+++ /dev/null
-\input texinfo @c -*-texinfo-*-
-@setfilename reference-manual.info
-@settitle LilyPond 1-2-0 Reference Manual
-
-@node Top, , Running LilyPond, (dir)
-@top
-@menu
-* LilyPond 1-2-0 Reference Manual::LilyPond 1-2-0 Reference Manual
-@end menu
-
-@macro keyindex {word}
-@cindex \word\
-
-@end macro
-
-@macro indexcode {word}
-@cindex \word\
-
-@end macro
-
-
-
-@node LilyPond 1-2-0 Reference Manual, Overview, , Top
-@menu
-* Overview:: Overview
-* Top level:: Top level
-* notenames:: notenames
-* Lexical conventions:: Lexical conventions
-* notelang:: notelang
-* modes:: modes
-* Types:: Types
-* Music expressions:: Music expressions
-* Atomic music expressions:: Atomic music expressions
-* atomicmusic:: atomicmusic
-* notedesc:: notedesc
-* barlines:: barlines
-* manualbeam:: manualbeam
-* tremolo:: tremolo
-* Compound music expressions:: Compound music expressions
-* compoundmusic:: compoundmusic
-* relative:: relative
-* sec-repeats:: sec-repeats
-* transpose:: transpose
-* Ambiguities:: Ambiguities
-* Notation conversion specifics:: Notation conversion specifics
-* autobeam:: autobeam
-* lyricprint:: lyricprint
-* Notation Contexts:: Notation Contexts
-* contextselection:: contextselection
-* Notation output definitions:: Notation output definitions
-* output:: output
-* paper:: paper
-* papervars:: papervars
-* contextdefs:: contextdefs
-* engravers:: engravers
-* Sound output:: Sound output
-* midilist:: midilist
-* Pre-defined Identifiers:: Pre-defined Identifiers
-* ident:: ident
-* Running LilyPond:: Running LilyPond
-@end menu
-@chapter LilyPond 1.2.0 Reference Manual
-
-
-
-@node Overview, Top level, LilyPond 1-2-0 Reference Manual, LilyPond 1-2-0 Reference Manual
-@section Overview
-
-This document@footnote{This document has been revised for
-LilyPond 1.2.} describes the the GNU LilyPond input format, which is
-a language for defining music. We call this language @emph{Music
-Definition Language} or @emph{Mudela}, for short.@footnote{If anybody
-comes up with a better name, we'd gladly take this. Gourlay already
-uses a ``Musical Description Language,'' ISO standard 10743 defines a
-``Standard Music Description Language.'' We're not being original
-here.}
-
-@emph{Mudela} is a language that allows you to
-
-@itemize @bullet
- @item create musical expressions by combining pitches, durations
- @item output those musical expressions to various formats
- @item give those musical expressions and output definitions names, so
- you can enter them in manageable chunks.
-@end itemize
-
-@emph{Mudela} aims to define a piece of music completely, both from
-typesetting and from a performance point of view.
-
-
-
-@node Top level, notenames, Overview, LilyPond 1-2-0 Reference Manual
-@section Top level
-
-@cindex top level
-
-This section describes what you may enter at top level.
-
-
-
-@cindex score definition
-
-The output is generated combining a music expression with an output
-definition. A score block has the following syntax:
-
-@quotation
-
- @code{\score @{} @var{musicexpr} @var{outputdefs} @code{@}}
-@end quotation
-
-@var{outputdefs} are zero or more output definitions. If no output
-definition is supplied, the default @code{\paper} block will be added.
-
-
-
-@cindex header
-
-@keyindex{header}
-
-The syntax is
-
-@quotation
-
- @code{\header} @code{@{} @var{key1} = @var{val1};
- @var{key2} = @var{val2}; ... @code{@}}
-@end quotation
-
-A header describes the file's contents. It can also appear in a
-@code{\score} block. Tools like @code{ly2dvi}@indexcode{ly2dvi} can use this
-information for generating titles. Key values that are used by
-@code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
-metre, arranger, piece and tagline.
-
-It is customary to put the @code{\header} at the top of the file.
-
-
-@node notenames, Lexical conventions, Top level, LilyPond 1-2-0 Reference Manual
-
-Note name tables can be specified using
-
-@quotation
-
- @code{\notenames}@keyindex{notenames}
- @code{@{} @var{assignmentlist} @code{@}}
-@end quotation
-
-@var{assignmentlist} is a list of definitions of the form
-
-@quotation
-
- @var{name} = @var{pitch}
-@end quotation
-
-Chord modifiers can be set analogously, with
-@code{\chordmodifiers}@keyindex{chordmodifiers}.
-
-
-
-A @code{\paper} block at top level sets the default paper block. A
-@code{\midi} block at top level works similarly.
-
-
-
-LilyPond contains a Scheme interpreter (the GUILE library) for
-internal use. The following commands access the interpreter
-directly.
-
-@quotation
-
- @code{\scm}@keyindex{scm} @var{scheme} @code{;}
-@end quotation
-
-Evaluates the specified Scheme code. The result is discarded.
-
-@quotation
-
- @code{\scmfile}@keyindex{scmfile} @var{filename} @code{;}
-@end quotation
-
-Reads Scheme code from the specified file. The result is discarded.
-
-
-
-Identifier assignments may appear at top level. Semicolons are
-forbidden after top level assignments.
-
-
-
-@node Lexical conventions, notelang, notenames, LilyPond 1-2-0 Reference Manual
-@section Lexical conventions
-
-@cindex lexical conventions
-
-
-
-@cindex comment
-
-@indexcode{%}
-
-
-A one line comment is introduced by a `@code{%}' character.
-Block comments are started by `@code{%@{}' and ended by `@code{%@}}'.
-They cannot be nested.
-
-
-
-@cindex keyword
-
-Keywords start with a backslash, followed by a number of lower case
-alphabetic characters. These are all the keywords.
-
-@quotation
-
- @code{\accepts}
- @code{\addlyrics}
- @code{\alternative}
- @code{\bar}
- @code{\breathe}
- @code{\cadenza}
- @code{\chordmodifiers}
- @code{\chords}
- @code{\clef}
- @code{\cm}
- @code{\consists}
- @code{\consistsend}
- @code{\context}
- @code{\duration}
- @code{\font}
- @code{\grace}
- @code{\header}
- @code{\in}
- @code{\key}
- @code{\keysignature}
- @code{\lyrics}
- @code{\mark}
- @code{\midi}
- @code{\mm}
- @code{\musicalpitch}
- @code{\name}
- @code{\notenames}
- @code{\notes}
- @code{\paper}
- @code{\partial}
- @code{\penalty}
- @code{\property}
- @code{\pt}
- @code{\relative}
- @code{\remove}
- @code{\repeat}
- @code{\repetitions}
- @code{\scm}
- @code{\scmfile}
- @code{\score}
- @code{\script}
- @code{\sequential}
- @code{\shape}
- @code{\simultaneous}
- @code{\skip}
- @code{\spanrequest}
- @code{\tempo}
- @code{\textscript}
- @code{\time}
- @code{\times}
- @code{\translator}
- @code{\transpose}
- @code{\type}
-@end quotation
-
-
-
-
-@cindex integer
-
-Formed from an optional minus sign followed by digits. Arithmetic
-operations cannot be done with integers, and integers cannot be mixed
-with reals.
-
-
-
-@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.
-
-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.
-
-
-
-@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 section @xref{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 can appear
-anywhere.
-
-@quotation
-
- @code{\maininput}@keyindex{maininput}
-@end quotation
-
-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.
-
-@quotation
-
- @code{\include}@keyindex{include} @var{file}
-@end quotation
-
-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,
-
-@quotation
-
- @code{\version}@keyindex{version} @var{string} @code{;}
-@end quotation
-
-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-mudela}, a tool that automatically upgrades input files.
-
-
-
-@cindex other languages
-
-@node notelang, modes, Lexical conventions, LilyPond 1-2-0 Reference Manual
-
-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:
-
-@quotation
-
-@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 sid si -d -b
-catalan.ly do re mi fa sol la sid si -d/-s -b
-@end example
-
-@end quotation
-
-Pitch names can be redefined using the
-@code{\notenames}@keyindex{notenames} command, see
-subsection @xref{notenames}.
-
-
-
-@cindex lexical modes
-
-@cindex modes
-
-@node modes, Types, notelang, LilyPond 1-2-0 Reference Manual
-
-To simplify entering notes, lyrics, and chords, @emph{Mudela} 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 @samp
- @item Normal mode.
-@cindex mode!normal
-
- At the start of parsing, @emph{Mudela} 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{_}' characters which appear in an unquoted word are
- converted to spaces. 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.
-
-
- @quotation
-
-@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
-
- @end quotation
-
- Since combinations of numbers and dots are used for indicating
- durations, you can not enter real numbers in this mode.
-@end table
-
-It is possible to create words that break the rules by prefixing them
-with the dollar sign `@code{$}@indexcode{$}'. Regardless of the context, a
-word beginning with `@code{$}' extends until the next white space
-character. Such words can contain numbers (even in Note mode), or
-other forbidden characters. The dollar sign can be used to create
-and access identifiers that could not otherwise be used.@footnote{Use
-of `@code{$}' hampers readability and portability to future LilyPond
-versions, thus the use of the dollar sign is discouraged.}
-
-
-
-@node Types, Music expressions, modes, LilyPond 1-2-0 Reference Manual
-@section Types
-
-@cindex types and identifiers
-
-@emph{Mudela} has a limited set of types:
-
-@itemize @bullet
- @item integers
- @item reals
- @item strings
- @item music expressions
- @item durations of notes and rests (specified with
- @code{\notenames}@keyindex{notenames})
- @item note name tables
- @item context definitions, part of output definitions. See
- section @xref{contextdefs} for more information
- @item output definitions (like @code{\paper}@keyindex{paper} blocks
- and @code{\midi}@keyindex{midi} blocks)
- @item score definitions (@code{\score}@keyindex{score} blocks)
-@end itemize
-
-Type is a syntactical property: @emph{Mudela} has no real type system,
-so there is no support for generic expressions, functions, or user
-defined types. For the same reason, it is not possible to mix reals
-and integers in arithmetic expressions, and ``type
-errors''
-@cindex type error
- (e.g., using a string identifier to
-initialize a @code{\paper}@keyindex{paper} block) will yield a ``parse
-error''.
-
-Identifiers allow objects to be assigned to names. 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{Mudela} file. Semicolons are forbidden after assignments
-appearing at top level but they are obligatory after assignments
-appearing in the @code{\paper} block, see Section @xref{paper}.
-
-@var{value} is any of the types listed above.
-
-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.
-
-@quotation
-
- @code{foo = \foo * 2.0}
-@end quotation
-
-When an identifier is referenced, the information it points to is
-copied. Therefore it only makes sense to put identifiers for
-translators, output definitions, and @code{\score}@keyindex{score}
-blocks as the first item in a block. For this reason, if you
-reference a @code{\foo} variable in a @code{\foo} block, it must be the
-first item in the list following @code{\foo}.@footnote{@code{\paper@{\one
-\two@}} does not make sense, because the information of @code{\two}
-would overwrite the information of @code{\one}, thereby making the
-reference to the first identifier useless.}
-
-
-
-@node Music expressions, Atomic music expressions, Types, LilyPond 1-2-0 Reference Manual
-@section Music expressions
-
-@cindex music expressions
-
-Music in @emph{Mudela} 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:
-
-@quotation
-
- @example
-\sequential @{ c4 d4 @}
-@end example
-
-@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).
-
-Atomic music expression are discussed in
-subsection @xref{atomicmusic}. Compound music expressions are
-discussed in subsection @xref{compoundmusic}.
-
-
-
-@node Atomic music expressions, atomicmusic, Music expressions, LilyPond 1-2-0 Reference Manual
-@section Atomic music expressions
-@node atomicmusic, notedesc, Atomic music expressions, LilyPond 1-2-0 Reference Manual
-
-
-
-@cindex pitch
-
-@cindex duration
-
-
-The syntax for pitch specification is
-
-@quotation
-
- @code{\musicalpitch}@keyindex{musicalpitch}
- @code{@{} @var{octave} @var{note} @var{shift} @code{@}}
-@end quotation
-
-@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.
-
-In Note and Chord mode, pitches may be designated by names. See
-section @xref{notelang} for pitch names in different languages.
-
-The syntax for duration specification is
-
-@quotation
-
- @code{\duration}@keyindex{duration}
- @code{@{} @var{length} @var{dotcount} @code{@}}
-@end quotation
-
-@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}.
-
-In Note, Chord, and Lyrics mode, durations may be designated by
-numbers and dots. See Section @xref{notelang} for details.
-
-
-@node notedesc, barlines, atomicmusic, LilyPond 1-2-0 Reference Manual
-
-@cindex note specification
-
-@cindex pitches
-
-@cindex entering notes
-
-A note specification has the form
-
-@quotation
-
- @var{pitch}[@var{octavespec}][@code{!}][@code{?}][@var{duration}]
-@end quotation
-
-The pitch of the note is specified by the note's name.
-
-
-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 Dutchcindex(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 @xref{notelang} for details.
-
-
-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
-octave; each @code{,} lowers the pitch by an octave.
-
-@mudela[fragment,verbatim,center]
- c' d' e' f' g' a' b' c''
-@end mudela
-
-@mudela[fragment,verbatim,center]
- cis' dis' eis' fis' gis' ais' bis'
-@end mudela
-
-@mudela[fragment,verbatim,center]
- ces' des' es' fes' ges' as' bes'
-@end mudela
-
-@mudela[fragment,verbatim,center]
- cisis' eisis' gisis' aisis' beses'
-@end mudela
-
-@mudela[fragment,verbatim,center]
- ceses' eses' geses' ases' beses'
-@end mudela
-
-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
-@cindex reminder accidental
- 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.
-
-@mudela[fragment,verbatim,center]
- cis' d' e' cis' c'? d' e' c'!
-@end mudela
-
-
-@cindex duration
-
-Durations are entered as their reciprocal values. For notes longer
-than a whole note, use identifiers.
-
-@quotation
-
-@example
-c'\longa c'\breve
-c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
-@end example
-
-@end quotation
-
-@quotation
-
-@mudela[]
-\score {
- \notes \relative c'' {
- a\longa a\breve
- a1 a2 a4 a8 a16 a32 a64 a64
- }
- \paper {
- loose_column_distance = 2.5 * \interline;
- linewidth = -1.0;
- \translator {
- \type "Score_engraver";
- \name "Score";
- \consists "Note_heads_engraver";
- \consists "Stem_engraver";
- \consists "Rhythmic_column_engraver";
- }
- }
-}
-@end mudela
-@end quotation
-
-@quotation
-
-@example
-r\longa r\breve
-r1 r2 r4 r8 r16 r32 r64 r64
-@end example
-
-@end quotation
-
-@quotation
-
-@mudela[]
-\score {
- \notes \relative c'' {
- r\longa r\breve
- r1 r2 r4 r8 r16 r32 r64 r64
- }
- \paper {
- loose_column_distance = 2.5 * \interline;
- linewidth = -1.0;
- \translator {
- \type "Score_engraver";
- \name "Score";
- \consists "Rest_engraver";
- \consists "Stem_engraver";
- \consists "Rhythmic_column_engraver";
- }
- }
-}
-@end mudela
-@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.
