down
+using @code{^} and @code{_}.
+@lilypond[]
\score {
- < \notes {
- \property Score.LyricSyllable \override #'font-family =
-#'typewriter
- \property Score.LyricSyllable \override #'font-shape = #'upright
- c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
+ <
+ \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''-\thumb c''-\segno c''-\coda
+ c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup
+ c''-\lineprall c''-\thumb c''-\segno c''-\coda
}
\context Lyrics \lyrics {
accent__ marcato__ staccatissimo__ fermata
rtoe__ turn__ open__ flageolet
reverseturn__ trill__ prall__ mordent
prallprall__ prallmordent__ uprall__ downprall
- thumb__ segno__ coda
+ upmordent__ downmordent__ pralldown__ prallup__
+ lineprall__ thumb__ segno__ coda
}
>
\paper {
- linewidth = 5.875\in;
- indent = 0.0;
+ linewidth = 5.875\in
+ indent = 0.0
}
}
-
@end lilypond
-@c . {Text scripts}
-@node Text scripts
-@subsection Text scripts
-@cindex Text scripts
-
-In addition, it is possible to place arbitrary strings of text or markup
-text (see @ref{Text markup}) above or below notes by using a string
-instead of an identifier: @code{c^"text"}. It is possible to use @TeX{}
-commands, but this should be avoided because this makes it impossible
-for LilyPond to compute the exact length of the string, which may lead
-to collisions. Also, @TeX{} commands won't work with direct postscript
-output. Fingerings can be placed by simply using digits. All of these
-note ornaments appear in the printed output but have no effect on the
-MIDI rendering of the music.
-
-@c . {Fingerings}
-@subsubsection Fingerings
-@cindex Fingerings
-
-To save typing, fingering instructions (digits 0 to 9 are
-supported) and single characters shorthands exist for a few
-common symbols
-@lilypond[]
- \score {
- \notes \context Voice {
- \property Voice.TextScript \set #'font-family = #'typewriter
- \property Voice.TextScript \set #'font-shape = #'upright
- c''4-._"c-." s4
- c''4--_"c-{}-" s4
- c''4-+_"c-+" s4
- c''4-|_"c-|" s4
- c''4->_"c->" s4
- c''4-^_"c-\\^{ }" s4
- c''4-1_"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;
- }
- }
+@cindex fingering
+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
-@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}.
+@cindex @code{\script}
+@cindex scripts
+@cindex superscript
+@cindex subscript
-You can attach a general textscript request using this syntax:
+See also @seeinternals{Script} and @seeinternals{Fingering}.
-@quotation
+@refbugs
-@example
-c4-\textscript "6" "finger"
-c4-\textscript "foo" "normal"
-@end example
+All of these note ornaments appear in the printed output but have no
+effect on the MIDI rendering of the music.
-@end quotation
+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}.
-This is equivalent to @code{c4-6 c4-"foo"}.
-@cindex @code{\script}
-@cindex scripts
-@cindex superscript
-@cindex subscript
+@c . {Text scripts}
+@node Text scripts
+@subsection Text scripts
+@cindex Text scripts
-@example
- \script @var{alias}
-@end example
+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"}.
-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}.
+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
-For information on how to add scripts, consult @file{scm/script.scm}.
+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}
-
-
-
-
-@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
-Ending a staff or score with grace notes may also generate a run-time
-error, since there will be no main note to attach the grace notes to.
+The placement of these grace notes is synchronized between different
+staffs, using this grace timing.
+
+@lilypond[relative=2,verbatim,fragment]
+\context Staff = SA { e4 \grace { c16 d e f } e4 }
+\context Staff = SB { c4 \grace { g8 b } c4 }
+@end lilypond
-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
-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.
+For instructions on how to unfoldi repeats for MIDI output, see
+the example file @file{input/test/unfold-all-repeats.ly}.
-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
+@refbugs
+
+
Tremolos in this style do not carry over into the MIDI output.
-Using this mechanism pays off when you entering many tremolos, since the
-default argument saves a lot of typing.
+@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
+
+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.
-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.
+@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}.
