1 @c -*- coding: utf-8; mode: texinfo; -*-
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. For details, see the Contributors'
8 Guide, node Updating translation committishes..
13 @node General input and output
14 @chapter General input and output
16 This section deals with general LilyPond input and output issues,
17 rather than specific notation.
21 * Titles and headers::
22 * Working with input files::
23 * Controlling output::
25 * Extracting musical information::
30 @section Input structure
32 The main format of input for LilyPond are text files. By convention,
33 these files end with @file{.ly}.
36 * Structure of a score::
37 * Multiple scores in a book::
38 * Multiple output files from one input file::
44 @node Structure of a score
45 @subsection Structure of a score
49 A @code{\score} block must contain a single music expression
50 delimited by curly brackets:
58 @warning{There must be @strong{only one} outer music expression in
59 a @code{\score} block, and it @strong{must} be surrounded by
62 This single music expression may be of any size, and may contain
63 other music expressions to any complexity. All of these examples
64 are music expressions:
70 @lilypond[verbatim,quote]
77 @lilypond[verbatim,quote]
79 \new Staff { c'4 c' c' c' }
80 \new Staff { d'4 d' d' d' }
88 \new Staff @{ \flute @}
89 \new Staff @{ \oboe @}
92 \new Staff @{ \violinI @}
93 \new Staff @{ \violinII @}
99 Comments are one exception to this general rule. (For others see
100 @ref{File structure}.) Both single-line comments and comments
101 delimited by @code{%@{ .. %@}} may be placed anywhere within an
102 input file. They may be placed inside or outside a @code{\score}
103 block, and inside or outside the single music expression within a
106 Remember that even in a file containing only a @code{\score} block, it
107 is implicitly enclosed in a \book block. A \book block in a source
108 file produces at least one output file, and by default the name of the
109 output file produced is derived from the name of the input file, so
110 @file{fandangoforelephants.ly} will produce
111 @file{fandangoforelephants.pdf}.
113 (For more details about @code{\book} blocks, see
114 @ref{Multiple scores in a book},
115 @ref{Multiple output files from one input file} @ref{File structure}.)
119 @rlearning{Working on input files},
120 @rlearning{Music expressions explained},
121 @rlearning{Score is a (single) compound musical expression}.
124 @node Multiple scores in a book
125 @subsection Multiple scores in a book
128 @cindex movements, multiple
130 A document may contain multiple pieces of music and text. Examples
131 of these are an etude book, or an orchestral part with multiple
132 movements. Each movement is entered with a @code{\score} block,
140 and texts are entered with a @code{\markup} block,
150 All the movements and texts which appear in the same @file{.ly} file
151 will normally be typeset in the form of a single output file.
165 One important exception is within lilypond-book documents,
166 where you explicitly have to add a @code{\book} block, otherwise only
167 the first @code{\score} or @code{\markup} will appear in the output.
169 The header for each piece of music can be put inside the @code{\score}
170 block. The @code{piece} name from the header will be printed before
171 each movement. The title for the entire book can be put inside the
172 @code{\book}, but if it is not present, the @code{\header} which is at
173 the top of the file is inserted.
177 title = "Eight miniatures"
178 composer = "Igor Stravinsky"
182 \header @{ piece = "Romanze" @}
185 ..text of second verse..
188 ..text of third verse..
192 \header @{ piece = "Menuetto" @}
198 Pieces of music may be grouped into book parts using @code{\bookpart}
199 blocks. Book parts are separated by a page break, and can start with a
200 title, like the book itself, by specifying a @code{\header} block.
206 subtitle = "First part"
213 subtitle = "Second part"
220 @node Multiple output files from one input file
221 @subsection Multiple output files from one input file
223 If you want multiple output files from the same @file{.ly} file,
224 then you can add multiple @code{\book} blocks, where each
225 such \book block will result in a separate output file.
226 If you do not specify any @code{\book} block in the
227 input file, LilyPond will implicitly treat the whole
228 file as a single \book block, see
229 @ref{File structure}.
231 When producing multiple files from a single source file, Lilypond
232 ensures that none of the output files from any @code{\book} block
233 overwrites the output file produced by a preceding @code{\book} from
236 It does this by adding a suffix to the output name for each
237 @code{\book} which uses the default output file name derived from the
240 The default behaviour is to append a version-number suffix for each
241 name which may clash, so
246 \layout @{ @dots{} @}
250 \layout @{ @dots{} @}
254 \layout @{ @dots{} @}
258 in source file @file{eightminiatures.ly}
263 @file{eightminiatures.pdf},
265 @file{eightminiatures-1.pdf} and
267 @file{eightminiatures-2.pdf}.
270 @node Output file names
271 @subsection Output file names
273 @funindex \bookOutputSuffix
274 @funindex \bookOutputName
276 Lilypond provides facilities to allow you to control what file names
277 are used by the various back-ends when producing output files.
279 In the previous section, we saw how Lilypond prevents name-clashes when
280 producing several ouputs from a single source file. You also have the
281 ability to specify your own suffixes for each @code{\book} block, so
282 for example you can produce files called
283 @file{eightminiatures-Romanze.pdf}, @file{eightminiatures-Menuetto.pdf}
284 and @file{eightminiatures-Nocturne.pdf} by adding a
285 @code{\bookOutputSuffix} declaration inside each @code{\book} block.
289 \bookOutputSuffix "Romanze"
291 \layout @{ @dots{} @}
294 \bookOutputSuffix "Menuetto"
296 \layout @{ @dots{} @}
299 \bookOutputSuffix "Nocturne"
301 \layout @{ @dots{} @}
305 You can also specify a different output filename for @code{book} block,
306 by using @code{\bookOutputName} declarations
310 \bookOutputName "Romanze"
312 \layout @{ @dots{} @}
315 \bookOutputName "Menuetto"
317 \layout @{ @dots{} @}
320 \bookOutputName "Nocturne"
322 \layout @{ @dots{} @}
326 The file above will produce these output files:
332 @file{Menuetto.pdf} and
339 @subsection File structure
349 A @file{.ly} file may contain any number of toplevel expressions, where a
350 toplevel expression is one of the following:
354 An output definition, such as @code{\paper}, @code{\midi}, and
355 @code{\layout}. Such a definition at the toplevel changes the default
356 book-wide settings. If more than one such definition of the same type
357 is entered at the top level the definitions are combined, but in
358 conflicting situations the later definitions take precedence. For
359 details of how this affects the @code{\layout} block see
360 @ref{The \layout block}.
363 A direct scheme expression, such as
364 @code{#(set-default-paper-size "a7" 'landscape)} or
365 @code{#(ly:set-option 'point-and-click #f)}.
368 A @code{\header} block. This sets the global header block. This
369 is the block containing the definitions for book-wide settings, like
370 composer, title, etc.
373 A @code{\score} block. This score will be collected with other
374 toplevel scores, and combined as a single @code{\book}.
375 This behavior can be changed by setting the variable
376 @code{toplevel-score-handler} at toplevel. The default handler is
377 defined in the init file @file{../scm/lily.scm}.
380 A @code{\book} block logically combines multiple movements
381 (i.e., multiple @code{\score} blocks) in one document. If there
382 are a number of @code{\score}s, one output file will be created
383 for each @code{\book} block, in which all corresponding movements
384 are concatenated. The only reason to explicitly specify
385 @code{\book} blocks in a @file{.ly} file is if you wish to create
386 multiple output files from a single input file. One exception is
387 within lilypond-book documents, where you explicitly have to add
388 a @code{\book} block if you want more than a single @code{\score}
389 or @code{\markup} in the same example. This behavior can be
390 changed by setting the variable @code{toplevel-book-handler} at
391 toplevel. The default handler is defined in the init file
392 @file{../scm/lily.scm}.
395 A @code{\bookpart} block. A book may be divided into several parts,
396 using @code{\bookpart} blocks, in order to ease the page breaking,
397 or to use different @code{\paper} settings in different parts.
400 A compound music expression, such as
405 This will add the piece in a @code{\score} and format it in a
406 single book together with all other toplevel @code{\score}s and music
407 expressions. In other words, a file containing only the above
408 music expression will be translated into
425 This behavior can be changed by setting the variable
426 @code{toplevel-music-handler} at toplevel. The default handler is
427 defined in the init file @file{../scm/lily.scm}.
430 A markup text, a verse for example
433 2. The first line verse two.
437 Markup texts are rendered above, between or below the scores or music
438 expressions, wherever they appear.
448 This can be used later on in the file by entering @code{\foo}. The
449 name of a variable should have alphabetic characters only; no
450 numbers, underscores or dashes.
