fix all FIXMEs
Rhythm staff (clef, x-notehead)
- Piano pedals
- \addlyrics, \autochange, \partcombine: music (re)grouping
+ \partcombine: -> orchestral part-HOWTO.
markup text
postscript, scheme output?
(links to?) using/existance of ly2dvi, lilypond-book
@end ignore
-@c.{Reference Manual}
+@c .{Reference Manual}
@node Reference Manual
@chapter Reference Manual
+
+This document describes GNU LilyPond and its input format. This document
+has been revised for LilyPond 1.3.125
+
+
+
@menu
* Overview::
* Music constructs::
* Modifying music::
+* Repeats::
* Note entry::
-* Note specification::
* Music notation::
-* Lyrics entry::
-* Chord entry::
+* Polyphony::
+* Spanners::
+* Piano music::
+* Lyrics::
+* Chords::
* Page layout::
* Sound::
* Music entry::
* Engravers::
-* Lexer innards::
+* Syntactic details::
* Unsorted::
@end menu
-@c. {Overview}
+@c . {Overview}
@node Overview
@section Overview
-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'.
+symbols and their placement is @emph{generated} from a high-level
+musical description. In other words, LilyPond would be best described
+by `music compiler' or `music to notation compiler'.
+
+Internally, LilyPond is written in a mixture of Scheme and C++. Most of
+the algorithms and low-level routines are written in C++, but these low
+level components are glued together using Scheme data
+structures. LilyPond is linked to GUILE, GNU's Scheme library for
+extension.
+
+When lilypond is run to typeset sheet music, the following happens:
+
+@itemize @bullet
+@item GUILE Initialization: various scheme files are read
+@item parsing: first standard .ly initialization files are read, and
+then the user @file{.ly} file is read.
+@item interpretation: the music in the file is processed "in playing
+order", i.e. in the same order as your eyes scan sheet music, and in the
+same order that you hear the notes play.
+
+@item typesetting:
+in this step, the results of the interpretation, a typesetting
+specification, is solved.
+
+@item the visible results ("virtual ink") is written to the output file.
+@end itemize
+
+These stages, involve data of a specific type: during parsing,
+@strong{Music} objects are created. During the interpretation,
+@strong{context} is constructed, and with this context af network of
+@strong{graphical objects} (``grobs'') is created. The grobs contain
+unknown variables, and the network forms a set of equations. After
+solving the equations and filling in these variables, the printed output
+(in the form of @strong{molecules}) is written to an output file.
+
+These threemanship of tasks (parsing, translating, typesetting) and
+data-structures (music, context, graphical objects) permeates the entire
+design of the program. This manual is ordered in terms of user
+tasks. With each concept will be explained to which of the three parts
+it belongs.
LilyPond input can be classified into three types:
@itemize @bullet
@end itemize
-@c. {Music constructs}
+@c . {Music constructs}
@node Music constructs
@section Music constructs
@cindex Music constructs
@menu
* Music expressions::
* Sequential music::
-* Simultanious music::
+* Simultaneous music::
* Compound music expressions::
-* Grace music::
-* Explicit atomic music::
@end menu
-@c. {Music expressions}
+@c . {Music expressions}
@node Music expressions
@subsection Music expressions
@cindex music expressions
-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:
+Music in LilyPond is entered as a music expression. Notes, rests, lyric
+syllables are music expressions (the atomic 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
\sequential @{ c4 d4 @}
first, and then the @code{d} (as opposed to playing them
simultaneously, for instance).
-Atomic music expression are discussed in
-subsection @ref{Atomic music expressions}. Compound music expressions are
-discussed in subsection @ref{Compound music expressions}.
-
-
-@c. {Sequential music}
+@c . {Sequential music}
@node Sequential music
@subsection Sequential music
@cindex Sequential music
@code{@{} @var{musicexprlist} @code{@}}
@end example
-@c. {Simultanious music}
-@node Simultanious music
-@subsection Simultanious music
-@cindex Simultanious music
+@c . {Simultaneous music}
+@node Simultaneous music
+@subsection Simultaneous music
+@cindex Simultaneous music
@cindex @code{\simultaneous}
@example
}
@end lilypond
-@c. {Compound music expressions}
+@c . {Compound music expressions}
@node Compound music expressions
@subsection Compound music expressions
can optionally be given a name.
-@c. {Grace music} <-> Grace notes
-@node Grace music
-@subsection Grace music
-@cindex Grace music
-@cindex @code{\grace}
-@cindex ornaments
-@cindex grace notes
-@cindex @code{graceAlignPosition}
-
-@example
- \grace @var{musicexpr}
-@end example
-
-A grace note expression has duration 0; the next real note is
-assumed to be the main note.
-
-You cannot have the grace note after the main note, in terms of
-duration, and main notes, but you can typeset the grace notes to the
-right of the main note using the property
-@code{graceAlignPosition}.
-@cindex @code{flagStyle}
-
-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.
-
-@quotation
-@lilypond[fragment,verbatim]
-\relative c'' {
- \grace c8 c4 \grace { [c16 c16] } c4
- \grace { \property Grace.flagStyle = "" c16 } c4
-}
-
-@end lilypond
-@end quotation
-@cindex @code{\grace}
-
-At present, nesting @code{\grace} notes is not supported. The following
-may cause run-time errors:
-@example
- @code{\grace @{ \grace c32 c16 @} c4}
-@end example
-Since the meaning of such a construct is unclear, we don't consider
-this a loss. Similarly, juxtaposing two @code{\grace} sections is
-syntactically valid, but makes no sense and may cause runtime errors.
-
-Ending a staff or score with grace notes may also generate a run-time
-error, since there will be no main note to attach the grace notes to.
-
-The present implementation is not robust and generally kludgy. We expect
-it to change after LilyPond 1.4
-
-
-@c. {Explicit atomic music}
-@node Explicit atomic music
-@subsection Explicit atomic music
-@cindex Explicit atomic music
-
-
-@cindex pitch
-
-The syntax for pitch specification is
-
-@cindex @code{\pitch}
-@example
- \pitch @var{scmpitch}
-@end example
-
-@var{scmpitch} is a pitch scheme object, see @ref{Pitch}.
-
-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
- \duration @var{scmduration}
-@end example
-
-In Note, Chord, and Lyrics mode, durations may be designated by
-numbers and dots.
-
-
-
-
-@c. {Modifying music}
+@c . {Modifying music}
@node Modifying music
@section Modifying music
@cindex Modifying music
Repeating music expressions?
@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
- \relative @var{startpitch} @var{musicexpr}
-@end example
-
-The octave of notes that appear in @var{musicexpr} are calculated as
-follows: If no octave changing marks are used, the basic interval
-between this and the last note is always taken to be a fourth or
-less.@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}.
-
-Entering scales is straightforward in relative mode.
-
-@lilypond[fragment,verbatim,center]
- \relative c' {
- c d e f g a b c c,
- }
-@end lilypond
-
-And octave changing marks are used for intervals greater than a fourth.
-
-@lilypond[fragment,verbatim,center]
- \relative c'' {
- c g c f, c' a, e'' }
-@end lilypond
-
-If the preceding item is a chord, the first note of the chord is used
-to determine the first note of the next chord. But other notes
-within the second chord are determined by looking at the immediately
-preceding note.
-
-@lilypond[fragment,verbatim,center]
- \relative c' {
- c <c e g>
- <c' e g>
- <c, e' g>
- }
-@end lilypond
-@cindex @code{\notes}
-
-The pitch after the @code{\relative} contains a notename. To parse
-the pitch as a notename, you have to be in note mode, so there must
-be a surrounding @code{\notes} keyword (which is not
-shown here).
