-@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
+@c Note:
@c
-@c FIXME: Index has two alphabetically sorted lists @code vs plain?
-@c
-@c If we'd include the auto-generated documentation, we 'd get a lot of
-@c very useful index entries.
-@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
-* Automatic Beaming:: Automatic Beaming
-* Chord Names:: Chord Names
-* lyricprint:: lyricprint
-* Notation Contexts:: Notation Contexts
-* Properties:: Changing formatting
-* Page layout:: Layout
-* contextdefs:: contextdefs
-* Sound output:: Sound output
-* midilist:: midilist
-* Pre-defined Identifiers:: Pre-defined Identifiers
-* 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
-
-
+@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
can enter and edit them in manageable chunks.
@end itemize
-@node Top level
-@section Top level
-
-This section describes what you may enter at top level.
+@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
-@cindex score definition
+@cindex music expressions
-The output is generated combining a music expression with an output
-definition. A score block has the following syntax:
+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:
-@example
- \score @{ @var{musicexpr} @var{outputdefs} @}
-@end example
+@example
+\sequential @{ c4 d4 @}
+@end example
-@var{outputdefs} are zero or more output definitions. If no output
-definition is supplied, the default @code{\paper} block will be added.
+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).
-@cindex header
+Atomic music expression are discussed in
+subsection @ref{Atomic music expressions}. Compound music expressions are
+discussed in subsection @ref{Compound music expressions}.
-@keyindex{header}
-The syntax is
+@c_ {Sequential music}
+@node Sequential music
+@subsection Sequential music
+@cindex Sequential music
+@cindex @code{\sequential}
+@cindex sequential music
@example
- \header @{ @var{key1} = @var{val1};
- @var{key2} = @var{val2}; @dots{} @}
+ \sequential @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.
+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:
-@node Pitch names
-@section Pitch names
+@example
+@cindex @code{<}
+@cindex @code{>}
+ @code{@{} @var{musicexprlist} @code{@}}
+@end example
-@cindex pitch names
-@cindex note names
-@cindex chord modifier names
+@c_ {Simultanious music}
+@node Simultanious music
+@subsection Simultanious music
+@cindex Simultanious music
+@cindex @code{\simultaneous}
-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}
+ \simultaneous @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
-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.
+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:
-Identifier assignments may appear at top level. Semicolons are
-forbidden after top level assignments.
+@example
+ @code{<} @var{musicexprlist} @code{>}
+@end example
-@cindex assignments
+If you try to use a chord as the first thing in your score, you might
+get multiple staffs instead of a chord.
-@node Lexical conventions
-@section Lexical conventions
+@lilypond[verbatim,center]
+ \score {
+ \notes <c''4 e''>
+ \paper {
+ linewidth = -1.;
+ }
+ }
+@end lilypond
-@cindex lexical conventions
+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
-@unnumberedsubsec Comments
+@c_ {Compound music expressions}
+@node Compound music expressions
+@subsection Compound music expressions
-@cindex comment
+@cindex Compound music expressions
-@indexcode{%}
+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:
-A one line comment is introduced by a `@code{%}' character.
-Block comments are started by `@code{%@{}' and ended by `@code{%@}}'.
-They cannot be nested.
+@lilypond[fragment,verbatim,center]
+ \notes \context Staff {
+ <a c'> <b d' > <c' e'>
+ < { a b c' } { c' d' e' } >
+ }
-@unnumberedsubsec Scheme
+@end lilypond
-@indexcode{#}
+@cindex @code{\context}
+@cindex context selection
-LilyPond contains a Scheme interpreter (the GUILE library) for
-internal use. The interpreter is accessed by the pound sign:
+@example
+ \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
+@end example
-@cindex Scheme
-@cindex GUILE
-@cindex Scheme, in-line code
+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.
-Whereever the syntax allows Scheme expressions, you may enter one as
-@example
- #@var{scheme}
-@end example
+@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}
-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)
+ \grace @var{musicexpr}
@end example
-(in this case, @code{\override} expects two Scheme expressions.
+A grace note expression has duration 0; the next real note is
+assumed to be the main note.
-[refer appendix/ online intro on 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}
-@unnumberedsubsec Keywords
+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.
-@cindex keyword
+@quotation
+@lilypond[fragment,verbatim]
+\relative c'' {
+ \grace c8 c4 \grace { [c16 c16] } c4
+ \grace { \property Grace.flagStyle = "" c16 } c4
+}
-Keywords start with a backslash, followed by a number of lower case
-alphabetic characters. These are all the keywords.
+@end lilypond
+@end quotation
+@cindex @code{\grace}
+At present, nesting @code{\grace} notes is not supported. The following
+may cause run-time errors:
@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
+ @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.
-@unnumberedsubsec Integers
+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.
-@cindex integer
+The present implementation is not robust and generally kludgy. We expect
+it to change after LilyPond 1.4
-Formed from an optional minus sign followed by digits. Arithmetic
-operations cannot be done with integers, and integers cannot be mixed
-with reals.
-@unnumberedsubsec Reals
+@c_ {Explicit atomic music}
+@node Explicit atomic music
+@subsection Explicit atomic music
+@cindex Explicit atomic music
-@cindex real
-
-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.
+@cindex pitch
-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.
+The syntax for pitch specification is
+@cindex @code{\pitch}
+@example
+ \pitch @var{scmpitch}
+@end example
-@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.
+@var{scmpitch} is a pitch scheme object, see @ref{Pitch}.
-The tokenizer accepts the following commands. They have no grammatical
-function, hence they can appear anywhere in the input.
+In Note and Chord mode, pitches may be designated by names. See
+section @ref{Other languages} for pitch names in different languages.
+
+@cindex duration
+@cindex @code{\duration}
+The syntax for duration specification is
@example
- \maininput@keyindex{maininput}
+ \duration @var{scmduration}
@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.
+In Note, Chord, and Lyrics mode, durations may be designated by
+numbers and dots.
-@unnumberedsubsec file inclusion
-@example
- \include@keyindex{include} @var{file}
-@end example
-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,
-@unnumberedsubsec Version information
+@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
+
+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
- \version@keyindex{version} @var{string} ;
+ \relative @var{startpitch} @var{musicexpr}
@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.
-@cindex convert-ly
+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}.
-@node Other languages
-@section Other languages
-@cindex Note names, international
+Entering scales is straightforward in relative mode.
-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:
+@lilypond[fragment,verbatim,center]
+ \relative c' {
+ c d e f g a b c c,
+ }
+@end lilypond
-@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
+And octave changing marks are used for intervals greater than a fourth.
-Pitch names can be redefined using the @code{\pitchnames} command, see
-@ref{Pitch names}.
+@lilypond[fragment,verbatim,center]
+ \relative c'' {
+ c g c f, c' a, e'' }
+@end lilypond
-@node Lexical modes
-@section Lexical modes
-@cindex Lexical modes
-@cindex modes
+If the preceding item is a chord, the first note of the chord is used
+to determine the first note of the next chord. But other notes
+within the second chord are determined by looking at the immediately
+preceding note.
+@lilypond[fragment,verbatim,center]
+ \relative c' {
+ c <c e g>
+ <c' e g>
+ <c, e' g>
+ }
+@end lilypond
+@cindex @code{\notes}
-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.
+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).
-@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{}.
+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}.
-@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
+It is strongly recommended to use relative pitch mode: less work,
+less error-prone, and more readable.
- Since combinations of numbers and dots are used for indicating
- durations, you can not enter real numbers in this mode.
-@end table
+@c_ {Transpose}
+@node Transpose
+@subsection Transpose
+@cindex Transpose
+@cindex transposition of pitches
+@cindex @code{\transpose}
-[todo: include short table showign differences]
+A music expression can be transposed with @code{\transpose}. The syntax
+is
+@example
+ \transpose @var{pitch} @var{musicexpr}
+@end example
-@node Types
-@section Types
+This means that middle C in @var{musicexpr} is transposed to
+@var{pitch}.
-@cindex Identifiers
+@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.
-[say something about types]
+@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 }
+}
-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,
+@end lilypond
+@end quotation
-@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
+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}.
