-@c -*-texinfo-*-
-@c TODO:
-@c - Reinsert subsection commands that were lost in the
-@c ancient conversion from YODL! /MB
-@c - Restructure! Separate internal commands from user level commands. /MB
-@c - Add some words about Guile. /MB
-@c - Fix indexing (keyindex) so it doesn't add line breaks /MB
-
-@node Reference Manual, , , Top
+@c Note:
+@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_{Reference Manual}
+@node Reference Manual
@chapter Reference Manual
-
@menu
-* Overview:: Overview
-* Top level:: Top level
-* Pitch names:: Pitch names
-* Lexical conventions:: Lexical conventions
-* Other languages:: Note names in various languages
-* Lexical modes:: modes
-* Types:: Types
-* Music expressions:: Music expressions
-* Atomic music expressions:: Atomic music expressions
-* Note specification:: notedesc
-* barlines:: barlines
-* Manual beams:: Manual beam
-* stem tremolo:: tremolo
-* Compound music expressions:: Compound music expressions
-* relative:: relative
-* Repeats:: Repeats
-* transpose:: transpose
-* Ambiguities:: Ambiguities
-* Notation conversion specifics:: Notation conversion specifics
-* autobeam:: autobeam
-* lyricprint:: lyricprint
-* Notation Contexts:: Notation Contexts
-* Properties:: Changing formatting
-* Notation output definitions:: Notation output definitions
-* paper:: paper
-* Paper variables:: papervars
-* contextdefs:: contextdefs
-* Sound output:: Sound output
-* midilist:: midilist
-* Grobs:: Graphical objects
-* Molecule:: Molecules
-* Pre-defined Identifiers:: Pre-defined Identifiers
-@c May be fragile. Better make single link to generated doco?
-* Interpretation contexts:(lilypond-internals)LilyPond interpretation contexts.
-* Engravers:(lilypond-internals)LilyPond engravers.
-* Backend:(lilypond-internals)LilyPond backend.
+* Overview::
+* Music constructs::
+* Modifying music::
+* Note entry::
+* Note specification::
+* Music notation::
+* Lyrics entry::
+* Chord entry::
+* Page layout::
+* Sound::
+* Music entry::
+* Engravers::
+* Lexer innards::
+* Unsorted::
@end menu
-
-
-@node Overview, , , Reference Manual
+@c_ {Overview}
+@node Overview
@section Overview
-This document@footnote{This document has been revised for LilyPond 1.2.}
+This document
describes the the GNU LilyPond input format This format represents a
piece of music in an elegant way, but contains enough information for
both automatic typesetting and automatic performances.
+This document has been revised for LilyPond 1.3.125
+
+[todo: ]
+
+There are two things to note here. The format contains musical
+concepts like pitches and durations, instead of symbols and positions:
+the input format tries to capture the meaning of @emph{music}, and not
+notation. Second, the format tries to be @emph{context-free}:
+a note will sound the same regardless of the current time signature,
+the key, etc.
+
+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'.
+
LilyPond input can be classified into three types:
@itemize @bullet
@item musical expressions: a musical expression is some combination of
@end itemize
+@c_ {Music constructs}
+@node Music constructs
+@section Music constructs
+@cindex Music constructs
+@menu
+* Music expressions::
+* Sequential music::
+* Simultanious music::
+* Compound music expressions::
+* Grace music::
+* Explicit atomic music::
+@end menu
+
+@c_ {Music expressions}
+@node Music expressions
+@subsection Music expressions
-@node Top level, , , Reference Manual
-@section Top level
+@cindex music expressions
-@cindex top level
+Music in LilyPond is entered as a music expression. Notes, rests,
+lyric syllables are music expressions (the atomic
+expressions),
+@cindex atomic music expressions
+and you can combine music expressions to form new ones. This example
+forms a compound expressions out of the quarter @code{c} note and a
+@code{d} note:
-This section describes what you may enter at top level.
+@example
+\sequential @{ c4 d4 @}
+@end example
+The meaning of this compound expression is to play the @code{c}
+first, and then the @code{d} (as opposed to playing them
+simultaneously, for instance).
+Atomic music expression are discussed in
+subsection @ref{Atomic music expressions}. Compound music expressions are
+discussed in subsection @ref{Compound music expressions}.
-@cindex score definition
-The output is generated combining a music expression with an output
-definition. A score block has the following syntax:
+@c_ {Sequential music}
+@node Sequential music
+@subsection Sequential music
+@cindex Sequential music
+@cindex @code{\sequential}
+@cindex sequential music
@example
- \score @{ @var{musicexpr} @var{outputdefs} @}
+ \sequential @code{@{} @var{musicexprlist} @code{@}}
@end example
-@var{outputdefs} are zero or more output definitions. If no output
-definition is supplied, the default @code{\paper} block will be added.
+This means that list should be played or written in sequence, i.e.,
+the second after the first, the third after the second. The duration
+of sequential music is the the sum of the durations of the elements.
+There is a shorthand, which leaves out the keyword:
-@cindex header
+@example
+@cindex @code{<}
+@cindex @code{>}
-@keyindex{header}
+ @code{@{} @var{musicexprlist} @code{@}}
+@end example
-The syntax is
+@c_ {Simultanious music}
+@node Simultanious music
+@subsection Simultanious music
+@cindex Simultanious music
+@cindex @code{\simultaneous}
@example
- \header @{ @var{key1} = @var{val1};
- @var{key2} = @var{val2}; @dots{} @}
+ \simultaneous @code{@{} @var{musicexprlist} @code{@}}
@end example
-A header describes the file's contents. It can also appear in a
-@code{\score} block. Tools like @code{ly2dvi}@indexcode{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.
-
-
-@node Pitch names, , , Reference Manual
+It constructs a music expression where all of its arguments start at
+the same moment. The duration is the maximum of the durations of the
+elements. The following shorthand is a common idiom:
-Note names and chord modifiers can be customised for nationalities.
-languages and conventions. The syntax is as follows.
@example
- \pitchnames @keyindex{pitchnames} @var{scheme-alist}
- \chordmodifiers@keyindex{chordmodifiers} @var{scheme-alist}
+ @code{<} @var{musicexprlist} @code{>}
@end example
-See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
-specific examples how to do this. tables can be tailored specified
-using. Some national note names have been provided, see @ref{Other
-languages}.
+If you try to use a chord as the first thing in your score, you might
+get multiple staffs instead of a chord.
-A @code{\paper} block at top level sets the default paper block. A
-@code{\midi} block at top level works similarly.
+@lilypond[verbatim,center]
+ \score {
+ \notes <c''4 e''>
+ \paper {
+ linewidth = -1.;
+ }
+ }
+@end lilypond
+This happens because the chord is interpreted by a score context.
+Each time a note is encountered a default Voice context (along with a
+Staff context) is created. The solution is to explicitly instantiate
+a Voice context:
+@lilypond[verbatim,center]
+ \score {
+ \notes\context Voice <c''4 e''>
+ \paper {
+ linewidth = -1.;
+ }
+ }
+@end lilypond
-Identifier assignments may appear at top level. Semicolons are
-forbidden after top level assignments.
+@c_ {Compound music expressions}
+@node Compound music expressions
+@subsection Compound music expressions
+@cindex Compound music expressions
+Music expressions are compound data structures. You can nest music
+expressions any way you like. This simple example shows how three
+chords can be expressed in two different ways:
-@node Lexical conventions, , , Reference Manual
-@section Lexical conventions
+@lilypond[fragment,verbatim,center]
+ \notes \context Staff {
+ <a c'> <b d' > <c' e'>
+ < { a b c' } { c' d' e' } >
+ }
-@cindex lexical conventions
+@end lilypond
+@cindex @code{\context}
+@cindex context selection
+@example
+ \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
+@end example
-@unnumberedsubsec Comments
+Interpret @var{musicexpr} within a context of type @var{contexttype}.
+If the context does not exist, it will be created. The new context
+can optionally be given a name.
-@cindex comment
-@indexcode{%}
+@c_ {Grace music} <-> Grace notes
+@node Grace music
+@subsection Grace music
+@cindex Grace music
+@cindex @code{\grace}
+@cindex ornaments
+@cindex grace notes
+@cindex @code{graceAlignPosition}
+@example
+ \grace @var{musicexpr}
+@end example
-A one line comment is introduced by a `@code{%}' character.
-Block comments are started by `@code{%@{}' and ended by `@code{%@}}'.
-They cannot be nested.
+A grace note expression has duration 0; the next real note is
+assumed to be the main note.
-@unnumberedsubsec Scheme
+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}
-@indexcode{#}
+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.
-LilyPond contains a Scheme interpreter (the GUILE library) for
-internal use. The interpreter is accessed by the pound sign:
+@quotation
+@lilypond[fragment,verbatim]
+\relative c'' {
+ \grace c8 c4 \grace { [c16 c16] } c4
+ \grace { \property Grace.flagStyle = "" c16 } c4
+}
-Whereever the syntax allows Scheme expressions, you may enter one as
+@end lilypond
+@end quotation
+@cindex @code{\grace}
+At present, nesting @code{\grace} notes is not supported. The following
+may cause run-time errors:
@example
- #@var{scheme}
+ @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.
-Evaluates the specified Scheme code. If this is used at toplevel, then
-the result is discarded. Example:
-@example
- \property Staff.TestObject \override #'symbol = #(+ 1 2)
-@end example
+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.
-(in this case, @code{\override} expects two Scheme expressions.
+The present implementation is not robust and generally kludgy. We expect
+it to change after LilyPond 1.4
-[refer appendix/ online intro on Scheme]
-@unnumberedsubsec Keywords
+@c_ {Explicit atomic music}
+@node Explicit atomic music
+@subsection Explicit atomic music
+@cindex Explicit atomic music
-@cindex keyword
-Keywords start with a backslash, followed by a number of lower case
-alphabetic characters. These are all the keywords.
+@cindex pitch
+
+The syntax for pitch specification is
+@cindex @code{\pitch}
@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 musicalpitch
-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
+ \pitch @var{scmpitch}
@end example
-@unnumberedsubsec Integers
+@var{scmpitch} is a pitch scheme object, see @ref{Pitch}.
-@cindex integer
+In Note and Chord mode, pitches may be designated by names. See
+section @ref{Other languages} for pitch names in different languages.
-Formed from an optional minus sign followed by digits. Arithmetic
-operations cannot be done with integers, and integers cannot be mixed
-with reals.
+@cindex duration
+@cindex @code{\duration}
-@unnumberedsubsec Reals
+The syntax for duration specification is
+@example
+ \duration @var{scmduration}
+@end example
-@cindex real
-
+In Note, Chord, and Lyrics mode, durations may be designated by
+numbers and dots.
-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{+}@indexcode{+}', `@code{-}@indexcode{-}', `@code{*}@indexcode{*}', and
-`@code{/}@indexcode{/}', with parentheses for grouping.
-A real constant can be followed by one of the dimension
-keywords:
-@cindex dimensions
- @code{\mm}@keyindex{mm},
-@code{\pt}@keyindex{pt}, @code{\in}@keyindex{in}, or
-@code{\cm}@keyindex{cm}, for millimeters, points, inches and
-centimeters, respectively. This converts the number to a real that
-is the internal representation of dimensions.
-@unnumberedsubsec
-@cindex string
-
-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.
+@c_ {Modifying music}
+@node Modifying music
+@section Modifying music
+@cindex Modifying music
+@menu
+* Relative::
+* Transpose::
+* Repeat::
+* Times ::
+* Apply::
+* Transform::
+@end menu
+@c_ {Relative}
+@node Relative
+@subsection Relative
+@cindex Relative
+@cindex relative octave specification
-The tokenizer accepts the following commands. They have no grammatical
-function, hence they can appear anywhere in the input.
+It is easy to get confused by octave changing marks and accidentally
+putting a pitch in the wrong octave. A much better way of entering a
+note's octave is `the relative octave' mode.
+@cindex @code{\relative}
@example
- \maininput@keyindex{maininput}
+ \relative @var{startpitch} @var{musicexpr}
@end example
-This command is used in init files to signal that the user file must
-be read. This command cannot be used in a user file.
+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.@footnote{The interval is determined without regarding
+accidentals. A @code{fisis} following a @code{ceses} will be put above
+the @code{ceses}.} 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}.
-@unnumberedsubsec file inclusion
+Entering scales is straightforward in relative mode.
-@example
- \include@keyindex{include} @var{file}
-@end example
+@lilypond[fragment,verbatim,center]
+ \relative c' {
+ c d e f g a b c c,
+ }
+@end lilypond
-Include @var{file}. The argument @var{file} 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,
+And octave changing marks are used for intervals greater than a fourth.
-@unnumberedsubsec Version information
+@lilypond[fragment,verbatim,center]
+ \relative c'' {
+ c g c f, c' a, e'' }
+@end lilypond
-@example
- \version@keyindex{version} @var{string} ;
-@end example
+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.
-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.
+@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}.
-@cindex other languages
+It is strongly recommended to use relative pitch mode: less work,
+less error-prone, and more readable.
-@node Other languages, , , Reference Manual
+@c_ {Transpose}
+@node Transpose
+@subsection Transpose
+@cindex Transpose
+@cindex transposition of pitches
+@cindex @code{\transpose}
-Note name definitions have been provided in various languages.
-Simply include the language specific init file. For example:
-`@code{\include "english.ly"}'. The available language files and the
-names they define are:
+A music expression can be transposed with @code{\transpose}. The syntax
+is
+@example
+ \transpose @var{pitch} @var{musicexpr}
+@end example
-@example
- Note Names sharp flat
-nederlands.ly c d e f g a bes b -is -es
-english.ly c d e f g a bf b -s/-sharp -f/-flat
-deutsch.ly c d e f g a b h -is -es
-norsk.ly c d e f g a b h -iss/-is -ess/-es
-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
-@end example
+This means that middle C in @var{musicexpr} is transposed to
+@var{pitch}.
-Pitch names can be redefined using the @code{\pitchnames} command, see
-@ref{Pitch names}.
+@code{\transpose} distinguishes between enharmonic pitches: both
+@code{\transpose cis'} or @code{\transpose des'} will transpose up half
+a tone. The first version will print sharps and the second version
+will print flats.
-@cindex Lexical Modes
+@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 }
+}
-@cindex modes
+@end lilypond
+@end quotation
-@node Lexical modes, , , Reference Manual
+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}.