454 The following example shows three things that may be entered at
459 % Don't justify the output
471 At any point in a file, any of the following lexical instructions can
475 @item @code{\version}
476 @item @code{\include}
477 @item @code{\sourcefilename}
478 @item @code{\sourcefileline}
480 A single-line comment, introduced by a leading @code{%} sign.
483 A multi-line comment delimited by @code{%@{ .. %@}}.
489 Whitespace between items in the input stream is generally ignored,
490 and may be freely omitted or extended to enhance readability.
491 However, whitespace should always be used in the following
492 circumstances to avoid errors:
495 @item Around every opening and closing curly bracket.
496 @item After every command or variable, i.e. every item that
497 begins with a @code{\} sign.
498 @item After every item that is to be interpreted as a Scheme
499 expression, i.e. every item that begins with a @code{#}@tie{}sign.
500 @item To separate all elements of a Scheme expression.
501 @item In @code{lyricmode} to separate all the terms in both
502 @code{\override} and @code{\set} commands. In particular, spaces
503 must be used around the dot and the equals sign in commands like
504 @code{\override Score . LyricText #'font-size = #5} and before and
505 after the entire command.
511 @rlearning{How LilyPond input files work}.
514 @ref{The \layout block}.
517 @node Titles and headers
518 @section Titles and headers
520 Almost all printed music includes a title and the composer's name;
521 some pieces include a lot more information.
524 * Creating titles headers and footers::
525 * Custom headers footers and titles::
526 * Creating footnotes::
527 * Reference to page numbers::
528 * Table of contents::
532 @node Creating titles headers and footers
533 @subsection Creating titles headers and footers
536 * Title blocks explained::
537 * Default layout of book and score title blocks::
538 * Default layout of headers and footers::
542 @node Title blocks explained
543 @unnumberedsubsubsec Title blocks explained
545 @c TODO: figure out how \bookpart titles work
547 There are two types of title blocks: the main title block that appears
548 above of the first @code{\score} of a book, and individual title
549 blocks that appear within each @code{\score} block. Text fields for
550 both types are entered using a @code{\header} block.
552 If the book only has a single score, the @code{\header} block may be
553 placed inside or outside of the @code{\score} block.
555 @warning{Remember when adding a @bs{}@code{header} block inside a
556 @bs{}@code{score} block, that the music expression must come before the
557 @bs{}@code{header} block.}
559 @lilypond[papersize=a5,quote,verbatim,noragged-right]
562 composer = "J. S. Bach."
566 \new Staff \relative g, {
569 \repeat unfold 2 { g16( d' b') a b d, b' d, } |
570 \repeat unfold 2 { g,16( e' c') b c e, c' e, } |
578 \new Staff \relative b {
582 <g, d' b'~>4 b'16 a( g fis) g( d e fis) g( a b c) |
583 d16( b g fis) g( e d c) b(c d e) fis( g a b) |
591 Text fields from the main title block of a book can be displayed in all
592 @code{\score} blocks, or manually suppressed:
594 @lilypond[papersize=a5,quote,verbatim,noragged-right]
597 print-all-headers = ##t
600 title = "DAS WOHLTEMPERIRTE CLAVIER"
602 % Do not display the tagline for this book
605 \markup { \vspace #1 }
609 \new Staff { \clef "bass" s1 }
612 title = "PRAELUDIUM I"
614 % Do not display the subtitle for this score
621 \new Staff { \clef "bass" s1 }
625 subsubtitle = "A 4 VOCI"
627 % Do not display the subtitle for this score
636 @ref{File structure},
637 @ref{Custom layout for title blocks}.
640 @node Default layout of book and score title blocks
641 @unnumberedsubsubsec Default layout of book and score title blocks
643 The layout and formatting of title blocks are controlled by two
644 @code{\paper} variables; @code{bookTitleMarkup} for the main
645 @code{\header} title block and @code{scoreTitleMarkup} for individual
646 @code{\header} blocks within a @code{\score}.
648 @lilypond[papersize=a6,quote,verbatim,noragged-right]
650 % The following fields are centered
651 dedication = "Dedication"
653 subtitle = "Subtitle"
654 subsubtitle = "Subsubtitle"
655 instrument = "Instrument"
657 % The following fields are left-aligned on the left side
661 % The following fields are right-aligned on the right side
662 composer = "Composer"
663 arranger = "Arranger"
669 % The following fields are placed at opposite ends of the same line
676 @c Is the bit about \null markups true? -mp
678 Text fields left unset in a @code{\header} block are replaced with
679 @code{\null} markups so that the space is not wasted.
681 The default settings for @code{scoreTitleMarkup} place the @code{piece}
682 and @code{opus} text fields at opposite ends of the same line.
686 Use the @code{breakbefore} variable inside a @code{\header} block
687 that is itself in a @code{\score} block, to make the top-level
688 @code{\header} block titles appear on the first page on their own, with
689 the music (defined in the @code{\score} block) starting on the next.
691 @lilypond[papersize=a8landscape,verbatim,noragged-right]
694 title = "This is my Title"
695 subtitle = "This is my Subtitle"
696 copyright = "This is the bottom of the first page"
699 \repeat unfold 4 { e'' e'' e'' e'' }
701 piece = "This is the Music"
710 @rlearning{How LilyPond input files work},
713 @ref{File structure}.
716 @file{ly/titling-init.ly}.
719 @node Default layout of headers and footers
720 @unnumberedsubsubsec Default layout of headers and footers
722 @emph{Headers} and @emph{footers} are lines of text appearing at
723 the top and bottom of pages, separate from the main text of a book.
724 They are controlled by the following @code{\paper} variables:
727 @item @code{oddHeaderMarkup}
728 @item @code{evenHeaderMarkup}
729 @item @code{oddFooterMarkup}
730 @item @code{evenFooterMarkup}
733 These markup variables can only access text fields from top-level
734 @code{\header} blocks (which apply to all scores in the book) and are
735 defined in @file{ly/titling-init.ly}. By default:
740 page numbers are automatically placed on the top far left (if even) or
741 top far right (if odd), starting from the second page.
744 the @code{instrument} text field is placed in the center of every
745 page, starting from the second page.
748 the @code{copyright} text is centered on the bottom of the first page.
751 the @code{tagline} is centered on the bottom of the last page, and below
752 the @code{copyright} text if there is only a single page.
756 @lilypond[papersize=a8landscape]
766 The default tagline can be changed by adding a @code{tagline} in the
767 top-level @code{\header} block.
769 @lilypond[papersize=a8landscape,verbatim]
772 tagline = "... music notation for Everyone"
782 To remove the @code{tagline} set the value to @code{##f}.
785 @node Custom headers footers and titles
786 @subsection Custom headers footers and titles
788 @c TODO: somewhere put a link to header spacing info
789 @c (you'll have to explain it more in NR 4).
792 * Custom text formatting for title blocks::
793 * Custom layout for title blocks::
794 * Custom layout for headers and footers::
798 @node Custom text formatting for title blocks
799 @unnumberedsubsubsec Custom text formatting for title blocks
801 Standard @code{\markup} commands can be used to customize any header,
802 footer and title text within the @code{\header} block.
804 @lilypond[quote,verbatim,noragged-right]
808 piece = \markup { \fontsize #4 \bold "PRAELUDIUM I" }
809 subtitle = \markup { \italic "(Excerpt)" }
816 @ref{Formatting text}.
819 @node Custom layout for title blocks
820 @unnumberedsubsubsec Custom layout for title blocks
822 @code{\markup} commands in the @code{\header} block are useful for
823 simple text formatting, but they do not allow precise control over the
824 placement of titles. To customize the placement of the text fields,
825 use either or both of the following @code{\paper} variables:
828 @item @code{bookTitleMarkup}
829 @item @code{scoreTitleMarkup}
832 These markup variables are discussed in
833 @ref{Default layout of book and score title blocks}.
835 The default settings for @code{scoreTitleMarkup} as defined in
836 @file{ly/titling-init.ly} are:
839 scoreTitleMarkup = \markup @{ \column @{
840 \on-the-fly #print-all-headers @{ \bookTitleMarkup \hspace #1 @}
842 \fromproperty #'header:piece
843 \fromproperty #'header:opus
849 This places the @code{piece} and @code{opus} text fields at opposite
850 ends of the same line:
852 @lilypond[quote,verbatim,noragged-right]
856 piece = "PRAELUDIUM I"
862 This example redefines @code{scoreTitleMarkup} so that the @code{piece}
863 text field is centered and in a large, bold font.