+To add an arrow head to explicitly specify the direction of the
+arpeggio, you should set the arpeggio grob property
+@code{arpeggio-direction}.
-@c . {Follow Thread}
-@node Follow Thread
-@subsection Follow Thread
-@cindex follow thread
-@cindex staff switching
-@cindex cross staff
-
-[todo: different name, eg. voice line ? ]
-
-@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
-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{_}).
+@node Tablatures
+@section Tablatures
-@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 __
- }
- >
-}
+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.
-@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
-@cindex automatic lyric durations
-@cindex @code{\addlyrics}
+There are many ways to customize Lilypond tablatures.
-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
+an added bass note, which may result in strange chord names when chords
+are entered as a list of pitches:
-LilyPond examines chords specified as lists of notes to determine a
-name to give the chord. LilyPond will not try to
-identify chord inversions or added base, which may result in strange
-chord names when chords are entered as a list of pitches:
-
-@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}:
+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.
-@quotation
-@lilypond[verbatim]
-\include "english.ly"
+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 {
- 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
+ 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 \scheme
+ \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
>
- \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
+Orchestral music involves some special notation, both in the full score,
+as in the individual parts. This section explains how to tackle common
+problems in orchestral music.
+
+
@c . {Transpose}
@menu
* Rehearsal marks::
+* Bar numbers::
* Instrument names::
* Transpose::
-* Sound output for transposing instruments::
* Multi measure rests::
* Automatic part combining::
+* Hara kiri staves::
+* Sound output for transposing instruments::
@end menu
@c . {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.
+To print a rehearsal mark, use the @code{\mark} command.
@lilypond[fragment,verbatim]
\relative c'' {
- c1 \mark "A2";
- c1 \mark ;
- c1 \mark ;
- c1 \mark "12";
- c1 \mark #'(music "scripts-segno") ;
+ 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.
+
+@node Bar numbers
+@subsection Bar numbers
+
+
+@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
+ \property Score.currentBarNumber = #217
+@end example
+
+If you want boxed bar numbers, see the example file
+@code{input/test/boxed-molecule.ly}.
+
+See also @seeinternals{BarNumber}.
+
+@refbugs
+
+Printing bar numbers at regular intervals is not implemented.
+Barnumbers can collide with the StaffGroup, if there is one at the
+top. To solve this, You have to twiddle with the
+@internalsref{padding} property of @internalsref{BarNumber} if your
+score starts with a @internalsref{StaffGroup}.
+
@node Instrument names
@subsection Instrument names
-You can specify an instrument name for a staff by setting
-@code{Staff.instrument} and @code{Staff.instr}. This will print a string
-before the start of the staff. For the first start, @code{instrument} is
-used, for the next ones @code{instr} is used.
+In scores, the instrument name is printed before the staff. This can
+be done by setting @code{Staff.instrument} and
+@code{Staff.instr}. This will print a string before the start of the
+staff. For the first start, @code{instrument} is used, for the next
+ones @code{instr} is used.
+
+@lilypond[verbatim,singleline]
+ \property Staff.instrument = "ploink " { c''4 }
+@end lilypond
+
+You can also use markup texts to construct more complicated instrument
+names:
+
@lilypond[verbatim,singleline]
+#(define text-flat
+ '((font-relative-size . -2 ) (music "accidentals--1")))
+
\score { \notes {
- \property Staff.instrument = "instr " { c''4 } }
- \paper {
- \translator { \StaffContext
- \consists "Instrument_name_engraver"; } } }
+ \property Staff.instrument = #`((kern . 0.5) (lines
+ "2 Clarinetti" (columns " (B" ,text-flat ")")))
+ c'' 4 }
+}
@end lilypond
-This requires that you add the @code{Instrument_name_engraver} to the
-staff context.
+@refbugs
+
+When you put a name on a grand staff or piano staff the width of the
+brace is not taken into account. You must add extra spaces to the end of
+the name to avoid a collision.
@node Transpose
@subsection Transpose
a tone. The first version will print sharps and the second version
will print flats.