-To simplify entering notes, lyrics, and chords, @emph{Lilypond} has three
-special input modes on top of the default mode. In each mode, words
-are identified on the input. If @code{"word"} is encountered, it is
-treated as a string. If @code{\word} is encountered, it is treated as
-a keyword or as an identifier. The behavior of the modes differs in
-two ways: Different modes treat unquoted words differently, and
-different modes have different rules for deciding what is a word.
+@c_ {Repeat}
+@node Repeat
+@subsection Repeat
+@cindex Repeat
+@cindex repeats
-@table @samp
- @item Normal mode.
-@cindex mode!normal
-
- At the start of parsing, @emph{Lilypond} is in Normal mode. In Normal
- mode, a word is an alphabetic character followed by alphanumeric
- characters. If @code{word} is encountered on the input it is
- treated as a string.
-
- @item Note mode.
-@cindex mode!note
-
- Note mode is introduced by the keyword
- @code{\notes}@keyindex{notes}. In Note mode, words can only
- contain alphabetic characters. If @code{word} is encountered,
- LilyPond first checks for a notename of @code{word}. If no
- notename is found, then @code{word} is treated as a string.
-
- Since combinations of numbers and dots are used for indicating
- durations, it is not possible to enter real numbers in this mode.
-
- @item Chord mode.
-@cindex mode!chord
-
- Chord mode is introduced by the keyword
- @code{\chords}@keyindex{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.
-
- @item Lyrics mode.
-@cindex mode!lyric
-
- Lyrics mode is introduced by the keyword
- @code{\lyrics}@keyindex{lyrics}. This mode has rules that make it
- easy to include punctuation and diacritical marks in words. 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{^}'.@footnote{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 indeed is
- ludicrous. This will remain so until the authors of LilyPond
- acquire a deeper understanding of character encoding, or someone
- else steps up to fix this.}
-
- 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 if
- you thought the closing brace was going to terminate Lyrics
- mode.@footnote{LilyPond will issue a warning, though.} 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{}.
+@ref{Volta}
+[TODO: document #'repeatCommands.]
-@example
-Ah! % a word
-2B_||_!2B % not a word because it starts with a digit
-``Hello'' % not a word because it starts with `
-_ _ _ _ % 4 words, each one a space
-@end example
+@cindex @code{\repeat}
- Since combinations of numbers and dots are used for indicating
- durations, you can not enter real numbers in this mode.
-@end table
+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.
-[todo: include short table showign differences]
+@table @asis
+@item unfolded
+Repeated music is fully written (played) out. Useful for MIDI
+output.
-@node Types, , , Reference Manual
-@section Types
+@item volta
+This is the normal notation: Repeats are not written out, but
+alternative endings (voltas) are printed, left to right.
-@cindex Identifiers
+@item folded
+Alternative endings are written stacked. Which is unfortunately not
+practical for anything right now.
-[say something about types]
+@item tremolo
+Make tremolo beams.
+@end table
-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,
+The syntax for repeats is
-@itemize @bullet
- @item Input
- @item c++-function
- @item Music: see @ref{Music expressions}
- @item Identifier
- @item Translator_def:
-See section @ref{contextdefs} for more information
-
- @item Duration
- @item Pitch
- @item Score (TODO, smobme)
-@item Music_output_def (TODO, smobme)
-
- @item Moment (rational number)
-@end itemize
+@example
+ \repeat @var{variant} @var{repeatcount} @var{repeatbody}
+@end example
-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 .
+If you have alternative endings, you may add
-@itemize @bullet
- @item Grob: short for Graphical object. See @ref{Grobs}.
- @item Molecule: device-independent paper output object,
- including dimensions. Produced by some Grob functions
- @item Translator: object that produces audio objects or Grobs
+@cindex @code{\alternative}
+@example
+ \alternative @code{@{} @var{alternative1}
+ @var{alternative2}
+ @var{alternative3} @dots{} @code{@}}
+@end example
- @item Font_metric: object representing a font. (Not yet user accessible.)
- @item Audio_element: (TODO, smobme)
-@end itemize
+where each @var{alternative} is a Music expression.
-Identifiers allow objects to be assigned to names during the parse
-stage. To assign an identifier, you use `@var{name}=@var{value}' and to
-refer to an identifier, you preceed its name with a backslash:
-`@code{\}@var{name}'. Identifier assignments must appear at top level
-in the @emph{Lilypond} file. Semicolons are forbidden after assignments
-appearing at top level but they are obligatory after assignments
-appearing in the @code{\paper} block, see Section @ref{paper}.
+Normal notation repeats are used like this:
-@var{value} is any valid Scheme value or any of the input-types listed
-above.
+@quotation
-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 alphanumeric. It is impossible to refer to an
-identifier whose name is the same as the name of a keyword.
+@lilypond[fragment,verbatim]
+ c'1
+ \repeat volta 2 { c'4 d' e' f' }
+ \repeat volta 2 { f' e' d' c' }
-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.
+@end lilypond
+@end quotation
-@example
- foo = \foo * 2.0
-@end example
+With alternative endings:
-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
-@}
+@quotation
-\paper @{
- \paperIdent % correct
- foo = 1.0
-@}
-@end example
+@lilypond[fragment,verbatim]
+ c'1
+ \repeat volta 2 {c'4 d' e' f'}
+ \alternative { {d'2 d'} {f' f} }
+@end lilypond
+@end quotation
-@node Music expressions, , , Reference Manual
-@section Music expressions
+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.}
-@cindex music expressions
+@quotation
-Music in @emph{Lilypond} is entered as a music expression. Notes, rests,
-lyric syllables are music expressions (the atomic
-expressions)
-@cindex atomic music expressions
-, and you can combine
-music expressions to form new ones. This example forms a compound
-expressions out of the quarter @code{c} note and a @code{d}
-note:
+@lilypond[fragment,verbatim]
+ c'1
+ \repeat fold 2 {c'4 d' e' f'}
+ \alternative { {d'2 d'} {f' f} }
-@example
-\sequential @{ c4 d4 @}
-@end example
+@end lilypond
+@end quotation
-The meaning of this compound expression is to play the `@code{c}'
-first, and then the `@code{d}' (as opposed to playing them
-simultaneously, for instance).
+@quotation
-Atomic music expression are discussed in
-subsection @ref{Atomic music expressions}. Compound music expressions are
-discussed in subsection @ref{Compound music expressions}.
+@lilypond[fragment,verbatim]
+\context Staff {
+ \relative c' {
+ \partial 4;
+ \repeat volta 2 { e | c2 d2 | e2 f2 | }
+ \alternative { { g4 g g } { a | a a a a | b1 } }
+ }
+}
+@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.
-@node Atomic music expressions, , , Reference Manual
-@section Atomic music expressions
+@quotation
+@lilypond[fragment,verbatim]
+\context Staff {
+ \relative c' {
+ \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | }
+ \alternative { { g4 g g }
+ {\partial 1; e4 e e }
+ {\partial 1; a a a a | b1 } }
+ }
+}
+@end lilypond
+@end quotation
+As you can see, LilyPond doesn't remember the timing information, nor
+are slurs or ties repeated. We hope to fix this after 1.4.
+It is possible to nest @code{\repeat}. This is not entirely
+supported: the notes will come be in the right places, but the repeat
+bars will not.
+To place tremolo marks between notes, use @code{\repeat} with tremolo
+style.
+@cindex tremolo beams
+To create tremolo beams on a single note, simply attach
+`@code{:}@var{length}' to the note itself.
-@cindex pitch
+@lilypond[verbatim,center]
+\score {
+ \context Voice \notes\relative c' {
+ \repeat "tremolo" 8 { c16 d16 }
+ \repeat "tremolo" 4 { c16 d16 }
+ \repeat "tremolo" 2 { c16 d16 }
+ }
+ \paper {
+ linewidth = 40*\staffspace;
+ }
+}
+@end lilypond
+@cindex @code{__}
-@cindex duration
-
+@lilypond[fragment,verbatim,center]
-The syntax for pitch specification is
+ c'4:32
+@end lilypond
+@c_ {Times}
+@node Times
+@subsection Times
+@cindex Times
+@ref{Tuplets}
+Tuplets are made out of a music expression by multiplying their
+duration with a fraction.
+@cindex @code{\times}
@example
- \musicalpitch@keyindex{musicalpitch} @{ @var{octave} @var{note} @var{shift} @}
+ \times @var{fraction} @var{musicexpr}
@end example
-@var{octave} is specified by an integer, zero for the octave
-containing middle C. @var{note} is a number from 0 to 7, with 0
-corresponding to C and 7 corresponding to B. The shift is zero for a
-natural, negative to add flats, or positive to add sharps.
+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:
-In Note and Chord mode, pitches may be designated by names. See
-section @ref{Other languages} for pitch names in different languages.
+@lilypond[fragment,verbatim,center]
+ g'4 \times 2/3 {c'4 c' c'} d'4 d'4
+@end lilypond
-The syntax for duration specification is
+@c_ {Apply}
+@node Apply
+@subsection Apply
+@cindex Apply
+Apply allows a Scheme-function to operate directly on the internal
+representation of music.
@example
- \duration@keyindex{duration}
- @{ @var{length} @var{dotcount} @}
+ \apply #@var{func} @var{music}
@end example
+The function takes two arguments, being a function and an musical
+argument for that function. The function should return a music
+expression.
+
+This example replaces the text string of a script. It also shows a dump
+of the music it processes.
+@lilypond[verbatim]
+#(define (testfunc x)
+ (if (eq? (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
-@var{length} is the negative logarithm (base 2) of the duration:
-1 is a half note, 2 is a quarter note, 3 is an eighth
-note, etc. The number of dots after the note is given by
-@var{dotcount}.
+For more information on what is possible, see the @ref{Tricks} and the
+automatically generated documentation.
-In Note, Chord, and Lyrics mode, durations may be designated by
-numbers and dots.
+@c_ {Transform}
+@node Transform
+@subsection Transform
+@cindex Transform
-@node Note specification, , , Reference Manual
+@c_ {Note entry}
+@node Note entry
+@section Note entry
+@cindex Note entry
-@cindex note specification
+@menu
+* Notes mode::
+* Pitch names::
+@end menu
-@cindex pitches
+@c_ {Notes mode}
+@node Notes mode
+@subsection Notes mode
+
+@cindex note mode
+@cindex @code{\notes}
+Note mode is introduced by the keyword
+@code{\notes}. In Note mode, words can only
+contain alphabetic characters. If @code{word} is encountered,
+LilyPond first checks for a notename of @code{word}. If no
+notename is found, then @code{word} is treated as a string.
+
+Since combinations of numbers and dots are used for indicating
+durations, it is not possible to enter real numbers in this mode.
+
+
+@cindex Notes mode
+
+@c_ {Pitch names}
+@node Pitch names
+@subsection Pitch names
+@cindex Pitch names
+@node Note specification
+@section Note specification
+@cindex Note specification
+
+@cindex pitches
@cindex entering notes
A note specification has the form
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
+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,
-@cindex notenames!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.
+@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.
+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:
+
+@example
+ Note Names sharp flat
+nederlands.ly c d e f g a bes b -is -es
+english.ly c d e f g a bf b -s/-sharp -f/-flat
+deutsch.ly c d e f g a b h -is -es
+norsk.ly c d e f g a b h -iss/-is -ess/-es
+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
+@end example
+@cindex @code{'}
+@cindex @code{,}
+
+Pitch names can be redefined using the @code{\pitchnames} command, see
+@ref{Pitch names}.
-LilyPond has predefined sets of notenames for various languages. See
-@ref{Other languages}.
The optional octave specification takes the form of a series of
-single quote (`@code{'}@indexcode{'}') characters or a series of comma
-(`@code{,}@indexcode{,}') characters. Each @code{'} raises the pitch by one
+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]
ceses' eses' geses' ases' beses'
@end lilypond
-Whenever a C-sharp is desired, you must specify a C-sharp. LilyPond
-will determine what accidentals to typeset depending on the key and
-context. A reminder accidental
+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
- can be
-forced by adding an exclamation mark `@code{!}' after the pitch. A
-cautionary accidental,
+@cindex @code{?}
+can be forced by adding an exclamation mark @code{!} after the pitch.
+A cautionary accidental,
@cindex cautionary accidental
- i.e., an
-accidental within parentheses can be obtained by adding the question
-mark `@code{?}@indexcode{?}' after the pitch.
+
+i.e., an accidental within parentheses can be obtained by adding the
+question mark `@code{?}' after the pitch.
@lilypond[fragment,verbatim,center]
cis' d' e' cis' c'? d' e' c'!
@end lilypond
-@cindex duration
+@c_ {Rests}
+@menu
+* Rests::
+* Durations::
+* Multi measure rests::
+* Skip::
+@end menu
+
+@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.
+
+
+@c_ {Durations}
+@node Durations
+@subsection Durations
+@cindex Durations
Durations are entered as their reciprocal values. For notes longer
than a whole note, use identifiers.
@example
c'\longa 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
@end example
-@end quotation
-
-@quotation
@lilypond[]
\score {
\notes \relative c'' {
- a\longa a\breve
+ a\longa 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 {
+ \translator {
\StaffContext
- \remove "Clef_engraver";
- \remove "Staff_symbol_engraver";
- } %}
+ \remove "Clef_engraver";
+ \remove "Staff_symbol_engraver";
+ \remove "Time_signature_engraver";
+ \consists "Pitch_squash_engraver";
+ }
}
}
@end lilypond
@end quotation
-@quotation
+As you can see, the longa is not printed. To get a longa note head, you
+have to use a different style of note heads. See [TODO].
-@example
-r\longa r\breve
-r1 r2 r4 r8 r16 r32 r64 r64
-@end example
+@cindex @code{.}
-@end quotation
-@quotation
+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.
-@lilypond[]
-\score {
- \notes \relative c'' {
- r\longa r\breve
- r1 r2 r4 r8 r16 r32 r64 r64
- }
- \paper {
- loose_column_distance = 2.5 * \staffspace;
- linewidth = -1.0;
- \translator {
- \StaffContext
- \remove "Clef_engraver";
- \remove "Staff_symbol_engraver";
- \remove "Bar_engraver";
- }
- }
-}
-@end lilypond
-@end quotation
-If the duration is omitted then it is set equal to the previous
-duration. If there is no previous duration, a quarter note is
-assumed. The duration can be followed by a dot (`@code{.}@indexcode{.}')
-to obtain dotted note lengths.
@lilypond[fragment,verbatim,center]
a'4. b'4.
@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.