865 @lilypond[papersize=a5,quote,verbatim,noragged-right]
869 scoreTitleMarkup = \markup {
872 \fontsize #4 \bold \fromproperty #'header:piece
873 \fromproperty #'header:opus
877 \header { tagline = ##f }
881 piece = "PRAELUDIUM I"
888 Text fields normally reserved for the main title block can be included
889 in individual score title blocks with the @code{print-all-headers}
890 placed inside the @code{\paper} block. A disadvantage of using this
891 method is that the text fields that are intended specifically for the
892 top-level @code{\header} block need to be manually suppressed in every
893 @code{\score} block. See @ref{Title blocks explained}.
895 To avoid this, add the desired text field to the @code{scoreTitleMarkup}
896 definition. In the following example, the @code{composer} text field
897 (normally associated with @code{bookTitleMarkup}) is added to
898 @code{scoreTitleMarkup}, allowing each score to list a different
901 @lilypond[papersize=a5,quote,verbatim,noragged-right]
905 scoreTitleMarkup = \markup {
908 \fontsize #4 \bold \fromproperty #'header:piece
909 \fromproperty #'header:composer
913 \header { tagline = ##f }
918 composer = "Christian Petzold"
925 composer = "François Couperin"
931 It is also possible to create your own custom text fields, and refer to
932 them in the markup definition.
934 @lilypond[papersize=a5,quote,verbatim,noragged-right]
938 scoreTitleMarkup = \markup {
941 \override #`(direction . ,UP) {
943 \center-align \fontsize #-1 \bold
944 \fromproperty #'header:mycustomtext %% User-defined field
945 \center-align \fontsize #4 \bold
946 \fromproperty #'header:piece
949 \fromproperty #'header:opus
953 \header { tagline = ##f }
958 mycustomtext = "A 4 VOCI" %% User-defined field
967 @ref{Title blocks explained}.
970 @node Custom layout for headers and footers
971 @unnumberedsubsubsec Custom layout for headers and footers
973 @c can make-header and make-footer be removed from
974 @c paper-defaults-init.ly? -mp
976 @code{\markup} commands in the @code{\header} block are useful for
977 simple text formatting, but they do not allow precise control over the
978 placement of headers and footers. To customize the placement of
979 the text fields, use either or both of the following @code{\paper}
983 @item @code{oddHeaderMarkup}
984 @item @code{evenHeaderMarkup}
985 @item @code{oddFooterMarkup}
986 @item @code{evenFooterMarkup}
989 @cindex markup, conditional
991 @funindex \on-the-fly
993 The @code{\markup} command @code{\on-the-fly} can be used to add
994 markup conditionally to header and footer text defined within the
995 @code{\paper} block, using the following syntax:
998 @code{variable} = @code{\markup} @{
1000 @code{\on-the-fly} #@var{procedure} @var{markup}
1005 The @var{procedure} is called each time the @code{\markup} command
1006 in which it appears is evaluated. The @var{procedure} should test
1007 for a particular condition and interpret (i.e. print) the
1008 @var{markup} argument if and only if the condition is true.
1010 A number of ready-made procedures for testing various conditions are
1014 @multitable {print-page-number-check-first-----} {should this page be printed-----}
1016 @headitem Procedure name @tab Condition tested
1018 @item print-page-number-check-first @tab should this page number be printed?
1019 @item create-page-number-stencil @tab 'print-page-numbers true?
1020 @item print-all-headers @tab 'print-all-headers true?
1021 @item first-page @tab first page in the book?
1022 @item (on-page nmbr) @tab page number = nmbr?
1023 @item last-page @tab last page in the book?
1024 @item not-first-page @tab not first page in the book?
1025 @item part-first-page @tab first page in the book part?
1026 @item part-last-page @tab last page in the book part?
1027 @item not-single-page @tab pages in book part > 1?
1032 The following example centers page numbers at the bottom of every
1033 page. First, the default settings for @code{oddHeaderMarkup} and
1034 @code{evenHeaderMarkup} are removed by defining each as a @emph{null}
1035 markup. Then, @code{oddFooterMarkup} is redefined with the page
1036 number centered. Finally, @code{evenFooterMarkup} is given the
1037 same layout by defining it as @code{\oddFooterMarkup}:
1039 @lilypond[papersize=a8,quote,verbatim,noragged-right]
1042 print-page-number = ##t
1043 print-first-page-number = ##t
1044 oddHeaderMarkup = \markup \null
1045 evenHeaderMarkup = \markup \null
1046 oddFooterMarkup = \markup {
1048 \on-the-fly #print-page-number-check-first
1049 \fromproperty #'page:page-number-string
1052 evenFooterMarkup = \oddFooterMarkup
1055 \new Staff { s1 \break s1 \break s1 }
1060 Several @code{\on-the-fly} conditions can be combined with an
1061 @q{and} operation, for example,
1064 @code{\on-the-fly #first-page}
1065 @code{\on-the-fly #last-page}
1066 @code{@{ \markup ... \fromproperty #'header: ... @}}
1069 determines if the output is a single page.
1073 @ref{Title blocks explained},
1074 @ref{Default layout of book and score title blocks}.
1077 @file{../ly/titling-init.ly}.
1080 @node Creating footnotes
1081 @subsection Creating footnotes
1083 There are two types of footnotes that can be created; automatic
1084 footnotes and manual footnotes.
1087 * Footnotes overview::
1088 * Automatic footnotes::
1089 * Manual footnotes::
1092 @node Footnotes overview
1093 @unnumberedsubsubsec Footnotes overview
1095 Automatic footnotes create incrementing numerical indicators and manual
1096 footnotes allow a custom indicator to be created instead. Footnotes are
1097 normally applied like @code{\tweak} and consequently can be placed
1098 directly on grobs (graphical objects) created by most music elements and
1099 post-events. In cases where this does not work (like with bar lines and
1100 meter changes, where the grobs are produced as a consequence of property
1101 changes), footnotes can also be specified as a standalone music event
1102 affecting all grobs of a given type at a particular time step.
1104 The full form of a footnote command is
1107 \footnote @var{mark} @var{offset} @var{grob-name} @var{footnote}
1111 The elements are as follows:
1115 is a markup or string specifying the footnote mark which is used for
1116 both marking the reference point as well as the footnote itself at the
1117 bottom of the page. It can be omitted (or equivalently replaced with
1118 @code{\default}) in which case a number in sequence will be generated.
1120 is a number pair such as @samp{#(2 . 1)} specifying the X and Y offset
1121 from the reference point where the mark will be placed.
1123 specifies a type of grob to mark (like @samp{#'Flag}). If it is given,
1124 the respective grob will be used as a reference point even in case that
1125 its @q{cause} is not the referenced @var{music} itself but a grob
1126 created from it. It can be omitted (or replaced with @code{\default}),
1127 and then only a directly created grob will be annotated.
1129 This markup or string specifies the footnote text to use at the bottom
1132 This is the item, a music event or chord constituent or post-event, that
1133 is being annotated. While it cannot be omitted, it @emph{can} be
1134 replaced by @code{\default} in which case the footnote is not attached
1135 to a music expression in particular, but rather to a moment of time. It
1136 is mandatory in this case to use the @var{grob-name} argument for
1137 selecting an affected grob type, like @samp{#'TimeSignature}.
1140 Like with @code{\tweak}, if your @code{\footnote} is applied to a
1141 post-event or articulation, it will itself have to be preceded with
1142 @code{-} to make the parser attach the result to the preceding note or
1145 @node Automatic footnotes
1146 @unnumberedsubsubsec Automatic footnotes
1148 Automatic footnotes take four arguments: the @samp{(x . y)} position of
1149 the indicator, the optional @var{grob-name} specifying the layout object
1150 to be annotated, the @var{footnote} markup itself that will appear at
1151 the bottom of the page, and of course the @var{music} to attach the
1154 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1156 \header { tagline = ##f }
1158 \footnote #'(0.5 . -2)
1159 \markup { The first note }
1161 \footnote #'(0.5 . 1) #'Flag
1162 \markup { The third note }
1168 Chorded notes pose no particular difficulty:
1170 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1172 \header { tagline = ##f }
1175 \footnote #'(1 . -1.25) "Here is a C" c
1176 \footnote #'(2 . -0.25) \markup { \italic "An E-flat" } es
1177 \footnote #'(2 . 3) \markup { \bold "This is a G" } g
1183 @warning {When footnotes have the same vertical position, the footnotes
1184 are printed in order of descendancy; the higher the footnote, the
1185 higher up in the list.}
1187 Here are some more examples of footnoted grobs, also showing the
1188 relative position of the footnotes to the tagline and copyright.