-
-@mudela[fragment,verbatim,center]
- a'4. b'4.
-@end mudela
-
-You can alter the length of duration by writing
-`@code{*}@var{fraction}' after it. This will not affect the
-appearance of note heads or rests.
-
-
-Rests are entered like notes, with note name `@code{r}@indexcode{r}',
-or `@code{R}@indexcode{R}'. There is also a note name `@code{s}@indexcode{s}',
-which produces a space of the specified duration.
-`@code{R}' is specifically meant for entering parts: the @code{R} rest
-can expand to fill a score with rests, or it can be printed as a
-single multimeasure rest.
-
-
-@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 @xref{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 @xref{lyricprint}.
-
-
-
-@cindex properties
-
-@quotation
-
- @code{\property}@keyindex{property}
- @var{contextname}@code{.}@var{propname} @code{=} @var{value}
-@end quotation
-
-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
-
-@quotation
-
- @code{\translator}@keyindex{translator}
- @var{contexttype} = @var{name}
-@end quotation
-
-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.
-
-@quotation
-
- @code{\translator Staff = top} @var{Music}
-@end quotation
-
-
-
-@cindex commands
-
-Commands are music expressions that have no duration.
-
-
-@quotation
-
- @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;}
-@end quotation
-
-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.
-
-@quotation
-
- @code{\keysignature}@keyindex{keysignature} @var{pitchseq} @code{;}
-@end quotation
-
-Specify an arbitrary key signature. The pitches from @var{pitch} will
-be printed in the key signature in the order that they appear on the
-list.
-
-
-@quotation
-
- @code{\mark}@keyindex{mark} @var{unsigned} @code{;} @*
- @code{\mark} @var{string} @code{;}
-@end quotation
-
-Prints a mark over or under (depending on the
-@code{markDirection}@indexcode{markDirection} property) the staff. You must add
-@code{Mark_engraver}@indexcode{Mark_engraver} to either the Score or Staff context for
-this to work.
-
-@node barlines, manualbeam, notedesc, LilyPond 1-2-0 Reference Manual
-
-@quotation
-
- @code{\bar}@keyindex{bar} @var{bartype} @code{;}
-@end quotation
-
-This is a request to print a special bar symbol. It replaces the
-regular bar symbol with a special
-symbol. The argument @var{bartype} is a string which specifies the
-kind of bar to print. Options are @code{":|"}
-@cindex "|A@@@code{:|}
-,
-@code{"|:"}
-@cindex "|B@@@code{|:}
-, @code{":|:"}
-@cindex "|C@@@code{:|:}
-,
-@code{"||"}
-@cindex "|D@@@code{||}
-, @code{"|."}
-@cindex "|E@@@code{|.}
-,
-@code{".|"}
-@cindex "|F@@@code{.|}
-, and @code{".|."}
-@cindex "|G@@@code{.|.}
-.
-These produce, respectively, a right repeat, a left repeat, a double
-repeat, a double bar, a start bar, an end bar, and a thick double
-bar. If @var{bartype} is set to @code{"empty"} then nothing is
-printed, but a line break is allowed at that spot.
-
-You are encouraged to use @code{\repeat} for repetitions.
-See section @xref{sec-repeats}.
-
-
-
-@quotation
-
- @code{\cadenza}@keyindex{cadenza} @var{togglevalue} @code{;}
-@end quotation
-
-Music expression that toggles the automatic generation of bar lines.
-If @var{togglevalue} is 1, bar line generation is turned off. If
-@var{togglevalue} is 0, a bar line is immediately printed and
-automatic bar generation is turned on.
-
-@quotation
-
- @code{\time}@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;}
-@end quotation
-
-Change the time signature. The default time signature is 4/4.
-The time signature is used to generate bar lines.
-
-@quotation
-
- @code{\tempo}@keyindex{tempo} @var{duration} = @var{perminute} @code{;}
-@end quotation
-
-Used to specify the tempo. For example, `@code{\tempo 4 = 76;}'
-requests output with 76 quarter notes per minute.
-
-@quotation
-
- @code{\partial}@keyindex{partial} @var{duration} @code{;}
-@end quotation
-
-@cindex anacrusis
-
-@cindex upstep
-
-This creates an incomplete measure (anacrusis, upbeat) at the start of
-the music, e.g., `@code{\partial 8*2;}' creates a starting measure
-lasting two eighth notes.
-
-@quotation
-
- @code{|}@indexcode{|}
-@cindex bar check
-
-@end quotation
-
-@cindex shorten measures
-
-@cindex upstep
-
-`@code{|}' is a barcheck. Whenever a barcheck 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.
-The beginning of the measure will be relocated, so this can also
-be used to shorten measures.
-
-
-@quotation
-
- @code{\penalty}@keyindex{penalty} @var{int} @code{;}
-@end quotation
-
-Discourage or encourage line breaks. See identifiers
-@code{\break}@keyindex{break} and @code{\nobreak}@keyindex{nobreak} in
-section @xref{ident}.
-
-@quotation
-
- @code{\clef}@keyindex{clef} @var{clefname} @code{;}
-@end quotation
-
-Music expression that sets the current clef. The argument is a
-string which specifies the name of the clef. Several clef names are
-supported. If `@code{_8}' or `@code{^8}' is added to the end of a clef
-name, then the clef lowered or raised an octave will be generated.
-Here are the supported clef names with middle C shown in each
-clef:
-
-@quotation
-
-@mudela[]
-\score {
- \notes {
- \cadenza 1;
- %\property Voice.textStyle = typewriter
- \clef subbass; c'4-"\kern -5mm subbass"
- \clef bass; c'4^"\kern -2mm bass"
- \clef baritone; c'4_"\kern -5mm baritone"
- \clef varbaritone; c'4^"\kern -6mm varbaritone"
- \clef tenor; c'4_"\kern -3mm tenor"
- \clef "G_8"; c'4^"\kern -2mm G\\_8"
- }
- \paper {
- linewidth = 4.5 \in;
- }
-}
-@end mudela
-@end quotation
-
-@quotation
-
-@mudela[]
-\score {
- \notes {
- \cadenza 1;
- \clef alto; c'4_"\kern -2mm alto"
- \clef mezzosoprano; c'4^"\kern -9mm mezzosoprano"
- \clef soprano; c'4_"\kern -6mm soprano"
- \clef treble; c'4^"\kern -4mm treble"
- \clef french; c'4_"\kern -4mm french"
- }
- \paper {
- linewidth = 4.5 \in;
- }
-}
-@end mudela
-@end quotation
-
-The three clef symbols can also be obtained using the names `@code{G}',
-`@code{C}' or `@code{F}', optionally followed by an integer which
-indicates at which note line the clef is located. An as example, the
-@code{mezzosoprano} clef can also be given as `@code{C2}'.
-
-@quotation
-
- @code{\skip}@keyindex{skip} @var{duration} @code{;}
-@end quotation
-
-Skips the amount of time specified by @var{duration}. If no other
-music is played, a gap will be left for the skipped time with no
-notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
-this has the same effect as the space rest `@code{s}'.
-
-
-@cindex beams
-
-@node manualbeam, tremolo, barlines, LilyPond 1-2-0 Reference Manual
-
-A beam is specified by surrounding the beamed notes with brackets
-`@code{[}@indexcode{[}' and `@code{]}@indexcode{]}'.
-
-@mudela[fragment,verbatim,center]
- [a'8 a'] [a'16 a' a' a']
-@end mudela
-
-Some more elaborate constructions:
-
-@mudela[fragment,verbatim,center]
- [a'16 <a' c''> c'' <a' c''>]
- \times 2/3 { [e'8 f' g'] }
-@end mudela
-
-Beaming can be generated automatically; see section @xref{autobeam}.
-
-To place tremolo marks
-@cindex tremolo beams
- between two notes, begin
-with `@code{[:}@var{length}' and end with `@code{]}'. Tremolo marks
-will appear instead of beams. Putting more than two notes in such a
-construction will produce odd effects. To create tremolo beams on a
-single note, simply attach `@code{:}@var{length}' to the note itself
-(see also section @xref{tremolo}).
-
-@mudela[fragment,verbatim,center]
- [:16 e'1 g'] [:8 e'4 f']
-@end mudela
-
-@mudela[fragment,verbatim,center]
- c'4:32 [:16 c'8 d'8]
-@end mudela
-
-
-@cindex --@@@code{-}@code{-}
-
-@indexcode{__}
-
-@cindex extender
-
-@cindex hyphen
-
-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 ties
-
-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.
-
-@mudela[fragment,verbatim,center]
- e' ~ e' <c' e' g'> ~ <c' e' g'>
-@end mudela
-
-
-
-[TODO: explain Requests]
-
-
-@cindex articulations
-
-@cindex scripts
-
-@cindex ornaments
-
-A variety of symbols can appear above and below notes to indicate
-different characteristics of the performance. These symbols can be
-added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
-are defined in @file{script.ly} and @file{script.scm}. Symbols can be
-forced to appear above or below the note by writing
-`@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
-respectively. Here is a chart showing symbols above notes, with the
-name of the corresponding symbol appearing underneath.
-
-@mudela[]
-
- \score {
- < \notes {
- c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
- c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
- c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
- c''-\rtoe c''-\turn c''-\open c''-\flageolet
- c''-\reverseturn c''-\trill c''-\prall c''-\mordent
- c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
- c''-\thumb c''-\segno c''-\coda
- }
- \context Lyrics \lyrics {
- accent__ marcato__ staccatissimo__ fermata
- stopped__ staccato__ tenuto__ upbow
- downbow__ lheel__ rheel__ ltoe
- rtoe__ turn__ open__ flageolet
- reverseturn__ trill__ prall__ mordent
- prallprall__ prallmordent__ uprall__ downprall
- thumb__ segno__ coda
- }
- >
- \paper {
- linewidth = 5.875\in;
- indent = 0.0;
- }
- }
-
-@end mudela
-
-In addition, it is possible to place arbitrary strings of text or
-TeX above or below notes by using a string instead of an
-identifier: `@code{c^"text"}'. Fingerings
-@cindex fingering
- can be
-placed by simply using digits. All of these note ornaments appear in
-the printed output but have no effect on the MIDI rendering of the
-music.
-
-To save typing, fingering instructions (digits 0 to 9 are
-supported) and single characters shorthands exist for a few
-common symbols
-
-@mudela[]
-
- \score {
- \notes {
- \property Voice.textStyle = typewriter
- c''4-._"c-." s4
- c''4--_"c-{}-" s4
- c''4-+_"c-+" s4
- c''4-|_"c-|" s4
- c''4->_"c->" s4
- c''4-^_"c-\\^{ }" s4
- c''4-1_"c-1" s4
- c''4-2_"c-2" s4
- c''4-3_"c-3" s4
- c''4-4_"c-4" s4
- }
- \paper {
- linewidth = 5.875 \in;
- indent = 0.0;
- }
- }
-
-@end mudela
-
-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}.
-
-
-@quotation
-
- @code{\textscript}@keyindex{textscript} @var{text} @var{style}
-@end quotation
-
-Defines a text to be printed over or under a note. @var{style} is a
-string that may be one of @code{roman}, @code{italic}, @code{typewriter},
-@code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.
-
-You can attach a general textscript request using this syntax:
-
-@quotation
-
-@example
-c4-\textscript "6" "finger"
-c4-\textscript "foo" "normal"
-@end example
-
-@end quotation
-
-This is equivalent to `@code{c4-6 c4-"foo"}'.
-
-
-@cindex scripts
-
-@quotation
-
- @code{\script}@keyindex{script} @var{alias}
-@end quotation
-
-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
-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:
-
-@mudela[fragment,verbatim,center]
- f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
-@end mudela
-
-
-@cindex crescendo
-
-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.
-
-@mudela[fragment,verbatim,center]
- c'' \< \! c'' d'' \decr e'' \rced
- < f''1 { s4 \< \! s2 \> \! s4 } >
-@end mudela
-
-
-@quotation
-
- @code{\spanrequest}@keyindex{spanrequest} @var{startstop} @var{type}
-@end quotation
-
-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 attach a (general) span request to a note using
-
-@mudela[fragment,verbatim,center]
- c'4-\spanrequest \start "slur"
- c'4-\spanrequest \stop "slur"
-@end mudela
-
-The slur syntax with parentheses is a shorthand for this.
-
-
-
-@cindex tremolo marks
-
-@node tremolo, Compound music expressions, manualbeam, LilyPond 1-2-0 Reference Manual
-
-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{abbrev}@indexcode{abbrev} property if there was
-no last value.
-
-@mudela[verbatim,fragment,center]
- c'2:8 c':32
-@end mudela
-
-
-
-@node Compound music expressions, compoundmusic, tremolo, LilyPond 1-2-0 Reference Manual
-@section Compound music expressions
-
-@cindex compound music expressions
-
-@node compoundmusic, relative, Compound music expressions, LilyPond 1-2-0 Reference Manual
-
-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:
-
-@mudela[fragment,verbatim,center]
- \notes \context Staff {
- \cadenza 1;
- <a c'> <b d' > <c' e' >
- <{a b c'}{c' d' e'}>
- }
-@end mudela
-
-
-
-@cindex context selection
-
-@quotation
-
- @code{\context}@keyindex{context}
- @var{contexttype} [@code{=} @var{contextname}] @var{musicexpr}
-@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. See
-section @xref{contextselection} and @xref{contextdefs} for more
-information on interpretation contexts.
-
-
-
-@cindex input modes
-
-@cindex mode switch
-
-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 section @xref{modes} for more
-information on modes.
-
-More information on context selection can be found in
-section @xref{contextselection}.
-
-
-
-@cindex sequential music
-
-
-
-@quotation
-
- @code{\sequential}@keyindex{sequential}
- @code{@{} @var{musicexprlist} @code{@}}
-@end quotation
-
-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:
-
-@quotation
-
- @code{@{} @var{musicexprlist} @code{@}}
-@end quotation
-
-
-
-@cindex simultaneous music
-
-@indexcode{<}
-@indexcode{>}
-
-@quotation
-
- @code{\simultaneous}@keyindex{simultaneous}
- @code{@{} @var{musicexprlist} @code{@}}
-@end quotation
-
-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:
-
-@quotation
-
- @code{<} @var{musicexprlist} @code{>}
-@end quotation
-
-If you try to use a chord as the first thing in your score, you might
-get multiple staffs instead of a chord.