-
-The relative conversion will not affect @code{\transpose} or
-@code{\relative} sections in its argument. If you want to use
-relative within transposed music, you must place an additional
-@code{\relative} inside the @code{\transpose}.
-
-It is strongly recommended to use relative pitch mode: less work,
-less error-prone, and more readable.
-
-@c. {Transpose}
+@c . {Transpose}
@node Transpose
@subsection Transpose
@cindex Transpose
you must use @code{\transpose} first. @code{\relative} will have no
effect music that appears inside a @code{\transpose}.
-@c. {Repeat}
-@node Repeat
-@subsection Repeat
-@cindex Repeat
-@cindex repeats
+@c . {Apply}
+@node Apply
+@subsection Apply
+@cindex Apply
+Apply allows a Scheme-function to operate directly on the internal
+representation of music.
+@example
+ \apply #@var{func} @var{music}
+@end example
+The function takes two arguments, being a function and an musical
+argument for that function. The function should return a music
+expression.
+
+This example replaces the text string of a script. It also shows a dump
+of the music it processes.
+@lilypond[verbatim]
+#(define (testfunc x)
+ (if (equal? (ly-get-mus-property x 'text) "foo")
+ (ly-set-mus-property x 'text "bar"))
+ ;; recurse
+ (ly-set-mus-property x 'elements
+ (map testfunc (ly-get-mus-property x 'elements)))
+ (display x)
+ x
+)
+\score { \notes
+ \apply #testfunc { c4_"foo" }
+}
+@end lilypond
+
+For more information on what is possible, see the @ref{Tricks} and the
+automatically generated documentation.
+
+
-@ref{Volta}
-[TODO: document #'repeatCommands.]
+@c . {Repeat}
+@node Repeats
+@section Repeats
+
+@cindex repeats
@cindex @code{\repeat}
In order to specify repeats, use the @code{\repeat}
Make tremolo beams.
@end table
+@menu
+* Repeat syntax::
+* Manual repeat commands::
+* Tremolo repeats::
+* Tremolo subdivision::
+@end menu
+
+@node Repeat syntax
+@subsection Repeat syntax
+
The syntax for repeats is
@example
c'1
\repeat volta 2 { c'4 d' e' f' }
\repeat volta 2 { f' e' d' c' }
-
@end lilypond
@end quotation
c'1
\repeat volta 2 {c'4 d' e' f'}
\alternative { {d'2 d'} {f' f} }
-
@end lilypond
@end quotation
Folded repeats look like this:@footnote{Folded repeats offer little
more over simultaneous music. However, it is to be expected that
more functionality -- especially for the MIDI backend -- will be
-implemented.}
+implemented at some point in the future.}
@quotation
@end lilypond
@end quotation
-@quotation
-
-@lilypond[fragment,verbatim]
-\context Staff {
- \relative c' {
- \partial 4;
- \repeat volta 2 { e | c2 d2 | e2 f2 | }
- \alternative { { g4 g g } { a | a a a a | b1 } }
- }
-}
-
-@end lilypond
-@end quotation
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
@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 } }
+ \partial 4;
+ \repeat volta 3 { e | c2 d2 | e2 f2 | }
+ \alternative { { g4 g g } { a | a a a a | b2. } }
}
}
+
@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.
+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.
+It is possible to nest @code{\repeat}, although it probably is only
+meaningful for nested repeats.
-To place tremolo marks between notes, use @code{\repeat} with tremolo
-style.
+@node Manual repeat commands
+@subsection Manual repeat commands
+
+@cindex @code{repeatCommands}
+
+The property @code{repeatCommands} can be used to control the layout of
+repeats. Its value is a Scheme list of repeat commands, where each repeat
+command can be
+
+@table @code
+@item 'start-repeat
+ Print a |: bar line
+@item 'stop-repeat
+ Print a :| bar line
+@item (volta . #f)
+@item (volta . @var{text})
+ Print a volta bracket saying @var{text}.
+@end table
+
+@lilypond[verbatim, fragment]
+ c''4
+ \property Score.repeatCommands = #'((volta "93") end-repeat)
+ c4 c4
+ \property Score.repeatCommands = #'((volta #f))
+ c4 c4
+@end lilypond
+
+
+@node Tremolo repeats
+@subsection Tremolo repeats
@cindex tremolo beams
-To create tremolo beams on a single note, simply attach
-`@code{:}@var{length}' to the note itself.
+To place tremolo marks between notes, use @code{\repeat} with tremolo
+style.
@lilypond[verbatim,center]
\score {
\context Voice \notes\relative c' {
\repeat "tremolo" 8 { c16 d16 }
\repeat "tremolo" 4 { c16 d16 }
- \repeat "tremolo" 2 { c16 d16 }
+ \repeat "tremolo" 2 { c16 d16 }
+ \repeat "tremolo" 4 c16
}
\paper {
linewidth = 40*\staffspace;
}
}
@end lilypond
-@cindex @code{__}
-@lilypond[fragment,verbatim,center]
+@node Tremolo subdivision
+@subsection Tremolo subdivision
+@cindex tremolo marks
+@cindex @code{tremoloFlags}
- c'4:32
+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
-@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.
+Tremolos in this style do not carry over into the MIDI output.
-@cindex @code{\times}
-@example
- \times @var{fraction} @var{musicexpr}
-@end example
+Using this mechanism pays off when you entering many tremolos, since the
+default argument saves a lot of typing.
-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 . {Note entry}
+@node Note entry
+@section Note entry
+@cindex Note entry
+@menu
+* Notes mode::
+* Pitches::
+* Defining pitch names::
+* Durations::
+* Notes::
+* Rests::
+* Multi measure rests::
+* Skip::
+@end menu
-@c. {Apply}
-@node Apply
-@subsection Apply
-@cindex Apply
-Apply allows a Scheme-function to operate directly on the internal
-representation of music.
-@example
- \apply #@var{func} @var{music}
-@end example
-The function takes two arguments, being a function and an musical
-argument for that function. The function should return a music
-expression.
-
-This example replaces the text string of a script. It also shows a dump
-of the music it processes.
-@lilypond[verbatim]
-#(define (testfunc x)
- (if (eq? (ly-get-mus-property x 'text) "foo")
- (ly-set-mus-property x 'text "bar"))
- ;; recurse
- (ly-set-mus-property x 'elements
- (map testfunc (ly-get-mus-property x 'elements)))
- (display x)
- x
-)
-\score { \notes
- \apply #testfunc { c4_"foo" }
-}
-@end lilypond
-
-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
+@c . {Notes mode}
+@node Notes mode
+@subsection Notes mode
@cindex note mode
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
+@c . {Pitches}
+@node Pitches
+@subsection Pitches
+
@cindex Pitch names
-@node Note specification
-@section Note specification
@cindex Note specification
-
@cindex pitches
@cindex entering notes
-A note specification has the form
+The verbose syntax for pitch specification is
+@cindex @code{\pitch}
@example
- @var{pitch}[@var{octavespec}][!][?][@var{duration}]
+ \pitch @var{scmpitch}
@end example
-The pitch of the note is specified by the note's name.
-
+@var{scmpitch} is a pitch scheme object, see @ref{Pitch data type}.
-The default names are the Dutch note names. The notes are specified
-by the letters @code{c} through @code{b}, where @code{c} is an
-octave below middle C and the letters span the octave above that C.
-In Dutch,
+In Note and Chord mode, pitches may be designated by names. The default
+names are the Dutch note names. The notes are specified by the letters
+@code{c} through @code{b}, where @code{c} is an octave below middle C
+and the letters span the octave above that C. In Dutch,
@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
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}.