1190 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1192 \header { copyright = \markup { "Copyright 1970" } }
1194 a'4-\footnote #'(-3 . 0) \markup { \bold Forte } \f
1195 -\footnote #'(0 . 1.5) \markup { A slur } (
1196 b8)-\footnote #'(0 . -2) \markup { Beam } [ e]
1197 \footnote #'(1 . -1) #'Stem
1198 \markup { \teeny { This is a stem } }
1200 \footnote #'(0 . 0.5) #'AccidentalCautionary
1201 \markup \italic { A cautionary accidental }
1202 \footnote #'(1 . 1) "The note itself"
1203 dis?4-\footnote #'(0.5 . -0.5) \markup \italic { Slow Down }
1209 For top-level @code{\markup}, the @code{\auto-footnote} command is
1212 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1214 \header { tagline = ##f }
1215 \markup { \auto-footnote "A simple tune" \italic "By me" }
1223 @node Manual footnotes
1224 @unnumberedsubsubsec Manual footnotes
1226 @cindex footnotes, manual
1228 Manually marked footnotes take an additional first markup argument
1229 @var{mark} for making the reference mark. In contrast to automatically
1230 generated footnote marks, they will not appear before the @var{footnote}
1231 markup at the bottom of the page: establishing the visual connection is
1232 left to the user. LilyPond will only make sure that the corresponding
1233 markup appears on the bottom of the same page.
1235 Other than that, the use is identical to that of automatically numbered
1238 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1240 \header { tagline = ##f }
1244 \markup { \italic "1. The first note" }
1248 \markup { \bold "2" } #'(0.5 . 1)
1249 "2. The second note"
1252 d-\footnote "3" #'(0.5 . -1) "3. Piano" \p
1257 To annotate chorded notes with manual footnotes:
1259 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1261 \header { tagline = ##f }
1264 \footnote "1" #'(1 . -1.25) "1. C" c
1266 \markup { \bold "b" } #'(2 . -0.25) "b. E-flat" es
1267 \footnote "3" #'(2 . 3) \markup { \italic "iii. G" } g
1273 @warning {When footnotes have the same vertical position, the footnotes
1274 are printed in order of descendancy; the higher the footnote, the
1275 higher up in the list.}
1277 Here are some examples of manually footnoted grobs, also showing
1278 the relative position of the footnotes to the tagline and copyright
1280 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1282 \header { tagline = ##f }
1285 \markup { \teeny 1 } #'(-3 . 0)
1286 \markup { 1. \bold Forte } \f
1288 \markup { \teeny b } #'(0 . 1.5)
1289 \markup { b. A slur } (
1291 \markup { \teeny 3 } #'(0 . -2)
1292 \markup { 3. Beam } [
1295 \markup { 4 } #'(1 . -1) #'Stem
1296 \markup { \bold 4. { This is a stem } }
1299 \markup \concat \teeny { "sharp (v)" }
1300 #'(0 . 0.5) #'AccidentalCautionary
1301 \markup \italic { v. A cautionary accidental }
1303 \markup \concat \teeny { "a" } #'(0.5 . -0.5)
1304 \markup \italic { a. Slow Down } _"rit."
1306 \markup { \teeny \musicglyph #"rests.4" }
1308 \markup { \null } \breathe
1313 To manually footnote a top-level @code{\markup}:
1315 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1317 \header { tagline = ##f }
1318 \markup { "A simple tune" \footnote "*" \italic "* By me" }
1327 @rlearning{Objects and interfaces}.
1334 @ref{Titles and headers}.
1336 Internals Reference:
1337 @rinternals{FootnoteEvent},
1338 @rinternals{FootnoteItem},
1339 @rinternals{FootnoteSpanner},
1340 @rinternals{Footnote_engraver}.
1343 Multiple footnotes for the same page can only be stacked, one on top of
1344 the other, and cannot be printed on the same line. Footnotes cannot be
1345 attached to @code{MultiMeasureRests} and may collide with @code{Staff},
1346 @code{\markup} objects and other @code{footnote} annotations. When
1347 using any manual @code{footnote} command a @code{\paper} block
1348 containing @code{footnote-auto-number = ##f} is required.
1351 @node Reference to page numbers
1352 @subsection Reference to page numbers
1354 A particular place of a score can be marked using the @code{\label}
1355 command, either at top-level or inside music. This label can then be
1356 referred to in a markup, to get the number of the page where the marked
1357 point is placed, using the @code{\page-ref} markup command.
1359 @lilypond[verbatim,papersize=a8landscape]
1360 \header { tagline = ##f }
1366 \pageBreak \mark A \label #'markA
1370 \markup { The first score begins on page \page-ref #'firstScore "0" "?" }
1371 \markup { Mark A is on page \page-ref #'markA "0" "?" }
1375 The @code{\page-ref} markup command takes three arguments:
1377 @item the label, a scheme symbol, eg. @code{#'firstScore};
1378 @item a markup that will be used as a gauge to estimate the dimensions
1380 @item a markup that will be used in place of the page number if the label
1384 The reason why a gauge is needed is that, at the time markups are
1385 interpreted, the page breaking has not yet occurred, so the page numbers
1386 are not yet known. To work around this issue, the actual markup
1387 interpretation is delayed to a later time; however, the dimensions of
1388 the markup have to be known before, so a gauge is used to decide these
1389 dimensions. If the book has between 10 and 99 pages, it may be "00",
1390 ie. a two digit number.
1401 @node Table of contents
1402 @subsection Table of contents
1403 A table of contents is included using the @code{\markuplist \table-of-contents}
1404 command. The elements which should appear in the table of contents are
1405 entered with the @code{\tocItem} command, which may be used either at
1406 top-level, or inside a music expression.
1409 \markuplist \table-of-contents
1412 \tocItem \markup "First score"
1416 \tocItem \markup "Some particular point in the first score"
1421 \tocItem \markup "Second score"
1429 The markups which are used to format the table of contents are defined
1430 in the @code{\paper} block. The default ones are @code{tocTitleMarkup},
1431 for formatting the title of the table, and @code{tocItemMarkup}, for
1432 formatting the toc elements, composed of the element title and page
1433 number. These variables may be changed by the user:
1437 %% Translate the toc title into French:
1438 tocTitleMarkup = \markup \huge \column {
1439 \fill-line { \null "Table des matières" \null }
1442 %% use larger font size
1443 tocItemMarkup = \markup \large \fill-line {
1444 \fromproperty #'toc:text \fromproperty #'toc:page
1449 Note how the toc element text and page number are referred to in
1450 the @code{tocItemMarkup} definition.
1452 New commands and markups may also be defined to build more elaborated
1455 @item first, define a new markup variable in the @code{\paper} block
1456 @item then, define a music function which aims at adding a toc element
1457 using this markup paper variable.
1460 In the following example, a new style is defined for entering act names
1461 in the table of contents of an opera:
1465 tocActMarkup = \markup \large \column {
1467 \fill-line { \null \italic \fromproperty #'toc:text \null }
1473 #(define-music-function (parser location text) (markup?)
1474 (add-toc-item! 'tocActMarkup text))
1477 @lilypond[line-width=10.0\cm]
1478 \header { tagline = ##f }
1480 tocActMarkup = \markup \large \column {
1482 \fill-line { \null \italic \fromproperty #'toc:text \null }
1488 #(define-music-function (parser location text) (markup?)
1489 (add-toc-item! 'tocActMarkup text))
1492 \markuplist \table-of-contents
1493 \tocAct \markup { Atto Primo }
1494 \tocItem \markup { Coro. Viva il nostro Alcide }
1495 \tocItem \markup { Cesare. Presti omai l'Egizzia terra }
1496 \tocAct \markup { Atto Secondo }
1497 \tocItem \markup { Sinfonia }
1498 \tocItem \markup { Cleopatra. V'adoro, pupille, saette d'Amore }
1503 Dots can be added to fill the line between an item and its page number:
1505 @lilypond[verbatim,line-width=10.0\cm]
1506 \header { tagline = ##f }
1508 tocItemMarkup = \tocItemWithDotsMarkup
1512 \markuplist \table-of-contents
1513 \tocItem \markup { Allegro }
1514 \tocItem \markup { Largo }
1521 @file{ly/toc-init.ly}.