-@quotation
-@lilypond[fragment,verbatim]
-\context Staff {
- \clef "F";
- { \key e \major; c d e f }
- \clef "G";
- \transpose des'' { \key e \major; c d e f }
- \transpose cis'' { \key e \major; c d e f }
-}
-
+@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
-@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 @code{R}
Multi measure rests are entered using `@code{R}'. It is specifically
-meant for entering parts: the rest can expand to fill a score with
+meant for full bar rests and for entering parts: the rest can expand to
+fill a score with
rests, or it can be printed as a single multimeasure rest This expansion
is controlled by the property @code{Score.skipBars}. If this is set to true,
Lily will not expand empty measures, and the appropriate number is added
automatically.
@lilypond[fragment,verbatim]
- \time 3/4; R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
+ \time 3/4 r2. | R2. | R2.*2
+ \property Score.skipBars = ##t R2.*17 R2.*4
@end lilypond
-Currently, there is no way to condense multiple rests into a single
-multimeasure rest.
+Notice that the @code{R2.} is printed as a whole rest, centered in the
+measure.
+
+@cindex whole rests for a full measure
+
+The grob for this object is @internalsref{MultiMeasureRest}.
+
+@refbugs
+
+Currently, there is no way to automatically condense multiple rests
+into a single multimeasure rest. Multi measure rests do not take part
+in rest collisions.
@cindex condensing rests
@cindex automatic part combining
@cindex part combiner
-You will already have seen that LilyPond can combine several Threads
-into one Voice, and put several Voices onto one Staff. The automatic
-part combiner takes this a step further. Two parts of music can be
-combined together in an intelligent way, ie, when the two parts are
-identical for a period of time, only one can be showed. In places where
-the two parts differ, stem directions can be set automatically. That is
-why the part combiner is of great use for the typesetting of Hymns and
-orchestral scores.
-
-@subsubsection Part combine syntax
+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.
The syntax for part combining is
@example
\partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
@end example
-
where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
-combined into one context @var{context}. The names of the music
-expressions must start with the prefixes @code{one} and @code{two}.
-
-@subsubsection Part combine usage
-
-@cindex @code{Thread_devnull_engraver}
-@cindex @code{Voice_engraver}
-@cindex @code{A2_engraver}
+combined into one context of type @var{context}. The music expressions
+must be interpreted by contexts whose names should start with @code{one}
+and @code{two}.
-The most useful function of the part combiner to combining threads into
+The most useful function of the part combiner is to combine parts into
one voice, as common for wind parts in orchestral scores:
@lilypond[verbatim,singleline,fragment]
\context Staff <
\context Voice=one \partcombine Voice
- \context Thread=one \notes\relative c'' {
- g a b r
+ \context Thread=one \relative c'' {
+ g a () b r
}
- \context Thread=two \notes\relative c'' {
- g r2 f4
+ \context Thread=two \relative c'' {
+ g r4 r f
}
>
@end lilypond
-If you have developed a bit of a feel for LilyPond's functioning, you
-will notice that what you see above is quite unusual. The first
-@code{g} appears only once, although it was specified twice (once in
-each Thread). That is the work of the
-@code{Thread_devnull_engraver}@footnote{On unix systems, the file
-@file{/dev/null} is special device: anything written to it is
-discarded.}, that works closely together with the part combiner. When
-the part combiner notices that two threads are identical, it tells the
-@code{Thread_devnull_engraver} to discard everything in the second
-thread.
-
-Similarly, the markings @emph{@`{a}2}, @emph{Solo} and @emph{Solo II},
-are created by the @code{A2_engraver}. The @code{A2_engraver} also acts
-upon instructions of the part combiner. Another thing that the
-@code{A2_engraver} does, is forcing of stem, slur and tie directions,
-always when both threads are not identical; up for the musicexpr called
-@code{one}, down for the musicexpr called @code{two}.
+Notice that the first @code{g} appears only once, although it was
+specified twice (once in each 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'.
-There is actually a third engraver involved in part combining; the
-@code{Voice_devnull_engraver}. This one takes care of removing
-redundant spanners such as beams, slurs, ties, crescendi, etc.