-
ceses' eses' geses' ases' beses'
@end lilypond
-LilyPond will determine what accidentals to typeset depending on the key
-and context, so alteration refer to what note is heard, not to whether
-accidentals are printed. A reminder accidental
-@cindex reminder accidental
-@cindex @code{?}
-can be forced by adding an exclamation mark @code{!} after the pitch.
-A cautionary accidental,
-@cindex cautionary accidental
-
-i.e., an accidental within parentheses can be obtained by adding the
-question mark `@code{?}' after the pitch.
-@lilypond[fragment,verbatim,center]
- cis' d' e' cis' c'? d' e' c'!
-@end lilypond
+@c . {Defining pitch names}
+@node Defining pitch names
+@subsection Defining pitch names
+@cindex defining pitch names
+@cindex pitch names, defining
-@c. {Rests}
-@menu
-* Rests::
-* Durations::
-* Multi measure rests::
-* Skip::
-@end menu
+Note names and chord modifiers can be customised for nationalities. The
+syntax is as follows.
-@node Rests
-@subsection Rests
-@cindex Rests
+@cindex @code{\pitchnames}
+@cindex @code{\chordmodifiers}
+@example
+ \pitchnames @var{scheme-alist}
+ \chordmodifiers @var{scheme-alist}
+@end example
-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.
+See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
+specific examples how to do this. Some national note names have been
+provided, among others: Norwegian, Swedish, German, Italian, Catalan,
+French, Dutch and English.
-@c. {Durations}
+@c . {Durations}
@node Durations
@subsection Durations
-@cindex Durations
-Durations are entered as their reciprocal values. For notes longer
-than a whole note, use identifiers.
+
+@cindex duration
+@cindex @code{\duration}
+
+The syntax for an verbose duration specification is
+@example
+ \duration @var{scmduration}
+@end example
+
+In Note, Chord, and Lyrics mode, durations may be designated by numbers
+and dots: durations are entered as their reciprocal values. For notes
+longer than a whole note, use identifiers.
@quotation
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].
-@cindex @code{.}
-
-
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.
-
-
+@cindex @code{.}
@lilypond[fragment,verbatim,center]
a'4. b'4.
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}
+@c . {Notes}
+@node Notes
+@subsection Notes
+
+A note specification has the form
+
+@example
+ @var{pitch}[@var{octavespec}][!][?][@var{duration}]
+@end example
+
+
+LilyPond will determine what accidentals to typeset depending on the key
+and context, so alteration refer to what note is heard, not to whether
+accidentals are printed. A reminder accidental
+@cindex reminder accidental
+@cindex @code{?}
+can be forced by adding an exclamation mark @code{!} after the pitch.
+A cautionary accidental,
+@cindex cautionary accidental
+
+i.e., an accidental within parentheses can be obtained by adding the
+question mark `@code{?}' after the pitch.
+
+@lilypond[fragment,verbatim,center]
+ cis' d' e' cis' c'? d' e' c'!
+@end lilypond
+
+
+
+
+@c . {Rests}
+@node Rests
+@subsection Rests
+@cindex Rests
+
+Rests are entered like notes, with note name `@code{r}'.
+There is also a note name
+`@code{s}', which produces a space of the specified
+duration.
+
+
+@c . {Multi measure rests}
@node Multi measure rests
@subsection Multi measure rests
@cindex Multi measure rests
@cindex @code{R}
-Multi_measure_rest are entered using `@code{R}'. It is specifically
+[todo: moveme to orchestral-part section?]
+
+Multi measure rests are entered using `@code{R}'. It is specifically
meant for entering parts: the rest can expand to fill a score with
rests, or it can be printed as a single multimeasure rest This expansion
is controlled by the property @code{Score.skipBars}. If this is set to true,
-Lily will not expand empty measures, and the multimeasure rests
-automatically adds the appropriate number.
+Lily will not expand empty measures, and the appropriate number is added
+automatically.
-@lilypond[fragment]
+@lilypond[fragment,verbatim]
\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.
+Currently, there is no way to condense multiple rests into a single
+multimeasure rest.
+
+@cindex condensing rests
-@c. {Skip}
+@c . {Skip}
@node Skip
@subsection Skip
@cindex Skip
-
-
-@c. {Music notation}
+@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}
+@c . {Key}
@node Key
@subsection Key
@cindex Key
@code{\lydian}, @code{\phrygian}, and @code{\dorian} are also defined.
-@c. {Clef}
-@node Clef
-@subsection Clef
-@cindex Clef
-
-
-@c. {Clef changes}
+@c . {Clef changes}
@subsubsection Clef changes
@cindex @code{\clef}
@example
Short-cut for
@example
- \property Clef.clefGlyph = @var{symbol associated with clefname}
- \property Clef.clefPosition = @var{clef Y-position for clefname}
- \property Clef.clefOctavation = @var{extra pitch of clefname}
+ \property Staff.clefGlyph = @var{symbol associated with clefname}
+ \property Staff.clefPosition = @var{clef Y-position for clefname}
+ \property Staff.clefOctavation = @var{extra pitch of clefname}
@end example
Supported clef-names include
[todo]
-@c. {Time signature}
+@c . {Time signature}
@node Time signature
@subsection Time signature
@cindex Time signature
See the documentation of @code{timeSignatureFraction}
-@c. {Partial}
+@c . {Partial}
@subsubsection Partial
@cindex Partial
@cindex anacrusis
See the documentation of @code{measurePosition}.
+@c . {Polyphony}
+@node Polyphony
+@section Polyphony
+@cindex Polyphony
+
+[todo : collisiosn, rest-collisinos, voiceX identifiers, how to
+which contexts to instantiate.]
+
+
+@table @code
+@cindex @code{\shiftOff}
+ @item @code{\shiftOff}
+ Disable horizontal shifting of note heads that collide.
+
+@cindex @code{\shiftOn}
+ @item @code{\shiftOn}
+ Enable note heads that collide with other note heads to be
+ shifted horiztonally. Also @code{\shiftOnn} and @code{\shiftOnnn}
+set different shift values.
+
+@cindex @code{\stemBoth}
+ @item @code{\stemBoth}
+ Allow stems, beams, and slurs to point either upwards or
+ downwards, decided automatically by LilyPond.
+
+@cindex @code{\stemDown}
+ @item @code{\stemDown}
+ Force stems, beams, and slurs to point down.
+
+@cindex @code{\stemUp}
+ @item @code{\stemUp}
+ Force stems, beams and slurs to point up.
+@end table
-@c. {Spanners}
+@c . {Spanners}
@node Spanners
-@subsection Spanners
+@section Spanners
@cindex Spanners
@menu
* Beam::
-* Slur::
-* Tie::
-* Tuplet::
-* Volta::
-* Crescendo and Decrescendo::
-* Text spanner::
-* Ottava::
-* Span requests::
+* Slur ::
+* Ornaments::
+* Grace notes::
+* Bar check::
@end menu
-@c. {Beam}
+
+
+@c . {Beam}
@node Beam
-@subsubsection Beam
-@cindex Beam
+@subsection Beams
+
+@cindex beams
+
+@c . {Automatic beams}
+@subsubsection Automatic beams
-@c. {Automatic beams}
-@unnumberedsubsubsec Automatic beams
@cindex automatic beam generation
@cindex autobeam
-
@cindex @code{Voice.noAutoBeaming}
LilyPond will group flagged notes and generate beams autmatically, where
-appropriate. This feature can be disabled by setting the
-@code{Voice.noAutoBeaming} property to true, which you may find
-necessary for the melody that goes with lyrics, eg. Automatic beaming
-can easily be overridden for specific cases by specifying explicit
-beams, see @ref{Manual beams}.