1524 @funindex \table-of-contents
1525 @code{\table-of-contents},
1531 @node Working with input files
1532 @section Working with input files
1535 * Including LilyPond files::
1536 * Different editions from one source::
1537 * Special characters::
1541 @node Including LilyPond files
1542 @subsection Including LilyPond files
1545 @cindex including files
1547 A large project may be split up into separate files. To refer to
1551 \include "otherfile.ly"
1554 The line @code{\include "otherfile.ly"} is equivalent to pasting the
1555 contents of @file{otherfile.ly} into the current file at the place
1556 where the @code{\include} appears. For example, in a large
1557 project you might write separate files for each instrument part
1558 and create a @qq{full score} file which brings together the
1559 individual instrument files. Normally the included file will
1560 define a number of variables which then become available
1561 for use in the full score file. Tagged sections can be
1562 marked in included files to assist in making them usable in
1563 different places in a score, see @ref{Different editions from
1566 Files in the current working directory may be referenced by
1567 specifying just the file name after the @code{\include} command.
1568 Files in other locations may be included by giving either a full
1569 path reference or a relative path reference (but use the UNIX
1570 forward slash, /, rather than the DOS/Windows back slash, \, as the
1571 directory separator.) For example, if @file{stuff.ly} is located
1572 one directory higher than the current working directory, use
1575 \include "../stuff.ly"
1579 or if the included orchestral parts files are all located in a
1580 subdirectory called @file{parts} within the current directory, use
1583 \include "parts/VI.ly"
1584 \include "parts/VII.ly"
1588 Files which are to be included can also contain @code{\include}
1589 statements of their own. By default, these second-level
1590 @code{\include} statements are not interpreted until they have
1591 been brought into the main file, so the file names they specify
1592 must all be relative to the directory containing the main file,
1593 not the directory containing the included file. However,
1594 this behavior can be changed by passing the option
1595 @option{-drelative-includes} option at the command line
1596 (or by adding @code{#(ly:set-option 'relative-includes #t)}
1597 at the top of the main input file). With @code{relative-includes}
1598 set, the path for each @code{\include} command will be taken
1599 relative to the file containing that command. This behavior is
1600 recommended and it will become the default behavior in a future
1601 version of lilypond.
1603 Files can also be included from a directory in a search path
1604 specified as an option when invoking LilyPond from the command
1605 line. The included files are then specified using just their
1606 file name. For example, to compile @file{main.ly} which includes
1607 files located in a subdirectory called @file{parts} by this method,
1608 cd to the directory containing @file{main.ly} and enter
1611 lilypond --include=parts main.ly
1614 and in main.ly write
1622 Files which are to be included in many scores may be placed in
1623 the LilyPond directory @file{../ly}. (The location of this
1624 directory is installation-dependent - see
1625 @rlearning{Other sources of information}). These files can then
1626 be included simply by naming them on an @code{\include} statement.
1627 This is how the language-dependent files like @file{english.ly} are
1630 LilyPond includes a number of files by default when you start
1631 the program. These includes are not apparent to the user, but the
1632 files may be identified by running @code{lilypond --verbose} from
1633 the command line. This will display a list of paths and files that
1634 LilyPond uses, along with much other information. Alternatively,
1635 the more important of these files are discussed in
1636 @rlearning{Other sources of information}. These files may be
1637 edited, but changes to them will be lost on installing a new
1638 version of LilyPond.
1640 Some simple examples of using @code{\include} are shown in
1641 @rlearning{Scores and parts}.
1645 @rlearning{Other sources of information},
1646 @rlearning{Scores and parts}.
1649 If an included file is given a name which is the same as one in
1650 LilyPond's installation files, LilyPond's file from the
1651 installation files takes precedence.
1654 @node Different editions from one source
1655 @subsection Different editions from one source
1657 Several methods can be used to generate different versions of a score
1658 from the same music source. Variables are perhaps the most useful for
1659 combining lengthy sections of music and/or annotation. Tags are more
1660 useful for selecting one section from several alternative shorter
1661 sections of music, and can also be used for splicing pieces of music
1662 together at different points.
1664 Whichever method is used, separating the notation from the structure of
1665 the score will make it easier to change the structure while leaving the
1671 * Using global settings::
1674 @node Using variables
1675 @unnumberedsubsubsec Using variables
1677 @cindex variables, use of
1679 If sections of the music are defined in variables they can be
1680 reused in different parts of the score, see @rlearning{Organizing
1681 pieces with variables}. For example, an @notation{a cappella}
1682 vocal score frequently includes a piano reduction of the parts
1683 for rehearsal purposes which is identical to the vocal music, so
1684 the music need be entered only once. Music from two variables
1685 may be combined on one staff, see @ref{Automatic part combining}.
1688 @lilypond[verbatim,quote]
1689 sopranoMusic = \relative c'' { a4 b c b8( a) }
1690 altoMusic = \relative g' { e4 e e f }
1691 tenorMusic = \relative c' { c4 b e d8( c) }
1692 bassMusic = \relative c' { a4 gis a d, }
1693 allLyrics = \lyricmode {King of glo -- ry }
1695 \new Staff = "Soprano" \sopranoMusic
1696 \new Lyrics \allLyrics
1697 \new Staff = "Alto" \altoMusic
1698 \new Lyrics \allLyrics
1699 \new Staff = "Tenor" {
1703 \new Lyrics \allLyrics
1704 \new Staff = "Bass" {
1708 \new Lyrics \allLyrics
1711 \set Staff.printPartCombineTexts = ##f
1717 \set Staff.printPartCombineTexts = ##f
1727 Separate scores showing just the vocal parts or just the piano
1728 part can be produced by changing just the structural statements,
1729 leaving the musical notation unchanged.
1731 For lengthy scores, the variable definitions may be placed in
1732 separate files which are then included, see @ref{Including
1736 @unnumberedsubsubsec Using tags
1739 @funindex \keepWithTag
1740 @funindex \removeWithTag
1741 @funindex \pushToTag
1742 @funindex \appendToTag
1744 @cindex keep tagged music
1745 @cindex remove tagged music
1746 @cindex splice into tagged music
1748 The @code{\tag #'@var{partA}} command marks a music expression
1749 with the name @var{partA}.
1750 Expressions tagged in this way can be selected or filtered out by
1751 name later, using either @code{\keepWithTag #'@var{name}} or
1752 @code{\removeWithTag #'@var{name}}. The result of applying these filters
1753 to tagged music is as follows:
1754 @multitable @columnfractions .5 .5
1758 Tagged music preceded by @code{\keepWithTag #'@var{name}}
1759 @tab Untagged music and music tagged with @var{name} is included;
1760 music tagged with any other tag name is excluded.
1762 Tagged music preceded by @code{\removeWithTag #'@var{name}}
1763 @tab Untagged music and music tagged with any tag name other than
1764 @var{name} is included; music tagged with @var{name} is
1767 Tagged music not preceded by either @code{\keepWithTag} or
1768 @code{\removeWithTag}
1769 @tab All tagged and untagged music is included.
1772 The arguments of the @code{\tag}, @code{\keepWithTag} and
1773 @code{\removeWithTag} commands should be a symbol
1774 (such as @code{#'score} or @code{#'part}), followed
1775 by a music expression.
1777 In the following example, we see two versions of a piece of music,
1778 one showing trills with the usual notation, and one with trills
1779 explicitly expanded:
1781 @lilypond[verbatim,quote]
1782 music = \relative g' {
1784 \tag #'trills { d8.\trill }
1785 \tag #'expand { \repeat unfold 3 { e32 d } }
1790 \keepWithTag #'trills \music
1793 \keepWithTag #'expand \music
1798 Alternatively, it is sometimes easier to exclude sections of music:
1800 @lilypond[verbatim,quote]
1801 music = \relative g' {
1803 \tag #'trills { d8.\trill }
1804 \tag #'expand {\repeat unfold 3 { e32 d } }
1809 \removeWithTag #'expand
1813 \removeWithTag #'trills
1818 Tagged filtering can be applied to articulations, texts, etc. by
1822 -\tag #'@var{your-tag}
1825 to an articulation. For example, this would define a note with a
1826 conditional fingering indication and a note with a conditional
1831 c1-\tag #'warn ^"Watch!"
1834 Multiple tags may be placed on expressions with multiple
1835 @code{\tag} entries:
1837 @lilypond[quote,verbatim]
1838 music = \relative c'' {
1839 \tag #'a \tag #'both { a4 a a a }
1840 \tag #'b \tag #'both { b4 b b b }
1843 \keepWithTag #'a \music
1844 \keepWithTag #'b \music
1845 \keepWithTag #'both \music
1849 Multiple @code{\removeWithTag} filters may be applied to a single
1850 music expression to remove several differently named tagged sections:
1852 @lilypond[verbatim,quote]
1853 music = \relative c'' {
1854 \tag #'A { a4 a a a }
1855 \tag #'B { b4 b b b }
1856 \tag #'C { c4 c c c }
1857 \tag #'D { d4 d d d }
1866 Two or more @code{\keepWithTag} filters applied to a single music
1867 expression will cause @emph{all} tagged sections to be removed, as
1868 the first filter will remove all tagged sections except the one
1869 named, and the second filter will remove even that tagged section.