- @item Duration
- @item Pitch
- @item Score
- @item Music_output_def (TODO: this is not really a Scheme object
-yet. Nevertheless, you can use identifiers to make references to them )
- @item Moment (rational number)
-@end itemize
+@c_ {Repeat}
+@node Repeat
+@subsection Repeat
+@cindex Repeat
+@cindex repeats
-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.
+@ref{Volta}
+[TODO: document #'repeatCommands.]
-@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
+@cindex @code{\repeat}
-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{Page layout}.
+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.
-@var{value} is any valid Scheme value or any of the input-types listed
-above.
+@table @asis
+@item unfolded
+Repeated music is fully written (played) out. Useful for MIDI
+output.
-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.
+@item volta
+This is the normal notation: Repeats are not written out, but
+alternative endings (voltas) are printed, left to right.
-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.
+@item folded
+Alternative endings are written stacked. Which is unfortunately not
+practical for anything right now.
+
+@item tremolo
+Make tremolo beams.
+@end table
+
+The syntax for repeats is
@example
- foo = \foo * 2.0
+ \repeat @var{variant} @var{repeatcount} @var{repeatbody}
@end example
-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
-@}
+If you have alternative endings, you may add
-\paper @{
- \paperIdent % correct
- foo = 1.0
-@}
+@cindex @code{\alternative}
+@example
+ \alternative @code{@{} @var{alternative1}
+ @var{alternative2}
+ @var{alternative3} @dots{} @code{@}}
@end example
+where each @var{alternative} is a Music expression.
-@node Music expressions
-@section Music expressions
+Normal notation repeats are used like this:
-@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 volta 2 { c'4 d' e' f' }
+ \repeat volta 2 { f' e' d' c' }
-@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).
+With alternative endings:
-Atomic music expression are discussed in
-subsection @ref{Atomic music expressions}. Compound music expressions are
-discussed in subsection @ref{Compound music expressions}.
+@quotation
+@lilypond[fragment,verbatim]
+ c'1
+ \repeat volta 2 {c'4 d' e' f'}
+ \alternative { {d'2 d'} {f' f} }
+@end lilypond
+@end quotation
-@node Atomic music expressions
-@section Atomic 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.}
+@quotation
+@lilypond[fragment,verbatim]
+ c'1
+ \repeat fold 2 {c'4 d' e' f'}
+ \alternative { {d'2 d'} {f' f} }
+@end lilypond
+@end quotation
-@cindex pitch
+@quotation
-@cindex duration
-
+@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 } }
+ }
+}
-The syntax for pitch specification is
+@end lilypond
+@end quotation
+
+If you don't give enough alternatives for all of the repeats, then
+the first alternative is assumed to be repeated often enough to equal
+the specified number of repeats.
+
+@quotation
+@lilypond[fragment,verbatim]
+\context Staff {
+ \relative c' {
+ \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.
+
+@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{__}
+
+@lilypond[fragment,verbatim,center]
+
+ 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.
-@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}.
+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
-In Note, Chord, and Lyrics mode, durations may be designated by
-numbers and dots.
+For more information on what is possible, see the @ref{Tricks} and the
+automatically generated documentation.
+@c_ {Transform}
+@node Transform
+@subsection Transform
+@cindex Transform
+
+@c_ {Note entry}
+@node Note entry
+@section Note entry
+@cindex Note entry
+
+@menu
+* Notes mode::
+* Pitch names::
+@end menu
+
+@c_ {Notes mode}
+@node Notes mode
+@subsection Notes mode
+
+@cindex note mode
+
+@cindex @code{\notes}
+Note mode is introduced by the keyword
+@code{\notes}. In Note mode, words can only
+contain alphabetic characters. If @code{word} is encountered,
+LilyPond first checks for a notename of @code{word}. If no
+notename is found, then @code{word} is treated as a string.
+
+Since combinations of numbers and dots are used for indicating
+durations, it is not possible to enter real numbers in this mode.
+
+
+@cindex Notes mode
+
+@c_ {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.
-
-LilyPond has predefined sets of notenames for various languages. See
-section @ref{Other languages}.
+@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}.
+
+
+
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.
+@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.
+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.
+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
-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.
+@cindex @code{R}
-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.
+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.
+
+@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 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}.
+@example
+ \skip @var{duration} @code{;}
+@end example
+@cindex @code{\skip}
+Skips the amount of time specified by @var{duration}. If no other
+music is played, a gap will be left for the skipped time with no
+notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
+this has the same effect as the spacer rest.
-@cindex properties
-@example
- \property@keyindex{property}
- @var{contextname}.@var{propname} = @var{value}
-@end 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.
+@c_ {Music notation}
+@node Music notation
+@section Music notation
+@cindex Music notation
+@menu
+* Key::
+* Clef::
+* Time signature::
+* Spanners::
+* Ornaments::
+* Bar check::
+@end menu
+@c_ {Key}
+@node Key
+@subsection Key
+@cindex Key
-@cindex translator switches
+@cindex @code{\key}
@example
- \translator@keyindex{translator}
- @var{contexttype} = @var{name}
+ @code{\key} @var{pitch} @var{type} @code{;}
@end example
-
-A music expression indicating that the context which is a direct
-child of the a context of type @var{contexttype} should be shifted to
-a context of type @var{contexttype} and the specified name.
-
-Usually this is used to switch staffs in Piano music, e.g.
-
+@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.
+
+
+@c_ {Clef}
+@node Clef
+@subsection Clef
+@cindex Clef
+
+
+@c_ {Clef changes}
+@subsubsection Clef changes
+@cindex @code{\clef}
@example
- \translator Staff = top @var{Music}
+ \clef @var{clefname} @code{;}
@end example
+Short-cut for
-@cindex 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:
-
-
-@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.
+@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
-@cindex commands
+[todo]
-Commands are music expressions that have no duration.
+@c_ {Time signature}
+@node Time signature
+@subsection Time signature
+@cindex Time signature
+@cindex meter
+@cindex @code{\time}
@example
- @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;}
+ \time @var{numerator}@code{/}@var{denominator} @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.
-
-
+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
-@section barlines
+@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} in
-@ref{(lilypond-internals)LilyPond context properties}.
+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
+@c_ {Spanners}
+@node Spanners
+@subsection Spanners
+@cindex Spanners
-See the documentation of @code{timeSignatureFraction}
+@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
-@example
+@cindex automatic beam generation
+@cindex autobeam
- \tempo@keyindex{tempo} @var{duration} = @var{perminute} @code{;}
-@end example
+@cindex @code{Voice.noAutoBeaming}
-Used to specify the tempo. For example, `@code{\tempo 4 = 76;}'
-requests output with 76 quarter notes per minute.
+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.
+
+@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
- \partial@keyindex{partial} @var{duration} @code{;}
+\property Voice.autoBeamSettings \override
+ #'(end * * * *) = #(make-moment 1 4)
+\property Voice.autoBeamSettings \override
+ #'(begin * * * *) = #(make-moment 1 8)
@end example
+@end quotation
-Short cut for
+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 * *)}.
-@example
- \property Score.measurePosition = @var{length of duration}
-@end example
+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.
-See the documentation of @code{measurePosition}.
+For example, to specify beam endings for beams that contain 32nd notes,
+you would use @code{(end * * 1 32)}.
-@cindex anacrusis
-@cindex upstep
-@example
+@c_ {Manual beams}
+@cindex Automatic beams
+@unnumberedsubsubsec Manual beams
- @code{|}@indexcode{|}
-@cindex bar check
+@cindex beams, manual
+@cindex @code{]}
+@cindex @code{[}
-@end example
+FIXME
+Beaming can be generated automatically; see section @ref{Automatic Beaming}.
-@cindex shorten measures
+A beam is specified by surrounding the beamed notes with brackets
+`@code{[}' and `@code{]}'.
-@cindex upstep
+@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
-`@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.
+@cindex @code{-}@code{-}
-@example
- \penalty@keyindex{penalty} @var{int} @code{;}
-@end example
-Discourage or encourage line breaks. See identifiers
-@code{\break}@keyindex{break} and @code{\nobreak}@keyindex{nobreak} in
-section [on identifiers] [FIXME].