-
-
-Rests are entered like notes, with note name `@code{r}@indexcode{r}',
-or `@code{R}@indexcode{R}'. There is also a note name
-`@code{s}@indexcode{s}', which produces a space of the specified
-duration. `@code{R}' is specifically meant for entering parts: the
-@code{R} rest can expand to fill a score with rests, or it can be
-printed as a single multimeasure rest.
-
-You can control the expansion by setting the property
-@code{Score.skipBars}. If this is set to true, Lily will not expand
-empty measures, and the multimeasure rests automatically adds the
-appropriate number.
+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.
+@c_ {Multi measure rests}
+@node Multi measure rests
+@subsection Multi measure rests
+@cindex Multi measure rests
-@cindex lyrics expressions
+@cindex @code{R}
-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.
+Multi_measure_rest are entered using `@code{R}'. It is specifically
+meant for entering parts: the rest can expand to fill a score with
+rests, or it can be printed as a single multimeasure rest This expansion
+is controlled by the property @code{Score.skipBars}. If this is set to true,
+Lily will not expand empty measures, and the multimeasure rests
+automatically adds the appropriate number.
-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 section @ref{lyricprint}.
+@lilypond[fragment]
+ \time 3/4; R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
+@end lilypond
+Note that there is currently no way to condense multiple rests into a
+single multimeasure rest.
+@c_ {Skip}
+@node Skip
+@subsection Skip
+@cindex Skip
-@cindex properties
@example
- \property@keyindex{property}
- @var{contextname}.@var{propname} = @var{value}
+ \skip @var{duration} @code{;}
@end example
+@cindex @code{\skip}
-Sets the @var{propname} property of the context @var{contextname} to
-the specified @var{value}. All three arguments are strings.
-Depending on the context, it may be necessary to quote the strings or
-to leave space on both sides of the dot.
+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.
-@cindex translator switches
-@example
- \translator@keyindex{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.
+@c_ {Music notation}
+@node Music notation
+@section Music notation
+@cindex Music notation
+@menu
+* Key::
+* Clef::
+* Time signature::
+* Spanners::
+* Ornaments::
+* Bar check::
+@end menu
-Usually this is used to switch staffs in Piano music, e.g.
+@c_ {Key}
+@node Key
+@subsection Key
+@cindex Key
+
+@cindex @code{\key}
@example
- \translator Staff = top @var{Music}
+ @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}
+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.
-@cindex output properties
+@c_ {Clef}
+@node Clef
+@subsection Clef
+@cindex Clef
-These allow you to tweak what is happening in the back-end
-directly. If you want to control every detail of the output
-formatting, this is the feature to use. The downside to this is that
-you need to know exactly how the backend works. Example:
+@c_ {Clef changes}
+@subsubsection Clef changes
+@cindex @code{\clef}
+@example
+ \clef @var{clefname} @code{;}
+@end example
-@lilypond[fragment,verbatim]
-\relative c'' { c4
- \context Staff \outputproperty
- #(make-type-checker 'Note_head)
- #'extra-offset = #'(5.0 . 7.5)
-<c8 e g> }
-@end lilypond
-
-This selects all note heads occurring at current staff level, and sets
-the extra-offset of those heads to (5,7.5), shifting them up and
-right.
-
-Use of this feature is entirely on your own risk: if you use this, the
-result will depend very heavily on the implementation of the backend,
-which we change regularly and unscrupulously.
-
-
-@cindex commands
+Short-cut for
-Commands are music expressions that have no duration.
+@example
+ \property Clef.clefGlyph = @var{symbol associated with clefname}
+ \property Clef.clefPosition = @var{clef Y-position for clefname}
+ \property Clef.clefOctavation = @var{extra pitch of clefname}
+@end example
+Supported clef-names include
-@example
+[todo]
- @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;}
-@end example
-Change the key signature. @var{type} should be
-@code{\major}@keyindex{major} or @code{\minor}@keyindex{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}@keyindex{key} commands to get the corresponding major key,
-e.g., @code{\minor}@keyindex{minor} is defined as 3. The standard
-mode names @code{\ionian}@keyindex{ionian},
-@code{\locrian}@keyindex{locrian}, @code{\aeolian}@keyindex{aeolian},
-@code{\mixolydian}@keyindex{mixolydian}, @code{\lydian}@keyindex{lydian},
-@code{\phrygian}@keyindex{phrygian}, and @code{\dorian}@keyindex{dorian}
-are also defined.
+@c_ {Time signature}
+@node Time signature
+@subsection Time signature
+@cindex Time signature
+@cindex meter
+@cindex @code{\time}
@example
- @code{\keysignature}@keyindex{keysignature} @var{pitchseq} @code{;}
+ \time @var{numerator}@code{/}@var{denominator} @code{;}
@end example
-Specify an arbitrary key signature. The pitches from @var{pitch} will
-be printed in the key signature in the order that they appear on the
-list.
-
+A short-cut for doing
@example
- \mark@keyindex{mark} @var{unsigned};
- \mark @var{string};
+ \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
@end example
-Prints a mark over or under the staff. You must add
-@code{Mark_engraver}@indexcode{Mark_engraver} to the Score context for
-this to work.
+See the documentation of @code{timeSignatureFraction}
-@node barlines, , , Reference Manual
+@c_ {Partial}
+@subsubsection Partial
+@cindex Partial
+@cindex anacrusis
+@cindex upstep
+@cindex partial measure
+@cindex measure, partial
+@cindex shorten measures
+@cindex @code{\partial}
@example
- \bar@keyindex{bar} @var{bartype};
+ \partial @var{duration} @code{;}
@end example
-This is a short-cut for doing
+Short cut for
+
@example
- \property Score.whichBar = @var{bartype}
+ \property Score.measurePosition = @var{length of duration}
@end example
+@cindex @code{|}
-You are encouraged to use @code{\repeat} for repetitions. See
-@ref{Repeats}, and the documentation of @code{whichBar}.
-
+See the documentation of @code{measurePosition}.
-@example
- \time@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;}
-@end example
-A short-cut for doing
-@example
- \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
-@end example
-See the documentation of @code{timeSignatureFraction}
+@c_ {Spanners}
+@node Spanners
+@subsection Spanners
+@cindex Spanners
-@example
+@menu
+* Beam::
+* Slur::
+* Tie::
+* Tuplet::
+* Volta::
+* Crescendo and Decrescendo::
+* Text spanner::
+* Ottava::
+* Span requests::
+@end menu
+@c_ {Beam}
+@node Beam
+@subsubsection Beam
+@cindex Beam
+@c_ {Automatic beams}
+@unnumberedsubsubsec Automatic beams
- \tempo@keyindex{tempo} @var{duration} = @var{perminute} @code{;}
-@end example
+@cindex automatic beam generation
+@cindex autobeam
-Used to specify the tempo. For example, `@code{\tempo 4 = 76;}'
-requests output with 76 quarter notes per minute.
+@cindex @code{Voice.noAutoBeaming}
-@example
- \partial@keyindex{partial} @var{duration} @code{;}
-@end example
+By default, LilyPond will generate beams automatically. This feature
+can be disabled by setting the @code{Voice.noAutoBeaming} property to
+true. It can be overridden for specific cases by specifying explicit
+beams.
-Short cut for
+@cindex @code{Voice.autoBeamSettings}
+@cindex @code{(end * * * *)}
+@cindex @code{(begin * * * *)}
+A large number of Voice properties are used to decide how to generate
+beams. Their default values appear in @file{scm/auto-beam.scm}. In
+general, beams can begin anywhere, but their ending location is
+significant. Beams can end on a beat, or at durations specified by the
+properties in
+@code{Voice.autoBeamSettings}.
+To end beams every quarter note, for example, you could set the property
+@code{(end * * * *)} to @code{(make-moment 1
+4)}. To end beams at every three eighth notes you would set
+it to @code{(make-moment 1 8)}.
+The same syntax can be used to specify beam
+starting points using
+@code{(begin * * * *)}, eg:
+@quotation
@example
- \property Score.measurePosition = @var{length of duration}
+\property Voice.autoBeamSettings \override
+ #'(end * * * *) = #(make-moment 1 4)
+\property Voice.autoBeamSettings \override
+ #'(begin * * * *) = #(make-moment 1 8)
@end example
+@end quotation
-See the documentation of @code{measurePosition}.
+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 * *)}.
-@cindex anacrusis
+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.
-@cindex upstep
+For example, to specify beam endings for beams that contain 32nd notes,
+you would use @code{(end * * 1 32)}.
-@example
- @code{|}@indexcode{|}
-@cindex bar check
-@end example
+@c_ {Manual beams}
+@cindex Automatic beams
+@unnumberedsubsubsec Manual beams
-@cindex shorten measures
+@cindex beams, manual
+@cindex @code{]}
+@cindex @code{[}
-@cindex upstep
+FIXME
+Beaming can be generated automatically; see section @ref{Automatic Beaming}.
-`@code{|}' is a bar check. 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 finding errors in the input.
-Depending on the value of @code{barCheckNoSynchronize}
-@indexcode{barCheckNoSynchronize} The beginning of the measure will be
-relocated, so this can also be used to shorten measures.
+A beam is specified by surrounding the beamed notes with brackets
+`@code{[}' and `@code{]}'.
+@lilypond[fragment,verbatim,center]
+ [a'8 a'] [a'16 a' a' a']
+ [a'16 <a' c''> c'' <a' c''>]
+ \times 2/3 { [e'8 f' g'] }
+@end lilypond
-@example
- \penalty@keyindex{penalty} @var{int} @code{;}
-@end example
+@cindex @code{-}@code{-}
-Discourage or encourage line breaks. See identifiers
-@code{\break}@keyindex{break} and @code{\nobreak}@keyindex{nobreak} in
-section [on identifiers] [FIXME].
-@example
- \clef@keyindex{clef} @var{clefname} @code{;}
-@end example
+@c_ {Adjusting beams}
+@unnumberedsubsubsec Adjusting beams
+@cindex Adjusting beams
-Short-cut for
-@example
- \property Clef.clefGlyph = @var{symbol associated with clefname}
- \property Clef.clefPosition = @var{clef Y-position for clefname}
- \property Clef.clefOctavation = @var{extra pitch of clefname}
-@end example
+@c_ {Slur}
-Supported clef-names include
+@node Slur
+@subsubsection Slur
+@cindex Slur
-[todo]
+@cindex slur
-@example
+Slurs connects chords and try to 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
+first note in the slur. This makes it possible to put a note in
+slurs from both sides:
- \skip@keyindex{skip} @var{duration} @code{;}
-@end example
+@lilypond[fragment,verbatim,center]
+ f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
+@end lilypond
-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 space rest `@code{s}'.
-@cindex beams
+@c_ {Adjusting slurs}
+@unnumberedsubsubsec Adjusting slurs
+@c_ {Tie}
+@cindex Adusting slurs
+@node Tie
+@subsubsection Tie
-@node Manual beams, , , Reference Manual
+@cindex Tie
+@cindex ties
+@cindex @code{~}
-A beam is specified by surrounding the beamed notes with brackets
-`@code{[}@indexcode{[}' and `@code{]}@indexcode{]}'.
+A tie connects two adjacent note heads of the same pitch. When used
+with chords, it connects all of the note heads whose pitches match.
+Ties are indicated using the tilde symbol `@code{~}'.
+If you try to tie together chords which have no common pitches, a
+warning message will appear and no ties will be created.
@lilypond[fragment,verbatim,center]
- [a'8 a'] [a'16 a' a' a']
+ e' ~ e' <c' e' g'> ~ <c' e' g'>
@end lilypond
-Some more elaborate constructions:
+[sparseTies]
+
+
+@c_ {Tuplet}
+@node Tuplet
+@subsubsection Tuplet
+@cindex Tuplet
+
+See @ref{Times}.
+
+@c_ {Volta}
+@node Volta
+@subsubsection Volta
+@cindex Volta
+
+See @ref{Repeat}.
+
+@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{\rced}
+@cindex @code{\<}
+@cindex @code{\>}
+@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
+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.
@lilypond[fragment,verbatim,center]
- [a'16 <a' c''> c'' <a' c''>]
- \times 2/3 { [e'8 f' g'] }
+ c'' \< \! c'' d'' \decr e'' \rced
+ < f''1 { s4 \< \! s2 \> \! s4 } >
@end lilypond
-Beaming can be generated automatically; see section @ref{autobeam}.
+[todo: text cr]
-[OUTDATED, FIXME]
-To place tremolo marks between notes, use @code{\repeat} with tremolo
-style.
-@cindex tremolo beams
-To create tremolo beams on a single note, simply attach
-`@code{:}@var{length}' to the note itself.
+@c_ {Text spanner}
+@node Text spanner
+@subsubsection Text spanner
+@cindex Text spanner
-@lilypond[fragment,verbatim,center]
- \repeat "tremolo" 8 { c16 d16 }
- \repeat "tremolo" 4 { c16 d16 }
+Have crescendo set a text spanner instead of hairpin
+
+@lilypond[fragment,relative,verbatim]
+ \context Voice {
+ \property Voice.crescendoText = "cresc."
+ \property Voice.crescendoSpanner = #'dashed-line
+ a''2\mf\< a a \!a
+ }
@end lilypond
-@lilypond[fragment,verbatim,center]
- c'4:32
+@c_ {Ottava}
+@node Ottava
+@subsubsection Ottava
+@cindex Ottava
+@unnumberedsubsubsec Ottava
+
+@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"
@end lilypond
-@cindex --@@@code{-}@code{-}
-@indexcode{__}
+@c_ {Text crescendo and decrescendo}
+@unnumberedsubsubsec Text crescendo and decrescendo
-@cindex extender
+TODO
-@cindex hyphen
+@c_ {Span requests}
+@node Span requests
+@subsubsection Span requests
+@cindex Span requests
-The syntax for an extender mark is `@code{__}'. This syntax can only
-be used within lyrics mode. The syntax for a spanning hyphen (i.e.,
-a hyphen that will be printed between two lyric syllables) is
-`@code{-}@code{-}'.
+@cindex @code{\spanrequest}
+@example
+ \spanrequest @var{startstop} @var{type}
+@end example
+@cindex @code{\start}
+@cindex @code{\stop}
-@cindex ties
+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. 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}.
-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{~}@indexcode{~}'.
-If you try to tie together chords which have no common pitches, a
-warning message will appear and no ties will be created.
+You can attach a (general) span request to a note using
@lilypond[fragment,verbatim,center]
- e' ~ e' <c' e' g'> ~ <c' e' g'>
+ c'4-\spanrequest \start "slur"
+ c'4-\spanrequest \stop "slur"
@end lilypond
+The slur syntax with parentheses is a shorthand for this.