+appropriate.
+
+This feature can be disabled by setting the @code{Voice.noAutoBeaming}
+property to true, which you may find necessary for the melody that goes
+with lyrics, eg. Automatic beaming can easily be overridden for
+specific cases by specifying explicit beams. This is discussed in the
+next subsubsection.
+
+
@cindex @code{Voice.autoBeamSettings}
@cindex @code{(end * * * *)}
-@c. {Manual beams}
+@c . {Manual beams}
@cindex Automatic beams
-@unnumberedsubsubsec Manual beams
+@subsubsection Manual beams
@cindex beams, manual
@cindex @code{]}
@cindex @code{[}
-For most situations, beaming can be generated automatically; see section
-@ref{Automatic Beaming}. In certain cases it may be necessary to
-override the automatic beaming decisions that LilyPond makes. You can
-do this by specifying beams explicitely.
+In some cases it may be necessary to override LilyPond's automatic
+beaming algorithm. For example, the auto beamer will not beam over
+rests or bar lines, so if you want that, specify the begin and end point
+manually using @code{[} and @code{]}:
+
+@quotation
+@lilypond[fragment,relative,verbatim]
+ \context Staff {
+ r4 [r8 g'' a r8] r8 [g | a] r8
+ }
+@end lilypond
+
-A manual beam is specified by surrounding the notes that should make up
-the beam, with brackets `@code{[}' and `@code{]}'.
+@cindex @code{stemLeftBeamCount}
-FIXME: example. (or tell: why would the auto-beamer fail here?)
+If you have specific wishes for the number of beams, you can fully
+control the number of beams through the properties
+y@code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}.
-@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'] }
+@lilypond[fragment,relative,verbatim]
+ \context Staff {
+ [f'8 r16 f g a]
+ [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
+ }
@end lilypond
+@end quotation
+@cindex @code{stemRightBeamCount}
-
-@c. {Adjusting beams}
+@c . {Adjusting beams}
@unnumberedsubsubsec Adjusting beams
@cindex Adjusting beams
FIXME
-@c. {Slur}
-@node Slur
-@subsubsection Slur
-@cindex Slur
+
+@c . {Slur}
+@node Slur
+@subsection Slur
@cindex slur
+@menu
+* Slur attachments::
+* Tie::
+* Tuplets::
+* Text spanner::
+* Ottava::
+* Span requests::
+@end menu
+
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
f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
@end lilypond
+@c . {Adjusting slurs}
+@unnumberedsubsubsec Adjusting slurs
+
+@node Slur attachments
+@subsubsection Slur attachments
+
+The ending of a slur should whenever possible be attached to a note
+head. Only in some instances where beams are involved, LilyPond may
+attach a slur to a stem end. In some cases, you may want to override
+LilyPond's decision, e.g., to attach the slur to the stem end. This can
+be done through @code{Voice.Slur}'s grob-property @code{attachment}:
+
+
+@quotation
+@lilypond[fragment,relative,verbatim]
+ \property Voice.Slur \set #'direction = #1
+ \property Voice.Stem \set #'length = #5.5
+ g''8(g)g4
+ \property Voice.Slur \set #'attachment = #'(stem . stem)
+ g8(g)g4
+@end lilypond
+@end quotation
+
+Similarly, slurs can be attached to note heads even when beams are
+involved:
+
+@quotation
+@lilypond[fragment,relative,verbatim]
+ \property Voice.Slur \set #'direction = #1
+ \property Voice.Slur \set #'attachment = #'(head . head)
+ g''16()g()g()g()d'()d()d()d
+@end lilypond
+@end quotation
+
+If a slur would strike through a stem or beam, LilyPond will move the
+slur away vertically (upward or downward). In some cases, this may
+cause ugly slurs that you may want to correct:
+
+@quotation
+@lilypond[fragment,relative,verbatim]
+ \property Voice.Stem \set #'direction = #1
+ \property Voice.Slur \set #'direction = #1
+ d'32( d'4 )d8..
+ \property Voice.Slur \set #'attachment = #'(stem . stem)
+ d,32( d'4 )d8..
+@end lilypond
+@end quotation
+
+LilyPond will increase the curvature of a slur trying to stay free of
+note heads and stems. However, if the curvature would increase too much,
+the slur will be reverted to its default shape. This decision is based
+on @code{Voice.Slur}'s grob-property @code{beautiful} value. In some
+cases, you may find ugly slurs beautiful, and tell LilyPond so by
+increasing the @code{beautiful} value:
+
+[hoe gedefd?? wat betekent beautiful = X?]
+
+@quotation
+@lilypond[verbatim]
+\score {
+ \notes \context PianoStaff <
+ \time 6/4;
+ \context Staff=up { s1 * 6/4 }
+ \context Staff=down <
+ \clef bass;
+ \autochange Staff \context Voice
+ \notes \relative c {
+ d,8( a' d f a d f d a f d )a
+ }
+ >
+ >
+ \paper {
+ linewidth = -1.;
+ \translator {
+ \VoiceContext
+ Slur \override #'beautiful = #5.0
+ Slur \override #'direction = #1
+ Stem \override #'direction = #-1
+ autoBeamSettings \override #'(end * * * *)
+ = #(make-moment 1 2)
+ }
+ \translator {
+ \PianoStaffContext
+ VerticalAlignment \override #'threshold = #'(5 . 5)
+ }
+ }
+}
+@end lilypond
+@end quotation
-@c. {Adjusting slurs}
-@unnumberedsubsubsec Adjusting slurs
-@c. {Tie}
@cindex Adusting slurs
+
+
+
+@c . {Tie}
@node Tie
@subsubsection Tie
[sparseTies]
-@c. {Tuplet}
-@node Tuplet
-@subsubsection Tuplet
-@cindex Tuplet
+@c . {Tuplets}
+@node Tuplets
+@subsubsection Tuplets
+@cindex Tuplets
+@cindex Times
-A @rgrob{TupletBracket} is typeset automatically for music that
-is time scaled, see @ref{Times}.
+Tuplets are made out of a music expression by multiplying their duration
+with a fraction.
+@cindex @code{\times}
+@example
+ \times @var{fraction} @var{musicexpr}
+@end example
-See @ref{Times}.
+The duration of @var{musicexpr} will be multiplied by the fraction.
+In print, the fraction's denominator will be printed over the notes,
+optionally with a bracket. The most common tuplet is the triplet in
+which 3 notes have the length of 2, so the notes are 2/3 of
+their written length:
-@c. {Volta}
-@node Volta
-@subsubsection Volta
-@cindex Volta
+@lilypond[fragment,verbatim,center]
+ g'4 \times 2/3 {c'4 c' c'} d'4 d'4
+@end lilypond
-A @rgrob{VoltaBracket} is typeset automatically for music that contains a
-repetition, see @ref{Repeat}.
+[todo: document tupletSpannerDuration]
-@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]
- c'' \< \! c'' d'' \decr e'' \rced
- < f''1 { s4 \< \! s2 \> \! s4 } >
-@end lilypond
-
-[todo: text cr]
-
-@c. {Text spanner}
+@c . {Text spanner}
@node Text spanner
@subsubsection Text spanner
@cindex Text spanner
-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
-
-@c. {Ottava}
+@c . {Ottava}
@node Ottava
@subsubsection Ottava
@cindex Ottava
@unnumberedsubsubsec Ottava
+[move to trick. Not a supported feature.]