+@c_ {Adjusting beams}
+@unnumberedsubsubsec Adjusting beams
+@cindex Adjusting beams
-@example
- \clef@keyindex{clef} @var{clefname} @code{;}
-@end example
-Short-cut for
+@c_ {Slur}
-@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
+@node Slur
+@subsubsection Slur
+@cindex Slur
-Supported clef-names include
+@cindex slur
-[todo]
+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:
-@example
+@lilypond[fragment,verbatim,center]
+ f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
+@end lilypond
- \skip@keyindex{skip} @var{duration} @code{;}
-@end example
-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}'.
+@c_ {Adjusting slurs}
+@unnumberedsubsubsec Adjusting slurs
+@c_ {Tie}
+@cindex Adusting slurs
+@node Tie
+@subsubsection Tie
-@node Manual beams
-@section Manual beams
-@cindex beams
+@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{Automatic Beaming}.
+[todo: text cr]
-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
-@cindex articulations
+The slur syntax with parentheses is a shorthand for this.
-@cindex scripts
+@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
+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.TextScript \set #'font-style = #'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
-@node stem tremolo
-@section stem tremolo
-@cindex tremolo marks
-Tremolo marks can be printed on a single note by adding
-`@code{:}[@var{length}]' after the note. The length must be at
-least 8. A @var{length} value of 8 gives one line across
-the note stem. If the length is omitted, then the last value is
-used, or the value of the @code{tremoloFlags}@indexcode{tremoloFlags} property if there was
-no last value.
+@c_ {Glissando}
+@node Glissando
+@subsubsection Glissando
+@cindex Glissando
-@lilypond[verbatim,fragment,center]
- c'2:8 c':32
-@end lilypond
+@cindex @code{\glissando}
+A @rgrob{Glissando} line can be requested by issuing a
+@c FIXME
+@c @code{\glissando} request:
+@code{\glissando} request:
-@node Compound music expressions
-@section Compound music expressions
+@quotation
+@lilypond[fragment,relative,verbatim]
+ c'' \glissando c'
+@end lilypond
+@end quotation
-@cindex compound music expressions
+Printing of the additional text @samp{gliss.} must be done manually.
-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:
-@lilypond[fragment,verbatim,center]
- \notes \context Staff {
- \cadenzaOn
- <a c'> <b d' > <c' e'>
- < { a b c' } { c' d' e' } >
- }
-@end lilypond
+@c_ {Follow Thread}
+@subsubsection Follow Thread
+@cindex follow thread
+@cindex staff switching
+@cindex cross staff
-@cindex context selection
-@c @keyindex{context}
+@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:
-@example
- \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
-@end example
+@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
-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 input modes
-@cindex mode switch
+@c_ {Dynamics}
+@node Dynamics
+@subsubsection Dynamics
+@cindex Dynamics
-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.
+@unnumberedsubsec Dynamics
-@cindex sequential music
+@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}
+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}.
+See also @ref{Crescendo and Decrescendo}
-@example
- \sequential@keyindex{sequential}
- @code{@{} @var{musicexprlist} @code{@}}
-@end example
+@c_ {Bar lines}
+@node Bar lines
+@subsubsection Bar lines
+@cindex Bar lines
-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 @code{\bar}
+@cindex measure lines
+@cindex repeat bars
@example
+ \bar @var{bartype};
+@end example
- @code{@{} @var{musicexprlist} @code{@}}
+This is a short-cut for doing
+@example
+ \property Score.whichBar = @var{bartype}
@end example
+You are encouraged to use @code{\repeat} for repetitions. See
+@ref{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:
-
-@example
+Prints a mark over or under the staff.
- @code{<} @var{musicexprlist} @code{>}
-@end example
-If you try to use a chord as the first thing in your score, you might
-get multiple staffs instead of a chord.
+@c_ {Bar check}
+@node Bar check
+@subsection Bar check
+@cindex Bar check
-@lilypond[verbatim,center]
- \score {
- \notes <c''4 e''>
- \paper {
- linewidth = -1.;
- }
- }
-@end lilypond
+@cindex bar check
+@cindex @code{barCheckNoSynchronize}
+@cindex @code{|}
-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
+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.
+A bar check is entered using the bar symbol, @code{|}
+This can help you finding errors in the input.
-@node relative
-@section relative
-@cindex relative pitch specification
+@c_ {Lyrics entry}
+@node Lyrics entry
+@section Lyrics entry
+@cindex Lyrics entry
-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.
+@menu
+* Lyrics mode::
+* Printing lyrics::
+* Lyric hyphen::
+* Lyric extender::
+* Addlyrics::
+@end menu
-@example
+@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{}.
- \relative@keyindex{relative} @var{startpitch} @var{musicexpr}
-@end example
+@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
-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}.
+Since combinations of numbers and dots are used for indicating
+durations, you can not enter real numbers in this mode.
-Entering scales is straightforward in relative mode.
+[todo: include short table showing differences]
-@lilypond[fragment,verbatim,center]
- \relative c' {
- c d e f g a b c c,
- }
-@end lilypond
+@cindex lyrics expressions
-And octave changing marks are used for intervals greater than a fourth.
+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.
-@lilypond[fragment,verbatim,center]
- \relative c'' {
- c g c f, c' a, e'' }
-@end lilypond
+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}.
-If the preceding item is a chord, the first note of the chord is used
-to determine the first note of the next chord. But other notes
-within the second chord are determined by looking at the immediately
-preceding note.
-@lilypond[fragment,verbatim,center]
- \relative c' {
- c <c e g>
- <c' e g>
- <c, e' g>
- }
-@end lilypond
+@c_ {Printing Lyrics}
+@node Printing lyrics
+@subsection lyricprint
+@cindex lyrics
-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}.
+@cindex printing!lyrics
-It is strongly recommended to use relative pitch mode: less work,
-less error-prone, and more readable.
+Lyric syllables must be interpreted within a @code{Lyrics} context
+@cindex context!Lyrics
+ for printing them.
-Chord names are a way to generate simultaneous music expressions that
-correspond with traditional chord names. It can only be used in
-Chord mode (see section @ref{Lexical modes}).
+Here is a full example:
-@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
+ }
+ >
+}
- @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
-@end example
+@end lilypond
+@end quotation
-@var{tonic} should be the tonic note of the chord, and @var{duration}
-is the chord duration in the usual notation. There are two kinds of
-modifiers. One type is @emph{chord additions}, which are obtained by
-listing intervals separated by dots. An interval is written by its
-number with an optional `@code{+}' or `@code{-}' to indicate raising or
-lowering by half a step. Chord additions has two effects: It adds
-the specified interval and all lower odd numbered intervals to the
-chord, and it may lower or raise the specified interval. Intervals
-must be separated by a dot (`@code{.}').
+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[fragment,verbatim]
-\transpose c'' {
- \chords {
- c1 c:3- c:7 c:8
- c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
- }
+@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
-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}'
-which replaces the 5th with a 4th.
+
+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[fragment,verbatim]
-\transpose c'' {
- \chords {
- c1:m c:min7 c:maj c:aug c:dim c:sus
- }
+@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
-
-Chord subtractions are used to eliminate notes from a chord. The
-notes to be subtracted are listed after a `@code{^}' character,
-separated by dots.
-
-@lilypond[fragment,verbatim,center]
- \transpose c'' {
- \chords {
- c1^3 c:7^5.3 c:8^7
- }
- }
-@end lilypond
-Chord inversions can be specified by appending `@code{/}@indexcode{/}' and
-the name of a single note to a chord. This has the effect of
-lowering the specified note by an octave so it becomes the lowest
-note in the chord. If the specified note is not in the chord, a
-warning will be printed.
-@lilypond[fragment,verbatim,center]
- \transpose c''' {
- \chords {
- c1 c/e c/g c:7/e
- }
- }
-@end lilypond
+@c_ {Lyric hyphen}
+@node Lyric hyphen
+@subsection Lyric hyphen
+@cindex Lyric hyphen
-Bass notes can be added by `@code{/+}@indexcode{/+}' 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.
+The syntax for a spanning hyphen (i.e., a hyphen that will be printed
+between two lyric syllables) is `@code{-}@code{-}'.