-[TODO: explain Requests]
+@c_ {Ornaments}
+@node Ornaments
+@subsection Ornaments
+@cindex Ornaments
+@menu
+* Articulation::
+* Text scripts::
+* Grace notes::
+* Stem tremolo::
+* Arpeggio::
+* Glissando ::
+* Dynamics::
+* Bar lines::
+* Breath marks::
+* Rehearsal marks::
+@end menu
+@c_ {Articulation}
+@node Articulation
+@subsubsection Articulation
+@cindex Articulation
@cindex articulations
-
@cindex scripts
-
@cindex ornaments
A variety of symbols can appear above and below notes to indicate
\score {
< \notes {
+ \property Score.LyricSyllable \override #'font-family =
+#'typewriter
+ \property Score.LyricSyllable \override #'font-shape = #'upright
c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
c''-\thumb c''-\segno c''-\coda
}
- \context Lyrics \lyrics {
+ \context Lyrics \lyrics {
accent__ marcato__ staccatissimo__ fermata
stopped__ staccato__ tenuto__ upbow
downbow__ lheel__ rheel__ ltoe
@end lilypond
+@c_ {Text scripts}
+@node Text scripts
+@subsubsection Text scripts
+@cindex Text scripts
+
+FIXME: markup
+
In addition, it is possible to place arbitrary strings of text or
@TeX{} above or below notes by using a string instead of an
-identifier: `@code{c^"text"}'. Fingerings
-@cindex fingering
- 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.
+identifier: @code{c^"text"}. Fingerings
+can be placed by simply using digits. All of these note ornaments
+appear in the printed output but have no effect on the MIDI rendering of
+the music.
+
+@c_ {Fingerings}
+@unnumberedsubsubsec Fingerings
+@cindex Fingerings
To save typing, fingering instructions (digits 0 to 9 are
supported) and single characters shorthands exist for a few
common symbols
@lilypond[]
-
\score {
- \notes {
- \property Voice.textStyle = typewriter
+ \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
@end lilypond
-Dynamic marks are specified by using an identifier after a note:
-`@code{c4-\ff}' (the dash is optional for dynamics: `@code{c4 \ff})'.
-The available dynamic marks are:
-@code{\ppp}@keyindex{ppp},
-@code{\pp}@keyindex{pp}, @code{\p}@keyindex{p}, @code{\mp}@keyindex{mp},
-@code{\mf}@keyindex{mf}, @code{\f}@keyindex{f}, @code{\ff}@keyindex{ff},
-@code{\fff}@keyindex{fff}, @code{\fff}@keyindex{ffff},
-@code{\fp}@keyindex{fp}, @code{\sf}@keyindex{sf},
-@code{\sff}@keyindex{sff}, @code{\sp}@keyindex{sp},
-@code{\spp}@keyindex{spp}, @code{\sfz}@keyindex{sfz}, and
-@code{\rfz}@keyindex{rfz}.
+@cindex @code{\textscript}
@example
- \textscript@keyindex{textscript} @var{text} @var{style}
+ \textscript @var{text} @var{style}
@end example
Defines a text to be printed over or under a note. @var{style} is a
@end quotation
-This is equivalent to `@code{c4-6 c4-"foo"}'.
-
+This is equivalent to @code{c4-6 c4-"foo"}.
+@cindex @code{\script}
@cindex scripts
@example
- \script@keyindex{script} @var{alias}
+ \script @var{alias}
@end example
+@cindex @code{\script}
-Prints a symbol above or below a note. The argument is a string
-which points into the script-alias table defined in @file{script.scm}.
-The scheme definitions specify whether the symbol follows notes into
-the staff, dependence of symbol placement on staff direction, and a
-priority for placing several symbols over one note. Usually the
-@code{\script}@keyindex{script} keyword is not used directly. Various
+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}, for
+information on how to add scripts, read the comments in that file.
+Usually the @code{\script} keyword is not used directly. Various
helpful identifier definitions appear in @file{script.ly}.
-@cindex slur
-Slurs connects chords and try to 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
-first note in the slur. This makes it possible to put a note in
-slurs from both sides:
-@lilypond[fragment,verbatim,center]
- f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
-@end lilypond
+@c_ {Grace notes}
+@node Grace notes
+@subsubsection Grace notes
+@cindex Grace notes
+See @ref{Grace music}.
-@cindex crescendo
+@c_ {Stem tremolo}
+@node Stem tremolo
+@subsubsection Stem tremolo
+@cindex tremolo marks
+@cindex @code{tremoloFlags}
-A crescendo mark is started with @code{\cr}@keyindex{cr} and terminated
-with @code{\rc}@keyindex{rc}. A decrescendo mark is started with
-@code{\decr}@keyindex{decr} and terminated with
-@code{\rced}@keyindex{rced}. There are also shorthands for these
-marks. A crescendo can be started with @code{\<}@keyindex{<} and a
-decrescendo can be started with @code{\>}@keyindex{>}. Either one can
-be terminated with @code{\!}@keyindex{"!}. 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.
+[FIXME: should be \repeat]
-@lilypond[fragment,verbatim,center]
- c'' \< \! c'' d'' \decr e'' \rced
- < f''1 { s4 \< \! s2 \> \! s4 } >
+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.
+
+@lilypond[verbatim,fragment,center]
+ c'2:8 c':32
@end lilypond
-@example
+@c_ {Arpeggio}
+@node Arpeggio
+@subsubsection Arpeggio
+@cindex Arpeggio
- \spanrequest@keyindex{spanrequest} @var{startstop} @var{type}
-@end example
+@cindex broken arpeggio
+@cindex @code{\arpeggio}
-Define a spanning request. The @var{startstop} parameter is either -1
-(@code{\start}@keyindex{start}) or 1 (@code{\stop}@keyindex{stop}) and
-@var{type} is a string that describes what should be started.
-Supported types are @code{crescendo}, @code{decrescendo},
-@code{beam}, @code{slur}. This is an internal command. Users should
-use the shorthands which are defined in the initialization file
-@file{spanners.ly}.
+You can specify an @rgrob{Arpeggio} sign on a chord by issuing an
+@c FIXME
+@c @code{\arpeggio} request:
+@code{\arpeggio} request:
-You can attach a (general) span request to a note using
-@lilypond[fragment,verbatim,center]
- c'4-\spanrequest \start "slur"
- c'4-\spanrequest \stop "slur"
+@quotation
+@lilypond[fragment,relative,verbatim]
+ \context Voice <c'\arpeggio e g c>
@end lilypond
+@end quotation
-The slur syntax with parentheses is a shorthand for this.
+Typesetting of simultanious chords with arpeggios can be controlled with
+the property @code{PianoStaff.connectArpeggios} @footnote{ FIXME:
+connectArpeggios. Can't find the English terms for two kinds of
+arpeggio (Dutch: gebroken arpeggio vs doorlopend arpeggio).} By
+default, LilyPond prints broken arpeggios; when set to true, one
+extended arpeggio sign is printed.
+@quotation
+@lilypond[fragment,relative,verbatim]
+ \context PianoStaff <
+ \property PianoStaff.connectArpeggios = ##t
+ \context Staff \context Voice <c''\arpeggio e g c>
+ \context Staff=other \context Voice <c,\arpeggio e g>
+ >
+@end lilypond
+@end quotation
-@cindex tremolo marks
+@c_ {Glissando}
+@node Glissando
+@subsubsection Glissando
+@cindex Glissando
-@node stem tremolo, , , Reference Manual
+@cindex @code{\glissando}
-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}@indexcode{tremoloFlags} property if there was
-no last value.
+A @rgrob{Glissando} line can be requested by issuing a
+@c FIXME
+@c @code{\glissando} request:
+@code{\glissando} request:
-@lilypond[verbatim,fragment,center]
- c'2:8 c':32
-@end lilypond
+@quotation
+@lilypond[fragment,relative,verbatim]
+ c'' \glissando c'
+@end lilypond
+@end quotation
+Printing of the additional text @samp{gliss.} must be done manually.
-@node Compound music expressions, , , Reference Manual
-@section Compound music expressions
-@cindex compound music expressions
+@c_ {Follow Thread}
+@subsubsection Follow Thread
+@cindex follow thread
+@cindex staff switching
+@cindex cross staff
-Music expressions are compound data structures. You can nest music
-expressions any way you like. This simple example shows how three
-chords can be expressed in two different ways:
+@c Documented here because it looks like a glissando...
+@cindex @code{followThread}
+A glissando-like line can be printed to connect notes whenever a thread
+switches to another staff. This is enabled if the property
+@code{PianoStaff.followThread} is set to true:
-@lilypond[fragment,verbatim,center]
- \notes \context Staff {
- \cadenzaOn
- <a c'> <b d' > <c' e'>
- < { a b c' } { c' d' e' } >
- }
+@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;}
+ >
@end lilypond
+@end quotation
-@cindex context selection
-@c @keyindex{context}
-@example
- \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
-@end example
-Interpret @var{musicexpr} within a context of type @var{contexttype}.
-If the context does not exist, it will be created. The new context
-can optionally be given a name.
+@c_ {Dynamics}
+@node Dynamics
+@subsubsection Dynamics
+@cindex Dynamics
-@cindex input modes
+@unnumberedsubsec Dynamics
-@cindex mode switch
+@cindex @code{\ppp}
+@cindex @code{\pp}
+@cindex @code{\p}
+@cindex @code{\mp}
+@cindex @code{\mf}
+@cindex @code{\f}
+@cindex @code{\ff}
+@cindex @code{\fff}
+@cindex @code{\ffff}
+@cindex @code{\fp}
+@cindex @code{\sf}
+@cindex @code{\sff}
+@cindex @code{\sp}
+@cindex @code{\spp}
+@cindex @code{\sfz}
+@cindex @code{\rfz}
-Mode switching keywords form compound music expressions: @code{\notes}
-@keyindex{notes} @var{musicexpr}, @code{\chords} @keyindex{chords}
-@var{musicexpr}, and @code{\lyrics} @keyindex{lyrics} @var{musicexpr}.
-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. See @ref{Lexical modes} for more
-information on modes.
+Dynamic marks are specified by using an identifier after a note:
+@code{c4-\ff} (the dash is optional for dynamics: `@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}.
-@cindex sequential music
+See also @ref{Crescendo and Decrescendo}
+@c_ {Bar lines}
+@node Bar lines
+@subsubsection Bar lines
+@cindex Bar lines
-@example
+@cindex @code{\bar}
+@cindex measure lines
+@cindex repeat bars
- \sequential@keyindex{sequential}
- @code{@{} @var{musicexprlist} @code{@}}
+@example
+ \bar @var{bartype};
@end example
-This means that list should be played or written in sequence, i.e.,
-the second after the first, the third after the second. The duration
-of sequential music is the the sum of the durations of the elements.
-There is a shorthand, which leaves out the keyword:
-
+This is a short-cut for doing
@example
-
- @code{@{} @var{musicexprlist} @code{@}}
+ \property Score.whichBar = @var{bartype}
@end example
+You are encouraged to use @code{\repeat} for repetitions. See
+@ref{Repeat}, @ref{Volta}, and the documentation of @code{whichBar} in
+@ref{(lilypond-internals)LilyPond context properties}.
-@cindex simultaneous music
+[FIXME]
-@indexcode{<}
-@indexcode{>}
+@c_ {Breath marks}
+@node Breath marks
+@subsubsection Breath marks
+@cindex Breath marks
-@example
+@c_ {Rehearsal marks}
+@node Rehearsal marks
+@subsubsection Rehearsal marks
+@cindex Rehearsal marks
+@cindex mark
+@cindex @code{\mark}
- \simultaneous@keyindex{simultaneous}
- @code{@{} @var{musicexprlist} @code{@}}
+@example
+ \mark @var{unsigned};
+@cindex @code{Mark_engraver}
+ \mark @var{string};
@end example
-It constructs a music expression where all of its arguments start at
-the same moment. The duration is the maximum of the durations of the
-elements. The following shorthand is a common idiom:
+Prints a mark over or under the staff.
-@example
- @code{<} @var{musicexprlist} @code{>}
-@end example
+@c_ {Bar check}
+@node Bar check
+@subsection Bar check
+@cindex Bar check
-If you try to use a chord as the first thing in your score, you might
-get multiple staffs instead of a chord.
+@cindex bar check
+@cindex @code{barCheckNoSynchronize}
+@cindex @code{|}
-@lilypond[verbatim,center]
- \score {
- \notes <c''4 e''>
- \paper {
- linewidth = -1.;
- }
- }
-@end lilypond
-This happens because the chord is interpreted by a score context.
-Each time a note is encountered a default Voice context (along with a
-Staff context) is created. The solution is to explicitly instantiate
-a Voice context:
+Bar checks help you find errors in the input: Whenever one is
+encountered during interpretation, a warning message is issued if it
+doesn't fall at a measure boundary. Depending on the value of
+@code{barCheckNoSynchronize}, the beginning of the measure will be
+relocated, so this can also be used to shorten measures.
-@lilypond[verbatim,center]
- \score {
- \notes\context Voice <c''4 e''>
- \paper {
- linewidth = -1.;
+A bar check is entered using the bar symbol, @code{|}
+
+This can help you finding errors in the input.
+
+
+@c_ {Lyrics entry}
+@node Lyrics entry
+@section Lyrics entry
+@cindex Lyrics entry
+
+@menu
+* Lyrics mode::
+* Printing lyrics::
+* Lyric hyphen::
+* Lyric extender::
+* Addlyrics::
+@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.
+
+[todo: include short table showing differences]
+
+@cindex lyrics expressions
+
+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 section @ref{lyricprint}.
+
+
+@c_ {Printing Lyrics}
+@node Printing lyrics
+@subsection lyricprint
+@cindex lyrics
+
+
+@cindex printing!lyrics
+
+
+Lyric syllables must be interpreted within a @code{Lyrics} context
+
+@cindex context!Lyrics
+ for printing them.
+
+Here is a full example:
+
+@quotation
+@lilypond[verbatim]
+\score {
+ <
+ \notes \transpose c'' {
+ c d e c | c d e c |
+ e f g2 | e4 f g2 \bar "|.";
}
- }
+ \context Lyrics \lyrics {
+ Va-4 der Ja- cob Va- der Ja- cob
+ Slaapt gij nog?2 Slaapt4 gij nog?2
+ }
+ >
+}
+
+@end lilypond
+@end quotation
+
+You may want a continuous line after the syllables to show melismata.