+If you just want the merging parts, and not the textual markings, you
+may set the property @var{soloADue} to false.
-If you just want the splitting of Threads and setting of directions, and
-not the textual markings, you may set the property @var{soloADue} to false:
-
-@lilypond[verbatim,singleline]
-\score {
+@lilypond[verbatim,singleline,fragment]
\context Staff <
+ \property Staff.soloADue = ##f
\context Voice=one \partcombine Voice
- \context Thread=one \notes\relative c'' {
+ \context Thread=one \relative c'' {
b4 a c g
}
- \context Thread=two \notes\relative c'' {
+ \context Thread=two \relative c'' {
d,2 a4 g'
}
>
- \paper{
- \translator {
- \VoiceContext
- soloADue = ##f
- }
- }
-}
@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 the involved engravers and the examples in the tutorial.
+documentation of @reng{Thread_devnull_engraver} and
+@reng{Voice_devnull_engraver}. Look at the documentation of the
+responsible engravers, @code{Thread_devnull_engraver},
+@code{Voice_devnull_engraver} and @code{A2_engraver}.
+
+@refbugs
+
+In @code{soloADue} mode, when the two voices play the same notes on and
+off, the part combiner may typeset @code{a2} more than once in a
+measure.
+
+@lilypond[fragment,singleline]
+ \context Staff <
+ \context Voice=one \partcombine Voice
+ \context Thread=one \relative c'' {
+ c b c b c a c a
+ }
+ \context Thread=two \relative c'' {
+ b b b b f a f a
+ }
+ >
+@end lilypond
+
+@cindex @code{Thread_devnull_engraver}
+@cindex @code{Voice_engraver}
+@cindex @code{A2_engraver}
+
+@node Hara kiri staves
+@subsection Hara kiri staves
+
+In orchestral scores, staff lines that only have rests are usually removed.
+This saves some space. LilyPond also supports this through the hara
+kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
+the Japanese Samourai warriors.} staff. This staff commits suicide when
+it finds itself to be empty after the line-breaking process. It will
+not disappear when it contains normal rests, you must use multi measure
+rests.
+
+The hara kiri staff is specialized version of the @internalsref{Staff}
+context. It is available as the context identifier
+@code{\HaraKiriStaffContext}. Observe how the second staff in this
+example disappears in the second line.
+
+@lilypond[verbatim]
+\score {
+ \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
+
+When you want to make a MIDI file from a score containing transposed
+and untransposed instruments, you have to instruct LilyPond the pitch
+offset (in semitones) for the transposed instruments. This is done
+using the @code{transposing} property. It does not affect printed
+output.
+
+@cindex @code{transposing}
+
+@example
+ \property Staff.instrument = #"Cl. in B-flat"
+ \property Staff.transposing = #-2
+@end example
+
@c . {Custodes}
+@node Ancient notation
+@section Ancient notation
+
+@menu
+* Ancient note heads::
+* Custodes::
+* Ancient clefs ::
+* Figured bass::
+@end menu
+
+
+@node Ancient note heads
+@subsection Ancient note heads
+
+ To get a longa note head, you have to use mensural note heads. This
+is accomplished by setting the @code{style} property of the
+NoteHead grob to @code{mensural}. There is also a note head style
+@code{baroque} which gives mensural note heads for @code{\longa} and
+@code{\breve} but standard note heads for shorter notes.
+
+@lilypond[fragment,singleline,verbatim]
+ \property Voice.NoteHead \set #'style = #'mensural
+ \property Voice.NoteHead \set #'font-family = #'ancient
+ a'\longa
+@end lilypond
+
@node Custodes
-@section Custodes
+@subsection Custodes
+
@cindex Custos
@cindex Custodes
-A @emph{custos} (plural: @emph{custodes}; latin word for "guard") is a
+A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
staff context symbol that appears at the end of a staff line. It
anticipates the pitch of the first note(s) of the following line and
thus helps the player or singer to manage line breaks during
performance, thus enhancing readability of a score.