+
@lilypond[fragment,relative,verbatim]
a'''' b c a
\property Voice.TextSpanner \set #'type = #'dotted-line
-@c. {Text crescendo and decrescendo}
-@unnumberedsubsubsec Text crescendo and decrescendo
-
-TODO
-
-@c. {Span requests}
+@c . {Span requests}
@node Span requests
@subsubsection Span requests
@cindex Span requests
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}.
+@code{decrescendo}, @code{beam}, @code{slur}. [FIXME: many more] This
+is an internal command. Users should use the shorthands which are
+defined in the initialization file @file{spanners.ly}.
You can attach a (general) span request to a note using
The slur syntax with parentheses is a shorthand for this.
-@c. {Ornaments}
+@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}
+@c . {Articulation}
@node Articulation
@subsubsection Articulation
@cindex Articulation
@end lilypond
-@c. {Text scripts}
+@c . {Text scripts}
@node Text scripts
@subsubsection Text scripts
@cindex Text scripts
appear in the printed output but have no effect on the MIDI rendering of
the music.
-@c. {Fingerings}
+@c . {Fingerings}
@unnumberedsubsubsec Fingerings
@cindex Fingerings
@cindex @code{\script}
@cindex scripts
+@cindex superscript
+@cindex subscript
@example
-
\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{scm/script.scm}, for
-information on how to add scripts, read the comments in that file.
+points into the script-alias table defined in @file{scm/script.scm}.
Usually the @code{\script} keyword is not used directly. Various
helpful identifier definitions appear in @file{script.ly}.
+For information on how to add scripts, consult @file{scm/script.scm}.
+
-@c. {Grace notes}
+@c . {Grace notes}
@node Grace notes
-@subsubsection Grace notes
-@cindex Grace notes
+@subsection Grace notes
-See @ref{Grace music}.
-@c. {Stem tremolo}
-@node Stem tremolo
-@subsubsection Stem tremolo
-@cindex tremolo marks
-@cindex @code{tremoloFlags}
-[FIXME: should be \repeat]
-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
-@c. {Arpeggio}
-@node Arpeggio
-@subsubsection Arpeggio
-@cindex Arpeggio
+@cindex Grace music
+@cindex @code{\grace}
+@cindex ornaments
+@cindex grace notes
+@cindex @code{graceAlignPosition}
-@cindex broken arpeggio
-@cindex @code{\arpeggio}
+@example
+ \grace @var{musicexpr}
+@end example
-You can specify an @rgrob{Arpeggio} sign on a chord by issuing an
-@c FIXME
+A grace note expression has duration 0; the next real note is
+assumed to be the main note.
-@code{\arpeggio} request:
+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}
+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.
@quotation
-@lilypond[fragment,relative,verbatim]
- \context Voice <c'\arpeggio e g c>
+@lilypond[fragment,verbatim]
+\relative c'' {
+ \grace c8 c4 \grace { [c16 c16] } c4
+ \grace { \property Grace.flagStyle = "" c16 } c4
+}
+
@end lilypond
@end quotation
-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
+At present, nesting @code{\grace} notes is not supported. The following
+may cause run-time errors:
+@example
+ @code{\grace @{ \grace c32 c16 @} c4}
+@end example
+Since the meaning of such a construct is unclear, we don't consider
+this a loss. Similarly, juxtaposing two @code{\grace} sections is
+syntactically valid, but makes no sense and may cause runtime errors.
+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.
-@c. {Glissando}
-@node Glissando
-@subsubsection Glissando
-@cindex Glissando
+The present implementation is not robust and generally kludgy. We expect
+it to change after LilyPond 1.4. Syntax changes might also be
+implemented.
-@cindex @code{\glissando}
-A @rgrob{Glissando} line can be requested by issuing a
-FIXME
-@code{\glissando} request:
-@quotation
-@lilypond[fragment,relative,verbatim]
- c'' \glissando c'
-@end lilypond
-@end quotation
-Printing of the additional text @samp{gliss.} must be done manually.
+
+@c . {Stem tremolo}
+@menu
+* Glissando ::
+* Dynamics::
+* Crescendo and Decrescendo::
+* Bar lines::
+* Breath marks::
+* Rehearsal marks::
+@end menu
+
-@c. {Follow Thread}
-@subsubsection Follow Thread
-@cindex follow thread
-@cindex staff switching
-@cindex cross staff
+@c . {Glissando}
+@node Glissando
+@subsubsection Glissando
+@cindex Glissando
-@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:
+@cindex @code{\glissando}
+
+A glissando line can be requested by attaching a @code{\glissando} to a
+note:
@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;}
- >
+ c'' \glissando c'
@end lilypond
@end quotation
+Printing of an additional text (such as @emph{gliss.}) must be done
+manually.
+
-@c. {Dynamics}
+@c . {Dynamics}
@node Dynamics
@subsubsection Dynamics
@cindex Dynamics
-@unnumberedsubsec Dynamics
+
@cindex @code{\ppp}
@cindex @code{\pp}
@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}.
+@code{c4-\ff}. The available dynamic marks are:
+@code{\ppp}, @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f},
+@code{\ff}, @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf},
+@code{\sff}, @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
+
+@c . {Crescendo and Decrescendo}
+@node Crescendo and Decrescendo
+@subsubsection Crescendo and Decrescendo
+
+@cindex Crescendo and Decrescendo
+@cindex crescendo
+@cindex @code{\cr}
+@cindex @code{\rc}
+@cindex @code{\decr}
+@cindex @code{\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]
+ c'' \< \! c'' d'' \decr e'' \rced
+ < f''1 { s4 \< \! s2 \> \! s4 } >
+@end lilypond
+
+You can also use a text saying @emph{cresc.} instead of hairpins. Here
+is an example how to do it:
+
+@lilypond[fragment,relative,verbatim]
+ \context Voice {
+ \property Voice.crescendoText = "cresc."
+ \property Voice.crescendoSpanner = #'dashed-line
+ a''2\mf\< a a \!a
+ }
+@end lilypond
-See also @ref{Crescendo and Decrescendo}
-@c. {Bar lines}
+@c . {Bar lines}
@node Bar lines
@subsubsection Bar lines
@cindex Bar lines
@cindex measure lines
@cindex repeat bars
-@example
- \bar @var{bartype};
-@end example
+@example
+ \bar @var{bartype};
+@end example
+
+This is a short-cut for doing
+@example
+ \property Score.whichBar = @var{bartype}
+@end example
+
+You are encouraged to use @code{\repeat} for repetitions. See
+@ref{Repeat}, and the documentation of @code{whichBar} in
+@ref{(lilypond-internals)LilyPond context properties}.
+
+
+[FIXME]
+
+@c . {Breath marks}
+@node Breath marks
+@subsubsection Breath marks
+@cindex Breath marks
+
+@c . {Rehearsal marks}
+@node Rehearsal marks
+@subsubsection Rehearsal marks
+@cindex Rehearsal marks
+@cindex mark
+@cindex @code{\mark}
+
+@example
+ \mark @var{unsigned};
+@cindex @code{Mark_engraver}
+ \mark @var{string};
+@end example
+
+Prints a mark over or under the staff.
+
+
+@c . {Bar check}
+@node Bar check
+@subsection Bar check
+@cindex Bar check
+
+@cindex bar check
+@cindex @code{barCheckNoSynchronize}
+@cindex @code{|}
+
+
+Whenever a bar check is encountered during interpretation, a warning
+message is issued if it doesn't fall at a measure boundary. This can
+help you find errors in the input. Depending on the value of
+@code{barCheckNoSynchronize}, the beginning of the measure will be
+relocated, so this can also be used to shorten measures.