-@lilypond[fragment,verbatim,center]
- \transpose c''' {
- \chords {
- c1 c/+c c/+g c:7/+b
- }
- }
-
-@end lilypond
-
-Throughout these examples, chords have been shifted around the staff
-using @code{\transpose}.
-
-You should not combine @code{\relative} with named chords.
-
-
-
-@cindex tuplets
-
-Tuplets are made out of a music expression by multiplying their
-duration with a fraction.
+@c_ {Lyric extender}
+@node Lyric extender
+@subsection Lyric extender
+@cindex Lyric extender
+@cindex extender
+@cindex lyric extender
+@cindex hyphen
-@example
+The syntax for an extender mark is @code{__}. This syntax can only
+be used within lyrics mode.
- \times@keyindex{times} @var{fraction} @var{musicexpr}
-@end example
-The duration of @var{musicexpr} will be multiplied by the fraction.
-In print, the fraction's denominator will be printed over the notes,
-optionally with a bracket. The most common tuplet is the triplet in
-which 3 notes have the length of 2, so the notes are 2/3 of
-their written length:
-@lilypond[fragment,verbatim,center]
- g'4 \times 2/3 {c'4 c' c'} d'4 d'4
-@end lilypond
+@c_ {Addlyrics}
+@node Addlyrics
+@subsection Addlyrics
+@cindex Addlyrics
-@cindex grace notes
+[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
-
- \grace@keyindex{grace} @var{musicexpr}
+ \addlyrics @var{musicexpr1 musicexpr2}
@end example
-A grace note expression has duration 0; the next real note is
-assumed to be the main note.
-
-
-You cannot have the grace note after the main note, in terms of
-duration, and main notes, but you can typeset the grace notes to the
-right of the main note using the property
-@code{graceAlignPosition}@indexcode{graceAlignPosition}.
+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}
-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.
+If the property @code{automaticMelismata} is set in the
+context of @var{musicexpr1}, no lyrics will be put on slurred or tied
+notes.
@quotation
-
-@lilypond[fragment,verbatim]
-\relative c'' {
- \grace c8 c4 \grace { [c16 c16] } c4
- \grace { \property Grace.flagStyle = "" c16 } c4
+@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
-At present, nesting @code{\grace}@keyindex{grace} notes, e.g.
-
-@example
-
- @code{\grace @{ \grace c32 c16 @} c4}
-@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.
-
-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.
+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 } >
+@end lilypond
+@end quotation
-@node Repeats
-@section Repeats
-@cindex repeats
+It is valid (but probably not very useful) to use notes instead of
+lyrics for @var{musicexpr2}.
-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.
-@table @samp
- @item unfolded
- Repeated music is fully written (played) out. Useful for MIDI
- output.
+@c_ {Chord entry}
+@node Chord entry
+@section Chord entry
+@cindex Chord entry
- @item volta
- This is the normal notation: Repeats are not written out, but
- alternative endings (voltas) are printed, left to right.
+@menu
+* Chords mode::
+* Entering named chords::
+* Printing named chords::
+@end menu
- @item folded
- Alternative endings are written stacked, which is useful for
- lyrics.
-@end table
+@c_ {Chords mode}
+@node Chords mode
+@subsection Chords mode
+@cindex Chords mode
-The syntax for repeats is
+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).
-@example
+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.
- \repeat @var{variant} @var{repeatcount} @var{repeatbody}
-@end example
+@c_ {Entering named chords}
+@node Entering named chords
+@subsection Entering named chords
+@cindex Chords names
-If you have alternative endings, you may add
+Chord names are a way to generate simultaneous music expressions that
+correspond with traditional chord names. It can only be used in
+Chord mode (see section @ref{Lexical modes}).
@example
- \alternative@keyindex{alternative}
- @code{@{} @var{alternative1}
- @var{alternative2}
- @var{alternative3} @dots{} @code{@}}
+ @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
@end example
-where each @var{alternative} is a Music expression.
-
-Normal notation repeats are used like this:
-
-@quotation
+@var{tonic} should be the tonic note of the chord, and @var{duration}
+is the chord duration in the usual notation. There are two kinds of
+modifiers. One type is @emph{chord additions}, which are obtained by
+listing intervals separated by dots. An interval is written by its
+number with an optional @code{+} or @code{-} to indicate raising or
+lowering by half a step. Chord additions has two effects: It adds
+the specified interval and all lower odd numbered intervals to the
+chord, and it may lower or raise the specified interval. Intervals
+must be separated by a dot (@code{.}).
-@lilypond[fragment,verbatim]
- c'1
- \repeat volta 2 { c'4 d' e' f' }
- \repeat volta 2 { f' e' d' c' }
-@end lilypond
-@end quotation
+Throughout these examples, chords have been shifted around the staff
+using @code{\transpose}.
-With alternative endings:
@quotation
@lilypond[fragment,verbatim]
- c'1
- \repeat volta 2 {c'4 d' e' f'}
- \alternative { {d'2 d'} {f' f} }
+\transpose c'' {
+ \chords {
+ c1 c:3- c:7 c:8
+ c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
+ }
+}
@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.}
-
-@quotation
-
-@lilypond[fragment,verbatim]
- c'1
- \repeat fold 2 {c'4 d' e' f'}
- \alternative { {d'2 d'} {f' f} }
+@cindex @code{aug}
+@cindex @code{dim}
+@cindex @code{maj}
+@cindex @code{sus}
-@end lilypond
-@end quotation
+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}' 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
@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 } }
+\transpose c'' {
+ \chords {
+ c1:m c:min7 c:maj c:aug c:dim c:sus
}
}
@end lilypond
@end quotation
+
-If you don't give enough alternatives for all of the repeats, then
-the first alternative is assumed to be repeated often enough to equal
-the specified number of repeats.
-
-@quotation
+Chord subtractions are used to eliminate notes from a chord. The
+notes to be subtracted are listed after a @code{^} character,
+separated by dots.
-@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 } }
+@lilypond[fragment,verbatim,center]
+ \transpose c'' {
+ \chords {
+ c1^3 c:7^5.3 c:8^7
+ }
}
-}
+@end lilypond
+@cindex @code{/}
-@end lilypond
-@end quotation
+Chord inversions can be specified by appending `@code{/}' and
+the name of a single note to a chord. This has the effect of
+lowering the specified note by an octave so it becomes the lowest
+note in the chord. If the specified note is not in the chord, a
+warning will be printed.
-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.
+@lilypond[fragment,verbatim,center]
+ \transpose c''' {
+ \chords {
+ c1 c/e c/g c:7/e
+ }
+ }
+@end lilypond
+@cindex @code{/+}
+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.
+@lilypond[fragment,verbatim,center]
+ \transpose c''' {
+ \chords {
+ c1 c/+c c/+g c:7/+b
+ }
+ }
-@node transpose
-@section transpose
-@cindex transposition of pitches
+@end lilypond
-A music expression can be transposed with
-@code{\transpose}@keyindex{transpose}. The syntax is
+The most interesting application is printing chords using chord names,
+See @ref{Chord names}.
-@example
+You should not combine @code{\relative} with named chords. [FIXME]
- \transpose @var{pitch} @var{musicexpr}
-@end example
+@c_ {Printing named chords}
+@node Printing named chords
+@subsection Printing named chords
-This means that middle C in @var{musicexpr} is transposed to
-@var{pitch}.
+@cindex chord names
+@cindex chords
-@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 printing!chord names
+@cindex @code{ChordNames}
+@cindex @code{ChordNameVoice}
-@quotation
+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.
-@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 }
+@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
-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}.
-
-
-
-@cindex automatic lyric durations
+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:
-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
-
-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}.
-
-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
-
-@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
-
-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 } >
-
-@end lilypond
-@end quotation
-
-It is valid (but probably not very useful) to use notes instead of
-lyrics for @var{musicexpr2}.
-
-
-
-
-@node Ambiguities
-@section Ambiguities
-
-@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'.
-
- @item The assignment
-
- @example
-foo = -6
-@end example
-
- can be interpreted as making an integer identifier
- containing -6, or a Request identifier containing the
- fingering `6' (with neutral direction).
-
- @item If you do a nested repeat like
-
- @quotation
-
-@example
-\repeat @dots{}
-\repeat @dots{}
-\alternative
-@end example
-
- @end quotation
-
- then it is ambiguous to which @code{\repeat} the
- @code{\alternative} belongs. This is the classic if-then-else
- dilemma. It may be solved by using braces.