-
-@mudela[verbatim,center]
- \score {
- \notes <c''4 e''>
- \paper {
- linewidth = -1.;
- }
- }
-@end mudela
-
-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:
-
-@mudela[verbatim,center]
- \score {
- \notes\context Voice <c''4 e''>
- \paper {
- linewidth = -1.;
- }
- }
-@end mudela
-
-
-
-@cindex relative pitch specification
-
-@node relative, sec-repeats, compoundmusic, LilyPond 1-2-0 Reference Manual
-
-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.
-
-@quotation
-
- @code{\relative}@keyindex{relative} @var{startpitch} @var{musicexpr}
-@end quotation
-
-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.
-
-@mudela[fragment,verbatim,center]
- \relative c' {
- c d e f g a b c c,
- }
-@end mudela
-
-And octave changing marks are used for intervals greater than a fourth.
-
-@mudela[fragment,verbatim,center]
- \relative c'' {
- c g c f, c' a, e'' }
-@end mudela
-
-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.
-
-@mudela[fragment,verbatim,center]
- \relative c' {
- c <c e g>
- <c' e g>
- <c, e' g>
- }
-@end mudela
-
-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}.
-
-It is strongly recommended to use relative pitch mode: less work,
-less error-prone, and more readable.
-
-
-
-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 @xref{modes}).
-
-@quotation
-
- @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}].
-@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{.}').
-
-@quotation
-
-@mudela[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
- }
-}
-
-@end mudela
-@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.
-
-@quotation
-
-@mudela[fragment,verbatim]
-\transpose c'' {
- \chords {
- c1-m c-min7 c-maj c-aug c-dim c-sus
- }
-}
-
-@end mudela
-@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.
-
-@mudela[fragment,verbatim,center]
- \transpose c'' {
- \chords {
- c1^3 c-7^5.3 c-8^7
- }
- }
-@end mudela
-
-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.
-
-@mudela[fragment,verbatim,center]
- \transpose c''' {
- \chords {
- c1 c/e c/g c-7/e
- }
- }
-
-@end mudela
-
-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.
-
-@quotation
-
- @code{\times}@keyindex{times} @var{fraction} @var{musicexpr}
-@end quotation
-
-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:
-
-@mudela[fragment,verbatim,center]
- g'4 \times 2/3 {c'4 c' c'} d'4 d'4
-@end mudela
-
-
-
-@cindex grace notes
-
-@quotation
-
- @code{\grace}@keyindex{grace} @var{musicexpr}
-@end quotation
-
-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}.
-
-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{stemStyle}@indexcode{stemStyle} property.
-
-@quotation
-
-@mudela[fragment,verbatim]
-\relative c'' {
- \grace c8 c4 \grace { [c16 c16] } c4
- \grace { \property Grace.stemStyle = "" c16 } c4
-}
-
-@end mudela
-@end quotation
-
-At present, nesting @code{\grace}@keyindex{grace} notes, e.g.
-
-@quotation
-
- @code{\grace @{ \grace c32 c16 @} c4}
-@end quotation
-
-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.
-
-
-
-@cindex repeats
-
-@node sec-repeats, transpose, relative, LilyPond 1-2-0 Reference Manual
-
-In order to specify repeats, use the @code{\repeat}@keyindex{repeat}
-keyword. Since repeats look and sound differently when played or
-printed, there are a few different variants of repeats.
-
-@table @samp
- @item unfolded @*
- Repeated music is fully written (played) out. Useful for MIDI
- output.
-
- @item volta @*
- This is the normal notation: Repeats are not written out, but
- alternative endings (voltas) are printed, left to right.
-
- @item folded @*
- Alternative endings are written stacked, which is useful for
- lyrics.
-@end table
-
-The syntax for repeats is
-
-@quotation
-
- @code{\repeat} @var{variant} @var{repeatcount} @var{repeatbody}
-@end quotation
-
-If you have alternative endings, you may add
-
-@quotation
-
- @code{\alternative}@keyindex{alternative}
- @code{@{} @var{alternative1}
- @var{alternative2}
- @var{alternative3} ... @code{@}}
-@end quotation
-
-where each @var{alternative} is a Music expression.
-
-Normal notation repeats are used like this:
-
-@quotation
-
-@mudela[fragment,verbatim]
- c'1
- \repeat volta 2 { c'4 d' e' f' }
- \repeat volta 2 { f' e' d' c' }
-
-@end mudela
-@end quotation
-
-With alternative endings:
-
-@quotation
-
-@mudela[fragment,verbatim]
- c'1
- \repeat volta 2 {c'4 d' e' f'}
- \alternative { {d'2 d'} {f' f} }
-
-@end mudela
-@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
-
-@mudela[fragment,verbatim]
- c'1
- \repeat fold 2 {c'4 d' e' f'}
- \alternative { {d'2 d'} {f' f} }
-
-@end mudela
-@end quotation
-
-@quotation
-
-@mudela[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 mudela
-@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
-
-@mudela[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 mudela
-@end quotation
-
-It is possible to nest @code{\repeat}. This is not entirely
-supported: the notes will come be in the right places, but the repeat
-bars will not.
-
-
-
-@cindex transposition of pitches
-
-@node transpose, Ambiguities, sec-repeats, LilyPond 1-2-0 Reference Manual
-
-A music expression can be transposed with
-@code{\transpose}@keyindex{transpose}. The syntax is
-
-@quotation
-
- @code{\transpose} @var{pitch} @var{musicexpr}
-@end quotation
-
-This means that middle C in @var{musicexpr} is transposed to
-@var{pitch}.
-
-@code{\transpose} distinguishes between enharmonic pitches: both
-@code{\transpose cis'} or @code{\transpose des'} will transpose up half
-a tone. The first version will print sharps and the second version
-will print flats.
-
-@quotation
-
-@mudela[fragment,verbatim]
-\context Staff {
- \clef "F";
- { \key e; c d e f }
- \clef "G";
- \transpose des'' { \key e; c d e f }
- \transpose cis'' { \key e; c d e f }
-}
-
-@end mudela
-@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
-
-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
-
-@quotation
-
- @code{\addlyrics} @var{musicexpr1 musicexpr2}
-@end quotation
-
-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
-
-@mudela[verbatim,fragment]
-\addlyrics
-\transpose c'' {
- \property Voice.automaticMelismata = "1"
- c8 () cis d8. e16 f2
-}
-\context Lyrics \lyrics {
- do4 re mi fa }
-
-@end mudela
-@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
-
-@mudela[verbatim,fragment]
-\addlyrics
-\transpose c'' {
- c8 () cis d8. e16 f2
-}
-\context Lyrics \lyrics
-< { do4 re mi fa }
- { do8 re mi fa } >
-
-@end mudela
-@end quotation
-
-It is valid (but probably not very useful) to use notes instead of
-lyrics for @var{musicexpr2}.
-
-
-
-
-@node Ambiguities, Notation conversion specifics, transpose, LilyPond 1-2-0 Reference Manual
-@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
-
- @quotation
-
- @example
-foo = bar
-@end example
-
- @end quotation
-
- 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
-
- @quotation
-
- @example
-foo = -6
-@end example
-
- @end quotation
-
- 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 ...
-\repeat ...
-\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, autobeam, Ambiguities, LilyPond 1-2-0 Reference Manual
-@section Notation conversion specifics
-
-
-
-@cindex automatic beam generation
-
-@node autobeam, lyricprint, Notation conversion specifics, LilyPond 1-2-0 Reference Manual
-
-By default, LilyPond will generate beams automatically. This feature
-can be disabled by setting the @code{Voice.noAutoBeaming}@indexcode{Voice.noAutoBeaming}
-property to 1. It can be overridden for specific cases by
-specifying explicit beams as described in
-section @xref{manualbeam}.
-
-A large number of Voice properties are used to decide how to generate
-beams. Their default values appear in @file{auto-beam-settings.ly}.
-In general, beams can begin anywhere, but their ending location is
-significant. Beams can end on a beat, or at durations specified by
-the @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} property. To end beams every
-quarter note, for example, you could set
-@code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} equal to `@code{"1/4"}'. To end beams
-at every three eighth notes you would set it to `@code{"3/8"}'. The
-same syntax can be used to specify beam starting points using
-@code{Voice.beamAutoBegin}@indexcode{Voice.beamAutoBegin}.
-
-To allow different settings for different time signatures, these
-property names can start with `@code{time}@var{N}@code{_}@var{M}' to
-restrict the definition to `@var{N}@code{/}@var{M}' time. For example,
-to specify beams ending only for 6/8 time you would use the
-property @code{Voice.time6_8beamAutoEnd}. To allow different endings
-for notes of different durations, the duration can be tacked onto the
-end of the property. To specify beam endings for beams that contain
-32nd notes, you would use @code{Voice.beamAutoEnd_32}.
-
-
-
-@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
-
-@mudela[fragment,verbatim]
-<
- \context ChordNames {
- \chords{a b c} \notes{<d f g> <e g b>}
- }
- \context Staff \notes {
- a b c' d' e'
- }
->
-
-@end mudela
-@end quotation
-
-LilyPond examines chords specified as lists of notes to determine a
-name to give the chord. By default, LilyPond will not try to
-identify chord inversions:
-
-@mudela[fragment,verbatim,center]
- <
- \context ChordNameVoice \notes {
- <e'1 g' c''>
- }
- \context Thread \notes {
- <e'1 g' c''>
- }
- >
-@end mudela
-
-If you want inversions to be recognized, you must set the property
-@code{ChordNames.chordInversion}@indexcode{ChordNames.chordInversion}:
-
-@mudela[fragment,verbatim,center]
- <
- \property Score.chordInversion = 1
- \context ChordNameVoice \notes {
- <e'1 g' c''>
- }
- \context Thread \notes {
- <e'1 g' c''>
- }
- >
-@end mudela
-
-
-
-@cindex lyrics
-
-@cindex printing!lyrics
-
-@node lyricprint, Notation Contexts, autobeam, LilyPond 1-2-0 Reference Manual
-
-Lyric syllables must be interpreted within a @code{Lyrics} context
-
-@cindex context!Lyrics
- for printing them.
-
-Here is a full example:
-
-@quotation
-
-@mudela[verbatim]
-\score {
- <
- \notes \transpose c'' {
- c d e c | c d e c |
- e f g2 | e4 f g2 \bar "|.";
- }
- \context Lyrics \lyrics {
- Va-4 der Ja- cob Va- der Ja- cob
- Slaapt gij nog?2 Slaapt4 gij nog?2
- }
- >
-}
-
-@end mudela
-@end quotation
-
-You may want a continuous line after the syllables to show melismata.
-To achieve this effect, add a `@code{__}' lyric as a separate word
-after the lyric to be extended. This will create an extender, a line
-that extends over the entire duration of the lyric. This line will
-run all the way to the start of the next lyric, so you may want to
-shorten it by using a blank lyric (using `@code{_}').
-
-@quotation
-
-@mudela[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 mudela
-@end quotation
-
-
-If you want to have hyphens centered between syllables (rather than
-attached to the end of the first syllable) you can use the special
-`@code{-}@code{-}' lyric as a separate word between syllables. This
-will result in a hyphen which length varies depending on the space
-between syllables, and which will be centered between the syllables.
-For example:
-
-@quotation
-
-@mudela[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 mudela
-@end quotation
-
-
-
-@node Notation Contexts, contextselection, lyricprint, LilyPond 1-2-0 Reference Manual
-@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:
-
-@quotation
-
- @example
-\score @{ \notes < c4 > @}
-@end example
-
-@end quotation
-
-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.
-
-
-@node contextselection, Notation output definitions, Notation Contexts, LilyPond 1-2-0 Reference Manual
-
-@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
-
-@mudela[verbatim]
-\score {
- \notes \relative c'' {
- c4 <d4 \context Staff = "another" e4> f
- }
-}
-
-@end mudela
-@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
-
-@quotation
-
- @code{\keyword} @var{musicexpr1} @var{musicexpr2} ...
-@end quotation
-
-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:
-
-@mudela[]
-
- \score {
- \notes \relative c'' {
- <c4> <d4> <e4>
- }
- }
-
-@end mudela
-
-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}.
-
-
-
-These are the contexts supplied with the package. They are defined
-in the initialization file @file{ly/engraver.ly}.
-
-@table @samp
- @item @code{Grace}@indexcode{Grace} @*
- The context for handling grace notes. It is instantiated
- automatically when you use @code{\grace}. Basically, it is an
- `embedded' miniature of the Score context. Since this context
- needs special interaction with the rest of LilyPond, you should
- not explicitly instantiate it.
-
- @item @code{LyricVoice}@indexcode{LyricVoice} @*
- Corresponds to a voice with lyrics. Handles the printing of a
- single line of lyrics.
-
- @item @code{Thread}@indexcode{Thread} @*
- Handles note heads, and is contained in the Voice context. You
- have to instantiate this explicitly if you want to adjust the
- style of individual note heads.
-
- @item @code{Voice}@indexcode{Voice} @*
- Corresponds to a voice on a staff. This context handles the
- conversion of dynamic signs, stems, beams, super- and subscripts,
- slurs, ties, and rests.
-
- You have to instantiate this explicitly if you want to have
- multiple voices on the same staff.
-
- @item @code{ChordNamesVoice}@indexcode{ChordNamesVoice} @*
- A voice with chord names. Handles printing of a line of chord
- names.
-
- @item @code{ChordNames}@indexcode{ChordNames} @*
- Typesets chord names. Can contain @code{ChordNamesVoice}
- contexts.
-
- @item @code{Lyrics}@indexcode{Lyrics} @*
- Typesets lyrics. It can contain @code{LyricVoice} contexts.
-
- @item @code{Staff}@indexcode{Staff} @*
- Handles clefs, bar lines, keys, accidentals. It can contain
- @code{Voice} contexts.
-
- @item @code{RhythmicStaff}@indexcode{RhythmicStaff} @*
- A context like @code{Staff} but for printing rhythms. Pitches are
- ignored; the notes are printed on one line. It can contain
- @code{Voice} contexts.
-
- @item @code{GrandStaff}@indexcode{GrandStaff} @*
- Contains @code{Staff} or @code{RhythmicStaff} contexts. It adds a
- brace on the left side, grouping the staffs together. The bar
- lines of the contained staffs are connected vertically. It can
- contain @code{Staff} contexts.
-
- @item @code{PianoStaff}@indexcode{PianoStaff} @*
- Just like @code{GrandStaff} but with @code{minVerticalAlign} set
- equal to @code{maxVerticalAlign} so that interstaff beaming and
- slurring can be used.
-
- @item @code{StaffGroup}@indexcode{StaffGroup} @*
- Contains @code{Staff} or @code{RhythmicStaff} contexts. Adds a
- bracket on the left side, grouping the staffs together. The bar
- lines of the contained staffs are connected vertically. It can
- contain @code{Staff}, @code{RhythmicStaff}, @code{GrandStaff}, or
- @code{Lyrics} contexts.