+
+A bar check is entered using the bar symbol, @code{|}
+
+
+
+
+
+
+
+
+@c . {Piano music}
+@node Piano music
+@section Piano music
+@menu
+* Automatic staff changes::
+* Manual staff switches::
+* Pedals::
+* Arpeggio::
+* Follow Thread::
+@end menu
+
+
+@c . {Automatic staff changes}
+@node Automatic staff changes
+@subsection Automatic staff changes
+@cindex Automatic staff changes
+
+[\autochange]
+
+@node Manual staff switches
+@subsection Manual staff switches
+
+@cindex manual staff switches
+@cindex staff switch, manual
+
+@cindex @code{\translator}
+@example
+ \translator @var{contexttype} = @var{name}
+@end example
+
+A music expression indicating that the context which is a direct
+child of the a context of type @var{contexttype} should be shifted to
+a context of type @var{contexttype} and the specified name.
+
+Usually this is used to switch staffs in Piano music, e.g.
+
+@example
+ \translator Staff = top @var{Music}
+@end example
+
+
+@c . {Pedals}
+@node Pedals
+@subsection Pedals
+@cindex Pedals
+
+[todo]
+
+
+@c . {Arpeggio}
+@node Arpeggio
+@subsection Arpeggio
+@cindex Arpeggio
+
+@cindex broken arpeggio
+@cindex @code{\arpeggio}
+
+You can specify an arpeggio sign on a chord by attaching an
+@code{\arpeggio} to a note of the chord.
+
+
+@quotation
+@lilypond[fragment,relative,verbatim]
+ \context Voice <c'\arpeggio e g c>
+@end lilypond
+@end quotation
+
+When an arpeggio crosses staffs in piano music, you attach an arpeggio
+to the chords in both staffs, and set
+@code{PianoStaff.connectArpeggios}. LilyPond will connect the arpeggios
+in both staffs.
-This is a short-cut for doing
-@example
- \property Score.whichBar = @var{bartype}
-@end example
+@quotation
+@lilypond[fragment,relative,verbatim]
+ \context PianoStaff <
+ \property PianoStaff.connectArpeggios = ##t
+ \context Voice = one { <c''\arpeggio e g c> }
+ \context Voice = other { \clef bass; <c,,\arpeggio e g>}
+ >
+@end lilypond
+@end quotation
-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}.
-[FIXME]
+@c . {Follow Thread}
+@node Follow Thread
+@subsection Follow Thread
+@cindex follow thread
+@cindex staff switching
+@cindex cross staff
-@c. {Breath marks}
-@node Breath marks
-@subsubsection Breath marks
-@cindex Breath marks
+[todo: different name, eg. voice line ? ]
-@c. {Rehearsal marks}
-@node Rehearsal marks
-@subsubsection Rehearsal marks
-@cindex Rehearsal marks
-@cindex mark
-@cindex @code{\mark}
+@cindex @code{followThread}
-@example
- \mark @var{unsigned};
-@cindex @code{Mark_engraver}
- \mark @var{string};
-@end example
+Whenever a voice switches to another staff a line connecting the notes
+can be printed automatically. This is enabled if the property
+@code{PianoStaff.followThread} is set to true:
-Prints a mark over or under the staff.
+@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
-@c. {Bar check}
-@node Bar check
-@subsection Bar check
-@cindex Bar check
-@cindex bar check
-@cindex @code{barCheckNoSynchronize}
-@cindex @code{|}
-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.
+@c . {Lyrics}
+@node Lyrics
+@section Lyrics
-@c. {Lyrics entry}
-@node Lyrics entry
-@section Lyrics entry
-@cindex Lyrics entry
@menu
* Lyrics mode::
* Printing lyrics::
-* Lyric hyphen::
-* Lyric extender::
-* Addlyrics::
+* Automatic syllable durations::
@end menu
-@c. {Lyrics mode}
+@c . {Lyrics mode}
@node Lyrics mode
@subsection Lyrics mode
@cindex Lyrics mode
Since combinations of numbers and dots are used for indicating
durations, you can not enter real numbers in this mode.
-[todo: include short table showing differences]
-
@cindex lyrics expressions
Syllables are entered like notes, with pitches replaced by text. For
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}.
+lyrics is discussed in the next section.
-@c. {Printing Lyrics}
+@c . {Printing lyrics}
@node Printing lyrics
-@subsection lyricprint
+@subsection Printing lyrics
@cindex lyrics
-@cindex printing!lyrics
-
-
-Lyric syllables must be interpreted within a @code{Lyrics} context
-
-@cindex context!Lyrics
- for printing them.
-
-Here is a full example:
+Lyric syllables must be interpreted within a @code{Lyrics} context for
+printing them. Here is a full example:
@quotation
@lilypond[verbatim]
@end lilypond
@end quotation
+
+
+
+@cindex extender
+@cindex lyric extender
+
You may want a continuous line after the syllables to show melismata.
To achieve this effect, add a @code{__} lyric as a separate word
after the lyric to be extended. This will create an extender, a line
@end lilypond
@end quotation
-
+@cindex Lyric hyphen
+
If you want to have hyphens centered between syllables (rather than
attached to the end of the first syllable) you can use the special
`@code{-}@code{-}' lyric as a separate word between syllables. This
@end quotation
-
-
-@c. {Lyric hyphen}
-@node Lyric hyphen
-@subsection Lyric hyphen
-@cindex Lyric hyphen
-
-The syntax for a spanning hyphen (i.e., a hyphen that will be printed
-between two lyric syllables) is `@code{-}@code{-}'.
-
-@c. {Lyric extender}
-@node Lyric extender
-@subsection Lyric extender
-@cindex Lyric extender
-@cindex extender
-@cindex lyric extender
-@cindex hyphen
-
-The syntax for an extender mark is @code{__}. This syntax can only
-be used within lyrics mode.
-
-
-
-
-@c. {Addlyrics}
-@node Addlyrics
-@subsection Addlyrics
-@cindex Addlyrics
+@c . {Automatic syllable durations}
+@node Automatic syllable durations
+@subsection Automatic syllable durations
+@cindex Automatic syllable durations
[explain automatic phrasing]
-@c. {Chord entry}
-@node Chord entry
-@section Chord entry
-@cindex Chord entry
+@c . {Chords}
+@node Chords
+@section Chords
+@cindex Chords
+
+[chords vs. simultaneous music]
@menu
* Chords mode::
* Printing named chords::
@end menu
-@c. {Chords mode}
+@c . {Chords mode}
@node Chords mode
@subsection Chords mode
@cindex Chords mode
and carets are used to indicate chord additions and subtractions,
so scripts can not be entered in Chord mode.
-@c. {Entering named chords}
+@c . {Entering named chords}
@node Entering named chords
@subsection Entering named chords
@cindex Chords names
@end lilypond
-The most interesting application is printing chords using chord names,
-See @ref{Chord names}.
+The most interesting application is printing chord names, which is
+explained in the next subsection.
You should not combine @code{\relative} with named chords. [FIXME]
-@c. {Printing named chords}
+@c . {Printing named chords}
@node Printing named chords
@subsection Printing named chords
+
+
+
+
+@cindex printing chord names
@cindex chord names
@cindex chords
-
-@cindex printing!chord names
@cindex @code{ChordNames}
@cindex @code{ChordNameVoice}
-@c. {Page layout}
+@c . {Page layout}
@node Page layout
@section Page layout
@cindex Page layout
* Page break::
@end menu
-@c. {Paper block}
+@c . {Paper block}
@node Paper block
@subsection Paper block
@cindex Paper block
@item An assignment. The assignment must be terminated by a
semicolon.