-
- @item (an as yet unidentified ambiguity :-)
-@end itemize
-
-
-
-@node Notation conversion specifics
-@section Notation conversion specifics
-
-
-@node Automatic Beaming
-@section Automatic Beaming
-@cindex automatic beam generation
-@cindex autobeam
-
-@c beamAuto vs autoBeam ?
-
-By default, LilyPond will generate beams automatically. This feature
-can be disabled by setting the
-@code{Voice.beamAuto}@indexcode{Voice.beamAuto} property to false.
-It can be overridden for specific cases by specifying explicit beams.
-
-
-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}@indexcode{Voice.autoBeamSettings}.
-To end beams every quarter note, for example, you could set the property
-@code{(end * * * *)} @indexcode{(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 * * * *)}@indexcode{(begin * * * *)}, eg:
-@quotation
-@example
-\property Voice.autoBeamSettings \override
- #'(end * * * *) = #(make-moment 1 4)
-\property Voice.autoBeamSettings \override
- #'(begin * * * *) = #(make-moment 1 8)
-@end example
-@end quotation
-
-To allow different settings for different time signatures, instead of
-the first two asterisks @code{* *} you can specify a time signature; use
-@code{(end N M * *)} to restrict the definition to
-`@var{N}@code{/}@var{M}' time. For example, to specify beams ending
-only for 6/8 time you would use the property @code{(end 6 8 * *)}.
-
-To allow different endings for notes of different durations, instead of
-th last two asterisks you can specify a duration; use @code{(end * * N
-M)} to restrict the definition to beams that contain notes of
-`@var{N}@code{/}@var{M}' duration.
-
-For example, to specify beam endings for beams that contain 32nd notes,
-you would use @code{(end * * 1 32)}.
-
-
-@node Chord Names
-@section Chord Names
-@cindex chord names
-@cindex chords
-
-@cindex printing!chord names
-
-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.
-
-@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
-
-
-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:
-
-@c bug
-@quotation
-@lilypond[verbatim]
-scheme = \chords {
- c1:m \break c:m c:m c:m d
-}
+@c bug
+@quotation
+@lilypond[verbatim]
+scheme = \chords {
+ c1:m \break c:m c:m c:m d
+}
\score {
\notes <
@end lilypond
@end quotation
-The chord names that LilyPond should print are fully customisable. The
-default code 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}:
+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]
@end quotation
-@node lyricprint
-@section lyricprint
-@cindex lyrics
-@cindex printing!lyrics
+@c_ {Page layout}
+@node Page layout
+@section Page layout
+@cindex Page layout
-Lyric syllables must be interpreted within a @code{Lyrics} context
+@menu
+* Paper block::
+* Paper variables::
+* Font Size::
+* Paper size::
+* Line break::
+* Page break::
+@end menu
-@cindex context!Lyrics
- for printing them.
+@c_ {Paper block}
+@node Paper block
+@subsection Paper block
+@cindex Paper block
-Here is a full example:
+The most important output definition is the @code{\paper} block, for
+music notation. The syntax is
-@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
+ @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
+@end example
-@end lilypond
-@end quotation
+where each of the items is one of
-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{_}').
+@itemize @bullet
+ @item An assignment. The assignment must be terminated by a
+ semicolon.
-@quotation
+ @item A context definition. See section @ref{contextdefs} for
+ more information on context definitions.
-@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 __
- }
- >
-}
+@ignore
-@end lilypond
-@end quotation
+ FIXME
-
-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
+ @item
+
+ A margin shape declaration. The syntax is
+@cindex @code{\shape}
+ @example
-@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
- }
- >
-}
+ \shape @var{indent1}@code{,} @var{width1}@code{,}
+ @var{indent2}@code{,} @var{width2} @dots{} @code{;}
+ @end example
-@end lilypond
-@end quotation
-
-
-
-@node Notation Contexts
-@section Notation Contexts
-
-@cindex notation contexts
-
-Notation contexts are objects that only exist during a run of
-LilyPond. During the interpretation phase of LilyPond, the Music
-expression contained in a @code{\score} block is interpreted in time
-order. This is the order in which humans read, play, and write
-music.
-
-A context is an object that holds the reading state of the
-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
- the measure, etc.?
-@end itemize
-
-Contexts are grouped hierarchically: A @code{Voice} context is
-contained in a @code{Staff} context (because a staff can contain
-multiple voices at any point), a @code{Staff} context is contained in
-a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
-these can all contain multiple staffs).
-
-Contexts associated with sheet music output are called @emph{notation
-contexts}, those for sound output are called playing 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:
-
-@example
-
- @example
-\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
-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
-if you want to typeset complicated multiple part material. If a
-`@code{\context} @var{name} @var{musicexpr}' expression is encountered
-during the interpretation phase, the @var{musicexpr} argument will be
-interpreted with a context of type @var{name}. If you specify a name,
-the specific context with that name is searched.
-
-If a context of the specified type and name can not be found, a new
-one is created. For example,
-
-@quotation
-
-@lilypond[verbatim]
-\score {
- \notes \relative c'' {
- c4 <d4 \context Staff = "another" e4> f
- }
-}
-
-@end lilypond
-@end quotation
-
-In this example, the @code{c} and @code{d} are printed on the
-default staff. For the @code{e}, a context Staff called
-`@code{another}' is specified; since that does not exist, a new
-context is created. Within @code{another}, a (default) Voice context
-is created for the @code{e4}. When all music referring to a
-context is finished, the context is ended as well. So after the
-third quarter, @code{another} is removed.
-
-Almost all music expressions inherit their interpretation context
-from their parent. In other words, suppose that the syntax for a
-music expression is
-
-@example
-
- \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
-@end example
-
-When the interpretation of this music expression starts, the context
-for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
-expression.
-
-Lastly, you may wonder, why this:
-
-@quotation
-
-@example
-\score @{
- \notes \relative c'' @{
- c4 d4 e4
- @}
-@}
-@end example
-
-@end quotation
-
-doesn't result in this:
-
-@lilypond[]
-
- \score {
- \notes \relative c'' {
- <c4> <d4> <e4>
- }
- }
-
-@end lilypond
-
-For the @code{c4}, a default @code{Staff} (with a contained
-@code{Voice}) context is created. After the @code{c4} ends, no
-music refers to this default staff, so it would be ended, with the
-result shown. To prevent this inconvenient behavior, the context to
-which the sequential music refers is adjusted during the
-interpretation. So after the @code{c4} ends, the context of the
-sequential music is also the default @code{Voice} context.
-The @code{d4} gets interpreted in the same context
-as @code{c4}.
-
-Properties that are set in one context are inherited by all of the
-contained contexts. This means that a property valid for the
-@code{Voice} context can be set in the @code{Score} context (for
-example) and thus take effect in all @code{Voice} contexts.
-
-Properties can be preset within the @code{\translator} block
-corresponding to the appropriate context. In this case, the syntax
-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 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}.
-
-
-@mbinclude properties.itely
-
-@node Page layout
-@section Page layout
-
-@subsection Paper block
-
-The most important output definition is the @code{\paper} block, for
-music notation. The syntax is
-
-@example
- @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
-@end example
-
-where each of the items is one of
-
-@itemize @bullet
- @item An assignment. The assignment must be terminated by a
- semicolon.
-
- @item A context definition. See section @ref{contextdefs} for
- more information on context definitions.
-
-@ignore
-
- FIXME
-
-
- @item
-
- 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.
@item \stylesheet declaration. Its syntax is
@example
- \stylesheet @var{alist}
+ \stylesheet @var{alist}
@end example
- See @file{font.scm} for details of @var{alist}.
+ See @file{font.scm} for details of @var{alist}.
@end itemize
-
+@c_ {Paper variables}
+@node Paper variables
@subsection Paper variables
+@cindex Paper variables
The paper block has some variables you may want to use or change:
-@table @samp
- @item @code{indent}@indexcode{indent}
+@table @code
+@cindex @code{indent}
+ @item @code{indent}
The indentation of the first line of music.
+@cindex @code{staffspace}
- @item @code{staffspace}@indexcode{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.