-
- @item @code{ChoirStaff}@indexcode{ChoirStaff} @*
- Identical to @code{StaffGroup} except that the contained staffs
- are not connected vertically.
-
- @item @code{Score}@indexcode{Score} @*
- This is the top level notation context. No other context can
- contain a @code{Score} context. This context handles the
- administration of time signatures. It also makes sure that items
- such as clefs, time signatures, and key-signatures are aligned
- across staffs. It can contain @code{Lyrics}, @code{Staff},
- @code{RhythmicStaff}, @code{GrandStaff}, @code{StaffGroup}, and
- @code{ChoirStaff} contexts.
-
- You cannot explicitly instantiate a Score context (since it is
- not contained in any other context). It is instantiated
- automatically when an output definition (a @code{\score} or
- @code{\paper} block) is processed.
-@end table
-
-
-
-Properties that are set in one context are inherited by all of the
-contained contexts. This means that a property valid for the
-@code{Voice} context can be set in the @code{Score} context (for
-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
-
-@quotation
-
- @var{propname} @code{=} @var{value}
-@end quotation
-
-This assignment happens before interpretation starts, so a
-@code{\property} expression will override any predefined settings.
-
-The @code{\property} expression will create any property you specify.
-There is no guarantee that a property will be used. So if you spell
-a property name wrong, there will be no error message.
-
-The property settings are used during the interpretation phase. They
-are read by the LilyPond modules where interpretation contexts are
-built of. These modules are called @emph{translators}. Translators for
-notation are called @emph{engravers}, and translators for sound are
-called @emph{performers}.
-
-The precise result of a property is determined by the implementation
-of the translator that reads them. Therefore, the result of a
-property can vary, since it is implementation and configuration
-dependent.
-
-In order to fully find out what properties are used, you must
-currently search the source code for calls to @code{get_property}.
-The rest of the section is devoted to an (incomplete) overview of
-available properties.
-
-
-@cindex properties!Lyrics
-
-@table @samp
- @item @code{textStyle}@indexcode{textStyle} @*
- Set the font for lyrics. The available font choices are
- @code{roman}, @code{italic}, @code{bold}, @code{large}, @code{Large},
- @code{typewriter}, and @code{finger}. The @code{finger} font can
- only display numbers. Note also that you must be careful when
- using @code{\property} in Lyrics mode, because of the way strings
- are parsed. Either put quotes around the arguments to
- @code{\property} or be sure to leave a space on both sides of the
- dot.
-@end table
-
-
-@cindex properties!Thread
-
-@table @samp
- @item @code{noteheadStyle}@indexcode{noteheadStyle} @*
- Selects type of note head. Choices are @code{cross},
- @code{diamond}, @code{harmonic}, @code{transparent}, and @code{""}.
- They are shown in that order below.
-
- @mudela[center]
-
- \score {
- \notes {
- \property Staff.barNonAuto = 1
- \property Voice.noteHeadStyle = cross
- a'
- \property Voice.noteHeadStyle = diamond
- a'
- \property Voice.noteHeadStyle = harmonic
- a'
- \property Voice.noteHeadStyle = transparent
- a'
- \property Voice.noteHeadStyle = ""
- a'
- }
- \paper {
- linewidth = -1.;
- }
- }
-
-@end mudela
-@end table
-
-@subsubheading Grace properties
-
-@cindex properties!Grace
-
-
-@table @samp
- @item @code{stemStyle}@indexcode{stemStyle} @*
- By default set to @code{"grace"} meaning that all unbeamed
- notes with flags are typeset with a slash through the flag.
- Setting to @code{""} gives standard flags.
-@end table
-
-
-@cindex properties!Voice
-
-@table @samp
- @item @code{abbrev}@indexcode{abbrev} @*
- Set length for tremolo to be used if no length is explicitly
- specified.
-
- @item @code{articulationScriptPadding}@indexcode{articulationScriptPadding}
- @*
- Determines the extra space added between articulation marks, such
- as staccato, tenuto, trill, up/down bow or fermata, and the
- closest staff line or note.
-
- @item @code{articulationScriptVerticalDirection}
- @indexcode{articulationScriptVerticalDirection} @*
- Determines the location of articulation marks. Set to @code{\up}
- to print marks above the staff; set to @code{\down} to print marks
- below the staff. This property does not override explicit
- directions marked with `@code{^}' or `@code{_}' in the mudela file.
-
- @item @code{noAutoBeaming}@indexcode{beamAuto} @*
- If set to 1 then beams are not generated automatically.
-
- @item @code{beamAutoEnd}@indexcode{beamAutoEnd} @*
- Specifies when automatically generated beams can end. See
- section @xref{autobeam}.
-
- @item @code{beamAutoBegin}@indexcode{beamAutoBegin} @*
- Specifies when automatically generated beams can start. See
- section @xref{autobeam}.
-
- @item @code{beamquantisation}@indexcode{beamquantisation} @*
- Set to @code{\none} for no quantization. Set to @code{\normal} to
- quantize position and slope. Set to @code{\traditional} to avoid
- wedges. These three settings are available via
- @code{\beamposfree}@keyindex{beamposfree},
- @code{\beamposnormal}@keyindex{beamposnormal}, and
- @code{\beampostraditional}@keyindex{beampostraditional}.
-
- @item @code{beamslopedamping}@indexcode{beamslopedamping} @*
- Set to @code{\none} for undamped beams. Set to @code{\normal} for
- damped beams. Set to @code{\infinity} for beams with zero slope.
- The identifiers
- @code{\beamslopeproportional}@keyindex{beamslopeproportional},
- @code{\beamslopedamped}@keyindex{beamslopedamped}, and
- @code{\beamslopezero}@keyindex{beamslopezero} each set the
- corresponding value.
-
- @item @code{dynamicDirection}@indexcode{dynamicDirection} @*
- Determines location of dynamic marks. Set to @code{\up} to print
- marks above the staff; set to @code{\down} to print marks below
- the staff.
-
- @item @code{dynamicStyle}@indexcode{dynamicStyle} @*
- Set the text style for dynamics.
-
- @item @code{fontSize}@indexcode{fontSize} @*
- Can be used to select smaller font sizes for music. The normal
- font size is 0, and the two smaller sizes are -1
- and -2.
-
- @item @code{forceHorizontalShift}@indexcode{forceHorizontalShift} @*
- Force horizontal shift for collision resolution. It overrides
- automatic collision resolution. The value is the shift amount
- expressed in @code{note_width}, as set in the paper section.
-
-@ignore
-
-TODO: explain this in refman.
-
-horizontalNoteShift does not set shifting itself.
-
-Notes that are likely to collide, are grouped into a Collision
-object. Colliding notes within the collision are then grouped based
-on their stem direction and horizontalNoteShift setting, like this:
-
- |
- | |
- 0u | |
- 1u |
- 2u
-
-
- 2d
- | 1d
- | | 0d
- | |
- |
-
-(0,1,2, .. = horizontalNoteShift value. u,d = stem up / stem down)
-
-Only then the seperate groups are shifted horizontally. When
-collision is done with this shifting, any forceHorizontalShift
-settings will override the default shifts.
-
-
-This scheme makes sense, because you only have to set
-horizontalNoteShift once in each voice. (Otherwise you'd have to set
-and unset it for each collision in a score.)
-@end ignore
-
-
- @item @code{horizontalNoteShift}@indexcode{horizontalNoteShift} @*
- Enable LilyPond to shift notes horizontally if they collide with
- other notes. This is useful when typesetting many voices on one
- staff. The identifier @code{\shift}@keyindex{shift} is defined to
- enable this. Traditionally, the outer chords (the upmost and
- downmost voices), should have no @code{horizontalNoteShift}.
-
- @item @code{markScriptPadding}@indexcode{markScriptPadding} @*
- Determines the extra space added between the mark and the closest
- staff line or note.
-
- @item @code{markDirection}@indexcode{markDirection} @*
- Determines if marks should be printed above or below the staff.
- Set to @code{\up} to print marks above the staff; set to
- @code{\down} to print marks below the staff.
-
- @item @code{midiInstrument}@indexcode{midiInstrument} @*
- Sets the instrument for MIDI output. If this property is not set
- then LilyPond will use the @code{instrument} property. This must
- be set to one of the strings on the list of MIDI instruments that
- appears in section @xref{midilist}. If you use a string which
- is not listed, LilyPond will silently substitute piano.
-
- @item @code{oldTieBehavior}@indexcode{oldTieBehavior} @*
- Set to 1 in order to get old tie behavior where ties would
- connect unequal pitches. This property is deprecated, and its
- use is not recommended.
-
- @item @code{restStyle}@indexcode{restStyle} @*
- Change the layout of rests shorter than quarter notes.
- Currently, the standard layout @code{""} and mensural notation
- @code{"mensural"} are available. Mensural rests of duration
- 32 or shorter are not available.
-
- @item @code{scriptHorizontal}@indexcode{scriptHorizontal} @*
- Put scripts left or right of note heads. Support for this is
- limited. Accidentals will collide with scripts.
-
- @item @code{slurVerticalDirection}@indexcode{slurVerticalDirection} @*
- Set to @code{\free} for free choice of slur direction, set to
- @code{\up} to force slurs up, set to @code{\down} to force slurs
- down. The shorthands @code{\slurup}@keyindex{slurup},
- @code{\slurdown}@keyindex{slurdown}, and
- @code{\slurboth}@keyindex{slurboth} are available.
-
- @item @code{slurDash}@indexcode{slurDash} @*
- Set to 0 for normal slurs, 1 for dotted slurs, and a
- larger value for dashed slurs. Identifiers
- @code{\slurnormal}@keyindex{slurnormal} and
- @code{\slurdotted}@keyindex{slurdotted} are predefined to set the
- first two settings.
-
-@item @code{stemLength}@indexcode{stemLength} @*
- Set length of stems. Unit is `@code{interline}/2', so
- @code{stemLength} defaults to 7.
-
- @item @code{stemLeftBeamCount}@indexcode{stemLeftBeamCount} @*
- Specify the number of beams to draw on the left side of the next
- note. Overrides automatic beaming. The value is only used once,
- and then it is erased.
-
- @item @code{stemRightBeamCount}@indexcode{stemRightBeamCount} @*
- Specify the number of beams to draw on the right side of the next
- note. Overrides automatic beaming. The value is only used once,
- and then it is erased.
- @item @code{tieVerticalDirection}@indexcode{tieVerticalDirection} @*
- Set to @code{\free} for free choice of tie direction, set to
- @code{\up} to force ties up, set to @code{\down} to force ties
- down.
-
- @item @code{transposing}@indexcode{transposing} @*
- Transpose the MIDI output. Set this property to the number of
- half-steps to transpose by.
-
-
- @item @code{textEmptyDimension}@indexcode{textEmptyDimension} @*
- If set to 1 then text placed above or below the staff is
- assumed to have zero width.
-
- @item @code{textStyle}@indexcode{textStyle} @*
- Set the text style for superscripts and subscripts. See above
- for list of text styles.
-
- @item @code{textScriptPadding}@indexcode{textScriptPadding} @*
- Determines the extra space added between superscripted resp.
- subscripted text and the closest staff line or note.
-
- @item @code{verticalDirection}@indexcode{verticalDirection} @*
- Determines the direction of stems, subscripts, beams, slurs, and
- ties. Set to @code{\down} to force them down, @code{\up} to force
- them up, or @code{\free} to let LilyPond decide. This can be used
- to distinguish between voices on the same staff. The
- @code{\stemdown}@keyindex{stemdown}, @code{\stemup}@keyindex{stemup},
- and @code{\stemboth}@keyindex{stemboth} identifiers set this
- property.
-
-
- @item @code{tupletDirection}@indexcode{tupletDirection} @*
- Determines the direction of triplets and other tuplets. Set to
- @code{\down} to force them below the staff, @code{\up} to force
- them above, or @code{\free} to let LilyPond decide.
-
- @item @code{tupletVisibility}@indexcode{tupletVisibility} @*
- Determines whether tuplets of notes are labelled. Setting
- to 0 shows nothing; setting to 1 shows a number;
- setting to 2 shows a number and a bracket if there is no
- beam; setting to 3 shows a number, and if there is no beam
- it adds a bracket; setting to 4 shows both a number and a
- bracket unconditionally.
-
-@end table
-
-@subsubheading Staff properties
-
-@cindex properties!Staff
-
-@table @samp
-
- @item @code{barNonAuto}@indexcode{barNonAuto} @*
- If set to 1 then bar lines will not be printed
- automatically; they must be explicitly created with @code{\bar}
- keywords. Unlike with the @code{\cadenza} keyword, measures are
- still counted. Bar generation will resume according to that
- count if this property is set to zero.
-
- @item @code{barNumberDirection}@indexcode{barNumberDirection} @*
- Set to @code{\up} or @code{\down} to put bar numbers above or below
- the staff.
-
- @item @code{barNumberHangOnClef}@indexcode{barNumberHangOnClef} @*
- Set to 1 to cause bar numbers to appear above or below the
- clef instead of on the bar line. This property is deprecated.
- Do not use.
-
- @item @code{barNumberScriptPadding}@indexcode{barNumberScriptPadding} @*
- Sets extra space between the bar number and the bar it labels.
-
- @item @code{barSize}@indexcode{barSize} @*
- Specify the height of the bar lines if it should be different
- than the staff height.
-
- @item @code{barAtLineStart}@indexcode{barAtLineStart} @*
- Set to 1 to produce a bar line after the clef at the start
- of each line (but not at the beginning of the music).
-
- @item @code{clefStyle}@indexcode{clefStyle} @*
- Determines how clefs are typeset. If set to @code{transparent},
- the clefs are not printed at all, if set to
- @code{fullSizeChanges}, clef changes in the middle of a line are
- typeset with a full size clef. By default, clef changes are
- typeset in smaller size.
-
- @item @code{createKeyOnClefChange}@indexcode{createKeyOnClefChange} @*
- Set to a nonempty string if you want key signatures to be printed
- when the clef changes. Set to the empty string if you do not
- want key signatures printed.
-
- @item @code{createInitdefaultClef}@indexcode{createInitdefaultClef} @*
- Specify whether clefs are created on default? (Doesn't seem to
- do anything.)
-
- @item @code{defaultClef}@indexcode{defaultClef} @*
- Determines the default clef. See @code{\clef} keyword.
-
- @item @code{markHangOnClef}@indexcode{markHangOnClef} @*
- Set to 1 to cause marks to appear by clefs instead of by bar
- lines. Deprecated, use is not recommended.
-
- @item @code{marginDirection}@indexcode{marginDirection} @*
- Set to @code{\left} or @code{\right} to specify location of
- marginal scripts.