+To achieve this effect, add a @code{__} lyric as a separate word
+after the lyric to be extended. This will create an extender, a line
+that extends over the entire duration of the lyric. This line will
+run all the way to the start of the next lyric, so you may want to
+shorten it by using a blank lyric (using @code{_}).
+
+@quotation
+
+@lilypond[verbatim]
+\score {
+ <
+ \notes \relative c'' {
+ a4 () b () c () d | c () d () b () a | c () d () b () a
+ }
+ \context Lyrics \lyrics {
+ foo1 __ | bar2. __ _4 | baz1 __
+ }
+ >
+}
+
+@end lilypond
+@end quotation
+
+
+If you want to have hyphens centered between syllables (rather than
+attached to the end of the first syllable) you can use the special
+`@code{-}@code{-}' lyric as a separate word between syllables. This
+will result in a hyphen which length varies depending on the space
+between syllables, and which will be centered between the syllables.
+For example:
+
+@quotation
+
+@lilypond[verbatim]
+\score {
+ <
+ \notes \transpose c'' {
+ c d e c | c d e c |
+ e f g2 | e4 f g2 \bar "|.";
+ }
+ \context Lyrics \lyrics {
+ Va4 -- der Ja -- cob | Va -- der Ja -- cob |
+ Slaapt gij nog?2 | Slaapt4 gij nog?2
+ }
+ >
+}
+
@end lilypond
+@end quotation
-@cindex relative pitch specification
-@node relative, , , Reference Manual
+@c_ {Lyric hyphen}
+@node Lyric hyphen
+@subsection Lyric hyphen
+@cindex Lyric hyphen
-It is easy to get confused by octave changing marks and accidentally
-putting a pitch in the wrong octave. A much better way of entering a
-note's octave is `the relative octave' mode.
+The syntax for a spanning hyphen (i.e., a hyphen that will be printed
+between two lyric syllables) is `@code{-}@code{-}'.
+
+@c_ {Lyric extender}
+@node Lyric extender
+@subsection Lyric extender
+@cindex Lyric extender
+@cindex extender
+@cindex lyric extender
+@cindex hyphen
+
+The syntax for an extender mark is @code{__}. This syntax can only
+be used within lyrics mode.
-@example
- \relative@keyindex{relative} @var{startpitch} @var{musicexpr}
+
+
+@c_ {Addlyrics}
+@node Addlyrics
+@subsection Addlyrics
+@cindex Addlyrics
+
+
+[explain automatic phrasing]
+@cindex automatic lyric durations
+@cindex @code{\addlyrics}
+
+If you have lyrics that are set to a melody, you can import the rhythm
+of that melody into the lyrics using @code{\addlyrics}. The syntax for
+this is
+@example
+ \addlyrics @var{musicexpr1 musicexpr2}
@end example
-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.@footnote{The interval is determined without regarding
-accidentals. A @code{fisis} following a @code{ceses} will be put above
-the @code{ceses}.} 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 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}
-Entering scales is straightforward in relative mode.
+If the property @code{automaticMelismata} is set in the
+context of @var{musicexpr1}, no lyrics will be put on slurred or tied
+notes.
-@lilypond[fragment,verbatim,center]
- \relative c' {
- c d e f g a b c c,
- }
+@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
-And octave changing marks are used for intervals greater than a fourth.
+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:
+
+@quotation
+@lilypond[verbatim,fragment]
+\addlyrics
+\transpose c'' {
+ c8 () cis d8. e16 f2
+}
+\context Lyrics \lyrics
+< { do4 re mi fa }
+ { do8 re mi fa } >
-@lilypond[fragment,verbatim,center]
- \relative c'' {
- c g c f, c' a, e'' }
@end lilypond
+@end quotation
-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.
+It is valid (but probably not very useful) to use notes instead of
+lyrics for @var{musicexpr2}.
-@lilypond[fragment,verbatim,center]
- \relative c' {
- c <c e g>
- <c' e g>
- <c, e' g>
- }
-@end lilypond
-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}@keyindex{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_ {Chord entry}
+@node Chord entry
+@section Chord entry
+@cindex Chord entry
-It is strongly recommended to use relative pitch mode: less work,
-less error-prone, and more readable.
+@menu
+* Chords mode::
+* Entering named chords::
+* Printing named chords::
+@end menu
+@c_ {Chords mode}
+@node Chords mode
+@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
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
+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{.}').
+must be separated by a dot (@code{.}).
+
+
+Throughout these examples, chords have been shifted around the staff
+using @code{\transpose}.
+
@quotation
@end lilypond
@end quotation
-The second type of modifier that may appear after the `@code{:}' is a
+@cindex @code{aug}
+@cindex @code{dim}
+@cindex @code{maj}
+@cindex @code{sus}
+
+The second type of modifier that may appear after the @code{:} is a
named modifier. Named modifiers are listed in the file
-@file{chord-modifiers.ly}. The available modifiers are `@code{m}' and
-`@code{min}' which lower the 3rd half a step, `@code{aug}@indexcode{aug}' which
-raises the 5th, `@code{dim}@indexcode{dim}' which lowers the 5th,
-`@code{maj}@indexcode{maj}' which adds a raised 7th, and `@code{sus}@indexcode{sus}'
+@file{chord-modifiers.ly}. The available modifiers are @code{m} and
+@code{min} which lower the 3rd half a step, `@code{aug}' which
+raises the 5th, `@code{dim}' which lowers the 5th,
+`@code{maj}' which adds a raised 7th, and `@code{sus}'
which replaces the 5th with a 4th.
@quotation
Chord subtractions are used to eliminate notes from a chord. The
-notes to be subtracted are listed after a `@code{^}' character,
+notes to be subtracted are listed after a @code{^} character,
separated by dots.
@lilypond[fragment,verbatim,center]
}
}
@end lilypond
+@cindex @code{/}
-Chord inversions can be specified by appending `@code{/}@indexcode{/}' and
+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
}
@end lilypond
+@cindex @code{/+}
-Bass notes can be added by `@code{/+}@indexcode{/+}' and
+Bass notes can be added by `@code{/+}' and
the name of a single note to a chord. This has the effect of
adding the specified note to the chord, lowered by an octave,
so it becomes the lowest note in the chord.
@end lilypond
-Throughout these examples, chords have been shifted around the staff
-using @code{\transpose}.
+The most interesting application is printing chords using chord names,
+See @ref{Chord names}.
-You should not combine @code{\relative} with named chords.
+You should not combine @code{\relative} with named chords. [FIXME]
+@c_ {Printing named chords}
+@node Printing named chords
+@subsection Printing named chords
+@cindex chord names
+@cindex chords
-@cindex tuplets
+@cindex printing!chord names
+@cindex @code{ChordNames}
+@cindex @code{ChordNameVoice}
-Tuplets are made out of a music expression by multiplying their
-duration with a fraction.
+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.
-@example
+@quotation
+@lilypond[verbatim]
+scheme = \notes {
+ \chords {a1 b c} <d f g> <e g b>
+}
+\score {
+ \notes<
+ \context ChordNamesVoice \scheme
+ \context Staff \transpose c'' \scheme
+ >
+ \paper { linewidth = -1.; }
+}
+@end lilypond
+@end quotation
- \times@keyindex{times} @var{fraction} @var{musicexpr}
-@end example
+You can make the chord changes stand out more by setting property
+@code{ChordNames.chordChanges} to true. This will only display chord
+names when there's a change in the chords scheme, but always display the
+chord name after a line break:
-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:
+@c bug
+@quotation
+@lilypond[verbatim]
+scheme = \chords {
+ c1:m \break c:m c:m c:m d
+}
-@lilypond[fragment,verbatim,center]
- g'4 \times 2/3 {c'4 c' c'} d'4 d'4
+\score {
+ \notes <
+ \context ChordNames \scheme
+ \context Staff \transpose c'' \scheme
+ >
+ \paper{
+ linewidth = 40 * \staffspace;
+ \translator {
+ \ChordNamesContext
+ chordChanges = ##t
+ }
+ }
+}
@end lilypond
+@end quotation
-@cindex grace notes
+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:
-@example
+@quotation
+@lilypond[verbatim,center]
+scheme = \notes {
+ <c'1 e' g'>
+ <e' g' c''>
+ <e e' g' c''>
+}
- \grace@keyindex{grace} @var{musicexpr}
-@end example
+\score {
+ <
+ \context ChordNamesVoice \scheme
+ \context Staff \scheme
+ >
+ \paper { linewidth = -1.; }
+}
+@end lilypond
+@end quotation
-A grace note expression has duration 0; the next real note is
-assumed to be the main note.
+To specify chord inversions, append @code{/<notename>}. To specify an
+added bass note, append @code{/+<notename}:
-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}@indexcode{graceAlignPosition}.
+@quotation
+@lilypond[verbatim,center]
+scheme = \chords {
+ d1 d/a d/+gis
+}
-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}@indexcode{flagStyle} property.
+\score {
+ \notes <
+ \context ChordNames \scheme
+ \context Staff \transpose c'' \scheme
+ >
+ \paper { linewidth = -1.; }
+}
+@end lilypond
+@end quotation
+
+The chord names that LilyPond should print are fully customizable. The
+code to print chord names is written in Scheme. It can be found in
+@file{scm/chord-name.scm}. Chord names are based on Banter style
+naming, which is unambiguous and has a logical structure. Typical
+American style chord names are implemented as a variation on Banter
+names, they can be selected by setting property @code{ChordName.style}
+to @code{american}:
@quotation
+@lilypond[verbatim]
+\include "english.ly"
+
+scheme = \chords {
+ c % Major triad
+ cs:m % Minor triad
+ df:m5- % Diminished triad
+ c:5^3 % Root-fifth chord
+ c:4^3 % Suspended fourth triad
+ c:5+ % Augmented triad
+ c:2^3 % "2" chord
+ c:m5-.7- % Diminished seventh
+ c:7+ % Major seventh
+ c:7.4^3 % Dominant seventh suspended fourth
+ c:5+.7 % Augmented dominant seventh
+ c:m5-.7 % "Half" diminished seventh
+ c:5-.7 % Dominant seventh flat fifth
+ c:5-.7+ % Major seventh flat fifth
+ c:m7+ % Minor-major seventh
+ c:m7 % Minor seventh
+ c:7 % Dominant seventh
+ c:6 % Major sixth
+ c:m6 % Minor sixth
+ c:9^7 % Major triad w/added ninth
+ c:6.9^7 % Six/Nine chord
+ c:9 % Dominant ninth
+ c:7+.9 % Major ninth
+ c:m7.9 % Minor ninth
+}
-@lilypond[fragment,verbatim]
-\relative c'' {
- \grace c8 c4 \grace { [c16 c16] } c4
- \grace { \property Grace.flagStyle = "" c16 } c4
+\score {
+ \notes <
+ \context ChordNames \scheme
+ \context Staff \transpose c'' \scheme
+ >
+ \paper {
+ \translator {
+ \ChordNamesContext
+ ChordName \override #'word-space = #1
+ ChordName \override #'style = #'american
+ }
+ }
+}
+@end lilypond
+@end quotation
+
+Similarly, Jazz style chord names are implemented as a variation on
+American style names:
+@quotation
+@lilypond[verbatim]
+scheme = \chords {
+ % major chords
+ c
+ c:6 % 6 = major triad with added sixth
+ c:maj % triangle = maj
+ c:6.9^7 % 6/9
+ c:9^7 % add9
+
+ % minor chords
+ c:m % m = minor triad
+ c:m.6 % m6 = minor triad with added sixth
+ c:m.7+ % m triangle = minor major seventh chord
+ c:3-.6.9^7 % m6/9
+ c:m.7 % m7
+ c:3-.9 % m9
+ c:3-.9^7 % madd9
+
+ % dominant chords
+ c:7 % 7 = dominant
+ c:7.5+ % +7 = augmented dominant
+ c:7.5- % 7b5 = hard diminished dominant
+ c:9 % 7(9)
+ c:9- % 7(b9)
+ c:9+ % 7(#9)
+ c:13^9.11 % 7(13)
+ c:13-^9.11 % 7(b13)
+ c:13^11 % 7(9,13)
+ c:13.9-^11 % 7(b9,13)
+ c:13.9+^11 % 7(#9,13)
+ c:13-^11 % 7(9,b13)
+ c:13-.9-^11 % 7(b9,b13)
+ c:13-.9+^11 % 7(#9,b13)
+
+ % half diminished chords
+ c:m5-.7 % slashed o = m7b5
+ c:9.3-.5- % o/7(pure 9)
+
+ % diminished chords
+ c:m5-.7- % o = diminished seventh chord
}
+\score {
+ \notes <
+ \context ChordNames \scheme
+ \context Staff \transpose c'' \scheme
+ >
+ \paper {
+ \translator {
+ \ChordNamesContext
+ ChordName \override #'word-space = #1
+ ChordName \override #'style = #'jazz
+ }
+ }
+}
@end lilypond
@end quotation
-At present, nesting @code{\grace}@keyindex{grace} notes, e.g.
-@example
- @code{\grace @{ \grace c32 c16 @} c4}
+
+@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
-may result in run-time errors of LilyPond. 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.
+where each of the items is one of
-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.
+@itemize @bullet
+ @item An assignment. The assignment must be terminated by a
+ semicolon.
+ @item A context definition. See section @ref{contextdefs} for
+ more information on context definitions.
+@ignore
-@cindex repeats
+ FIXME
-@node Repeats, , , Reference Manual
-In order to specify repeats, use the @code{\repeat}@keyindex{repeat}
-keyword. Since repeats look and sound differently when played or
-printed, there are a few different variants of repeats.
+ @item
+
+ A margin shape declaration. The syntax is
+@cindex @code{\shape}
+ @example
-@table @samp
- @item unfolded
- Repeated music is fully written (played) out. Useful for MIDI
- output.
+ \shape @var{indent1}@code{,} @var{width1}@code{,}
+ @var{indent2}@code{,} @var{width2} @dots{} @code{;}
+ @end example
- @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 useful for
- lyrics.
-@end table
+ Each pair of @var{indent} and @var{width} values is a dimension
+ specifying how far to indent and how wide to make the line.
+ The indentation and width of successive lines are specified by
+ the successive pairs of dimensions. The last pair of
+ dimensions will define the characeristics of all lines beyond
+ those explicitly specified.
+@end ignore
-The syntax for repeats is
+ @item \stylesheet declaration. Its syntax is
+ @example
+ \stylesheet @var{alist}
+ @end example
-@example
+ See @file{font.scm} for details of @var{alist}.