- @item @code{linewidth}@indexcode{linewidth}
+@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}@indexcode{textheight}
+ @item @code{textheight}
Sets the total height of the music on each page. Only used by
ly2dvi.
+@cindex @code{interscoreline}
- @item @code{interscoreline}@indexcode{interscoreline}
+ @item @code{interscoreline}
Sets the spacing between the score lines. Defaults to 16 pt.
+@cindex @code{interscorelinefill}
- @item @code{interscorelinefill}@indexcode{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}@indexcode{stafflinethickness}
+ @item @code{stafflinethickness}
Determines the thickness of staff lines, and also acts as a scaling
parameter for other line thicknesses.
@end table
-@subsection Line breaks
-
-@cindex line breaks
-@cindex breaking lines
-
-Line breaks are normally computed automatically. They are chosen such
-that the resulting spacing has low variation, and looks neither cramped
-nor loose.
-
-Occasionally you might want to override the automatic breaks; you can do
-this by specifying @code{\break} (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 "";}.
-
-@subsection Page breaks
-
-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}
-
-
-@cindex page breaks
-@cindex breaking pages
-
-
+@c_ {Font size}
+@node Font Size
@subsection Font size
-
@cindex font size
-@cindex paper size
The Feta font provides musical symbols at six different sizes. These
fonts are 11 point, 13 point, 16 point, 20 point,
The font definitions are generated using a Scheme function. For more
details, see the file @file{font.scm}.
-@subsection paper size
+
+
+@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}@indexcode{papersize} variable at top level. Set it to
+@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
will set the paper variables @code{hsize} and @code{vsize} (used by
@code{ly2dvi})
-@node contextdefs
-@section contextdefs
-
-@cindex context definition
-@cindex translator definition
-@cindex engraver hacking
-A notation contexts is defined by the following information
-@enumerate i
- @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
-.
- @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_ {Line break}
+@node Line break
+@subsection Line break
+@cindex Line break
- @item What properties are defined.
-@end enumerate
-A context definition has this syntax:
+@cindex @code{\penalty}
@example
-
- \translator @code{@{}
- @var{translatorinit} @var{translatormodifierlist}
- @code{@}}
+ \penalty @var{int} @code{;}
@end example
-@var{translatorinit} can be an identifier or of the form
-
-@example
-
- \type @var{typename} @code{;}
-@end example
+Discourage or encourage line breaks. See @ref{Page layout}.
-@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
+@cindex line breaks
+@cindex breaking lines
-@var{translatormodifierlist} is a list of items where each item is
-one of
-
-@itemize @bullet
- @item @code{\consists} @var{engravername} @code{;}
- Add @var{engravername} to the list of modules in this context.
- The order of engravers added with @code{\consists} is
- significant.
-
- @item @code{\consistsend} @var{engravername} @code{;}
- Analogous to @code{\consists}, but makes sure that
- @var{engravername} is always added to the end of the list of
- engravers.
-
- Some engraver types need to be at the end of the list; this
- insures they are put there, and stay there, if a user adds or
- removes engravers. This command is usually not needed for
- end-users.
-
- @item @code{\accepts} @var{contextname} @code{;}
- Add @var{contextname} to the list of context this context can
- contain. The first listed context is the context to create by
- default.
-
- @item @code{\denies}. The opposite of @code{\accepts}. Added for
-completeness, but is never used in practice.
-
-
- @item @code{\remove} @var{engravername} @code{;}
- Remove a previously added (with @code{\consists}) engraver.
-
- @item @code{\name} @var{contextname} @code{;}
- This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
- the name is not specified, the translator won't do anything.
-
- @item @var{propname} @code{=} @var{value} @code{;}
- A property assignment. 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{} @}
-@}
-\score @{
- \notes @{
- @dots{}
- @}
- \paper @{
- \translator @{ \foo @dots{} @}
- @}
-@}
-@end example
-
-@end quotation
+Line breaks are normally computed automatically. They are chosen such
+that the resulting spacing has low variation, and looks neither cramped
+nor loose.
+Occasionally you might want to override the automatic breaks; you can do
+this by specifying @code{\break} (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 "";}.
-@cindex paper types, engravers, and pre-defined translators
-Some pre-defined identifiers can simplify modification of
-translators. The pre-defined identifiers are:
-@table @samp
- @item @code{StaffContext}@indexcode{StaffContext}
- Default Staff context.
- @item @code{RhythmicStaffContext}@indexcode{RhythmicStaffContext}
- Default RhythmicStaff context.
+@c_ {Page break}
+@node Page break
+@subsection Page break
+@cindex Page break
- @item @code{VoiceContext}@indexcode{VoiceContext}
- Default Voice context.
- @item @code{ScoreContext}@indexcode{ScoreContext}
- Default Score context.
+Not implemented, but see @ref{Tricks}
- @item @code{ScoreWithNumbers}@indexcode{ScoreWithNumbers}
- Score context with numbering at the Score level.
+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}
- @item @code{BarNumberingStaffContext}@indexcode{BarNumberingStaffContext}
- Staff context with numbering at the Staff level.
- @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.}
+@cindex page breaks
+@cindex breaking pages
- @item @code{OrchestralPartStaffContext}@indexcode{OrchestralPartStaffContext}
- @item @code{OrchestralScoreContext}@indexcode{OrchestralScoreContext}
-@end table
-Using these pre-defined values, you can remove or add items to the
-translator:
-@quotation
-@example
-\paper @{
- \translator @{
- \StaffContext
- \remove Some_engraver;
- \consists Different_engraver;
- @}
-@}
-@end example
+@c_ {Sound}
+@node Sound
+@section Sound
+@cindex Sound
+@menu
+* MIDI block::
+* MIDI instrument names::
+* Tempo::
+@end menu
-@end quotation
+@c_ {MIDI block}
+@node MIDI block
+@subsection MIDI block
+@cindex MIDI block
-
-@node Sound output
-@section Sound output
The MIDI block is analogous to the paper block, but it is somewhat
simpler. The @code{\midi} block can contain:
The contexts for MIDI output are defined in @file{ly/performer.ly}.
+@c_ {MIDI instrument names}
+@node MIDI instrument names
+@subsection MIDI instrument names
+@cindex instrument names
+@cindex @code{Staff.midiInstrument}
+@cindex @code{Staff.instrument}
-@cindex MIDI instrument names
-
-@node midilist
-@section midilist
+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.
-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.
+[FIXME: to appendix ]
-@c @quotation
@example
"acoustic grand" "contrabass" "lead 7 (fifths)"
"cello" "lead 6 (voice)"
@end example
-@c @end quotation
-@node Pre-defined Identifiers
-@section Pre-defined Identifiers
+@c_ {Tempo}
+@node Tempo
+@subsection Tempo
+@cindex Tempo
+@cindex beats per minute
+@cindex metronome marking
+
+@cindex @code{\tempo}
+@example
+ \tempo @var{duration} = @var{perminute} @code{;}
+@end example
+
+Used to specify the tempo. For example, @code{\tempo 4 = 76;} requests
+output with 76 quarter notes per minute.
+
+
+
+
+
+@c_ {Music entry}
+@node Music entry
+@section Music entry
+@cindex Music entry
+@menu
+* Pre-defined Identifiers::
+* Point and click::
+@end menu
+
+@c_ {Music entry}
+@node Pre-defined Identifiers
+@subsection Pre-defined Identifiers
@cindex pre-defined identifiers
provide shorthands for some settings. Most of them are in
@file{ly/declarations.ly} and @file{ly/property.ly}.
-@table @samp
- @item @code{\break}@keyindex{break}
+@table @code
+@cindex @code{\break}
+ @item @code{\break}
Force a line break in music by using a large argument for the
keyword @code{\penalty}.
- @item @code{\nobreak}@keyindex{nobreak}
+@cindex @code{\nobreak}
+ @item @code{\nobreak}
Prevent a line break in music by using a large negative argument
for the keyword @code{\penalty}.
- @item @code{\shiftOff}@keyindex{shiftOff}
+@cindex @code{\shiftOff}
+ @item @code{\shiftOff}
Disable horizontal shifting of note heads that collide.