-
- @item @code{marginScriptPadding}@indexcode{marginScriptPadding} @*
- Specify extra space for marginal scripts.
-
- @item @code{forgetAccidentals}@indexcode{forgetAccidentals} @*
- Causes accidentals to be printed at every note instead of
- remembered for the duration of a measure.
-
- @item @code{noResetKey}@indexcode{noResetKey} @*
- Do not reset the key at the start of a measure. Accidentals will
- be printed only once and are in effect until overridden, possibly
- many measures later.
-
- @item @code{staffLineLeading}@indexcode{staffLineLeading} @*
- Specifies the distance (in points) between lines of the staff.
-
- @item @code{numberOfStaffLines}@indexcode{numberOfStaffLines} @*
- Specifies the number of staff lines. The default is 5.
-
- @item @code{postBreakPadding}@indexcode{postBreakPadding} @*
- Extra space in points to be added after the clef, time signature
- and key signature on the staff. Deprecated, do not use.
-
- @item @code{noVoltaBraces}@indexcode{noVoltaBraces} @*
- Set to true to suppress the printing of brackets over alternate
- endings specified by the command @code{\alternative}.
-
- @item @code{numberOfStaffLines}@indexcode{numberOfStaffLines} @*
- Sets the number of lines that the staff has.
-
- @item @code{barAlways}@indexcode{barAlways} @*
- If set to 1 a bar line is drawn after each note.
-
- @item @code{defaultBarType}@indexcode{defaultBarType} @*
- Sets the default type of bar line. See Section @xref{barlines}
- for a list of available bar types.
-
- @item @code{instrument}, @code{instr}
- @indexcode{instrument}@indexcode{instr} @*
- If @code{Staff_margin_engraver}
-@cindex Staff_margin_engraver
- is
- added to the Staff translator, then the @code{instrument} property
- is used to label the first line of the staff and the @code{instr}
- property is used to label subsequent lines. If the
- @code{midiInstrument} property is not set, then @code{instrument}
- is used to determine the instrument for MIDI output.
-
- @item @code{keyOctaviation}@indexcode{keyOctaviation} @*
- If set to 1, then keys are the same in all octaves. If set
- to 0 then the key signature for different octaves can be
- different and is specified independently:
-
- @quotation
-
- @code{\keysignature bes fis'}
- @end quotation
-
- The default value is 1. Can be set to zero with
- @code{\specialkey} or reset to 1 with @code{\normalkey}.
-
- @item @code{timeSignatureStyle}@indexcode{timeSignatureStyle} @*
- Changes the default two-digit layout for time signatures. The
- following values are recognized:
-
- @table @samp
- @item @code{C}@indexcode{C} @*
- 4/4 and 2/2 are typeset as C and struck C, respectively. All
- other time signatures are written with two digits.
-
- @item @code{old}@indexcode{old} @*
- 2/2, 3/2, 2/4, 3/4, 4/4, 6/4, 9/4, 4/8, 6/8 and 9/8 are
- typeset with old-style mensuration marks. All other time
- signatures are written with two digits.
-
- @item @code{1}@indexcode{1} @*
- All time signatures are typeset with a single
- digit, e.g. 3/2 is written as 3.
-
- @item @indexcode{CM/N}@code{C}@var{M}@code{/}@var{N},
- @indexcode{oldM/N}@code{old}@var{M}@code{/}@var{N} or
- @code{old6/8alt}@indexcode{old6/8alt} @*
- Tells LilyPond to use a specific symbol as time signature.
- @end table
-
- The different time signature characters are shown below with its
- names:
-
- @mudela[center]
-
- \score {
- \notes\relative c'' {
- \property Voice.textStyle = typewriter
- \property Staff.timeSignatureStyle = "C2/2"
- \time 2/2; a2^"C2/2" a2
- \property Staff.timeSignatureStyle = "C4/4"
- \time 2/2; a2^"C4/4" a2
- \property Staff.timeSignatureStyle = "old2/2"
- \time 2/2; a2^"old2/2" a2
- \property Staff.timeSignatureStyle = "old3/2"
- \time 2/2; a2^"old3/2" a2
- \property Staff.timeSignatureStyle = "old2/4"
- \time 2/2; a2^"old2/4" a2
- \property Staff.timeSignatureStyle = "old4/4"
- \time 2/2; a2^"old4/4" a2
- \property Staff.timeSignatureStyle = "old6/4"
- \time 2/2; a2^"old6/4" a2
- \property Staff.timeSignatureStyle = "old9/4"
- \time 2/2; a2^"old9/4" a2
- \property Staff.timeSignatureStyle = "old4/8"
- \time 2/2; a2^"old4/8" a2
- \property Staff.timeSignatureStyle = "old6/8"
- \time 2/2; a2^"old6/8" a2
- \property Staff.timeSignatureStyle = "old6/8alt"
- \time 2/2; a2^"old6/8alt" a2
- \property Staff.timeSignatureStyle = "old9/8"
- \time 2/2; a2^"old9/8" a2
- }
- \paper {
- linewidth = 4.5 \in;
- }
- }
-
-@end mudela
-
- @item @code{voltaSpannerDuration}@indexcode{voltaSpannerDuration} @*
- Set to an integer to control the size of the brackets printed by
- @code{\alternative}. The integer specifies the number of whole
- notes duration to use for the brackets. It is rounded to the
- nearest measure. This can be used to shrink the length of
- brackets in the situation where one alternative is very large.
- It may have odd effects if the specified duration is longer than
- the music given in an @code{\alternative}.
-@end table
-
-
-@cindex properties!GrandStaff
-
-@table @samp
- @item @code{alignmentReference}@indexcode{alignmentReference} @*
- Set to @code{\center} for vertical alignment reference point to be
- in the center of the vertical group. Set to @code{\up} to put the
- reference point at the top of the group.
-
- @item @code{maxVerticalAlign}@indexcode{maxVerticalAlign} @*
- Set the maximum vertical distance between staffs.
-
- @item @code{minVerticalAlign}@indexcode{minVerticalAlign} @*
- Set the minimum vertical distance between staffs.
-@end table
-
-
-@cindex properties!Score
-
-@table @samp
- @item @code{skipBars}@indexcode{skipBars} @*
- Set to 1 to skip the empty bars that are produced by
- multimeasure notes and rests. These bars will not appear on the
- printed output. Set to zero (the default) to expand multimeasure
- notes and rests into their full length, printing the appropriate
- number of empty bars so that synchronization with other voices is
- preserved.
-
- @quotation
-
-@mudela[fragment,verbatim,center]
-r1 r1*3 R1*3\property Score.skipBars=1 r1*3 R1*3
-
-@end mudela
- @end quotation
-
-@end table
-
-
-@cindex properties!ChordNamesVoice
-
-@table @samp
- @item @code{chordInversion}@indexcode{chordInversion} @*
- Determines whether LilyPond should look for chord inversions when
- translating from notes to chord names. Set to 1 to find
- inversions. The default is 0 which does not look for
- inversions.
-@end table
-
-
-
-@node Notation output definitions, output, contextselection, LilyPond 1-2-0 Reference Manual
-@section Notation output definitions
-
-@cindex output
-
-@cindex notation output
-
-@cindex output definition
-
-@node output, paper, Notation output definitions, LilyPond 1-2-0 Reference Manual
-
-@node paper, papervars, output, LilyPond 1-2-0 Reference Manual
-
-The most important output definition is the @code{\paper} block, for
-music notation. The syntax is
-
-@quotation
-
- @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
-@end quotation
-
-where each of the items is one of
-
-@itemize @bullet
- @item An assignment. The assignment must be terminated by a
- semicolon. See section @xref{papervars} for information on
- paper variables.
-
- @item A context definition. See section @xref{contextdefs} for
- more information on context definitions.
-
- @item A margin shape declaration. The syntax is
-
- @quotation
-
- @code{\shape} @var{indent1}@code{,} @var{width1}@code{,}
- @var{indent2}@code{,} @var{width2} ... @code{;}
- @end quotation
-
- @keyindex{shape}
-
- Each pair of @var{indent} and @var{width} values is a dimension
- specifying how far to indent and how wide to make the line.
- The indentation and width of successive lines are specified by
- the successive pairs of dimensions. The last pair of
- dimensions will define the characeristics of all lines beyond
- those explicitly specified.
-
- @item A font declaration. Its syntax is
-
- @quotation
-
- @var{fontsize} @code{=} @code{\font}@keyindex{font} @var{fontname}
- @end quotation
-
- @var{fontsize} is an integer describing the font to be used.
- 0 is the default font. @var{fontname} is the basename of
- a font (usually a member of the Feta family).
-@end itemize
-
-
-
-@cindex changing font size and paper size
-
-The Feta font provides musical symbols at six different sizes. These
-fonts are 11 point, 13 point, 16 point, 20 point,
-23 point, and 26 point. The point size of a font is the
-height of the five lines in a staff when displayed in the font.
-
-Definitions for these sizes are the files @file{paperSZ.ly}, where
-@code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include
-any of these files, the identifiers @code{paper_eleven},
-@code{paper_thirteen}, @code{paper_sixteen}, @code{paper_twenty},
-@code{paper_twentythree}, and @code{paper_twentysix} are defined
-respectively. The default @code{\paper} block is also set.
-
-To change the paper size, you must first set the
-@code{papersize}@indexcode{papersize} variable at top level. Set it to the strings
-@code{a4}, @code{letter}, or @code{legal}. After this specification,
-you must set the font as described above. If you want the default
-font, then use the 20 point font. The new paper size will not
-take effect if the font is not loaded and selected afterwards. Paper
-size selection works by loading a file named after the paper size you
-select.
-
-
-
-@cindex paper variables
-
-@node papervars, contextdefs, paper, LilyPond 1-2-0 Reference Manual
-
-There is a large number of paper variables that are used to control
-details of the layout. These variables control the defaults for the
-entire score. Usually, they do not have to be changed; they are by
-default set to values that depend on the font size in use. The
-values are used by the graphic objects while formatting the score;
-they are therefore implementation dependent. Most variables are
-accompanied by documentation in the initalization file
-@file{params.ly} or @file{paperSZ.ly}, where @code{SZ} is the staff
-height in points.
-
-Nevertheless, here are some variables you may want to use or change:
-
-@table @samp
- @item @code{indent}@indexcode{indent} @*
- The indentation of the first line of music.
-
- @item @code{interline}@indexcode{interline} @*
- The distance between two staff lines, calculated from the center
- of the lines. You should use either this or @code{rulethickness}
- as a unit for distances you modify.
-
- @item @code{linewidth}@indexcode{linewidth} @*
- Sets the width of the lines. If set to -1.0, a single
- unjustified line is produced.
-
- @item @code{output}@indexcode{output} @*
- Specifies an alternate name for the the output @file{s}.
- A @file{.tex}, @file{.midi} or @file{.ps} extension will be
- added to the string you specify.
-
- @item @code{rulethickness}@indexcode{rulethickness} @*
- Determines the thickness of staff and bar lines.
-
- @item @code{castingalgorithm}@indexcode{castingalgorithm} @*
- The algorithm to use for breaking lines. Choices are
- @code{\Gourlay}@keyindex{Gourlay} for a TeX-like dynamic
- programming algorithm, and @code{\Wordwrap}@keyindex{Wordwrap} for
- a simple algorithm. Gourlay breaking looks much better, but
- takes a lot more resources. Wordwrap leaves loosely spaced lines
- at the end.
-@end table
-
-
-@node contextdefs, engravers, papervars, LilyPond 1-2-0 Reference Manual
-
-@cindex context definition
-
-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,
-
- @item What properties are defined.
-@end enumerate
-
-A context definition has this syntax:
-
-@quotation
-
- @code{\translator} @code{@{}
- @var{translatorinit} @var{translatormodifierlist}
- @code{@}}
-@end quotation
-
-@var{translatorinit} can be an identifier or of the form
-
-@quotation
-
- @code{\type} @var{typename} @code{;}
-@end quotation
-
-@var{typename} is one of
-
-@table @samp
- @item @code{Engraver_group_engraver}@indexcode{Engraver_group_engraver} @*
- The standard cooperation engraver.
-
- @item @code{Score_engraver}@indexcode{Score_engraver} @*
- This is cooperation module that should be in the top level context.
-
- @item @code{Grace_engraver_group}@indexcode{Grace_engraver_group} @*
- This is a special cooperation module (resembling
- @code{Score_engraver}) that is used to created an embedded
- `miniscore'.
-@end table
-
-@var{translatormodifierlist} is a list of items where each item is
-one of
-
-@itemize @bullet
- @item @code{\consists} @var{engravername} @code{;} @*
- Add @var{engravername} to the list of modules in this context.
- Section @xref{engravers} contains an overview of the engravers
- available. The order of engravers added with @code{\consists} is
- significant.
-
- @item @code{\consistsend} @var{engravername} @code{;} @*
- Analogous to @code{\consists}, but makes sure that
- @var{engravername} is always added to the end of the list of
- engravers.
-
- Some engraver types need to be at the end of the list; this
- insures they are put there, and stay there, if a user adds or
- removes engravers. This command is usually not needed for
- end-users.
-
- @item @code{\accepts} @var{contextname} @code{;} @*
- Add @var{contextname} to the list of context this context can
- contain. The first listed context the context to create by
- default.
-
- @item @code{\remove} @var{engravername} @code{;} @*
- Remove a previously added (with @code{\consists}) engraver.
-
- @item @code{\name} @var{contextname} @code{;} @*
- This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
- the name is not specified, the translator won't do anything.
-
- @item @var{propname} @code{=} @var{value} @code{;} @*
- A property assignment. It is allowed to use reals for
- @var{value}.
-@end itemize
-
-In the @code{\paper} block, it is also possible to define translator
-identifiers. Like other block identifiers, the identifier can only
-be used as the very first item of a translator. In order to define
-such an identifier outside of @code{\score}, you must do
-
-@quotation
-
-@example
-\paper @{
- foo = \translator @{ ... @}
-@}
-\score @{
- \notes @{
- ...
- @}
- \paper @{
- \translator @{ \foo ... @}
- @}
-@}
-@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 @samp
- @item @code{StaffContext}@indexcode{StaffContext} @*
- Default Staff context.
-
- @item @code{RhythmicStaffContext}@indexcode{RhythmicStaffContext} @*
- Default RhythmicStaff context.
-
- @item @code{VoiceContext}@indexcode{VoiceContext} @*
- Default Voice context.
-
- @item @code{ScoreContext}@indexcode{ScoreContext} @*
- Default Score context.
-
- @item @code{ScoreWithNumbers}@indexcode{ScoreWithNumbers} @*
- Score context with numbering at the Score level.
-
- @item @code{BarNumberingStaffContext}@indexcode{BarNumberingStaffContext} @*
- Staff context with numbering at the Staff level.