-@quotation
@lilypond[verbatim]
\score {
- \notes { c'1 d' e' d' \break c' d' e' d' }
+ \notes { c'1 \break
+ \property Staff.Custos \set #'style = #'mensural
+ d' }
\paper {
\translator {
\StaffContext
- \consists Custos_engraver;
- Custos \override #'style = #'mensural;
+ \consists Custos_engraver
}
}
}
@end lilypond
-@end quotation
-Custodes were frequently used in music notation until the 16th century.
-There were different appearences for different notation styles.
+Custodes were frequently used in music notation until the 17th century.
+There were different appearances for different notation styles.
Nowadays, they have survived only in special forms of musical notation
-such as via the editio vaticana dating back to the beginning of the 20th
-century.
+such as via the @emph{editio vaticana} dating back to the beginning of
+the 20th century.
For typesetting custodes, just put a @code{Custos_engraver} into the
-@code{StaffContext} when declaring the @code{\paper} block. In this
+@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}.
-@quotation
+@example
\paper @{
\translator @{
\StaffContext
- \consists Custos_engraver;
- Custos \override #'style = #'mensural;
+ \consists Custos_engraver
+ Custos \override #'style = #'mensural
@}
@}
-@end quotation
+@end example
The property can also be set locally, for example in a @code{\notes}
block:
-@quotation
+@example
\notes @{
\property Staff.Custos \override #'style = #'vaticana
c'1 d' e' d' \break c' d' e' d'
@}
-@end quotation
-
-@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.
+@end example
-Here we discuss how you can do that.
+@node Ancient clefs
+@subsection Ancient clefs
-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.
+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
-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.
+@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
-@menu
-* Tuning groups of grobs ::
-* Tuning per grob ::
-* What to tune?::
-* Text markup::
-@end menu
+@emph{Modern style} means ``as is typeset in current editions.''
+@emph{Historic style} means ``as was typeset or written in contemporary
+historic editions''. @emph{Editio XXX style} means ``as is/was printed in
+Editio XXX.''
-@node Tuning groups of grobs
-@subsection Tuning groups of grobs
+@cindex Vaticana, Editio
+@cindex Medicaea, Editio
+@cindex hufnagel clefs
-@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.
+@node Figured bass
+@subsection Figured bass
-@cindex \override
-@cindex \revert
-@cindex \set
+@cindex Basso continuo
+LilyPond has limited support for figured bass:
-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
+@lilypond[verbatim,fragment]
+<
+ \context FiguredBass
+ \figures {
+ <_! 3+ 5- >4
+ < [4 6] 8 >
+ }
+ \context Voice { c4 g8 }
+>
@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
+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.
-Formally the syntax for these constructions is
+In figures input mode, a group of bass figures is delimited by
+@code{<} and @code{>}. The duration is entered after the @code{>}.
@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}
+ <4 6>
@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
+@lilypond[fragment]
+\context FiguredBass
+\figures { <4 6> }
+@end lilypond
-@cindex \outputproperty
+Accidentals are added to the numbers if you alterate them by
+appending @code{-}, @code{!} and @code{+}.
-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}
+ <4- 6+ 7!>
@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> }
+@lilypond[fragment]
+ \context FiguredBass
+\figures { <4- 6+ 7!> }
@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.
+Spaces or dashes may be inserted by using @code{_}. Brackets are
+introduced with @code{[} and @code{]}.
-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."
- }
-}
+@example
+ < [4 6] 8 [_ 12]>
+@end example
+@lilypond[fragment]
+ \context FiguredBass
+\figures { < [4 6] 8 [_ 12]> }
@end lilypond
+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.
+@c . {Tuning output}
+@node Tuning output
+@section Tuning output
-@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.
-
-
+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.
-@node Text markup
-@subsection Text markup
-@cindex text markup
-@cindex markup text
+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.
-LilyPond has an internal mechanism to typeset texts. You can
-form text markup expressions by composing scheme expressions
-in the following way.
+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.
-@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}.
-
-[Volume control]
-[Instrument Equaliser]
-
-FIXME: would it be useful to refer to files like scm/midi.scm,
-or to give examples of how to tweak MIDI output volume?