- @item @code{\shiftOn}@keyindex{shiftOn}
+@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.
- @item @code{\stemBoth}@keyindex{stemBoth}
+@cindex @code{\stemBoth}
+ @item @code{\stemBoth}
Allow stems, beams, and slurs to point either upwards or
downwards, decided automatically by LilyPond.
- @item @code{\stemDown}@keyindex{stemDown}
+@cindex @code{\stemDown}
+ @item @code{\stemDown}
Force stems, beams, and slurs to point down.
- @item @code{\stemUp}@keyindex{stemUp}
+@cindex @code{\stemUp}
+ @item @code{\stemUp}
Force stems, beams and slurs to point up.
@end table
+@c_ {Point and click}
+@node Point and click
+@subsection Point and click
+
+[todo]
+
+@c_ {Engravers}
+@node Engravers
+@section Engravers
+@cindex engravers
+@menu
+* Context definitions::
+* Notation Contexts::
+@end menu
+
+@c_ {Context definitions}
+@node Context definitions
+@subsection Context definitions
+
+@cindex context definition
+@cindex translator definition
+@cindex engraver hacking
+
+
+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
+.
+
+ @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,
+
+ @item What properties are defined.
+@end enumerate
+
+A context definition has this syntax:
+
+@example
+
+ \translator @code{@{}
+ @var{translatorinit} @var{translatormodifierlist}
+ @code{@}}
+@end example
+
+@var{translatorinit} can be an identifier or of the form
+
+@example
+
+ \type @var{typename} @code{;}
+@end example
+
+@var{typename} is one of
+
+@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
+
+@var{translatormodifierlist} is a list of items where each item is
+one of
+
+@itemize @bullet
+ @item @code{\consists} @var{engravername} @code{;}
+ Add @var{engravername} to the list of modules in this context.
+ The order of engravers added with @code{\consists} is
+ significant.
+
+ @item @code{\consistsend} @var{engravername} @code{;}
+ Analogous to @code{\consists}, but makes sure that
+ @var{engravername} is always added to the end of the list of
+ engravers.
+
+ Some engraver types need to be at the end of the list; this
+ insures they are put there, and stay there, if a user adds or
+ removes engravers. This command is usually not needed for
+ end-users.
+
+ @item @code{\accepts} @var{contextname} @code{;}
+ Add @var{contextname} to the list of context this context can
+ contain. The first listed context is the context to create by
+ default.
+
+ @item @code{\denies}. The opposite of @code{\accepts}. Added for
+completeness, but is never used in practice.
+
+
+ @item @code{\remove} @var{engravername} @code{;}
+ Remove a previously added (with @code{\consists}) engraver.
+
+ @item @code{\name} @var{contextname} @code{;}
+ This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
+ the name is not specified, the translator won't do anything.
+
+ @item @var{propname} @code{=} @var{value} @code{;}
+ A property assignment. 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{} @}
+@}
+\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}
+
+ @item @code{VoiceContext}
+ Default Voice context.
+@cindex @code{ScoreContext}
+
+ @item @code{ScoreContext}
+ Default Score context.
+@cindex @code{ScoreWithNumbers}
+
+ @item @code{ScoreWithNumbers}
+ Score context with numbering at the Score level.
+@cindex @code{BarNumberingStaffContext}
+
+ @item @code{BarNumberingStaffContext}
+ Staff context with numbering at the Staff level.
+@cindex @code{HaraKiriStaffContext}
+
+ @item @code{HaraKiriStaffContext}
+ Staff context that does not print if it only contains rests.
+ Useful for orchestral scores.@footnote{Harakiri, also called
+ Seppuku, is the ritual suicide of the Japanese Samourai warriors.}
+@cindex @code{OrchestralPartStaffContext}
+
+ @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
+
+@example
+\paper @{
+ \translator @{
+ \StaffContext
+ \remove Some_engraver;
+ \consists Different_engraver;
+ @}
+@}
+@end example
+
+@end quotation
+
+
+
+
+@c_ {Notation Contexts}
+@node Notation Contexts
+@subsection Notation Contexts
+
+@cindex notation contexts
+
+Notation contexts are objects that only exist during a run of
+LilyPond. During the interpretation phase of LilyPond, the Music
+expression contained in a @code{\score} block is interpreted in time
+order. This is the order in which humans read, play, and write
+music.
+
+A context is an object that holds the reading state of the
+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
+ the measure, etc.?
+@end itemize
+
+Contexts are grouped hierarchically: A @code{Voice} context is
+contained in a @code{Staff} context (because a staff can contain
+multiple voices at any point), a @code{Staff} context is contained in
+a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
+these can all contain multiple staffs).
+
+Contexts associated with sheet music output are called @emph{notation
+contexts}, those for sound output are called performance contexts.
+
+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
+\score @{ \notes @{ c4 @} @}
+@end example
+
+The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
+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
+if you want to typeset complicated multiple part material. If a
+`@code{\context} @var{name} @var{musicexpr}' expression is encountered
+during the interpretation phase, the @var{musicexpr} argument will be
+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,
+
+@quotation
+
+@lilypond[verbatim]
+\score {
+ \notes \relative c'' {
+ c4 <d4 \context Staff = "another" e4> f
+ }
+}
+
+@end lilypond
+@end quotation
+
+In this example, the @code{c} and @code{d} are printed on the
+default staff. For the @code{e}, a context Staff called
+@code{another} is specified; since that does not exist, a new
+context is created. Within @code{another}, a (default) Voice context
+is created for the @code{e4}. When all music referring to a
+context is finished, the context is ended as well. So after the
+third quarter, @code{another} is removed.
+
+Almost all music expressions inherit their interpretation context
+from their parent. In other words, suppose that the syntax for a
+music expression is
+
+@example
+
+ \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
+@end example
+
+When the interpretation of this music expression starts, the context
+for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
+expression.
+
+Lastly, you may wonder, why this:
+
+@quotation
+
+@example
+\score @{
+ \notes \relative c'' @{
+ c4 d4 e4
+ @}
+@}
+@end example
+
+@end quotation
+
+doesn't result in this:
+
+@lilypond[]
+
+ \score {
+ \notes \relative c'' {
+ <c4> <d4> <e4>
+ }
+ }
+
+@end lilypond
+
+For the @code{c4}, a default @code{Staff} (with a contained
+@code{Voice}) context is created. After the @code{c4} ends, no
+music refers to this default staff, so it would be ended, with the
+result shown. To prevent this inconvenient behavior, the context to
+which the sequential music refers is adjusted during the
+interpretation. So after the @code{c4} ends, the context of the
+sequential music is also the default @code{Voice} context.
+The @code{d4} gets interpreted in the same context
+as @code{c4}.
+
+Properties that are set in one context are inherited by all of the
+contained contexts. This means that a property valid for the
+@code{Voice} context can be set in the @code{Score} context (for
+example) and thus take effect in all @code{Voice} contexts.
+
+Properties can be preset within the @code{\translator} block
+corresponding to the appropriate context. In this case, the syntax
+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 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}.
+
+
+
+@c_ {Lexer innards}
+@node Lexer innards
+@section Lexer innards
+@cindex Lexer innards
+@menu
+* Top level::
+* Identifiers::
+* Assignments::
+* Lexical details::
+* Lexical modes::
+* Ambiguities::
+@end menu
+
+@c_ {Top level}
+@node Top level
+@subsection Top level
+@cindex Top level
+
+This section describes what you may enter at top level.
+
+
+@unnumberedsubsec Score definition
+@cindex score definition
+
+The output is generated combining a music expression with an output
+definition. A score block has the following syntax:
+
+@example
+ \score @{ @var{musicexpr} @var{outputdefs} @}
+@end example
+
+@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
+
+@c_ {Paper}
+@subsubsection Paper
+@cindex Paper
+
+@c_ {Midi}
+@subsubsection Midi
+@cindex Midi
+
+@c_ {Header}
+@subsubsection Header
+@cindex Header
+@cindex @code{\header}
+
+The syntax is
+
+@example
+ \header @{ @var{key1} = @var{val1};
+@cindex @code{ly2dvi}
+ @var{key2} = @var{val2}; @dots{} @}
+@end example
+
+
+A header describes the file's contents. It can also appear in a
+@code{\score} block. Tools like @code{ly2dvi} can use this
+information for generating titles. Key values that are used by
+@code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
+metre, arranger, piece and tagline.