+@end itemize
- \repeat @var{variant} @var{repeatcount} @var{repeatbody}
-@end example
+@c_ {Paper variables}
+@node Paper variables
+@subsection Paper variables
+@cindex Paper variables
-If you have alternative endings, you may add
+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{rulethickness}
+ as a unit for distances you modify.
+
+@cindex @code{linewidth}
+ @item @code{linewidth}
+ Sets the width of the lines. If set to -1.0, a single
+ unjustified line is produced. If you use this variable, you
+ probably want to define it in staff spaces, ie
+ @example
+ linewidth = 30 * \staffspace;
+ @end example
+@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"
- \alternative@keyindex{alternative}
- @code{@{} @var{alternative1}
- @var{alternative2}
- @var{alternative3} @dots{} @code{@}}
+ \score @{
+ ...
+ \paper @{ \paperSixteen @}
+ @}
@end example
-where each @var{alternative} is a Music expression.
+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})
-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} }
+@c_ {Line break}
+@node Line break
+@subsection Line break
+@cindex Line break
-@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.}
+@cindex @code{\penalty}
-@quotation
+@example
+ \penalty @var{int} @code{;}
+@end example
-@lilypond[fragment,verbatim]
- c'1
- \repeat fold 2 {c'4 d' e' f'}
- \alternative { {d'2 d'} {f' f} }
+Discourage or encourage line breaks. See @ref{Page layout}.
-@end lilypond
-@end quotation
-@quotation
-@lilypond[fragment,verbatim]
-\context Staff {
- \relative c' {
- \partial 4;
- \repeat volta 2 { e | c2 d2 | e2 f2 | }
- \alternative { { g4 g g } { a | a a a a | b1 } }
- }
-}
-@end lilypond
-@end quotation
+@cindex line breaks
+@cindex breaking lines
-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.
+Line breaks are normally computed automatically. They are chosen such
+that the resulting spacing has low variation, and looks neither cramped
+nor loose.
-@quotation
+Occasionally you might want to override the automatic breaks; you can do
+this by specifying @code{\break} (see also @ref{Pre-defined
+Identifiers}). 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 "";}.
-@lilypond[fragment,verbatim]
-\context Staff {
- \relative c' {
- \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | }
- \alternative { { g4 g g }
- {\partial 1; e4 e e }
- {\partial 1; a a a a | b1 } }
- }
-}
-@end lilypond
-@end quotation
-It is possible to nest @code{\repeat}. This is not entirely
-supported: the notes will come be in the right places, but the repeat
-bars will not.
+@c_ {Page break}
+@node Page break
+@subsection Page break
+@cindex Page break
-@cindex transposition of pitches
+Not implemented, but see @ref{Tricks}
-@node transpose, , , Reference Manual
+Page breaks are normally computed by @TeX{}, so they are not under direct
+control. However, you can insert a commands into the .tex output to
+instruct @TeX{} where to break pages. For more details, see the
+example file @file{input/test/between-systems.ly}
-A music expression can be transposed with
-@code{\transpose}@keyindex{transpose}. The syntax is
-@example
+@cindex page breaks
+@cindex breaking pages
- \transpose @var{pitch} @var{musicexpr}
-@end example
-This means that middle C in @var{musicexpr} is transposed to
-@var{pitch}.
-@code{\transpose} distinguishes between enharmonic pitches: both
-@code{\transpose cis'} or @code{\transpose des'} will transpose up half
-a tone. The first version will print sharps and the second version
-will print flats.
-@quotation
-@lilypond[fragment,verbatim]
-\context Staff {
- \clef "F";
- { \key e \major; c d e f }
- \clef "G";
- \transpose des'' { \key e \major; c d e f }
- \transpose cis'' { \key e \major; c d e f }
-}
+@c_ {Sound}
+@node Sound
+@section Sound
+@cindex Sound
+@menu
+* MIDI block::
+* MIDI instrument names::
+* Tempo::
+@end menu
-@end lilypond
-@end quotation
+@c_ {MIDI block}
+@node MIDI block
+@subsection MIDI block
+@cindex MIDI block
-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}.
+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
-@cindex automatic lyric durations
+Assignments in the @code{\midi} block are not allowed.
-If you have lyrics that are set to a melody, you can import the
-rhythm of that melody into the lyrics using @code{\addlyrics}.
-@keyindex{addlyrics} The syntax for this is
-@example
- \addlyrics @var{musicexpr1 musicexpr2}
-@end example
+@cindex context definition
-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}.
+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}.
-If the property @code{automaticMelismata}@indexcode{automaticMelismata} is set in the
-context of @var{musicexpr1}, no lyrics will be put on slurred or tied
-notes.
-@quotation
+@c_ {MIDI instrument names}
+@node MIDI instrument names
+@subsection MIDI instrument names
+@cindex instrument names
+@cindex @code{Staff.midiInstrument}
+@cindex @code{Staff.instrument}
-@lilypond[verbatim,fragment]
-\addlyrics
-\transpose c'' {
- \property Voice.automaticMelismata = ##t
- c8 () cis d8. e16 f2
-}
-\context Lyrics \lyrics {
- do4 re mi fa }
+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.
-@end lilypond
-@end quotation
+[FIXME: to appendix ]
-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:
-@quotation
+@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
-@lilypond[verbatim,fragment]
-\addlyrics
-\transpose c'' {
- c8 () cis d8. e16 f2
-}
-\context Lyrics \lyrics
-< { do4 re mi fa }
- { do8 re mi fa } >
-@end lilypond
-@end quotation
-It is valid (but probably not very useful) to use notes instead of
-lyrics for @var{musicexpr2}.
+@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
-@node Ambiguities, , , Reference Manual
-@section Ambiguities
+Used to specify the tempo. For example, @code{\tempo 4 = 76;} requests
+output with 76 quarter notes per minute.
-@cindex ambiguities
-The grammar contains a number of ambiguities.@footnote{The authors
-hope to resolve them at a later time.}
-@itemize @bullet
- @item The assignment
- @example
-foo = bar
-@end example
- can be interpreted as making a string identifier @code{\foo}
- containing @code{"bar"}, or a music identifier @code{\foo}
- containing the syllable `bar'.
+@c_ {Music entry}
+@node Music entry
+@section Music entry
+@cindex Music entry
+@menu
+* Pre-defined Identifiers::
+* Point and click::
+@end menu
- @item The assignment
+@c_ {Music entry}
+@node Pre-defined Identifiers
+@subsection Pre-defined Identifiers
+@cindex pre-defined identifiers
- @example
-foo = -6
-@end example
- can be interpreted as making an integer identifier
- containing -6, or a Request identifier containing the
- fingering `6' (with neutral direction).
+Various identifiers are defined in the initialization files to
+provide shorthands for some settings. Most of them are in
+@file{ly/declarations.ly} and @file{ly/property.ly}.
- @item If you do a nested repeat like
+@table @code
+@cindex @code{\break}
+ @item @code{\break}
+ Force a line break in music by using a large argument for the
+ keyword @code{\penalty}.
- @quotation
+@cindex @code{\nobreak}
+ @item @code{\nobreak}
+ Prevent a line break in music by using a large negative argument
+ for the keyword @code{\penalty}.
-@example
-\repeat @dots{}
-\repeat @dots{}
-\alternative
-@end example
+@cindex @code{\shiftOff}
+ @item @code{\shiftOff}
+ Disable horizontal shifting of note heads that collide.
- @end quotation
+@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.
- 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.
+@cindex @code{\stemBoth}
+ @item @code{\stemBoth}
+ Allow stems, beams, and slurs to point either upwards or
+ downwards, decided automatically by LilyPond.
- @item (an as yet unidentified ambiguity :-)
-@end itemize
+@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
-@node Notation conversion specifics, , , Reference Manual
-@section Notation conversion specifics
+@c_ {Point and click}
+@node Point and click
+@subsection Point and click
+[todo]
-@cindex automatic beam generation
+@c_ {Engravers}
+@node Engravers
+@section Engravers
+@cindex engravers
+@menu
+* Context definitions::
+* Notation Contexts::
+@end menu
-@node autobeam, , , Reference Manual
+@c_ {Context definitions}
+@node Context definitions
+@subsection Context definitions
-By default, LilyPond will generate beams automatically. This feature
-can be disabled by setting the @code{Voice.noAutoBeaming}@indexcode{Voice.noAutoBeaming}
-property to 1. It can be overridden for specific cases by
-specifying explicit beams.
+@cindex context definition
+@cindex translator definition
+@cindex engraver hacking
-A large number of Voice properties are used to decide how to generate
-beams. Their default values appear in @file{auto-beam-settings.ly}.
-In general, beams can begin anywhere, but their ending location is
-significant. Beams can end on a beat, or at durations specified by
-the @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} property. To end beams every
-quarter note, for example, you could set
-@code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} equal to `@code{"1/4"}'. To end beams
-at every three eighth notes you would set it to `@code{"3/8"}'. The
-same syntax can be used to specify beam starting points using
-@code{Voice.beamAutoBegin}@indexcode{Voice.beamAutoBegin}.
-
-To allow different settings for different time signatures, these
-property names can start with `@code{time}@var{N}@code{_}@var{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{Voice.time6_8beamAutoEnd}. To allow different endings
-for notes of different durations, the duration can be tacked onto the
-end of the property. To specify beam endings for beams that contain
-32nd notes, you would use @code{Voice.beamAutoEnd_32}.
+A notation contexts is defined by the following information
+@enumerate 1
+ @item A name.
+ @item The LilyPond modules that do the actual conversion of music to
+ notation. Each module is a so-called
+ @emph{engraver}
+@cindex engraver
+.
-@cindex chord names
+ @item How these modules should cooperate, i.e. which ``cooperation
+ module'' should be used. This cooperation module is a special
+ type of engraver.
-@cindex chords
+ @item What other contexts the context can contain,
-@cindex printing!chord names
+ @item What properties are defined.
+@end enumerate
-For displaying printed chord names, use the @code{ChordNames}@indexcode{ChordNames}
-and @code{ChordNameVoice}@indexcode{ChordNameVoice} contexts. The chords may be entered
-either using the notation described above, or directly using
-simultaneous music.
+A context definition has this syntax:
-@quotation
+@example
-@lilypond[fragment,verbatim]
-<
- \context ChordNames {
- \chords{a b c} \notes{<d f g> <e g b>}
- }
- \context Staff \notes {
- a b c' d' e'
- }
->
+ \translator @code{@{}
+ @var{translatorinit} @var{translatormodifierlist}
+ @code{@}}
+@end example
-@end lilypond
-@end quotation
+@var{translatorinit} can be an identifier or of the form
-LilyPond examines chords specified as lists of notes to determine a
-name to give the chord. By default, LilyPond will not try to
-identify chord inversions:
+@example
-@lilypond[fragment,verbatim,center]
- <
- \context ChordNameVoice \notes {
- <e'1 g' c''>
- }
- \context Thread \notes {
- <e'1 g' c''>
- }
- >
-@end lilypond
+ \type @var{typename} @code{;}
+@end example
-If you want inversions to be recognized, you must set the property
-@code{ChordNames.chordInversion}@indexcode{ChordNames.chordInversion}:
+@var{typename} is one of
-@lilypond[fragment,verbatim,center]
- <
- \property Score.chordInversion = ##t
- \context ChordNameVoice \notes {
- <e'1 g' c''>
- }
- \context Thread \notes {
- <e'1 g' c''>
- }
- >
-@end lilypond
+@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.
+@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
-@cindex lyrics
+@var{translatormodifierlist} is a list of items where each item is
+one of
-@cindex printing!lyrics
+@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.
-@node lyricprint, , , Reference Manual
+ 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.
-Lyric syllables must be interpreted within a @code{Lyrics} context
+ @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.
-@cindex context!Lyrics
- for printing them.
+ @item @var{propname} @code{=} @var{value} @code{;}
+ A property assignment. It is allowed to use reals for
+ @var{value}.
+@end itemize
-Here is a full example:
+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
-@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
- }
- >
-}
+@example
+\paper @{
+ foo = \translator @{ @dots{} @}
+@}
+\score @{
+ \notes @{
+ @dots{}
+ @}
+ \paper @{
+ \translator @{ \foo @dots{} @}
+ @}
+@}
+@end example
+
+@end quotation
+
+
+@cindex paper types, engravers, and pre-defined translators
+
+Some pre-defined identifiers can simplify modification of
+translators. The 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}
-@end lilypond
-@end quotation
+ @item @code{VoiceContext}
+ Default Voice context.
+@cindex @code{ScoreContext}
-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{_}').
+ @item @code{ScoreContext}
+ Default Score context.
+@cindex @code{ScoreWithNumbers}
-@quotation
+ @item @code{ScoreWithNumbers}
+ Score context with numbering at the Score level.
+@cindex @code{BarNumberingStaffContext}
-@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 __
- }
- >
-}
+ @item @code{BarNumberingStaffContext}
+ Staff context with numbering at the Staff level.
+@cindex @code{HaraKiriStaffContext}
-@end lilypond
-@end quotation
+ @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.}
+@cindex @code{OrchestralPartStaffContext}
-
-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:
+ @item @code{OrchestralPartStaffContext}
+@cindex @code{OrchestralScoreContext}
+
+ @item @code{OrchestralScoreContext}
+@end table
+
+Using these pre-defined values, you can remove or add items to the
+translator:
@quotation
-@lilypond[verbatim]
-\score {
- <
- \notes \transpose c'' {
- c d e c | c d e c |
- e f g2 | e4 f g2 \bar "|.";
- }
- \context Lyrics \lyrics {
- Va4 -- der Ja -- cob | Va -- der Ja -- cob |
- Slaapt gij nog?2 | Slaapt4 gij nog?2
- }
- >
-}
+@example
+\paper @{
+ \translator @{
+ \StaffContext
+ \remove Some_engraver;
+ \consists Different_engraver;
+ @}
+@}
+@end example
-@end lilypond
@end quotation
+
-@node Notation Contexts, , , Reference Manual
-@section Notation Contexts
+@c_ {Notation Contexts}
+@node Notation Contexts
+@subsection Notation Contexts
@cindex notation contexts
expression; it contains information like
@itemize @bullet
- @item What notes are playing at this point?
- @item What symbols will be printed at this point?
- @item In what style will they printed?
- @item What is the current key signature, time signature, point within
+ @item What notes are playing at this point?
+ @item What symbols will be printed at this point?
+ @item In what style will they printed?
+ @item What is the current key signature, time signature, point within
the measure, etc.?
@end itemize
these can all contain multiple staffs).
Contexts associated with sheet music output are called @emph{notation
-contexts}, those for sound output are called playing contexts.