-
- @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.}
-
- @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
-
-@end quotation
-
-
-
-@node engravers, Sound output, contextdefs, LilyPond 1-2-0 Reference Manual
-
-The engravers for paper output are:
-
-[incomplete, FIXME]
-
-@table @samp
- @item @code{Bar_engraver}@indexcode{Bar_engraver} @*
- Engraves bar lines. Normally in @code{Staff} and
- @code{RhythmicStaff}.
-
- @item @code{Bar_number_engraver}@indexcode{Bar_number_engraver} @*
- Engrave bar numbers. These numbers appear at the start of each
- line. Not normally in any translator. Can be added to
- @code{Score} for score-wide numbering or to @code{Staff} for
- numbering on each staff.
-
- @item @code{Beam_engraver}@indexcode{Beam_engraver} @*
- Handles beam requests by engraving beams. Normally appears in
- the @code{Voice} translator. If omitted, then notes will be
- printed with flags instead of beams.
-
- @item @code{Beam_req_swallow_translator}
- @indexcode{Beam_req_swallow_translator} @*
- Swallows beam requests. In @code{LyricVoice}.
-
- @item @code{Chord_name_engraver}@indexcode{Chord_name_engraver} @*
- Engraves chord names. Normally in @code{ChordNameVoice} .
-
- @item @code{Chord_tremolo_engraver}@indexcode{Chord_tremolo_engraver}
-
- @item @code{Clef_engraver}@indexcode{Clef_engraver} @*
- Engraves the clef symbol. Normally in @code{Staff}.
-
- @item @code{Collision_engraver}@indexcode{Collision_engraver}
-
- @item @code{Dot_column_engraver}@indexcode{Dot_column_engraver} @*
- Engraves dots on dotted notes shifted to the right of the note.
- Normally in @code{Voice}. If omitted, then dots appear on top of
- the notes.
-
- @item @code{Dynamic_engraver}@indexcode{Dynamic_engraver} @*
- Engraves dynamics symbols. Normally in @code{Voice}.
-
- @item @code{Font_size_engraver}@indexcode{Font_size_engraver}
-
- @item @code{Key_engraver}@indexcode{Key_engraver} @*
- Engraves the key signature. Normally in @code{Staff}.
-
- @item @code{Local_key_engraver}@indexcode{Local_key_engraver}
-
- @item @code{Lyric_engraver}@indexcode{Lyric_engraver} @*
- Engraves lyrics. Normally in @code{LyricVoice}.
-
- @item @code{Multi_measure_rest_engraver}
- @indexcode{Multi_measure_rest_engraver} @*
- Engraves multi-measure rests that are produced with @code{R}.
- Normally in @code{Voice}.
-
- @item @code{Piano_bar_engraver}@indexcode{Piano_bar_engraver}
-
- @item @code{Pitch_squash_engraver}@indexcode{Pitch_squash_engraver} @*
- Treat all pitches as middle C. Used in @code{RhythmicStaff}.
- Note that the notes move, but the locations of accidentals stay
- the same.
-
- @item @code{Priority_horizontal_align_engraver}
- @indexcode{Priority_horizontal_align_engraver}
-
- @item @code{Repeat_engraver}@indexcode{Repeat_engraver} @*
- Handles repeats? In @code{Staff} and @code{RhythmicStaff}.
-
- @item @code{Rest_collision_engraver}@indexcode{Rest_collision_engraver} @*
- Handles collisions of rests. In @code{Staff}.
-
- @item @code{Rest_engraver}@indexcode{Rest_engraver} @*
- Engraves rests. Normally in @code{Voice}.
-
- @item @code{Rhythmic_column_engraver}@indexcode{Rhythmic_column_engraver}
-
- @item @code{Score_priority_engraver}@indexcode{Score_priority_engraver}
-
- @item @code{Script_engraver}@indexcode{Script_engraver} @*
- Handles note ornaments generated by @code{\script}. Normally in
- @code{Voice}.
-
- @item @code{Separating_line_group_engraver}
- @indexcode{Separating_line_group_engraver}
-
- @item @code{Skip_req_swallow_translator}
- @indexcode{Skip_req_swallow_translator}
-
- @item @code{Slur_engraver}@indexcode{Slur_engraver} @*
- Engraves slurs. Normally in @code{Voice}.
-
- @item @code{Span_bar_engraver}@indexcode{Span_bar_engraver} @*
- Engraves lines across multiple staffs. Normally in
- @code{Staffgroup} and @code{GrandStaff}. Removing this from
- @code{StaffGroup} gives the definition of @code{ChoirStaff}.
-
- @item @code{Span_score_bar_engraver}@indexcode{Span_score_bar_engraver}
-
- @item @code{Staff_group_bar_engraver}@indexcode{Staff_group_bar_engraver}
-
- @item @code{Staff_margin_engraver}@indexcode{Staff_margin_engraver} @*
- Prints the name of the instrument (specified by
- @code{Staff.instrument} and @code{Staff.instr}) at the left of the
- staff.
-
- @item @code{Staff_sym_engraver}@indexcode{Staff_sym_engraver}
-
- @item @code{Stem_engraver}@indexcode{Stem_engraver} @*
- Engraves stems. Normally in @code{Voice}.
-
- @item @code{Ties_engraver}@indexcode{Ties_engraver} @*
- Engraves ties. Normally in @code{Voice}.
-
- @item @code{Time_signature_engraver}@indexcode{Time_signature_engraver} @*
- Engraves the time signature. Normally in @code{Staff} and
- @code{RhythmicStaff}.
-
- @item @code{Timing_engraver}@indexcode{Timing_engraver} @*
- Responsible for synchronizing timing information from staffs.
- Normally in @code{Score}. In order to create polyrhythmic music,
- this engraver should be removed from @code{Score} and placed in
- @code{Staff}.
-
- @item @code{Tuplet_engraver}@indexcode{Tuplet_engraver} @*
- Engraves tuplet brackets? In @code{Staff}.
-
- @item @code{Vertical_align_engraver}@indexcode{Vertical_align_engraver}
-@end table
-
-
-
-@node Sound output, midilist, engravers, LilyPond 1-2-0 Reference Manual
-@section Sound output
-
-
-
-The MIDI block is analogous to the paper block, but it is simpler.
-The @code{\midi} block can contain:
-@cindex MIDI block
-
-@itemize @bullet
- @item a @code{\tempo} definition
- @item context definitions
-@end itemize
-
-Assignments in the @code{\midi} block are not allowed.
-
-
-
-@cindex context definition
-
-Context definitions follow precisely the same syntax as within the
-\paper block. Translation modules for sound are called performers.
-The contexts for MIDI output are defined in @file{ly/performer.ly}.
-
-
-
-@cindex MIDI instrument names
-
-@node midilist, Pre-defined Identifiers, Sound output, LilyPond 1-2-0 Reference Manual
-
-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.
-
-
-@quotation
-
-@example
-"acoustic grand" "contrabass" "lead 7 (fifths)"
-"bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
-"electric grand" "pizzicato strings" "pad 1 (new age)"
-"honky-tonk" "orchestral strings" "pad 2 (warm)"
-"electric piano 1" "timpani" "pad 3 (polysynth)"
-"electric piano 2" "string ensemble 1" "pad 4 (choir)"
-"harpsichord" "string ensemble 2" "pad 5 (bowed)"
-"clav" "synthstrings 1" "pad 6 (metallic)"
-"celesta" "synthstrings 2" "pad 7 (halo)"
-"glockenspiel" "choir aahs" "pad 8 (sweep)"
-"music box" "voice oohs" "fx 1 (rain)"
-"vibraphone" "synth voice" "fx 2 (soundtrack)"
-"marimba" "orchestra hit" "fx 3 (crystal)"
-"xylophone" "trumpet" "fx 4 (atmosphere)"
-"tubular bells" "trombone" "fx 5 (brightness)"
-"dulcimer" "tuba" "fx 6 (goblins)"
-"drawbar organ" "muted trumpet" "fx 7 (echoes)"
-"percussive organ" "french horn" "fx 8 (sci-fi)"
-"rock organ" "brass section" "sitar"
-"church organ" "synthbrass 1" "banjo"
-"reed organ" "synthbrass 2" "shamisen"
-"accordion" "soprano sax" "koto"
-"harmonica" "alto sax" "kalimba"
-"concertina" "tenor sax" "bagpipe"
-"acoustic guitar (nylon)" "baritone sax" "fiddle"
-"acoustic guitar (steel)" "oboe" "shanai"
-"electric guitar (jazz)" "english horn" "tinkle bell"
-"electric guitar (clean)" "bassoon" "agogo"
-"electric guitar (muted)" "clarinet" "steel drums"
-"overdriven guitar" "piccolo" "woodblock"
-"distorted guitar" "flute" "taiko drum"
-"guitar harmonics" "recorder" "melodic tom"
-"acoustic bass" "pan flute" "synth drum"
-"electric bass (finger)" "blown bottle" "reverse cymbal"
-"electric bass (pick)" "skakuhachi" "guitar fret noise"
-"fretless bass" "whistle" "breath noise"
-"slap bass 1" "ocarina" "seashore"
-"slap bass 2" "lead 1 (square)" "bird tweet"
-"synth bass 1" "lead 2 (sawtooth)" "telephone ring"
-"synth bass 2" "lead 3 (calliope)" "helicopter"
-"violin" "lead 4 (chiff)" "applause"
-"viola" "lead 5 (charang)" "gunshot"
-"cello" "lead 6 (voice)"
-@end example
-
-@end quotation
-
-
-@cindex MIDI types and performers
-
-The types available for MIDI translators are:
-
-@table @samp
- @item @code{Performer_group_performer}@indexcode{Performer_group_performer}
- @item @code{Score_performer}@indexcode{Score_performer}
- @item @code{Staff_performer}@indexcode{Staff_performer}
-@end table
-
-The performers for MIDI translators are:
-
-@table @samp
- @item @code{Key_performer}@indexcode{Key_performer}
- @item @code{Time_signature_performer}@indexcode{Time_signature_performer}
- @item @code{Note_performer}@indexcode{Note_performer}
- @item @code{Lyric_performer}@indexcode{Lyric_performer}
- @item @code{Swallow_performer}@indexcode{Swallow_performer}
-@end table
-
-
-
-@node Pre-defined Identifiers, ident, midilist, LilyPond 1-2-0 Reference Manual
-@section Pre-defined Identifiers
-
-@cindex pre-defined identifiers
-
-@node ident, Running LilyPond, Pre-defined Identifiers, LilyPond 1-2-0 Reference Manual
-
-Various identifiers are defined in the initialization files to
-provide shorthands for some settings. Most of them are in
-@file{ly/declarations.ly}.
-
-@table @samp
- @item @code{\break}@keyindex{break} @*
- Force a line break in music by using a large argument for the
- keyword @code{\penalty}.
-
- @item @code{\center}@keyindex{center} @*
- Used for setting direction properties. Equals 0.
-
- @item @code{\down}@keyindex{down} @*
- Used for setting direction setting properties. Is equal
- to -1.
-
- @item @code{\free}@keyindex{free} @*
- Used for setting direction setting properties. Is equal
- to 0.
-
- @item @code{\left}@keyindex{left} @*
- Used for setting text alignment property. Is equal to -1.
-
- @item @code{\nobreak}@keyindex{nobreak} @*
- Prevent a line break in music by using a large negative argument
- for the keyword @code{\penalty}.
-
- @item @code{\none}@keyindex{none} @*
- Used for setting @code{Score.beamslopedamping} and
- @code{Score.beamquantisation} properties. Is equal to 0.
-
- @item @code{\normal}@keyindex{normal} @*
- Used for setting @code{Score.beamslopedamping} and
- @code{Score.beamquantisation} properties. Is equal to 1.
-
- @item @code{\normalkey}@keyindex{normalkey} @*
- Select normal key signatures where each octave has the same key
- signature. This sets the @code{Staff.keyoctaviation} property.
-
- @item @code{\right}@keyindex{right} @*
- Used for setting text alignment property. Is set to 1.
-
- @item @code{\shiftoff}@keyindex{shiftoff} @*
- Disable horizontal shifting of note heads that collide. Sets the
- @code{Voice.horizontalNoteShift} property.
-
- @item @code{\shifton}@keyindex{shifton} @*
- Enable note heads that collide with other note heads to be
- shifted horiztonally. Sets the @code{Voice.horizontalNoteShift}
- property.
-
- @item @code{\slurboth}@keyindex{slurboth} @*
- Allow slurs to be above or below notes. This sets the
- @code{Voice.slurVerticalDirection} property.
-
- @item @code{\slurdown}@keyindex{slurdown} @*
- Force slurs to be below notes. This sets the
- @code{Voice.slurVerticalDirection} property.
-
- @item @code{\slurup}@keyindex{slurup} @*
- Force slurs to be above notes. This sets the
- @code{Voice.slurVerticalDirection} property.
-
- @item @code{\specialkey}@keyindex{specialkey} @*
- Allow key signatures do differ in different octaves. This sets
- the @code{Staff.keyoctaviation} property.
-
- @item @code{\stemboth}@keyindex{stemboth} @*
- Allow stems, beams, and slurs to point either upwards or
- downwards, decided automatically by LilyPond. This sets the
- @code{Voice.verticalDirection} property.
-
- @item @code{\stemdown}@keyindex{stemdown} @*
- Force stems, beams, and slurs to point down. This sets the
- @code{Voice.verticalDirection} property.
-
- @item @code{\stemup}@keyindex{stemup} @*
- Force stems, beams and slurs to point up. This sets the
- @code{Voice.verticalDirection} property.
-
- @item @code{\traditional}@keyindex{traditional} @*
- Used for setting the @code{Score.beamquantisation} property. Is
- equal to 2.
-
- @item @code{\up}@keyindex{up} @*
- Used for setting various direction properties. Is equal
- to 1.
-@end table
-
-
-
-@node Running LilyPond, Top, ident, LilyPond 1-2-0 Reference Manual
-@section Running LilyPond
-
-@cindex running LilyPond
-
-
-When invoked with a filename that has no extension, LilyPond will try
-adding `@file{.ly}' as an extension first, then `@file{.fly}' and
-finally `@file{.sly}' extension. If the filename ends with
-`@file{.fly}', LilyPond processes the file as music using
-`@file{init.fly}'. In this case, LilyPond does something like:
-
-@quotation
-
-@example
-\score @{
- \notes\relative c @{
- \input "yourfile.fly"
- @}
- \paper@{@}
- \midi@{@}
-@}
-@end example
-
-@end quotation
-
-The result of `@file{.sly}' is similar except that a single unjustified
-line is produced.
-
-If you invoke LilyPond with a file `@file{foo.}@var{ext}' that doesn't
-have the `@file{.ly}' extension, then LilyPond will look for a file
-called `@file{init.}@var{ext}' and process this file. The file
-`@file{init.}@var{ext}' must contain the @code{\maininput} keyword or
-LilyPond will not read the user specified file.