- @item A context definition. See section @ref{contextdefs} for
+ @item A context definition. See section @ref{Context definitions} for
more information on context definitions.
-@ignore
-
- FIXME
-
-
- @item
-
- A margin shape declaration. The syntax is
-@cindex @code{\shape}
- @example
-
- \shape @var{indent1}@code{,} @var{width1}@code{,}
- @var{indent2}@code{,} @var{width2} @dots{} @code{;}
- @end example
-
-
-
- Each pair of @var{indent} and @var{width} values is a dimension
- specifying how far to indent and how wide to make the line.
- The indentation and width of successive lines are specified by
- the successive pairs of dimensions. The last pair of
- dimensions will define the characeristics of all lines beyond
- those explicitly specified.
-@end ignore
-
@item \stylesheet declaration. Its syntax is
@example
\stylesheet @var{alist}
See @file{font.scm} for details of @var{alist}.
@end itemize
-@c. {Paper variables}
+@c . {Paper variables}
@node Paper variables
@subsection Paper variables
@cindex Paper variables
@item @code{staffspace}
The distance between two staff lines, calculated from the center
- of the lines. You should use either this or @code{rulethickness}
+ of the lines. You should use either this or @code{stafflinethickness}
as a unit for distances you modify.
@cindex @code{linewidth}
@item @code{linewidth}
- Sets the width of the lines. If set to -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
+ Sets the width of the lines.
+
+If set to a negative value, a single
+ unjustified line is produced.
+
@cindex @code{textheight}
@item @code{textheight}
@end table
-@c. {Font size}
+
+@c . {Font size}
@node Font Size
@subsection Font size
@cindex font size
-@c. {Paper size}
+@c . {Paper size}
@node Paper size
@subsection Paper size
@cindex Paper size
-@c. {Line break}
+@c . {Line break}
@node Line break
@subsection Line break
-@cindex Line break
-
-
-@cindex @code{\penalty}
-
-@example
- \penalty @var{int} @code{;}
-@end example
-
-Discourage or encourage line breaks. See @ref{Page layout}.
-
-
-
@cindex line breaks
@cindex breaking lines
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 "";}.
+this by specifying @code{\break}. This will force a line break at this
+point. Do remember that line breaks can only occur at places where there
+are barlines. If you want to have a line break where there is no
+barline, you can force a barline by entering @code{\bar "";}.
+
+Similarly, @code{\noBreak} forbids a line break at a certain point.
+@cindex @code{\penalty}
+
+The @code{\break} and @code{\noBreak} commands are defined in terms of
+the penalty command:
+@example
+ \penalty @var{int} @code{;}
+@end example
+This imposes encourages or discourages LilyPond to make a line break
+at this point.
+@strong{Warning} do not use @code{\penalty} directly. It is rather
+kludgy, and slated for rewriting.
-@c. {Page break}
+@c . {Page break}
@node Page break
@subsection Page break
-@cindex Page break
+@cindex page breaks
+@cindex breaking pages
-Not implemented, but see @ref{Tricks}
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
+control. However, you can insert a commands into the @file{.tex} output to
instruct @TeX{} where to break pages. For more details, see the
example file @file{input/test/between-systems.ly}
+[or -> Tricks? ]
-@cindex page breaks
-@cindex breaking pages
-@c. {Sound}
+@c . {Sound}
@node Sound
@section Sound
@cindex Sound
* Tempo::
@end menu
-@c. {MIDI block}
+@c . {MIDI block}
@node MIDI block
@subsection MIDI block
@cindex MIDI block
The contexts for MIDI output are defined in @file{ly/performer.ly}.
-@c. {MIDI instrument names}
+@c . {MIDI instrument names}
@node MIDI instrument names
@subsection MIDI instrument names
@cindex instrument names
-@c. {Tempo}
+@c . {Tempo}
@node Tempo
@subsection Tempo
@cindex Tempo
-@c. {Music entry}
+@c . {Music entry}
@node Music entry
@section Music entry
@cindex Music entry
@menu
-* Pre-defined Identifiers::
+* Relative::
* Point and click::
@end menu
-@c. {Pre-defined Identifiers}
-@node Pre-defined Identifiers
-@subsection Pre-defined Identifiers
-@cindex pre-defined identifiers
-Various identifiers are defined in the initialization files to
-provide shorthands for some settings. Most of them are in
-@file{ly/declarations.ly} and @file{ly/property.ly}.
+@c . {Relative}
+@node Relative
+@subsection Relative
+@cindex Relative
+@cindex relative octave specification
+
+Octaves are specified by adding @code{'} and @code{,} to pitch names.
+When you copy existing music, it is easy to accidentally put a pitch in
+the wrong octave and hard to find such an error. To prevent these
+errors, LilyPond features octave entry.
+
+@cindex @code{\relative}
+@example
+ \relative @var{startpitch} @var{musicexpr}
+@end example
-@table @code
-@cindex @code{\break}
- @item @code{\break}
- Force a line break in music by using a large argument for the
- keyword @code{\penalty}.
+The octave of notes that appear in @var{musicexpr} are calculated as
+follows: If no octave changing marks are used, the basic interval
+between this and the last note is always taken to be a fourth or less.
+ The octave changing marks @code{'} and @code{,} can then
+be added to raise or lower the pitch by an extra octave. Upon entering
+relative mode, an absolute starting pitch must be specified that will
+act as the predecessor of the first note of @var{musicexpr}.
-@cindex @code{\nobreak}
- @item @code{\nobreak}
- Prevent a line break in music by using a large negative argument
- for the keyword @code{\penalty}.
+This distance is determined without regarding accidentals: a
+@code{fisis} following a @code{ceses} will be put above the
+@code{ceses}.
-@cindex @code{\shiftOff}
- @item @code{\shiftOff}
- Disable horizontal shifting of note heads that collide.
+Entering scales is straightforward in relative mode.
-@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.
+@lilypond[fragment,verbatim,center]
+ \relative c'' {
+ g a b c d e f g g, g
+ }
+@end lilypond
-@cindex @code{\stemBoth}
- @item @code{\stemBoth}
- Allow stems, beams, and slurs to point either upwards or
- downwards, decided automatically by LilyPond.
+And octave changing marks are used for intervals greater than a fourth.
-@cindex @code{\stemDown}
- @item @code{\stemDown}
- Force stems, beams, and slurs to point down.
+@lilypond[fragment,verbatim,center]
+ \relative c'' {
+ c g c f, c' a, e'' }
+@end lilypond
-@cindex @code{\stemUp}
- @item @code{\stemUp}
- Force stems, beams and slurs to point up.
+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.
-@end table
+@lilypond[fragment,verbatim,center]
+ \relative c' {
+ c <c e g>
+ <c' e g>
+ <c, e' g>
+ }
+@end lilypond
+@cindex @code{\notes}
+
+The pitch after the @code{\relative} contains a notename. To parse
+the pitch as a notename, you have to be in note mode, so there must
+be a surrounding @code{\notes} keyword (which is not
+shown here).
+
+The relative conversion will not affect @code{\transpose} or
+@code{\relative} sections in its argument. If you want to use
+relative within transposed music, you must place an additional
+@code{\relative} inside the @code{\transpose}.
-@c. {Point and click}
+@c . {Point and click}
@node Point and click
@subsection Point and click
[todo]
-@c. {Engravers}
+@c . {Engravers}
@node Engravers
@section Engravers
@cindex engravers
* Notation Contexts::
@end menu
-@c. {Context definitions}
+[rewrite this entirely]
+
+@c . {Context definitions}
@node Context definitions
@subsection Context definitions
@code{@}}
@end example
-@var{translatorinit} can be an identifier or of the form
-
+@var{translatorinit} can be an identifier or
@example
-
\type @var{typename} @code{;}
@end example
-
-@var{typename} is one of
+where @var{typename} is one of
@table @code
@cindex @code{Engraver_group_engraver}
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}.