1871 Sometimes you want to splice some music at a particular place in an
1872 existing music expression. You can use @code{\pushToTag} and
1873 @code{\appendToTag} for adding material at the front or end of the
1874 @code{elements} of an existing music construct. Not every music
1875 construct has @code{elements}, but sequential and simultaneous music are
1878 @lilypond[verbatim,quote]
1879 test = { \tag #'here { \tag #'here <<c''>> } }
1882 \pushToTag #'here c'
1883 \pushToTag #'here e'
1884 \pushToTag #'here g' \test
1885 \appendToTag #'here c'
1886 \appendToTag #'here e'
1887 \appendToTag #'here g' \test
1891 Both commands get a tag, the material to splice in at every occurence of
1892 the tag, and the tagged expression. The commands make sure to
1893 copy everything that they change so that the original @code{\test}
1894 retains its meaning.
1898 @rlearning{Organizing pieces with variables}.
1901 @ref{Automatic part combining},
1902 @ref{Including LilyPond files}.
1905 @c This warning is more general than this placement implies.
1906 @c Rests are not merged whether or not they come from tagged sections.
1907 @c Should be deleted? -td
1910 Multiple rests are not merged if you create a score with more
1911 than one tagged section at the same place.
1916 @node Using global settings
1917 @unnumberedsubsubsec Using global settings
1919 @cindex include-settings
1921 Global settings can be included from a separate file:
1924 lilypond -dinclude-settings=MY_SETTINGS.ly MY_SCORE.ly
1927 Groups of settings such as page size, font or type face can be stored
1928 in separate files. This allows different editions from the same score
1929 as well as standard settings to be applied to many scores, simply by
1930 specifying the proper settings file.
1932 This technique also works well with the use of style sheets, as
1933 discussed in @rlearning{Style sheets}.
1937 @rlearning{Organizing pieces with variables},
1938 @rlearning{Style sheets}.
1941 @ref{Including LilyPond files}.
1944 @node Special characters
1945 @subsection Special characters
1947 @cindex special characters
1948 @cindex non-ASCII characters
1958 @unnumberedsubsubsec Text encoding
1962 LilyPond uses the character repertoire defined by the Unicode
1963 consortium and ISO/IEC 10646. This defines a unique name and
1964 code point for the character sets used in virtually all modern
1965 languages and many others too. Unicode can be implemented using
1966 several different encodings. LilyPond uses the UTF-8 encoding
1967 (UTF stands for Unicode Transformation Format) which represents
1968 all common Latin characters in one byte, and represents other
1969 characters using a variable length format of up to four bytes.
1971 The actual appearance of the characters is determined by the
1972 glyphs defined in the particular fonts available - a font defines
1973 the mapping of a subset of the Unicode code points to glyphs.
1974 LilyPond uses the Pango library to layout and render multi-lingual
1977 LilyPond does not perform any input-encoding conversions. This
1978 means that any text, be it title, lyric text, or musical
1979 instruction containing non-ASCII characters, must be encoded in
1980 UTF-8. The easiest way to enter such text is by using a
1981 Unicode-aware editor and saving the file with UTF-8 encoding. Most
1982 popular modern editors have UTF-8 support, for example, vim, Emacs,
1983 jEdit, and GEdit do. All MS Windows systems later than NT use
1984 Unicode as their native character encoding, so even Notepad can
1985 edit and save a file in UTF-8 format. A more functional
1986 alternative for Windows is BabelPad.
1988 If a LilyPond input file containing a non-ASCII character is not
1989 saved in UTF-8 format the error message
1992 FT_Get_Glyph_Name () error: invalid argument
1997 Here is an example showing Cyrillic, Hebrew and Portuguese
2001 %c No verbatim here as the code does not display correctly in PDF
2003 bulgarian = \lyricmode {
2004 Жълтата дюля беше щастлива, че пухът, който цъфна, замръзна като гьон.
2008 hebrew = \lyricmode {
2009 זה כיף סתם לשמוע איך תנצח קרפד עץ טוב בגן.
2013 portuguese = \lyricmode {
2014 à vo -- cê uma can -- ção legal
2020 \addlyrics { \bulgarian }
2021 \addlyrics { \hebrew }
2022 \addlyrics { \portuguese }
2027 @unnumberedsubsubsec Unicode
2031 To enter a single character for which the Unicode code point is
2032 known but which is not available in the editor being used, use
2033 either @code{\char ##xhhhh} or @code{\char #dddd} within a
2034 @code{\markup} block, where @code{hhhh} is the hexadecimal code for
2035 the character required and @code{dddd} is the corresponding decimal
2036 value. Leading zeroes may be omitted, but it is usual to specify
2037 all four characters in the hexadecimal representation. (Note that
2038 the UTF-8 encoding of the code point should @emph{not} be used
2039 after @code{\char}, as UTF-8 encodings contain extra bits indicating
2040 the number of octets.) Unicode code charts and a character name
2041 index giving the code point in hexadecimal for any character can be
2042 found on the Unicode Consortium website,
2043 @uref{http://www.unicode.org/}.
2045 For example, @code{\char ##x03BE} and @code{\char #958} would both
2046 enter the Unicode U+03BE character, which has the Unicode name
2047 @qq{Greek Small Letter Xi}.
2049 Any Unicode code point may be entered in this way and if all special
2050 characters are entered in this format it is not necessary to save
2051 the input file in UTF-8 format. Of course, a font containing all
2052 such encoded characters must be installed and available to LilyPond.
2054 The following example shows Unicode hexadecimal values being entered
2055 in four places -- in a rehearsal mark, as articulation text, in
2056 lyrics and as stand-alone text below the score:
2058 @lilypond[quote,verbatim]
2061 c1 \mark \markup { \char ##x03EE }
2062 c1_\markup { \tiny { \char ##x03B1 " to " \char ##x03C9 } }
2064 \addlyrics { O \markup { \concat { Ph \char ##x0153 be! } } }
2066 \markup { "Copyright 2008--2012" \char ##x00A9 }
2069 @cindex copyright sign
2071 To enter the copyright sign in the copyright notice use:
2075 copyright = \markup @{ \char ##x00A9 "2008" @}
2081 @unnumberedsubsubsec ASCII aliases
2083 A list of ASCII aliases for special characters can be included:
2085 @lilypond[quote,verbatim]
2087 #(include-special-characters)
2090 \markup "&flqq; – &OE;uvre incomplète… &frqq;"
2093 \new Staff { \repeat unfold 9 a'4 }
2095 This is al -- so wor -- kin'~in ly -- rics: –_&OE;…
2100 "The replacement can be disabled:"
2101 "– &OE; …"
2102 \override #'(replacement-alist . ()) "– &OE; …"
2106 You can also make your own aliases, either globally:
2108 @lilypond[quote,verbatim]
2110 #(add-text-replacements!
2111 '(("100" . "hundred")
2112 ("dpi" . "dots per inch")))
2114 \markup "A 100 dpi."
2119 @lilypond[quote,verbatim]
2120 \markup \replace #'(("100" . "hundred")
2121 ("dpi" . "dots per inch")) "A 100 dpi."
2126 @ref{List of special characters}.
2129 @file{ly/text-replacements.ly}.
2132 @node Controlling output
2133 @section Controlling output
2136 * Extracting fragments of music::
2137 * Skipping corrected music::
2138 * Alternative output formats::
2139 * Replacing the notation font::
2142 @node Extracting fragments of music
2143 @subsection Extracting fragments of music
2145 It is possible to quote small fragments of a large score directly from
2146 the output. This can be compared to clipping a piece of a paper score
2149 This is done by defining the measures that need to be cut out
2150 separately. For example, including the following definition
2158 (make-rhythmic-location 5 1 2)
2159 (make-rhythmic-location 7 3 4)))
2164 will extract a fragment starting halfway the fifth measure, ending in
2165 the seventh measure. The meaning of @code{5 1 2} is: after a 1/2 note
2166 in measure 5, and @code{7 3 4} after 3 quarter notes in measure 7.
2168 More clip regions can be defined by adding more pairs of
2169 rhythmic-locations to the list.
2171 In order to use this feature, LilyPond must be invoked with
2172 @option{-dclip-systems}. The clips are output as EPS files, and are
2173 converted to PDF and PNG if these formats are switched on as well.