-
-When LilyPond processes @file{filename.ly} it will produce
-@file{filename.tex} as output. If @file{filename.ly} contains a second
-@code{\paper} keyword, then LilyPond will produce @file{filename-1.tex}
-as well. Subsequent @code{\paper} keywords will produce sequentially
-numbered file names. Several files can be specified; they will each
-be processed independently.@footnote{Not entirely true: The status of
-GUILE is kept.}
-
-
-
-@bye
+++ /dev/null
-\input texinfo @c -*-texinfo-*-
-@setfilename tutorial.info
-@settitle Typesetting music with LilyPond
-
-@ifinfo
-
-This is a short tutorial to show you how LilyPond works. It is not a
-tutorial. It was written by Han-Wen Nienhuys.
-
-Copyright 1999 by its authors.
-@end ifinfo
-
-
-@titlepage
-
-@c fool ls-latex: why not use these, for texinfo??
-@ignore
-@author Han-Wen Nienhuys
-@title Typesetting music with LilyPond
-@end ignore
-
-@sp 10
-@comment The title is printed in a large font.
-@center @titlefont{LilyPond tutorial}
-@vskip 20pt
-@center @titlefont{Han-Wen Nienhuys}
-
-@vskip 0pt plus 1filll
-Copyright @copyright{} 1999 by its author(s)
-@end titlepage
-
-
-@node Top, , The end, (dir)
-@top
-@menu
-* Typesetting music with LilyPond::Typesetting music with LilyPond
-@end menu
-
-
-
-
-
-@node Typesetting music with LilyPond, Introduction, , Top
-@menu
-* Introduction:: Introduction
-* tutorial-introduction:: tutorial-introduction
-* The first tune:: The first tune
-* sec-firsttune:: sec-firsttune
-* Lyrics and chords:: Lyrics and chords
-* Piano music:: Piano music
-* The end:: The end
-@end menu
-@chapter Typesetting music with LilyPond
-
-@node Introduction, tutorial-introduction, Typesetting music with LilyPond, Typesetting music with LilyPond
-@section Introduction
-@node tutorial-introduction, The first tune, Introduction, Typesetting music with LilyPond
-
-
-LilyPond prints music from a specification that you, the user, supply.
-You have to give that specification using a @emph{language}. This
-document is a gentle introduction to that language, which is called
-Mudela, an acronym of Music Definition Language.
-
-This tutorial will demonstrate how to use Mudela by presenting
-examples of input along with resulting output. We will use English
-terms for notation. In case you are not familiar with those, you may
-consult the glossary that is distributed with LilyPond.
-
-The examples discussed are included in the distribution, in the
-subdirectory @file{input/tutorial/}. It is recommended that you
-experiment with writing Mudela input yourself, to get a feel for
-how LilyPond behaves.
-
-@node The first tune, sec-firsttune, tutorial-introduction, Typesetting music with LilyPond
-@section The first tune
-@node sec-firsttune, Lyrics and chords, The first tune, Typesetting music with LilyPond
-
-To demonstrate what LilyPond input looks like, we start off with a
-full fledged, yet simple example. It is a convoluted version
-of the famous menuet in J. S. Bach's @emph{Klavierbuechlein}.
-
-@mudela[verbatim]
-% lines preceded by a percent are comments.
-\include "paper16.ly"
-\score {
- \notes
- \relative c'' \sequential{
- \time 3/4;
- \key g;
-
- \repeat "volta" 2 {
- d4 g,8 a b c d4 g, g |
- e'4 c8 d e fis g4 g, g |
- c4 d8()c b a( )b4 c8 b a g |
- a4 [b8 a] [g fis] g2. |
- }
-
- b'4 g8 a b g
- a4 d,8 e fis d |
- g4 e8 fis g d cis4 b8 cis a4 |
- a8-. b-. cis-. d-. e-. fis-.
- g4 fis e |
- fis a, r8 cis8
- d2.-\fermata
- \bar "|.";
- }
- \paper {
- % standard settings are too wide for a book
- linewidth = 14.0 \cm;
- }
-}
-@end mudela
-
-Enter it (or copy it, the filename is @file{menuet.ly}), compile it
-with LilyPond and view the output. Details of this procedure may vary
-from system to system. To create the output, one would issue the
-command `@code{ly2dvi menuet}'. @file{ly2dvi} is a program that does
-the job of running LilyPond and TeX, handling of titles and
-adjusting of page margins.
-
-If all goes well, the file @file{menuet.dvi} will be created.
-To view this output, issue the command `@code{xdvi menuet}'.
-
-Now that we are familiar with the procedure of producing output, we
-will analyse the input, line by line.
-@ignore
-Let's try to redo this
-@example
-
- % lines preceded by a percent are comments.
-
-@end example
-The percent sign, `@code{%}', introduces a line comment. If you want to
-make larger comments, you can use block comments. These are delimited
-by `@code{%@{}' and `@code{%@}}'
-@end ignore
-@multitable @columnfractions .60 .39
-@item
-@noindent
-@c @example urg: no tt font
-@c @exdent % lines preceded by a percent are comments.
-@exdent @code{% lines preceded by a percent are comments.}
-@c @end example
-@tab
-The percent sign, `@code{%}', introduces a line comment. If you
-want to make larger comments, you can use block comments. These
-are delimited by `@code{%@{}' and `@code{%@}}'
-@end multitable
-@example
-
- \input "paper16.ly"
-
-@end example
-By default, LilyPond will use definitions for a 20
-point@footnote{A point is the standard measure of length for
-printing. One point is 1/72.27 inch.} high staff. We want smaller
-output (16 point staff height), so we must import the settings for
-that size, which is done.@example
-
- \score @{
-
-@end example
- A mudela file combines music with directions for outputting that
-music. The music is combined with the output directions by putting
-them into a @code{\score} block.
-@example
-
- \notes
-
-@end example
- This makes LilyPond ready for accepting notes.
-@example
-
- \relative c''
-
-@end example
- As we will see, pitches are combinations of octave, note name and
-chromatic alteration. In this scheme, the octave is indicated by
-using raised quotes (`@code{'}') and ``lowered'' quotes (commas:
-`@code{,}'). The central C is denoted by @code{c'}. The C one octave
-higher is @code{c''}. One and two octaves below the central C is
-denoted by @code{c} and @code{c,} respectively.
-
-For pitches in a long piece you might have to type many quotes. To
-remedy this, LilyPond has a ``relative'' octave entry mode. In this
-mode, octaves of notes without quotes are chosen such that a note is
-as close as possible (graphically, on the staff) to the the preceding
-note. If you add a high-quote an extra octave is added. The lowered
-quote (a comma) will subtract an extra octave. Because the first note
-has no predecessor, you have to give the (absolute) pitch of the note
-to start with.@example
-
- \sequential @{
-
-@end example
- What follows is sequential music, i.e.,
-notes that are to be played and printed after each other.@example
-
- \time 3/4;
-
-@end example
- This command changes the time signature of the current piece: a 3/4
-sign is printed. This command is also used to generate bar lines in
-the right spots.@example
-
- \key g;
-
-@end example
- This command changes the current key to G-major. Although this
-command comes after the @code{\time} command, in the output, the key
-signature comes before the time signature: LilyPond knows about music
-typesetting conventions. @example
-
- \repeat "volta" 2
-
-@end example
- This command tells LilyPond that the following piece of music must
-be played twice; @code{"volta"} volta brackets should be used for
-alternatives---if there were any.
-@example
-
- @{
-
-@end example
-The subject of the repeat is again sequential music. Since
-@code{\sequential} is such a common construct, a shorthand is provided:
-just leave off @code{\sequential}, and the result is the same. @example
-
- d4
-
-@end example
- This is a note with pitch @code{d} (determined up to octaves). The
-relative music was started with a @code{c''}, so the real pitch of this
-note is @code{d''}. The @code{4} designates the duration of the note
-(it is a quarter note). @example
-
- a b
-
-@end example
-These are notes with pitch @code{a} and @code{b}. Because their
-duration is the same as the @code{g}, there is no need to enter the
-duration (You may enter it anyway, eg. @code{a4 b4}) @example
-
- d4 g, g |
-
-@end example
- Three more notes. The `@code{|}' character is a `barcheck'. When
-processing the music, LilyPond will verify that barchecks are found at
-the start of a measure. This can help you track down errors.
-
- So far, no notes were chromatically altered. Here is the first one
-that is: @code{fis}. Mudela by default uses Dutch note names, and
-``Fis'' is the Dutch note name for ``F sharp''. However, there is no
-sharp sign in the output. The program keeps track of key signatures,
-and will only print accidentals if they are needed.
-@example
-
- c8 d e fis
-
-@end example
-LilyPond guesses were beams can be added to eighth and shorter notes.
-In this case, a beam over 4 eighths is added.
-@example
-
- c4 d8( )c b a( )b4 c8 b a g |
-
-@end example
- The next line shows how to make a slur:
-the beginning and ending note of the slur is marked with an opening and
-closing parenthesis respectively. In the line shown above this is
-done for two slurs. Slur markers (parentheses) are between
-the notes.@example
-
- a4 [b8 a] [g fis]
-
-@end example
-Automatic beaming can be overridden by inserting beam marks
-(brackets). Brackets are put around notes you want beamed.@example
-
- g2. |
-
-@end example
-A duration with augmentation dot is notated
-with the duration number followed by a period.@example
-
- @}
-
-@end example
- This ends the sequential music to be repeated. LilyPond will typeset
-a repeat bar. @example
-
- cis'4 b8 cis a4 |
-
-@end example
- This line shows that Lily will print an accidental if that is
-needed: the first C sharp will be printed with an accidental, the
-second one without. @example
-
- a8-. b-. cis-. d-. e-. fis-.
-
-@end example
-You can enter articulation signs either in a verbose form using a
-shorthand. Here we demonstrate the shorthand: it is formed by a dash
-and the the character for the articulation to use, e.g. `@code{-.}' for
-staccato as shown above. @example
-
- fis a, r8 cis8
-
-@end example
-
-Rests are denoted by the special notename `@code{r}'. You can also enter
-an invisible rest by using the special notename `@code{s}'.
-@example
-
- d2.-\fermata
-
-@end example
- All articulations have a verbose form, like @code{\fermata}. The
-command `@code{\fermata}' is not part of the core of the language (most
-of the other discussed elements are), but it is a shorthand for a more
-complicated description of a fermata. @code{\fermata} names that
-description and is therefore called an @emph{identifier}. @example
-
- @}
-
-@end example
-
-Here the music ends.
-@example
-
- \paper @{
- linewidth = 14.0\cm;
- @}
-
-@end example
-This specifies a conversion from music to notation output. Most of
-the details of this conversions (font sizes, dimensions, etc.) have
-been taken care of, but to fit the output in this document, it has
-to be smaller. We do this by setting the line width to 14 centimeters
-(approximately 6 inches).
-@example
-
- @}
-
-@end example
-The last brace ends the @code{\score} block.
-
-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. Therefore 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'.
-
-@node Lyrics and chords, Piano music, sec-firsttune, Typesetting music with LilyPond
-@section Lyrics and chords
-
-In this section we show how to typeset a song of unknown
-origin.@footnote{The author would welcome information about the origin
-of this song.}.
-
-@example
-\header @{
- title = "The river is flowing";
- composer = "Traditional (?)";
-@}
-\include "paper16.ly"
-melody = \notes \relative c' @{
- \partial 8;
- g8 |
- c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
- c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|.";
-@}
-
-text = \lyrics @{
- The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
- ri -- ver is flo -- wing down to the sea.
-@}
-
-accompaniment =\chords @{
- r8
- c2-3- f-3-.7 d-min es4 c8-min r8
- c2-min f-min7 g-7^3.5 c-min @}
-
-\score @{
- \simultaneous @{
-% \accompaniment
- \context ChordNames \accompaniment
-
- \addlyrics
- \context Staff = mel @{
- \property Staff.noAutoBeaming = "1"
- \property Staff.automaticMelismata = "1"
- \melody
- @}
- \context Lyrics \text
- @}
- \midi @{ @}
- \paper @{ linewidth = 10.0\cm; @}
-@}
-@end example
-
-
-The result would look this@footnote{The titling and font size shown
-may differ, since the titling in this document is not generated by
-@file{ly2dvi}.}.
-
-@center @strong{The river is flowing}
-@center Traditional
-
-@mudela[center]
-\header {
- title = "The river is flowing";
- composer = "Traditional (?)";
-}
-\include "paper16.ly"
-melody = \notes \relative c' {
- \partial 8;
- g8 |
- c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
- c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|.";
-}
-
-text = \lyrics {
- The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
- ri -- ver is flo -- wing down to the sea.
-}
-
-accompaniment =\chords {
- r8
- c2-3- f-3-.7 d-min es4 c8-min r8
- c2-min f-min7 g-7^3.5 c-min }
-
-\score {
- \simultaneous {
-% \accompaniment
- \context ChordNames \accompaniment
-
- \addlyrics
- \context Staff = mel {
- \property Staff.noAutoBeaming = "1"
- \property Staff.automaticMelismata = "1"
- \melody
- }
- \context Lyrics \text
- }
- \midi { }
- \paper { linewidth = 10.0\cm; }
-}
-@end mudela
-
-Again, we will dissect the file line by line.@example
-
- \header @{
-
-@end example
-Information about the music you are about to typeset goes into a
-@code{\header} block. The information in this block is not used by
-LilyPond, but it is included in the output. @file{ly2dvi} uses this
-information to print titles above the music.
-@example
-
- title = "The river is flowing";
- composer = "Traditional (?)";
-@end example
-the @code{\header} block contains assignments. An assignment starts
-with a string. (which is unquoted, in this case). Then comes the
-equal sign `@code{=}'. After the equal sign comes the expression you
-want to store. In this case, you want to put in strings. The
-information has to be quoted here, because it contains spaces. The
-assignment is finished with a semicolon.@example
-
- \include "paper16.ly"
-
-@end example
-Smaller size for inclusion in a book.@example
-
- melody = \notes \relative c' @{
-
-@end example
-The structure of the file will be the same as the previous one, a
-@code{\score} block with music in it. To keep things readable, we will
-give names to the different parts of music, and use the names to
-construct the music within the score block.
-
-@example
-
- \partial 8;
-
-@end example
-
-The piece starts with an anacrusis of one eighth. @example
-
- c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
- c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|.";
-
-@end example
-We use explicit beaming. Since this is a song, we will turn automatic
-beams off, and use explicit beaming where needed.@example
-
- @}
-
-@end example
-This ends the definition of @code{melody}. Note that there are no
-semicolons after assignments at top level.@example
-
- text = \lyrics @{
-
-@end example
-Another identifier assignment. This one is for the lyrics.