+
+It is customary to put the @code{\header} at the top of the file.
+
+@subsubsection Default output
+
+A @code{\midi} or @code{\paper} block at top-level sets the default
+
+paper block for all scores that lack an explicit paper block.
+
+@c_ {Identifiers}
+@node Identifiers
+@subsection Identifiers
+@cindex Identifiers
+
+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,
+
+@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
+
+LilyPond also includes some transient object types. Objects of these
+types are built during a LilyPond run, and do not `exist' per se within
+your input file. These objects are created as a result of your input
+file, so you can include commands in the input to manipulate them,
+during a lilypond run.
+
+@itemize @bullet
+@item Grob: short for Graphical object. See @ref{Grobs}.
+@item Molecule: device-independent page output object,
+including dimensions. Produced by some Grob functions
+See @ref{Molecules}
+@item Translator: object that produces audio objects or Grobs. This is
+not yet user accessible.
+@item Font_metric: object representing a font. (See @ref{Font metrics})
+@c @item Audio_element: (todo, smobme)
+@end itemize
+
+
+@c_ {Assignments}
+@node Assignments
+@subsection Assignments
+@cindex Assignments
+
+Identifiers allow objects to be assigned to names during the parse
+stage. To assign an identifier, you use @var{name}@code{=}@var{value}
+and to refer to an identifier, you preceed its name with a backslash:
+`@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
+the input-types listed above. Identifier assignments can appear at top
+level in the LilyPond file, but also in @code{\paper} blocks.
+
+Semicolons are forbidden after top level assignments, but mandatory in
+other places. The rules about semicolons and assignments are very
+confusing, but when LilyPond input evolves more towards Scheme, we hope
+that this problem will grow smaller.
+
+An identifier can be created with any string for its name, but you will
+only be able to refer to identifiers whose names begin with a letter,
+being entirely alphanumeric. It is impossible to refer to an identifier
+whose name is the same as the name of a keyword.
+
+The right hand side of an identifier assignment is parsed completely
+before the assignment is done, so it is allowed to redefine an
+identifier in terms of its old value, e.g.
+
+@example
+foo = \foo * 2.0
+@end example
+
+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
+@}
+
+\paper @{
+\paperIdent % correct
+foo = 1.0
+@}
+@end example
+
+
+
+@c_ {Lexical details}
+@node Lexical details
+@subsection Lexical details
+@cindex Lexical details
+@menu
+@end menu
+
+@c_ {Comments}
+@subsubsection Comments
+@cindex Comments
+
+@cindex @code{%}
+
+
+A one line comment is introduced by a @code{%} character.
+Block comments are started by @code{%@{} and ended by `@code{%@}}'.
+They cannot be nested.
+
+@c_ {Direct Scheme}
+@subsubsection Direct Scheme
+@cindex Scheme
+@cindex GUILE
+@cindex Scheme, in-line code
+
+
+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
+
+@code{\override} expects two Scheme expressions, so there are two Scheme
+expressions. The first one is a symbol (@code{foobar}), the second one
+an integer (namely, 3).
+
+Scheme is a full-blown programming language, and a full discussion is
+outside the scope of this document. Interested readers are referred to
+the website @uref{http://www.schemers.org/} for more information on
+Scheme.
+
+
+@c_ {Keywords}
+@subsubsection Keywords
+@cindex Keywords
+
+
+Keywords start with a backslash, followed by a number of lower case
+alphabetic characters. These are all the keywords.
+
+@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
+
+@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.
+
+@c_ {Reals}
+@subsubsection Reals
+@cindex real numbers
+
+
+
+
+
+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.
+
+@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.
+
+
+@c_ {Strings}
+@subsubsection Strings
+@cindex string
+@cindex concatenate
+
+Begins and ends with the @code{"} character. To include a @code{"}
+character in a string write @code{\"}. Various other backslash
+sequences have special interpretations as in the C language. A string
+that contains no spaces can be written without the quotes. See
+@ref{Lexical modes} for details on unquoted strings; their interpretation varies
+depending on the situation. Strings can be concatenated with the
+@code{+} operator.
+
+The tokenizer accepts the following commands. They have no grammatical
+function, hence they can appear anywhere in the input.
+
+
+@c_ {Main input}
+@subsubsection Main input
+@cindex Main input
+
+@cindex @code{\maininput}
+
+The @code{\maininput} command is used in init files to signal that the
+user file must be read. This command cannot be used in a user file.
+
+@c_ {File inclusion}
+@subsubsection Main input
+@cindex Main input
+
+@subsubsection File inclusion
+@cindex @code{\include}
+@example
+ \include @var{filename}
+@end example
+
+Include @var{filename}. The argument @var{filename} may be a quoted string (an
+unquoted string will not work here!) or a string identifier. The full
+filename including the @file{.ly} extension must be given,
+
+@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}.
+
+@cindex convert-ly
+
+
+
+
+@c_ {Pitch names}
+@subsubsection Pitch names
+@cindex Lexical modes
+@cindex pitch names
+
+@cindex note names
+@cindex chord modifier names
+
+Note names and chord modifiers can be customised for nationalities.
+languages and conventions. The syntax is as follows.
+@cindex @code{\pitchnames}
+@cindex @code{\chordmodifiers}
+
+@example
+ \pitchnames @var{scheme-alist}
+ \chordmodifiers @var{scheme-alist}
+@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
+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.
+
+@c_ {Assignments}
+@subsubsection Assignments
+@cindex assignments
+@cindex @code{#}
+
+Identifier assignments may appear at top level. @ref{Assignments}
+
+
+
+@c_ {Direct scheme}
+@subsubsection Direct scheme
+@cindex Direct scheme
+
+Scheme statements maybe issued to produce interesting side-effects.
+
+
+@c_ {Lexical modes}
+@node Lexical modes
+@subsection Lexical modes
+@cindex Lexical modes
+
+@cindex Lexical modes
+@cindex modes
+
+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.
+
+@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.
+
+@item Note mode
+See @ref{Note entry}.
+
+@item Lyrics mode
+See @ref{Lyrics entry}.
+
+@item Chord mode
+See @ref{Chord entry}.
+@end table
+
+@cindex input modes
+
+@cindex mode switch
+
+@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
+
+
+The grammar contains a number of ambiguities. We hope to resolve them at
+some time.
+
+@itemize @bullet
+ @item The assignment
+
+ @example
+foo = bar
+@end example
+
+ can be interpreted as making a string identifier @code{\foo}
+ containing @code{"bar"}, or a music identifier @code{\foo}
+ containing the syllable `bar'.
+
+ @item The assignment
+
+ @example
+foo = -6
+@end example
+
+ can be interpreted as making an integer identifier
+ containing -6, or a Request identifier containing the
+ fingering `6' (with neutral direction).
+
+ @item If you do a nested repeat like
+
+ @quotation
+
+@example
+\repeat @dots{}
+\repeat @dots{}
+\alternative
+@end example
+
+ @end quotation
+
+ then it is ambiguous to which @code{\repeat} the
+ @code{\alternative} belongs. This is the classic if-then-else
+ dilemma. It may be solved by using braces.
+
+ @item (an as yet unidentified ambiguity :-)
+@end itemize
+
+
+
+
+
+@c_ {Unsorted}
+@node Unsorted
+@section Unsorted
+
+[mucho todo]
+
+Translation?
+
+@cindex properties
+@unnumberedsubsec Translation property
+
+@cindex @code{\property}
+@example
+ \property @var{contextname}.@var{propname} = @var{value}
+@end example
+
+Sets the @var{propname} property of the context @var{contextname} to
+the specified @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
+ \translator @var{contexttype} = @var{name}
+@end example
+
+A music expression indicating that the context which is a direct
+child of the a context of type @var{contexttype} should be shifted to
+a context of type @var{contexttype} and the specified name.
+
+Usually this is used to switch staffs in Piano music, e.g.
+
+@example
+ \translator Staff = top @var{Music}
+@end example
+
+
+@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:
+
+
+@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
+
+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.
+
+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.
+
+
+@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:
+
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