2175 For more information on output formats, see @rprogram{Invoking lilypond}.
2177 @node Skipping corrected music
2178 @subsection Skipping corrected music
2181 @funindex skipTypesetting
2182 @funindex showFirstLength
2183 @funindex showLastLength
2185 When entering or copying music, usually only the music near the end (where
2187 are adding notes) is interesting to view and correct. To speed up
2188 this correction process, it is possible to skip typesetting of all but
2189 the last few measures. This is achieved by putting
2192 showLastLength = R1*5
2197 in your source file. This will render only the last 5 measures
2198 (assuming 4/4 time signature) of every @code{\score} in the input
2199 file. For longer pieces, rendering only a small part is often an order
2200 of magnitude quicker than rendering it completely. When working on the
2201 beginning of a score you have already typeset (e.g. to add a new part),
2202 the @code{showFirstLength} property may be useful as well.
2204 Skipping parts of a score can be controlled in a more fine-grained
2205 fashion with the property @code{Score.skipTypesetting}. When it is
2206 set, no typesetting is performed at all.
2208 This property is also used to control output to the MIDI file. Note that
2209 it skips all events, including tempo and instrument changes. You have
2212 @lilypond[quote,relative=2,ragged-right,verbatim]
2214 \set Score.skipTypesetting = ##t
2216 \set Score.skipTypesetting = ##f
2220 In polyphonic music, @code{Score.skipTypesetting} will affect all
2221 voices and staves, saving even more time.
2223 @node Alternative output formats
2224 @subsection Alternative output formats
2226 @cindex scalable vector graphics output
2228 @cindex encapsulated postscript output
2231 The default output formats for the printed score are Portable
2232 Document Format (PDF) and PostScript (PS). Scalable Vector
2233 Graphics (SVG), Encapsulated PostScript (EPS) and Portable
2234 Network Graphics (PNG) output formats are also available through
2235 command line options, see
2236 @rprogram{Basic command line options for LilyPond}.
2239 @node Replacing the notation font
2240 @subsection Replacing the notation font
2242 Gonville is an alternative to the Feta font used in LilyPond and can
2245 @uref{http://www.chiark.greenend.org.uk/~sgtatham/gonville/ ,http://www.chiark.greenend.org.uk/~sgtatham/gonville/}
2248 Here are a few sample bars of music set in Gonville:
2250 @c NOTE: these images are a bit big, but that's important
2251 @c for the font comparison. -gp
2252 @sourceimage{Gonville_after,,,}
2254 Here are a few sample bars of music set in LilyPond's Feta font:
2256 @sourceimage{Gonville_before,,,}
2258 @subsubheading Installation Instructions for MacOS
2260 Download and extract the zip file. Copy the @code{lilyfonts}
2261 directory to @file{@var{SHARE_DIR}/lilypond/current}; for more
2262 information, see @rlearning{Other sources of information}. Rename the
2263 existing @code{fonts} directory to @code{fonts_orig} and the
2264 @code{lilyfonts} directory to @code{fonts}. To revert back to Feta,
2265 reverse the process.
2269 @rlearning{Other sources of information}.
2272 Gonville cannot be used to typeset @q{Ancient Music} notation and it is
2273 likely newer glyphs in later releases of LilyPond may not exist in the
2274 Gonville font family. Please refer to the author's website for more
2275 information on these and other specifics, including licensing of
2280 @section MIDI output
2285 MIDI (Musical Instrument Digital Interface) is a standard for
2286 connecting and controlling digital instruments. A MIDI file is a
2287 series of notes in a number of tracks. It is not an actual
2288 sound file; you need special software to translate between the
2289 series of notes and actual sounds.
2291 Pieces of music can be converted to MIDI files, so you can listen to
2292 what was entered. This is convenient for checking the music; octaves
2293 that are off or accidentals that were mistyped stand out very much
2294 when listening to the MIDI output.
2296 Standard MIDI output is somewhat crude; optionally, an enhanced and
2297 more realistic MIDI output is available by means of
2298 @ref{The Articulate script}.
2300 The MIDI output allocates a channel for each staff, and reserves channel
2301 10 for drums. There are only 16 MIDI channels per device, so if the
2302 score contains more than 15 staves, MIDI channels will be reused.
2305 * Creating MIDI files::
2307 * What goes into the MIDI output?::
2309 * Controlling MIDI dynamics::
2310 * Percussion in MIDI::
2311 * The Articulate script::
2314 @node Creating MIDI files
2315 @subsection Creating MIDI files
2317 To create a MIDI output file from a LilyPond input file, add a
2318 @code{\midi} block to a score, for example,
2327 If there is a @code{\midi} block in a @code{\score} with no
2328 @code{\layout} block, only MIDI output will be produced. When
2329 notation is needed too, a @code{\layout} block must also be
2340 Pitches, rhythms, ties, dynamics, and tempo changes are interpreted
2341 and translated correctly to the MIDI output. Dynamic marks,
2342 crescendi and decrescendi translate into MIDI volume levels.
2343 Dynamic marks translate to a fixed fraction of the available MIDI
2344 volume range. Crescendi and decrescendi make the volume vary
2345 linearly between their two extremes. The effect of dynamic markings
2346 on the MIDI output can be removed completely, see @ref{MIDI block}.
2348 The initial tempo and later tempo changes can be specified
2349 with the @code{\tempo} command within the music notation. These
2350 are reflected in tempo changes in the MIDI output. This command
2351 will normally result in the metronome mark being printed, but this
2352 can be suppressed, see @ref{Metronome marks}. An alternative way
2353 of specifying the initial or overall MIDI tempo is described below,
2354 see @ref{MIDI block}.
2356 Due to some limitations on Windows, the default extension for
2357 MIDI files on Windows is @code{.mid}. Other operating systems still
2358 use the extension @code{.midi}. If a different extension is preferred,
2359 insert the following line at the top-level of the input file,
2360 before the start of any @code{\book}, @code{\bookpart} or @code{\score} blocks:
2363 #(ly:set-option 'midi-extension "midi")
2366 The line above will set the default extension for MIDI files to
2369 Alternatively, this option can also be supplied on the command line:
2372 lilypond … -dmidi-extension=midi lilyFile.ly
2376 @unnumberedsubsubsec Instrument names
2378 @cindex instrument names
2379 @funindex Staff.midiInstrument
2381 The MIDI instrument to be used is specified by setting the
2382 @code{Staff.midiInstrument} property to the instrument name.
2383 The name should be chosen from the list in @ref{MIDI instruments}.
2387 \set Staff.midiInstrument = #"glockenspiel"
2393 \new Staff \with @{midiInstrument = #"cello"@} @{
2398 If the selected instrument does not exactly match an instrument from
2399 the list of MIDI instruments, the Grand Piano (@code{"acoustic grand"})
2405 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2406 {changing-midi-output-to-one-channel-per-voice.ly}
2410 @c In 2.11 the following no longer seems to be a problem -td
2412 Unterminated (de)crescendos will not render properly in the midi file,
2413 resulting in silent passages of music. The workaround is to explicitly
2414 terminate the (de)crescendo. For example,
2421 will not work properly but
2424 @{ a4\< b c d\!\f @}
2431 Changes in the MIDI volume take place only on starting a note, so
2432 crescendi and decrescendi cannot affect the volume of a
2435 Not all midi players correctly handle tempo changes in the midi
2436 output. Players that are known to work include MS Windows Media
2437 Player and @uref{http://@/timidity@/.sourceforge@/.net/,timidity}.
2440 @subsection MIDI block
2443 A @code{\midi} block must appear within a score block if MIDI output
2444 is required. It is analogous to the layout block, but somewhat
2445 simpler. Often, the @code{\midi} block is left empty, but it
2446 can contain context rearrangements, new context definitions or code
2447 to set the values of properties. For example, the following will
2448 set the initial tempo exported to a MIDI file without causing a tempo
2449 indication to be printed:
2460 In this example the tempo is set to 72 quarter note
2461 beats per minute. @code{\tempo} is actually a music command for
2462 setting properties during the interpretation of music: in the
2463 context of output definitions like a @code{\midi} block, as a matter of
2464 courtesy those are reinterpreted as if they were context modifications.
2466 @cindex MIDI context definitions
2468 Context definitions follow precisely the same syntax as those
2469 within a @code{\layout} block. Translation modules for sound are
2470 called performers. The contexts for MIDI output are defined in
2471 @file{../ly/performer-init.ly},
2472 see @rlearning{Other sources of information}.
2473 For example, to remove the effect of dynamics
2474 from the MIDI output, insert the following lines in the
2475 @code{\midi@{ @}} block.