-
-
-@c . {MIDI instrument names}
-@node MIDI instrument names
-@subsection MIDI instrument names
-@cindex instrument names
-@cindex @code{Staff.midiInstrument}
-@cindex @code{Staff.instrument}
-
-The MIDI instrument name is set by the @code{Staff.midiInstrument}
-property or, if that property is not set, the @code{Staff.instrument}
-property. The instrument name should be chosen from the following list.
-If the selected string does not exactly match, then LilyPond uses the
-default piano.
-
-[FIXME: to appendix ]
-
-
-@example
-"acoustic grand" "contrabass" "lead 7 (fifths)"
-"bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
-"electric grand" "pizzicato strings" "pad 1 (new age)"
-"honky-tonk" "orchestral strings" "pad 2 (warm)"
-"electric piano 1" "timpani" "pad 3 (polysynth)"
-"electric piano 2" "string ensemble 1" "pad 4 (choir)"
-"harpsichord" "string ensemble 2" "pad 5 (bowed)"
-"clav" "synthstrings 1" "pad 6 (metallic)"
-"celesta" "synthstrings 2" "pad 7 (halo)"
-"glockenspiel" "choir aahs" "pad 8 (sweep)"
-"music box" "voice oohs" "fx 1 (rain)"
-"vibraphone" "synth voice" "fx 2 (soundtrack)"
-"marimba" "orchestra hit" "fx 3 (crystal)"
-"xylophone" "trumpet" "fx 4 (atmosphere)"
-"tubular bells" "trombone" "fx 5 (brightness)"
-"dulcimer" "tuba" "fx 6 (goblins)"
-"drawbar organ" "muted trumpet" "fx 7 (echoes)"
-"percussive organ" "french horn" "fx 8 (sci-fi)"
-"rock organ" "brass section" "sitar"
-"church organ" "synthbrass 1" "banjo"
-"reed organ" "synthbrass 2" "shamisen"
-"accordion" "soprano sax" "koto"
-"harmonica" "alto sax" "kalimba"
-"concertina" "tenor sax" "bagpipe"
-"acoustic guitar (nylon)" "baritone sax" "fiddle"
-"acoustic guitar (steel)" "oboe" "shanai"
-"electric guitar (jazz)" "english horn" "tinkle bell"
-"electric guitar (clean)" "bassoon" "agogo"
-"electric guitar (muted)" "clarinet" "steel drums"
-"overdriven guitar" "piccolo" "woodblock"
-"distorted guitar" "flute" "taiko drum"
-"guitar harmonics" "recorder" "melodic tom"
-"acoustic bass" "pan flute" "synth drum"
-"electric bass (finger)" "blown bottle" "reverse cymbal"
-"electric bass (pick)" "skakuhachi" "guitar fret noise"
-"fretless bass" "whistle" "breath noise"
-"slap bass 1" "ocarina" "seashore"
-"slap bass 2" "lead 1 (square)" "bird tweet"
-"synth bass 1" "lead 2 (sawtooth)" "telephone ring"
-"synth bass 2" "lead 3 (calliope)" "helicopter"
-"violin" "lead 4 (chiff)" "applause"
-"viola" "lead 5 (charang)" "gunshot"
-"cello" "lead 6 (voice)"
-@end example
-
-
-
-
-
-@c . {Tempo}
-@node Tempo
-@subsection Tempo
-@cindex Tempo
-@cindex beats per minute
-@cindex metronome marking
-
-@cindex @code{\tempo}
-@example
- \tempo @var{duration} = @var{perminute} @code{;}
-@end example
-
-Used to specify the tempo. For example, @code{\tempo 4 = 76;} requests
-output with 76 quarter notes per minute.
-
-
-
-
-
-@c . {Music entry}
-@node Music entry
-@section Music entry
-@cindex Music entry
@menu
-* Relative::
-* Point and click::
-@end menu
-
-
-
-@c . {Relative}
-@node Relative
-@subsection Relative
-@cindex Relative
-@cindex relative octave specification
-
-Octaves are specified by adding @code{'} and @code{,} to pitch names.