+contexts}, those for sound output are called performance contexts.
-Contexts are created either manually or automatically. Initially,
-the top level music expression is interpreted by the top level
-context (the @code{Score} context). When a atomic music expression
-(i.e. a note, a rest, @code{\bar}, or @code{\time} commands), a nested
-set of contexts is created that can process these atomic expressions,
-as in this example:
+Contexts are created either manually or automatically. Initially, the
+top level music expression is interpreted by the top level context (the
+@code{Score} context). When a atomic music expression (i.e. a note, a
+rest, etc.), a nested set of contexts is created that can process these
+atomic expressions, as in this example:
@example
-
- @example
-\score @{ \notes < c4 > @}
+\score @{ \notes @{ c4 @} @}
@end example
-@end example
-
The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
-context. When the note `@code{c4}' itself is interpreted, a set of
+context. When the note @code{c4} itself is interpreted, a set of
contexts is needed that will accept notes. The default for this is a
@code{Voice} context, contained in a @code{Staff} context. Creation of
these contexts results in the staff being printed.
-
@cindex context
You can also create contexts manually, and you probably have to do so
interpreted with a context of type @var{name}. If you specify a name,
the specific context with that name is searched.
+[type vs id]
+
If a context of the specified type and name can not be found, a new
one is created. For example,
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
+@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
The @code{d4} gets interpreted in the same context
as @code{c4}.
-
-
-These are the contexts supplied with the package. They are defined
-in the initialization file @file{ly/engraver.ly}.
-
-@table @samp
-@end table
-
-
-
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
is
@example
-
@var{propname} @code{=} @var{value}
@end example
This assignment happens before interpretation starts, so a
@code{\property} expression will override any predefined settings.
-The @code{\property} expression will create any property you specify.
-There is no guarantee that a property will be used. So if you spell
-a property name wrong, there will be no error message.
-
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}.
-The precise result of a property is determined by the implementation
-of the translator that reads them. Therefore, the result of a
-property can vary, since it is implementation and configuration
-dependent.
-In order to fully find out what properties are used, you must
-currently search the source code for calls to @code{get_property}.
-The rest of the section is devoted to an (incomplete) overview of
-available properties.
-@mbinclude properties.itely
-
-@node Notation output definitions, , , Reference Manual
-@section Notation output definitions
+@c_ {Lexer innards}
+@node Lexer innards
+@section Lexer innards
+@cindex Lexer innards
+@menu
+* Top level::
+* Identifiers::
+* Assignments::
+* Lexical details::
+* Lexical modes::
+* Ambiguities::
+@end menu
-@cindex output
+@c_ {Top level}
+@node Top level
+@subsection Top level
+@cindex Top level
-@cindex notation output
+This section describes what you may enter at top level.
-@cindex output definition
-@node paper, , , Reference Manual
+@unnumberedsubsec Score definition
+@cindex score definition
-The most important output definition is the @code{\paper} block, for
-music notation. The syntax is
+The output is generated combining a music expression with an output
+definition. A score block has the following syntax:
@example
-
- @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
+ \score @{ @var{musicexpr} @var{outputdefs} @}
@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{contextdefs} for
- more information on context definitions.
-
- @item
- FIXME now in SCM
-
- A margin shape declaration. The syntax is
-
- @example
-
- \shape @var{indent1}@code{,} @var{width1}@code{,}
- @var{indent2}@code{,} @var{width2} @dots{} @code{;}
- @end example
-
- @keyindex{shape}
-
- Each pair of @var{indent} and @var{width} values is a dimension
- specifying how far to indent and how wide to make the line.
- The indentation and width of successive lines are specified by
- the successive pairs of dimensions. The last pair of
- dimensions will define the characeristics of all lines beyond
- those explicitly specified.
-
- @item \stylesheet declaration. Its syntax is
-
- @example
- \stylesheet @var{scm}
- @end example
-
-
- See font.scm for details of @var{scm}
-@end itemize
-
-
-
-@cindex changing font size and paper 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{paper_eleven},
-@code{paper_thirteen}, @code{paper_sixteen}, @code{paper_twenty},
-@code{paper_twentythree}, and @code{paper_twentysix} are defined
-respectively. The default @code{\paper} block is also set.
-
-To change the paper size, you must first set the
-@code{papersize}@indexcode{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. Paper
-size selection works by loading a file named after the paper size you
-select.
+@var{outputdefs} are zero or more output definitions. If no output
+definition is supplied, the default @code{\paper} block will be added.
+@c_ {Score}
+@subsubsection Score
+@cindex Score
-@cindex paper variables
+@c_ {Paper}
+@subsubsection Paper
+@cindex Paper
-@node Paper variables, , , Reference Manual
+@c_ {Midi}
+@subsubsection Midi
+@cindex Midi
-There is a large number of paper variables that are used to control
-details of the layout. These variables control the defaults for the
-entire score. Usually, they do not have to be changed; they are by
-default set to values that depend on the font size in use. The
-values are used by the graphic objects while formatting the score;
-they are therefore implementation dependent. Most variables are
-accompanied by documentation in the initalization file
-@file{params.ly} or @file{paperSZ.ly}, where @code{SZ} is the staff
-height in points.
+@c_ {Header}
+@subsubsection Header
+@cindex Header
+@cindex @code{\header}
-Nevertheless, here are some variables you may want to use or change:
+The syntax is
-@table @samp
- @item @code{indent}@indexcode{indent}
- The indentation of the first line of music.
+@example
+ \header @{ @var{key1} = @var{val1};
+@cindex @code{ly2dvi}
+ @var{key2} = @var{val2}; @dots{} @}
+@end example
- @item @code{staffspace}@indexcode{staffspace}
- The distance between two staff lines, calculated from the center
- of the lines. You should use either this or @code{rulethickness}
- as a unit for distances you modify.
-
- @item @code{linewidth}@indexcode{linewidth}
- Sets the width of the lines. If set to -1.0, a single
- unjustified line is produced.
- @item @code{textheight}@indexcode{textheight}
- Sets the total height of the music on each page. Only used by
- ly2dvi.
+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.
- @item @code{interscoreline}@indexcode{interscoreline}
- Sets the spacing between the score lines. Defaults to 16 pt.
+It is customary to put the @code{\header} at the top of the file.
- @item @code{interscorelinefill}@indexcode{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.
+@subsubsection Default output
- @item @code{stafflinethickness}@indexcode{stafflinethickness}
- Determines the thickness of staff and bar lines.
-@end table
+A @code{\midi} or @code{\paper} block at top-level sets the default
+paper block for all scores that lack an explicit paper block.
-@node contextdefs, , , Reference Manual
+@c_ {Identifiers}
+@node Identifiers
+@subsection Identifiers
+@cindex Identifiers
-@cindex context definition
+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,
-A notation contexts is defined by the following information
+@itemize @bullet
+@item Input
+@item c++-function
+@item Music: see @ref{Music expressions}
+@item Identifier
+@item Translator_def:
+See section @ref{contextdefs} for more information
+@item Duration
+@item Pitch
+@item Score
+@item Music_output_def
+@item Moment (rational number)
+@end itemize
-@enumerate i
- @item A name.
+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.
- @item The LilyPond modules that do the actual conversion of music to
- notation. Each module is a so-called
- @emph{engraver}
-@cindex engraver
-.
+@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})
+@c @item Audio_element: (todo, smobme)
+@end itemize
- @item How these modules should cooperate, i.e. which ``cooperation
- module'' should be used. This cooperation module is a special
- type of engraver.
- @item What other contexts the context can contain,
+@c_ {Assignments}
+@node Assignments
+@subsection Assignments
+@cindex Assignments
- @item What properties are defined.
-@end enumerate
+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 alphanumeric. It is impossible to refer to an identifier
+whose name is the same as the name of a keyword.
-A context definition has this syntax:
+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.
@example
-
- \translator @code{@{}
- @var{translatorinit} @var{translatormodifierlist}
- @code{@}}
+foo = \foo * 2.0
@end example
-@var{translatorinit} can be an identifier or of the form
-
+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
+@}
- \type @var{typename} @code{;}
-@end example
-
-@var{typename} is one of
-
-@table @samp
- @item @code{Engraver_group_engraver}@indexcode{Engraver_group_engraver}
- The standard cooperation engraver.
-
- @item @code{Score_engraver}@indexcode{Score_engraver}
- This is cooperation module that should be in the top level context.
-
- @item @code{Grace_engraver_group}@indexcode{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 the context to create by
- default.
-
- @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. It is allowed to use reals for
- @var{value}.
-@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{} @}
+\paperIdent % correct
+foo = 1.0
@}
-\score @{
- \notes @{
- @dots{}
- @}
- \paper @{
- \translator @{ \foo @dots{} @}
- @}
-@}
-@end example
+@end example
-@end quotation
-@cindex paper types, engravers, and pre-defined translators
+@c_ {Lexical details}
+@node Lexical details
+@subsection Lexical details
+@cindex Lexical details
+@menu
+@end menu
-Some pre-defined identifiers can simplify modification of
-translators. The pre-defined identifiers are:
+@c_ {Comments}
+@subsubsection Comments
+@cindex Comments
-@table @samp
- @item @code{StaffContext}@indexcode{StaffContext}
- Default Staff context.
+@cindex @code{%}
- @item @code{RhythmicStaffContext}@indexcode{RhythmicStaffContext}
- Default RhythmicStaff context.
- @item @code{VoiceContext}@indexcode{VoiceContext}
- Default Voice context.
+A one line comment is introduced by a @code{%} character.
+Block comments are started by @code{%@{} and ended by `@code{%@}}'.
+They cannot be nested.
- @item @code{ScoreContext}@indexcode{ScoreContext}
- Default Score context.
+@c_ {Direct Scheme}
+@subsubsection Direct Scheme
+@cindex Scheme
+@cindex GUILE
+@cindex Scheme, in-line code
- @item @code{ScoreWithNumbers}@indexcode{ScoreWithNumbers}
- Score context with numbering at the Score level.
- @item @code{BarNumberingStaffContext}@indexcode{BarNumberingStaffContext}
- Staff context with numbering at the Staff level.
+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)
+@end example
- @item @code{HaraKiriStaffContext}@indexcode{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 Samourai.}
+@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).
- @item @code{OrchestralPartStaffContext}@indexcode{OrchestralPartStaffContext}
+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.
- @item @code{OrchestralScoreContext}@indexcode{OrchestralScoreContext}
-@end table
-Using these pre-defined values, you can remove or add items to the
-translator:
+@c_ {Keywords}
+@subsubsection Keywords
+@cindex Keywords
-@quotation
-@example
-\paper @{
- \translator @{
- \StaffContext
- \remove Some_engraver;
- \consists Different_engraver;
- @}
-@}
-@end example
+Keywords start with a backslash, followed by a number of lower case
+alphabetic characters. These are all the keywords.
-@end quotation
+@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
-
-@node Sound output, , , Reference Manual
-@section Sound output
+@c_ {Integers}
+@subsubsection Integers
+@cindex integers
+@cindex @code{+}
+@cindex @code{-}
+@cindex @code{*}
+@cindex @code{/}
+Formed from an optional minus sign followed by digits. Arithmetic
+operations cannot be done with integers, and integers cannot be mixed
+with reals.
-The MIDI block is analogous to the paper block, but it is simpler.
-The @code{\midi} block can contain:
-@cindex MIDI block
+@c_ {Reals}
+@subsubsection Reals
+@cindex real numbers
-@itemize @bullet
- @item a @code{\tempo} definition
- @item context definitions
-@end itemize
-Assignments in the @code{\midi} block are not allowed.
-@cindex context definition
+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.
-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}.
+@cindex @code{\mm},
+@cindex @code{\in}
+@cindex @code{\cm}
+@cindex @code{\pt}
+@cindex dimensions
+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.
-@cindex MIDI instrument names
+@c_ {Strings}
+@subsubsection Strings
+@cindex string
+@cindex concatenate
-@node midilist, , , Reference Manual
+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.
-The MIDI instrument name is set by the
-@code{Staff.midiInstrument}@indexcode{Staff.midiInstrument} property or,
-if that property is not set, the
-@code{Staff.instrument}@indexcode{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.
+The tokenizer accepts the following commands. They have no grammatical
+function, hence they can appear anywhere in the input.
-@c @quotation
-@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_ {Main input}
+@subsubsection Main input
+@cindex Main input
-@c @end quotation
+@cindex @code{\maininput}
+The @code{\maininput} command is used in init files to signal that the
+user file must be read. This command cannot be used in a user file.
+@c_ {File inclusion}
+@subsubsection Main input
+@cindex Main input
-@node Pre-defined Identifiers, , , Reference Manual
+@subsubsection File inclusion
+@cindex @code{\include}
+@example
+ \include @var{filename}
+@end example
-@section Pre-defined Identifiers
+Include @var{filename}. The argument @var{filename} may be a quoted string (an
+unquoted string will not work here!) or a string identifier. The full
+filename including the @file{.ly} extension must be given,
-@cindex pre-defined identifiers
+@subsubsection Version information
+@cindex @code{\version}
+@example
+ \version @var{string} ;
+@end example
+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}.
-Various identifiers are defined in the initialization files to
-provide shorthands for some settings. Most of them are in
-@file{ly/declarations.ly}.
+@cindex convert-ly
-@table @samp
- @item @code{\break}@keyindex{break}
- Force a line break in music by using a large argument for the
- keyword @code{\penalty}.
- @item @code{\nobreak}@keyindex{nobreak}
- Prevent a line break in music by using a large negative argument
- for the keyword @code{\penalty}.
- @item @code{\normalkey}@keyindex{normalkey}
- Select normal key signatures where each octave has the same key
- signature. This sets the @code{Staff.keyoctaviation} property.
- @item @code{\shiftoff}@keyindex{shiftOff}
- Disable horizontal shifting of note heads that collide.
+@c_ {Pitch names}
+@subsubsection Pitch names
+@cindex Lexical modes
+@cindex pitch names
- @item @code{\shiftOn}@keyindex{shiftOn}
- Enable note heads that collide with other note heads to be
- shifted horiztonally.
+@cindex note names
+@cindex chord modifier names
- @item @code{\slurBoth}@keyindex{slurBoth}
- Allow slurs to be above or below notes.
+Note names and chord modifiers can be customised for nationalities.
+languages and conventions. The syntax is as follows.
+@cindex @code{\pitchnames}
+@cindex @code{\chordmodifiers}
- @item @code{\slurDown}@keyindex{slurDown}
- Force slurs to be below notes.