-Lyrics are formed by syllables that have duration, and not by
-notes. To make LilyPond parse words as syllables, switch it into
-lyrics mode with @code{\lyrics}. Again, the brace after @code{\lyrics}
-is a shorthand for @code{\sequential @{}. @example
-
- The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
- ri- ver is flo- __ wing down to the sea.
- @}
-
-@end example
-The syllables themselves are separated by spaces. You can get syllable
-extenders by entering `@code{__}', and centered hyphens with
-`@code{-}@code{-}'. We enter the syllables as if they are all quarter notes
-in length (hence the @code{4}), and use a feature to align the
-syllables to the music (which obviously isn't all quarter notes.)
-@example
-
- accompaniment =\chords @{
-
-@end example
-We'll put chords over the music. There is a special mode (analogous
-to @code{\lyrics} and @code{\notes} mode) where you can give the names
-of the chords you want, instead of the notes comprising the chord.
-@example
-
- r8
-
-@end example
-There is no accompaniment during the anacrusis.@example
-
- c2-3- f-3-.7
-
-@end example
-A chord is started by the tonic of the chord. The
-first one lasts a half note. An unadorned note creates a major
-triad, while a minor triad is wanted. @code{3-} modifies the third to
-be small. @code{7} modifies (adds) a seventh, which is small by default
-to create the @code{f a c es} chord. Multiple modifiers must be
-separated by a dot.@example
-
- d-min es4 c8-min r8
-
-@end example
-Some modifiers have predefined names, eg. @code{min} is the same as
-@code{3-}, so @code{d-min} is a minor @code{d} chord.@example
-
- c2-min f-min7 g-7^3.5 c-min @}
-
-@end example
-A named modifier @code{min} and a normal modifier @code{7} do not have
-to be separated by a dot. Tones from a chord are removed with chord
-subtractions. Subtractions are started with a caret, and they are
-also separated by dots. In this example, @code{g-7^3.5} produces a
-minor seventh. The brace ends the sequential music. @example
-
- \score @{
- \simultaneous @{
-
-@end example
-We assemble the music in the @code{\score} block. Melody, lyrics and
-accompaniment have to sound at the same time, so they should be
-@code{\simultaneous}.@example
-
- %\accompaniment
-
-@end example
-Chord mode generates notes grouped in @code{\simultaneous} music. If
-you remove the comment sign, you can see the chords in normal
-notation: they will be printed as note heads on a separate
-staff. @example
-
- \context ChordNames \accompaniment
-
-@end example
-Normally, the notes that you enter are transformed into note heads.
-The note heads alone make no sense, they need surrounding information:
-a key signature, a clef, staff lines, etc. They need @emph{context}. In
-LilyPond, these symbols are created by objects called `interpretation
-context'. Interpretation contexts only exist during a run of
-LilyPond. Interpretation contexts that are for printing music (as
-opposed to playing music) are called `notation context'.
-
-By default, LilyPond will create a Staff contexts for you. If you
-would remove the @code{%} sign in the previous line, you can see that
-mechanism in action.
-
-We don't want default contexts here, because we want names, not note
-heads. An interpretation context can also created upon explicit
-request. The keyword for such a request is @code{\context}. It takes
-two arguments. The first is the name of a interpretation context.
-The name is a string, it can be quoted with double quotes). The
-second argument is the music that should be interpreted in this
-context. For the previous line, we could have written @code{\context
-Staff \accompaniment}, and get the same effect.@example
-
- \addlyrics
-
-@end example
-The lyrics need to be aligned with the melody. This is done by
-combining both with @code{\addlyrics}. @code{\addlyrics} takes two
-pieces of music (usually a melody and lyrics, in that order) and
-aligns the syllables of the second piece under the notes of the
-first piece. If you would reverse the order, the notes would be
-aligned on the lyrics, which is not very useful. (Besides, it looks
-silly.)@example
-
- \context Staff = mel @{
-
-@end example
-This is the argument of @code{\addlyrics}. We instantiate a
-@code{Staff} context explicitly: should you chose to remove comment
-before the ``note heads'' version of the accompaniment, the
-accompaniment will be on a nameless staff. The melody has to be on a
-different staff as the accompaniment. This is accomplished by giving
-the melody staff a different name.@example
-
- \property Staff.noAutoBeaming = "1"
-
-@end example
-An interpretation context has variables that tune its behaviour. One
-of the variables is @code{noAutoBeaming}. If set and non-zero (i.e.,
-true) LilyPond will not try to put automatic beaming on the current
-staff.@example
-
- \property Staff.automaticMelismata = "1"
-
-@end example
-Similarly, we don't want to print a syllable when there is
-a slur. This sets up the Staff context to signal slurs while
-@code{\addlyrics} is processed. @example
-
- \melody
- @}
-
-@end example
-Finally, we put the melody on the current staff. Note that the
-@code{\property} directives and @code{\melody} are grouped in sequential
-music, so the property settings are done before the melody is
-processed. @example
-
- \context Lyrics \text
-
-@end example
-The second argument of @code{\addlyrics} is the text. The text also
-should not land on a Staff, but on a interpretation context for
-syllables, extenders, hyphens etc. This context is called
-Lyrics.@example
-
- @}
-
-@end example
-This ends @code{\simultaneous}.@example
-
- \midi @{ @}
-
-@end example
-This makes the music go to a MIDI file. MIDI is great for
-checking music you enter. You listen to the MIDI file: if you hear
-something unexpected, it's probably a typing error. @code{\midi} is an
-`output definition', a declaration that specifies how to output music
-analogous to @code{\paper @{ @}}.@example
-
- \paper @{ linewidth = 10.0\cm; @}
-
-@end example
-We also want notation output. The linewidth is short so the piece
-will be set in two lines. @example
-
- @}
-
-@end example
-End the score block.
-
-@node Piano music, The end, Lyrics and chords, Typesetting music with LilyPond
-@section Piano music
-
-Our third subject is a piece piano music. The fragment in the input
-file is a piano reduction of the G major Sinfonia by Giovanni Battista
-Sammartini. It was composed around 1740.
-
-@mudela[verbatim]
-
-\include "paper16.ly";
-
-viola = \notes \relative c' \context Voice = viola {
- <c4-\f g' c>
- \property Voice.verticalDirection = \down g'8. b,16
- s1 s2. r4
- g
-}
-
-oboes = \notes \relative c'' \context Voice = oboe {
- \stemup s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
- \grace <e8( g> <d4 f> <c2 e> \times 2/3 { <d8 \< f> <e g> <f a> }
- <
- { \times 2/3 { a8 g c } \! c2 }
- \context Voice = oboeTwo {
- \stemdown
- \grace {
- \property Grace.verticalDirection = \down
- [f,16 g] }
- f8 e e2
- } >
- \stemboth
- \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
- [<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r |
- [<c16( e> < )e8. g>] <c8 e,>
-}
-
-hoomPah = \notes \transpose c' {
- c8 \translator Staff = top \stemdown
- c'8 \translator Staff = bottom \stemup }
-
-hoomPahHoomPah = { [\hoomPah \hoomPah] }
-
-bassvoices = \notes \relative c' {
- c4 g8. b,16
- \hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah
- \stemdown [c8 c'8] r4
- <g d'> r4
- < {\stemup r2 <e4 c'> <c8 g'> }
- \context Voice = reallyLow {\stemdown g2 ~ | g4 c8 } >
-}
-
-\score {
- \context PianoStaff \notes <
- \context Staff = top < \time 2/2;
- \context Voice = viola \viola
- \oboes
- >
- \context Staff = bottom < \time 2/2; \clef bass;
- \bassvoices
- >
- >
- \midi { }
- \paper {
- indent = 0.0;
- linewidth = 15.0 \cm; }
-}
-@end mudela
-
-If it looks like incomprehensible gibberish to you... Then you are
-right. The author has doctored this example to have as many quirks in
-one system as possible.@example
-viola = \notes \relative c' \context Voice = viola @{
-@end example
-In this example, you can see multiple parts on a staff. Each part is
-associated with one notation context. This notation context handles
-stems and dynamics (among others). The name of this context is
-@code{Voice}. For each part we have to make sure that there is
-precisely one Voice context@footnote{If @code{\context} would not
-have been specified explicitly, three @code{Voice} contexts would be
-created: one for each note in the first chord.}.@example
-<c4-\f g' c>
-@end example
-@code{<} and @code{>} are short hands for @code{\simultaneous @{} and
-@code{@}}. So the expression enclosed in @code{<} and @code{>} is a
-chord. @code{\f} places a forte symbol under the chord.@example
-\property Voice.verticalDirection = \down
-@end example
-@code{verticalDirection} is a property of the voice context. It
-controls the directions of stems, articulations marks and other
-symbols.
- If @code{verticalDirection} is set to @code{\down}
-(identifier for the integer -1) the stems go down,
-@code{\up} (identifier for the integer 1) makes the stems go up.@example
- g'8. b,16
-@end example
-Relative octaves work a little differently with chords. The starting
-point for the note following a chord is the first note of the chord. So
-the @code{g} gets an octave up quote: it is a fifth above the starting
-note of the previous chord (the central C).
-
-@example
-s1 s2. r4
-@end example
-@code{s} is a `spacer' rest. It does not print anything, but it does
-have the duration of a rest. @example
-oboes = \notes \relative c'' \context Voice = oboe @{
-@end example
-Now comes a part for two oboes. They play homophonically, so we
-print the notes as one voice that makes chords. Again, we insure that
-these notes are indeed processed by precisely one context with
-@code{\context}.@example
-\stemup s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
-@end example
-@code{\stemup} is an identifier reference. It is shorthand for
-@code{\property Voice.verticalDirection = \up}. If possible, you
-should use predefined identifiers like these for setting properties.
-Your input will be less dependent upon the implementation of LilyPond.
-@example
-\grace <e8( g> < )d4 f> <c2 e>
-@end example
-@code{\grace} introduces grace notes. It takes one argument, in this
-case a chord. The slur started on the @code{e} of the chord
-will be attached to the next note.@footnote{LilyPond will squirm
-about unended Slurs. In this case, you can ignore the warning}.
-@example
-\times 2/3
-@end example
-Tuplets are made with the @code{\times} keyword. It takes two
-arguments: a fraction and a piece of music. The duration of the
-second argument is multiplied by the first argument. Triplets make
-notes occupy 2/3 of their notated duration, so in this case the
-fraction is 2/3. @example
-@{ <d8 \< f> <e g> <f a> @}
-@end example
-The piece of music to be `tripletted' is sequential music containing
-three notes. On the first chord (the @code{d}), a crescendo is started
-with @code{\<}.@example
-<
-@end example
-At this point, the homophonic music splits into two rhythmically
-different parts. We can't use a sequence of chords to enter this, so
-we make a `chord' of sequences to do it. We start with the upper
-voice, which continues with upward stems: @example
- @{ \times 2/3 @{ a8 g c @} \! c2 @}
-@end example
-The crescendo is ended at the half note by the escaped exclamation
-mark `@code{\!}'. @example
-\context Voice = oboeTwo @{
-\stemdown
-@end example
-We can't share stems with the other voice, so we have to create a new
-@code{Voice} context. We give it the name @code{oboeTwo} to distinguish
-it from the other context. Stems go down in this voice. @example
-\grace @{
-@end example
-When a grace section is processed, a @code{Grace} context is
-created. This context acts like a miniature score of its own. It has
-its own time bookkeeping, and you can make notes, beams, slurs
-etc. Here fiddle with a property and make a beam. The argument of
-@code{\grace} is sequential music.@example
-\property Grace.verticalDirection = \down
-[f,16 g] @}
-@end example
-Normally, grace notes are always stem up, but in this case, the upper
-voice interferes. We set the stems down here.
-
-As far as relative mode is concerned, the previous note is the
-@code{c'''2} of the upper voice, so we have to go an octave down for
-the @code{f}.
-@example
-
- f8 e e2
-@} >
-@end example
-This ends the two-part section. @example
-\stemboth
-\grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
-@end example
-@code{\stemboth} ends the forced stem directions. From here, stems are
-positioned as if it were single part music.
-
-The bass has a little hoom-pah melody to demonstrate parts switching
-between staffs. Since it is repetitive, we use identifiers:@example
-hoomPah = \notes \transpose c' @{
-@end example
-Transposing can be done with @code{\transpose}. It takes two
-arguments; the first specifies what central C should be transposed to.
-The second is the to-be-transposed music. As you can see, in this
-case, the transposition is a no-op. Central C is transposed to
-central C.
-
-The purpose of this no-op is circumventing relative mode. Relative
-mode can not be used in conjunction with transposition, so relative
-mode will leave the contents of @code{\hoomPah} alone. We can use it
-without having to worry about getting the motive in a wrong
-octave@footnote{@code{hoomPah = \relative ...} would be more
-intuitive to use, but that would not let me plug @code{\transpose}
-:-).}.@example
-c8 \translator Staff = top \stemdown
-@end example
-We assume that the first note will be put in the lower staff. After
-that note we switch to the upper staff with @code{\translator}. To be
-precise, this @code{\translator} entry switches the current voice to a
-@code{Staff} named @code{top}. So we have to name the upper staff
-`@code{top}'. Stem directions are set to avoid interfering with the
-oboe voices. @example
-c'8 \translator Staff = bottom \stemup @}
-@end example
-Then a note is put on the upper staff, and we switch again. We have
-to name the lower staff `@code{bottom}'. @example
-hoomPahHoomPah = @{ [\hoomPah \hoomPah] @}
-@end example
-Put two of these fragments in sequence, and beam them.@example
-bassvoices = \notes \relative c' @{
-c4 g8. b,16
-\hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah
-\hoomPahHoomPah
-@end example
-Entering the bass part is easy: the hoomPahHoomPah variable is
-referenced four times.@example
-\context Voice = reallyLow @{\stemdown g2 ~ | g4 c8 @} >
-@end example
-After skipping some lines, we see @code{~}. This mark makes ties.@example
-\context PianoStaff
-@end example
-For piano music, a special context is needed to get cross staff
-beaming right. It is called @code{PianoStaff}.@example
-\context Staff = bottom < \time 2/2; \clef bass;
-@end example
-The bottom staff must have a different clef.@example
-indent = 0.0;
-@end example
-To make some more room on the line, the first (in this case the only)
-line is not indented. The line still looks is very cramped, but that is due
-to the format of this tutorial.
-
-This example shows a lot of features, but the organisation isn't
-perfect. For example, it would be less confusing to use a chord
-containing sequential music than a sequence of chords for the oboe
-parts.
-
-[TODO: demonstrate Hara-Kiri with scores and part extraction.]
-
-@node The end, Top, Piano music, Typesetting music with LilyPond
-@section The end
-
-That's all folks. From here, you can either try fiddling with input
-files, or you can read the reference manual.
-
-
-@bye
projects / lilypond.git / commitdiff