+ A property assignment.
@end itemize
In the @code{\paper} block, it is also possible to define translator
@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
-@c. {Notation Contexts}
+@c . {Notation Contexts}
@node Notation Contexts
@subsection Notation Contexts
-@c. {Lexer innards}
-@node Lexer innards
-@section Lexer innards
-@cindex Lexer innards
+@c . {Syntactic details}
+@node Syntactic details
+@section Syntactic details
+@cindex Syntactic details
@menu
* Top level::
* Identifiers::
* Ambiguities::
@end menu
-@c. {Top level}
+@c . {Top level}
@node Top level
@subsection Top level
@cindex Top level
definition is supplied, the default @code{\paper} block will be added.
-@c. {Score}
+@c . {Score}
@subsubsection Score
@cindex Score
-@c. {Paper}
+@c . {Paper}
@subsubsection Paper
@cindex Paper
-@c. {Midi}
+@c . {Midi}
@subsubsection Midi
@cindex Midi
-@c. {Header}
+@c . {Header}
@subsubsection Header
@cindex Header
@cindex @code{\header}
paper block for all scores that lack an explicit paper block.
-@c. {Identifiers}
+@c . {Identifiers}
@node Identifiers
@subsection Identifiers
@cindex Identifiers
@itemize @bullet
@item Input
@item c++-function
-@item Music: see @ref{Music expressions}
+@item Music
@item Identifier
-@item Translator_def:
-See section @ref{contextdefs} for more information
+@item Translator_def
@item Duration
@item Pitch
@item Score
@end itemize
-@c. {Assignments}
+@c . {Assignments}
@node Assignments
@subsection Assignments
@cindex Assignments
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
+being entirely alphabetical. It is impossible to refer to an identifier
whose name is the same as the name of a keyword.
The right hand side of an identifier assignment is parsed completely
first item in a block.
@example
\paper @{
-foo = 1.0
-\paperIdent % wrong and invalid
+ foo = 1.0
+ \paperIdent % wrong and invalid
@}
\paper @{
-\paperIdent % correct
-foo = 1.0
-@}
+ \paperIdent % correct
+ foo = 1.0 @}
@end example
-
-
-@c. {Lexical details}
+@c . {Lexical details}
@node Lexical details
@subsection Lexical details
@cindex Lexical details
@menu
@end menu
-@c. {Comments}
+@c . {Comments}
@subsubsection Comments
@cindex Comments
A one line comment is introduced by a @code{%} character.
-Block comments are started by @code{%@{} and ended by `@code{%@}}'.
+Block comments are started by @code{%@{} and ended by @code{%@}}.
They cannot be nested.
-@c. {Direct Scheme}
+@c . {Direct Scheme}
@subsubsection Direct Scheme
@cindex Scheme
@cindex GUILE
Scheme.
-@c. {Keywords}
+@c . {Keywords}
@subsubsection Keywords
@cindex Keywords
transpose type
@end example
-@c. {Integers}
+@c . {Integers}
@subsubsection Integers
@cindex integers
operations cannot be done with integers, and integers cannot be mixed
with reals.
-@c. {Reals}
+@c . {Reals}
@subsubsection Reals
@cindex real numbers
to a real that is the internal representation of dimensions.
-@c. {Strings}
+@c . {Strings}
@subsubsection Strings
@cindex string
@cindex concatenate
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.
+@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}
+@c . {Main input}
@subsubsection Main input
@cindex Main input
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}
+@c . {File inclusion}
@subsubsection Main input
@cindex Main input
@cindex convert-ly
-
-
-@c. {Pitch names}
-@subsubsection Pitch names
+@c . {Pitch names}
+@subsubsection Defining pitch names
@cindex Lexical modes
-@cindex pitch names
-
+@cindex definining pitch names
+@cindex pitch names, definining
@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}
+@c . {Assignments}
@subsubsection Assignments
@cindex assignments
@cindex @code{#}
-@c. {Direct scheme}
+@c . {Direct scheme}
@subsubsection Direct scheme
@cindex Direct scheme
Scheme statements maybe issued to produce interesting side-effects.
-@c. {Lexical modes}
+@c . {Lexical modes}
@node Lexical modes
@subsection Lexical modes
@cindex Lexical modes
-
-@cindex Lexical modes
-@cindex modes
+@cindex input mode
+@cindex mode, input
+@cindex @code{\notes}
+@cindex @code{\chords}
+@cindex @code{\lyrics}
To simplify entering notes, lyrics, and chords, LilyPond has three
-special input modes on top of the default mode. 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
+special input modes on top of the default mode: note, lyrics and chords
+mode. These input modes change the way that normal, unquoted words are
+interpreted: for example, the word @code{cis} may be interpreted as a
+C-sharp, as a lyric syllable `cis' or as a C-sharp major triad
+respectively.
-@cindex mode switch
+A mode switch is entered as a compound music expressions
+@example
+@code{\notes} @var{musicexpr}
+@code{\chords} @var{musicexpr}
+@code{\lyrics} @var{musicexpr}.
+@end example
-@cindex @code{\notes}
-@cindex @code{\chords}
-@cindex @code{\lyrics}
+In each of these cases, these expressions do not add anything to the
+meaning of their arguments. They are just a way to indicate that the
+arguments should be parsed in indicated mode. The modes are treated in
+more detail in the sections @ref{Note entry}, @ref{Lyrics} and
+@ref{Chords}.
-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.
+You may nest different input modes.
-@c. {Ambiguities}
+@c . {Ambiguities}
@node Ambiguities
@subsection Ambiguities
@cindex ambiguities
-
-@c. {Unsorted}
+@c . {Unsorted}
@node Unsorted
@section Unsorted
@cindex properties
@unnumberedsubsec Translation property
+[todo: add \set/\override/\revert]
+
+
@cindex @code{\property}
@example
\property @var{contextname}.@var{propname} = @var{value}
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
\relative c'' { c4
\context Staff \outputproperty
#(make-type-checker 'note-head-interface)
- #'extra-offset = #'(5.0 . 7.5)
+ #'extra-offset = #'(0.5 . 0.75)
<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
+the @code{extra-offset} of those heads to @code{(0.5,0.75)}, shifting them
up and right.
Use of this feature is entirely on your own risk: if you use this, the
which we change regularly and unscrupulously.
-@c.{Local emacs vars}
+Don't move the finger 2, only text "m.d." ...
+@lilypond[verbatim]
+#(define (make-text-checker text)
+ (lambda (grob) (equal? text (ly-get-elt-property grob 'text))))
+
+\score {
+ \notes\relative c''' {
+ \property Voice.Stem \set #'direction = #1
+ \outputproperty #(make-text-checker "m.d.")
+ #'extra-offset = #'(-3.5 . -4.5)
+ a^2^"m.d."
+ }
+ \paper { linewidth = -1.; }
+}
+@end lilypond
+
+
+
+
+
+@c .{Local emacs vars}
@c Local variables:
@c mode: texinfo
@c minor-mode: font-lock
@c minor-mode: outline
@c outline-layout: (-1 : 0)
-@c outline-use-mode-specific-leader: "@c\."
+@c outline-use-mode-specific-leader: "@c \."
@c outline-primary-bullet: "{"
@c outline-stylish-prefixes: nil
@c outline-override-protect: t
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