+@example
+ \pitchnames @var{scheme-alist}
+ \chordmodifiers @var{scheme-alist}
+@end example
- @item @code{\slurUp}@keyindex{slurUp}
- Force slurs to be above notes.
+See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
+specific examples how to do this. tables can be tailored specified
+using. Some national note names have been provided, see
+section @ref{Other languages}.
+A @code{\paper} block at top level sets the default paper block. A
+@code{\midi} block at top level works similarly.
- @item @code{\specialkey}@keyindex{specialkey}
- Allow key signatures do differ in different octaves. This sets
- the @code{Staff.keyoctaviation} property.
+@c_ {Assignments}
+@subsubsection Assignments
+@cindex assignments
+@cindex @code{#}
- @item @code{\stemBoth}@keyindex{stemBoth}
- Allow stems, beams, and slurs to point either upwards or
- downwards, decided automatically by LilyPond.
+Identifier assignments may appear at top level. @ref{Assignments}
- @item @code{\stemdown}@keyindex{stemdown}
- Force stems, beams, and slurs to point down.
- @item @code{\stemUp}@keyindex{stemUp}
- Force stems, beams and slurs to point up.
-@end table
+@c_ {Direct scheme}
+@subsubsection Direct scheme
+@cindex Direct scheme
-@node Grobs, , , Reference Manual
-@section Grobs
+Scheme statements maybe issued to produce interesting side-effects.
-This section is about Grobs (short for Graphical Objects), which are
-formatting objects used to create the final output. This material is
-normally the domain of LilyPond gurus, but occasionally, a normal user
-also has to deal with grobs.
-The most simple interaction with Grobs are when you use
-@code{\override}:
+@c_ {Lexical modes}
+@node Lexical modes
+@subsection Lexical modes
+@cindex Lexical modes
-@example
- \property Voice.Stem \override #'direction = #1
-@end example
+@cindex Lexical modes
+@cindex modes
-This piece of lily input causes all stem objects to be stem-up
-henceforth. In effect, you are telling lilypond to extend the defintion
-of the "Stem" grob with the setting @code{direction := 1}. Of course
-there are many more ways of customizing Lily output, and since most of
-them involve Grobs in some form, this section explains some details of
-how grobs work.
+To simplify entering notes, lyrics, and chords, LilyPond has three
+special input modes on top of the default mode. In each mode, words
+are identified on the input. If @code{"word"} is encountered, it is
+treated as a string. If @code{\word} is encountered, it is treated as
+a keyword or as an identifier. The behavior of the modes differs in
+two ways: Different modes treat unquoted words differently, and
+different modes have different rules for deciding what is a word.
-@menu
-* What is a grob?::
-* Callbacks::
-* Setting grob properties::
-* Items and Spanners::
-* Pointer substitution::
-@end menu
+@table @asis
+@item Normal mode.
+@cindex normal mode
+
+At the start of parsing, LilyPond is in Normal mode. In Normal
+mode, a word is an alphabetic character followed by alphanumeric
+characters. If @code{word} is encountered on the input it is
+treated as a string.
-@node What is a grob?, , , Grobs
-
-All grobs have an X and Y-position on the page. These X and Y positions
-are stored in a relative format, so they can easily be combined by
-stacking them, hanging one grob to the side of another, and coupling
-them into a grouping-grob.
-
-Each grob has a reference point, or parent: the position of a grob is
-stored relative to that reference point. For example the X-reference
-point of a staccato dot usually is the note head that it applies
-to. Whenever the note head is moved, the staccato dot moves along
-automatically.
-
-If you keep following offset reference points, you will always end up at
-the root-object. This root object is called @code{Line_of_score}
-@ref{(lilypond-internals)Element Line_of_score}, and it represents a
-system (ie. a line of music).
-
-All grobs carry a set of grob-properties. In the Stem example above,
-the property @code{direction} is set to value @code{1}. The function
-that draws the symbol (@code{Stem::brew_molecule}) uses the value of
-@code{direction} to determine how to print the stem and the flag. The
-appearance of a grob is determined solely by the values of its
-properties.
-
-Often, a grob also is associated with a symbol. On the other hand, Some
-grobs do not print any symbols, but take care of grouping objects. For
-example, there is a separate grob that stacks staffs vertically, so they
-are not printed in overstrike. The NoteCollision @ref{(lilypond-internals)Element
-NoteCollision} is another example of an abstract grob. It only moves
-around chords, but doesn't print anything.
-
-A complete list of grob types is found in @ref{(lilypond-internals)Elements}
-
-Grobs are created in the "Interpreting music" phase, by things in
-LilyPond called engravers. In this phase of the translation, a load of
-grobs are created, and they are linked into a giant network of objects.
-This network of grobs forms the "specification" of the print
-problem. This problem is then solved: configurations, directions,
-dimensions, line breaks, etc. are calculated. Finally, the printing
-description in the form of Molecules (@ref{Molecule}) is extracted from
-the network. These are then dumped into the output file
-
-@node Callbacks, , , Grobs
-
-Offsets of grobs are relative to a parent reference point. Most
-positions are not known when an object is created, so these are
-calculated as needed. This is done by adding a callback for a specific
-direction.
-
-Suppose you have the following code in a .ly file.
-@example
- #(define (my-callback gr axis)
- (* 2.0 (get-gr-property grob 'direction))
- )
+@item Note mode
+See @ref{Note entry}.
-....
+@item Lyrics mode
+See @ref{Lyrics entry}.
- \property Voice.Stem \override #'Y-offset-callbacks = #(list
- my-callback)
-@end example
+@item Chord mode
+See @ref{Chord entry}.
+@end table
+
+@cindex input modes
-When the Y-offset of a Stem object is needed, LilyPond will
-automatically execute all callbacks for that object. In this case, it
-will find @code{my-callback}, and execute that. The result is that the
-stem is translated by two staff spaces in its direction.
+@cindex mode switch
-(note: Y-offset-callbacks is also a property)
+@cindex @code{\notes}
+@cindex @code{\chords}
+@cindex @code{\lyrics}
+Mode switching keywords form compound music expressions: @code{\notes}
+@var{musicexpr}, @code{\chords} @var{musicexpr},
+and @code{\lyrics} @var{musicexpr}. 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. See @ref{Lexical modes} for more information on modes.
+
+@c_ {Ambiguities}
+@node Ambiguities
+@subsection Ambiguities
+@cindex ambiguities
+@cindex grammar
-Offset callbacks can be stacked, ie.
-@example
- \property .... \override #'Y-offset-callbacks = #(list
- callback1 callback2 callback3)
+The grammar contains a number of ambiguities. We hope to resolve them at
+some time.
-@end example
+@itemize @bullet
+ @item The assignment
-The callbacks will be executed in the order callback3 callback2
-callback1. This is used for quantized positioning: the staccato dot is
-above or below a note head, and it must not be on a staff-line.
+ @example
+foo = bar
+@end example
-To achieve this, for the staccato there are two callbacks: one callback
-that positions the grob above or below the note head, and one callback
-that rounds the Y-position of the grob to the nearest open space.
+ can be interpreted as making a string identifier @code{\foo}
+ containing @code{"bar"}, or a music identifier @code{\foo}
+ containing the syllable `bar'.
-Similarly, the size of a grob are determined through callbacks, settable
-with grob properties @code{X-extent-callback} and @code{Y-extent-callback}.
-There can be only one extent-callback for each axis. No callback (value #f)
-means: "empty in this direction". If you fill in a pair, that pair
-hard-codes the extent in that coordinate.
+ @item The assignment
+ @example
+foo = -6
+@end example
-@node Setting grob properties, , , Grobs
+ can be interpreted as making an integer identifier
+ containing -6, or a Request identifier containing the
+ fingering `6' (with neutral direction).
-Grob properties are stored as GUILE association lists, with symbols as
-keys. From C++, element properties can be accessed using the functions
+ @item If you do a nested repeat like
-@example
- SCM get_grob_property (SCM) const;
- void set_grob_property (const char * , SCM val);
- void set_immutable_grob_property (const char * , SCM val);
- void set_immutable_grob_property (SCM key, SCM val);
- void set_grob_property (SCM , SCM val);
- void set_grob_pointer (const char*, SCM val);
- SCM remove_grob_property (const char* nm);
-@end example
+ @quotation
-In GUILE, LilyPond provides
+@example
+\repeat @dots{}
+\repeat @dots{}
+\alternative
+@end example
-@example
- ly-get-grob-property GROB SYMBOL
- ly-set-grob-property GROB SYMBOL VALUE
-@end example
+ @end quotation
-All lookup functions identify undefined properties with
-end-of-list (ie. @code{'()} in Scheme or @code{SCM_EOL} in C)
+ 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.
-Properties are stored in two ways:
-@itemize @bullet
-@item mutable properties:
-element properties that change from object to object. The storage of
-these are private to a grob. Typically this is used to store lists of
-pointers to other grobs
-
-@item immutable properties:
-element properties that are shared across different grobs of the same
-type. The storage is shared, and hence it is read-only. Typically, this
-is used to store function callbacks, and values for shared element
-properties are read from @file{scm/element-description.scm}.
+ @item (an as yet unidentified ambiguity :-)
@end itemize
-There are two ways to manually set grob properties.
-You can change immutable grob properties. This is done with the
-\override syntax:
-@example
- \property Voice.Stem \override #'direction = #1
-@end example
-This will push the entry @code{'(direction . 1)} on the immutable
-property list for stems, in effect overriding the setting from
-@file{scm/element-description.scm}. This can be undone by
-
-@example
- \property Voice.stem \revert #'direction
-@end example
-If you use this a lot, this gets old quickly. So we also have a
-shorthand,
+@c_ {Unsorted}
+@node Unsorted
+@section Unsorted
-@example
- \property Context.GrobType \set #'prop = #VAL
-@end example
+[mucho todo]
-this does a @code{\revert} followed by a @code{\override}
+Translation?
-The second way is \outputproperty. This construct looks like
+@cindex properties
+@unnumberedsubsec Translation property
+@cindex @code{\property}
@example
- \context ContextName \outputproperty @var{pred} #@var{sym} = #@var{val}
+ \property @var{contextname}.@var{propname} = @var{value}
@end example
-In this case, in every grob that satisfies @var{pred}, the property
-assignment @var{sym} = @var{val} is done. For example
+Sets the @var{propname} property of the context @var{contextname} to
+the specified @var{value}. All three arguments are strings.
+Depending on the context, it may be necessary to quote the strings or
+to leave space on both sides of the dot.
+@cindex translator switches
+@unnumberedsubsec Translator switches
+
+@cindex @code{\translator}
@example
- \outputproperty
- #(lambda (gr) (string? (ly-get-grob-property gr
- 'text)))
- #'extra-offset = #'(-1.0 . 0.0)
+ \translator @var{contexttype} = @var{name}
@end example
-This shifts all elements that have a @code{text} property one staff
-space to the left.
-
-@node Items and Spanners, , , Grobs
-
-Grobs can also be distinguished in their role in the horizontal spacing.
-A lot of grobs define constraints on the spacing by their sizes. For
-example, note heads, clefs, stems, and all other symbols with a fixed
-shape. These grobs form a subtype called @code{Item}.
+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.
-Other grobs have a shape that depends on the horizontal spacing. For
-example, slur, beam, tie, etc. These grobs form a subtype called
-@code{Spanner}. All spanners have two span-points (these must be
-@code{Item}s), one on the left and one on the right. The left bound is
-also the X-reference point.
+Usually this is used to switch staffs in Piano music, e.g.
-Some items need special treatment for line breaking. For example, a
-clef is normally only printed at the start of a line (ie. after a line
-break). To model this, `breakable' items (clef, key signature, bar lines,
-etc.) are copied twice. Then we have three versions of each breakable
-item: one version if there is no line break, one version that is printed
-before the line break (at the end of a system), one version that is
-printed after the line break.
+@example
+ \translator Staff = top @var{Music}
+@end example
-Whether these versions are visible and take up space, is determined by
-the outcome of the visibility-lambda. This is a function taking a
-direction (-1, 0 or 1) and returns a cons of booleans, signifying wether
-this grob should be transparent and invisible.
-@node Pointer substitution, , , Grobs
+@cindex output properties
+@unnumberedsubsec Output properties
+These allow you to tweak what is happening in the back-end
+directly. If you want to control every detail of the output
+formatting, this is the feature to use. The downside to this is that
+you need to know exactly how the backend works. Example:
-@node Molecule, , , Reference Manual
-The objective of any typesetting system is to put ink on paper in the
-right places. For LilyPond, this final stage is left to the TeX and the
-printer subsystem. For lily, the last stage in processing a score is
-outputting a description of what to put where. This description roughly
-looks like
+@lilypond[fragment,verbatim]
+\relative c'' { c4
+ \context Staff \outputproperty
+ #(make-type-checker 'note-head-interface)
+ #'extra-offset = #'(5.0 . 7.5)
+<c8 e g> }
+@end lilypond
-@example
- PUT glyph AT (x,y)
- PUT glyph AT (x,y)
- PUT glyph AT (x,y)
-@end example
+This selects all note heads occurring at current staff level, and sets
+the @code{extra-offset} of those heads to @code{(5,7.5)}, shifting them
+up and right.
-you merely have to look at the tex output of lily to see this.
-Internally these instructions are encoded in Molecules:@footnote{At some
-point LilyPond also contained Atom-objects, but they have been replaced
-by Scheme expressions.}. A molecule is an object that combines
-dimension information (how large is this glyph ?) with
-what-to-print-where.
+Use of this feature is entirely on your own risk: if you use this, the
+result will depend very heavily on the implementation of the backend,
+which we change regularly and unscrupulously.
-Conceptually, Molecules can be constructed from Scheme code, by
-translating a Molecule and by combining two molecules. In BNF notation:
-@example
- Molecule = COMBINE Molecule Molecule
- | TRANSLATE Offset Molecule
- | GLYPH-DESCRIPTION
- ;
-@end example
+@c_{Local emacs vars}
+@c Local variables:
+@c mode: texinfo
+@c minor-mode: font-lock
+@c minor-mode: outline
+@c xoutline-layout: (0 : -1 -1 0)
+@c outline-layout: (-1 : 0)
+@c outline-primary-bullet: "{"
+@c outline-stylish-prefixes: nil
+@c outline-override-protect: t
+@c End:
-(refer to the C++ code for more details). All visible,
-ie. non-transparent, grobs have a callback to create a Molecule. The
-name of the property is @code{molecule-callback}, and its value should
-be a Scheme function taking one argument (the grob) and returning a
-Molecule.