-When you copy existing music, it is easy to accidentally put a pitch in
-the wrong octave and hard to find such an error. To prevent these
-errors, LilyPond features octave entry.
-
-@cindex @code{\relative}
-@example
- \relative @var{startpitch} @var{musicexpr}
-@end example
-
-The octave of notes that appear in @var{musicexpr} are calculated as
-follows: If no octave changing marks are used, the basic interval
-between this and the last note is always taken to be a fourth or less.
- The octave changing marks @code{'} and @code{,} can then
-be added to raise or lower the pitch by an extra octave. Upon entering
-relative mode, an absolute starting pitch must be specified that will
-act as the predecessor of the first note of @var{musicexpr}.
-
-This distance is determined without regarding accidentals: a
-@code{fisis} following a @code{ceses} will be put above the
-@code{ceses}.
-
-Entering scales is straightforward in relative mode.
-
-@lilypond[fragment,verbatim,center]
- \relative c'' {
- g a b c d e f g g, g
- }
-@end lilypond
-
-And octave changing marks are used for intervals greater than a fourth.
-
-@lilypond[fragment,verbatim,center]
- \relative c'' {
- c g c f, c' a, e'' }
-@end lilypond
-
-If the preceding item is a chord, the first note of the chord is used
-to determine the first note of the next chord. But other notes
-within the second chord are determined by looking at the immediately
-preceding note.
-
-@lilypond[fragment,verbatim,center]
- \relative c' {
- c <c e g>
- <c' e g>
- <c, e' g>
- }
-@end lilypond
-@cindex @code{\notes}
-
-The pitch after the @code{\relative} contains a notename. To parse
-the pitch as a notename, you have to be in note mode, so there must
-be a surrounding @code{\notes} keyword (which is not
-shown here).
-
-The relative conversion will not affect @code{\transpose} or
-@code{\relative} sections in its argument. If you want to use
-relative within transposed music, you must place an additional
-@code{\relative} inside the @code{\transpose}.
-
-
-@c . {Point and click}
-@node Point and click
-@subsection Point and click
-
-[todo]
-
-@c . {Engravers}
-@node Engravers
-@section Engravers
-@cindex engravers
-@menu
-* Notation Contexts::
-* Creating contexts::
-* Default contexts::
-* Context properties::
-* Changing context definitions::
-* Defining new contexts::
+* Tuning groups of grobs ::
+* Tuning per grob ::
+* Font selection::
+* Text markup::
@end menu
-@c . {Music expressions}
-
-
-
-@c . {Notation Contexts}
-@node Notation Contexts
-@subsection Notation Contexts
-
-@cindex notation contexts
-
-Notation contexts are objects that only exist during a run of LilyPond.
-During the interpretation phase of LilyPond (when 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.
-
-During this reading, the notation context is holds the state
-for the current point within the music. It contains information like
-
-@itemize @bullet
- @item What notes are playing at this point?
- @item What symbols will be printed at this point?
- @item What is the current key signature, time signature, point within
- the measure, etc.?
-@end itemize
-
-Contexts are grouped hierarchically: A @code{Voice} context is
-contained in a @code{Staff} context (because a staff can contain
-multiple voices at any point), a @code{Staff} context is contained in
-a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
-these can all contain multiple staffs).
-
-
-Contexts associated with sheet music output are called @emph{notation
-contexts}, those for sound output are called performance contexts.
-
-
-@node Creating contexts
-@subsection Creating contexts
-
-@cindex @code{\context}
-@cindex context selection
-
-Contexts for a music expression can be selected manually, using the
-following music expression.
-
-@example
- \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
-@end example
-
-This instructs lilypond to interpret @var{musicexpr} within the context
- of type @var{contexttype} and with name @var{contextname}. If this
-context does not exist, it will be created.
-
-@quotation
-
-@lilypond[verbatim,singleline]
-\score {
- \notes \relative c'' {
- c4 <d4 \context Staff = "another" e4> 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.
-
-
-
-@node Default contexts
-@subsection Default contexts
-
-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.
-
-@lilypond[verbatim,singleline]
-\score { \notes \context Voice = goUp { c'4 d' e' } }
-@end lilypond
-
-There are some quirks that you must keep in mind when dealing with
-defaults:
-
-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.
-
-This is a convenient mechanism, but do not expect opening chords to work
-without @code{\context}. For every note, a separate staff is
-instantiated.
-
-@lilypond[verbatim, singleline]
-\score { \notes <c'4 es'> }
-@end lilypond
-
-Of course, if the chord is preceded by a normal note in sequential
-music, the chord will be interpreted by the Thread of the preceding
-note:
-@lilypond[verbatim,singleline]
-\score { \notes { c'4 <c'4 es'> } }
-@end lilypond
-
-
-
-@node Context properties
-@subsection Context properties
-
-Notation contexts can be modified from within the @file{.ly} file. The
-following music expression does that job:
-
-@cindex @code{\property}
-@example
- \property @var{contextname}.@var{propname} = @var{value}
-@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 . {Context definitions}
-@node Changing context definitions
-@subsection Changing context definitions
-
-@cindex context definition
-@cindex translator definition
-
-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
-
-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.
-
-@lilypond[verbatim,singleline]
-\score { \notes {
- c'4 c'4 }
- \paper {
- \translator { \StaffContext
- \consists Instrument_name_engraver;
- instrument = #"foo"
- \remove Clef_engraver;
- } } }
-@end lilypond
-
-@cindex engraver
-
-These type of property assignments happen before interpretation starts,
-so a @code{\property} expression will override any predefined settings.
-
-Engravers are the actual C++ modules that do the work in the
-interpretation phase.
-
-
-There are some pre-defined identifiers to simplify editing translators,
-they are defined in @file{ly/engraver.ly}. These pre-defined
-identifiers are:
-
-@table @code
-@cindex @code{StaffContext}
- @item @code{StaffContext}
- Default Staff context.
-@cindex @code{RhythmicStaffContext}
-
- @item @code{RhythmicStaffContext}
- Default RhythmicStaff context.
-@cindex @code{VoiceContext}
-
- @item @code{VoiceContext}
- Default Voice context.
-@cindex @code{ScoreContext}
-
- @item @code{ScoreContext}
- Default Score context.
-
-@cindex @code{HaraKiriStaffContext}
-
- @item @code{HaraKiriStaffContext}
- Staff context that does not print if it only contains rests.
- Useful for orchestral scores.@footnote{Harakiri, also called
- Seppuku, is the ritual suicide of the Japanese Samourai warriors.}
-@end table
-
-@node Defining new contexts
-@subsection Defining new contexts
-
-If you want to build a context from scratch, you must also supply the
-following extra information:
-@itemize @bullet
- @item A name, specified by @code{\name @var{contextname};}.
-
- @item A cooperation engraver. This is specified by @code{\type
-@var{typename};}.
-@end itemize
-
-
-A context definition has this syntax:
-
-@example
-
- \translator @code{@{}
- @var{translatorinit} @var{translatormodifierlist}
- @code{@}}
-@end example
-
-@var{translatorinit} can be an identifier or
-@example
-
-@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}
-
- @item @code{Score_engraver}
- This is cooperation module that should be in the top level context,
-and only the toplevel context.
-
-@cindex @code{Grace_engraver_group}
-
- @item @code{Grace_engraver_group}
- This is a special cooperation module (resembling
- @code{Score_engraver}) that is used to created an embedded
- `miniscore'.
-@end table
-
-@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.
-
- @item @var{propname} @code{=} @var{value} @code{;}
- A property assignment.
-@end itemize
-
-In the @code{\paper} block, it is also possible to define translator
-identifiers. Like other block identifiers, the identifier can only
-be used as the very first item of a translator. In order to define
-such an identifier outside of @code{\score}, you must do
-
-@quotation
-
-@example
-\paper @{
- foo = \translator @{ @dots{} @}
-@}
-\score @{
- \notes @{
- @dots{}
- @}
- \paper @{
- \translator @{ \foo @dots{} @}
- @}
-@}
-@end example
-
-@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