2482 \remove "Dynamic_performer"
2487 MIDI output is created only when a @code{\midi} block is included
2488 within a score block defined with a @code{\score} command.
2492 @{ @dots{}notes@dots{} @}
2497 @node What goes into the MIDI output?
2498 @subsection What goes into the MIDI output?
2500 @c TODO Check grace notes - timing is suspect?
2502 @unnumberedsubsubsec Supported in MIDI
2504 @cindex Pitches in MIDI
2505 @cindex MIDI, Pitches
2506 @cindex Quarter tones in MIDI
2507 @cindex MIDI, quarter tones
2508 @cindex Microtones in MIDI
2509 @cindex MIDI, microtones
2510 @cindex Chord names in MIDI
2511 @cindex MIDI, chord names
2512 @cindex Rhythms in MIDI
2513 @cindex MIDI, Rhythms
2514 @cindex Articlulate scripts
2515 @cindex MIDI, articulations
2516 @cindex articulations in MIDI
2517 @cindex trills in MIDI
2518 @cindex turns in MIDI
2519 @cindex rallentando in MIDI
2520 @cindex accelerando in MIDI
2523 The following items of notation are reflected in the MIDI output:
2527 @item Microtones (See @ref{Accidentals}. Rendering needs a
2528 player that supports pitch bend.)
2529 @item Chords entered as chord names
2530 @item Rhythms entered as note durations, including tuplets
2531 @item Tremolos entered without @q{@code{:}[@var{number}]}
2534 @item Crescendi, decrescendi over multiple notes
2535 @item Tempo changes entered with a tempo marking
2539 Using @ref{The Articulate script}, a number of items are added to the
2543 @item Articulations (slurs, staccato, etc)
2545 @item Rallentando and accelerando
2549 @unnumberedsubsubsec Unsupported in MIDI
2551 @c TODO index as above
2553 The following items of notation have no effect on the MIDI output,
2554 unless you use @ref{The Articulate script}:
2557 @item Rhythms entered as annotations, e.g. swing
2558 @item Tempo changes entered as annotations with no tempo marking
2559 @item Staccato and other articulations and ornamentations
2560 @item Slurs and Phrasing slurs
2561 @item Crescendi, decrescendi over a single note
2562 @item Tremolos entered with @q{@code{:}[@var{number}]}
2564 @item Microtonal chords
2568 @node Repeats in MIDI
2569 @subsection Repeats in MIDI
2571 @cindex repeats in MIDI
2572 @funindex \unfoldRepeats
2574 With a few minor additions, all types of repeats can be represented
2575 in the MIDI output. This is achieved by applying the
2576 @code{\unfoldRepeats} music function. This function changes all
2577 repeats to unfold repeats.
2579 @lilypond[quote,verbatim]
2581 \repeat tremolo 8 { c'32 e' }
2582 \repeat percent 2 { c''8 d'' }
2583 \repeat volta 2 { c'4 d' e' f' }
2592 In scores containing multiple voices, unfolding of repeats in MIDI
2593 output will only occur correctly if @emph{each} voice contains fully
2594 notated repeat indications.
2596 When creating a score file using @code{\unfoldRepeats} for MIDI,
2597 it is necessary to make two @code{\score} blocks: one for MIDI
2598 (with unfolded repeats) and one for notation (with volta, tremolo,
2599 and percent repeats). For example,
2607 \unfoldRepeats @var{..music..}
2612 @node Controlling MIDI dynamics
2613 @subsection Controlling MIDI dynamics
2615 MIDI dynamics are implemented by the Dynamic_performer which lives
2616 by default in the Voice context. It is possible to control the
2617 overall MIDI volume, the relative volume of dynamic markings and
2618 the relative volume of different instruments.
2620 @unnumberedsubsubsec Dynamic marks
2622 Dynamic marks are translated to a fixed fraction of the available
2623 MIDI volume range. The default fractions range from 0.25 for
2624 @notation{ppppp} to 0.95 for @notation{fffff}. The set of dynamic
2625 marks and the associated fractions can be seen in
2626 @file{../scm/midi.scm}, see @rlearning{Other sources of information}.
2627 This set of fractions may be changed or extended by providing a
2628 function which takes a dynamic mark as its argument and returns the
2629 required fraction, and setting
2630 @code{Score.dynamicAbsoluteVolumeFunction} to this function.
2632 For example, if a @notation{rinforzando} dynamic marking,
2633 @code{\rfz}, is required, this will not by default
2634 have any effect on the MIDI volume, as this dynamic marking is not
2635 included in the default set. Similarly, if a new dynamic marking
2636 has been defined with @code{make-dynamic-script} that too will not
2637 be included in the default set. The following example shows how the
2638 MIDI volume for such dynamic markings might be added. The Scheme
2639 function sets the fraction to 0.9 if a dynamic mark of rfz is
2640 found, or calls the default function otherwise.
2642 @lilypond[verbatim,quote]
2643 #(define (myDynamics dynamic)
2644 (if (equal? dynamic "rfz")
2646 (default-dynamic-absolute-volume dynamic)))
2650 \set Staff.midiInstrument = #"cello"
2651 \set Score.dynamicAbsoluteVolumeFunction = #myDynamics
2663 Alternatively, if the whole table of fractions needs to be
2664 redefined, it would be better to use the
2665 @notation{default-dynamic-absolute-volume} procedure in
2666 @file{../scm/midi.scm} and the associated table as a model.
2667 The final example in this section shows how this might be done.
2669 @unnumberedsubsubsec Overall MIDI volume
2671 The minimum and maximum overall volume of MIDI dynamic markings is
2672 controlled by setting the properties @code{midiMinimumVolume} and
2673 @code{midiMaximumVolume} at the @code{Score} level. These
2674 properties have an effect only on dynamic marks, so if they
2675 are to apply from the start of the score a dynamic mark must be
2676 placed there. The fraction corresponding to each dynamic mark is
2677 modified with this formula
2680 midiMinimumVolume + (midiMaximumVolume - midiMinimumVolume) * fraction
2683 In the following example the dynamic range of the overall MIDI
2684 volume is limited to the range 0.2 - 0.5.
2686 @lilypond[verbatim,quote]
2692 \set Staff.midiInstrument = #"flute"
2693 \new Voice \relative c''' {
2701 \set Staff.midiInstrument = #"clarinet"
2702 \new Voice \relative c'' {
2714 midiMinimumVolume = #0.2
2715 midiMaximumVolume = #0.5
2721 @unnumberedsubsubsec Equalizing different instruments (i)
2723 If the minimum and maximum MIDI volume properties are set in
2724 the @code{Staff} context the relative volumes of the MIDI
2725 instruments can be controlled. This gives a basic instrument
2726 equalizer, which can enhance the quality of the MIDI output
2729 In this example the volume of the clarinet is reduced relative
2730 to the volume of the flute. There must be a dynamic
2731 mark on the first note of each instrument for this to work
2734 @lilypond[verbatim,quote]
2740 \set Staff.midiInstrument = #"flute"
2741 \set Staff.midiMinimumVolume = #0.7
2742 \set Staff.midiMaximumVolume = #0.9
2743 \new Voice \relative c''' {
2751 \set Staff.midiInstrument = #"clarinet"
2752 \set Staff.midiMinimumVolume = #0.3
2753 \set Staff.midiMaximumVolume = #0.6
2754 \new Voice \relative c'' {
2768 @unnumberedsubsubsec Equalizing different instruments (ii)
2770 If the MIDI minimum and maximum volume properties are not set
2771 LilyPond will, by default, apply a small degree of equalization
2772 to a few instruments. The instruments and the equalization
2773 applied are shown in the table @notation{instrument-equalizer-alist}
2774 in @file{../scm/midi.scm}.
2776 This basic default equalizer can be replaced by setting
2777 @code{instrumentEqualizer} in the @code{Score} context to a new
2778 Scheme procedure which accepts a MIDI instrument name as its only
2779 argument and returns a pair of fractions giving the minimum and
2780 maximum volumes to be applied to that instrument. This replacement
2781 is done in the same way as shown for resetting the
2782 @code{dynamicAbsoluteVolumeFunction} at the start of this section.
2783 The default equalizer, @notation{default-instrument-equalizer}, in
2784 @file{../scm/midi.scm} shows how such a procedure might be written.
2786 The following example sets the relative flute and clarinet volumes
2787 to the same values as the previous example.
2789 @lilypond[verbatim,quote]
2790 #(define my-instrument-equalizer-alist '())
2792 #(set! my-instrument-equalizer-alist
2795 ("flute" . (0.7 . 0.9))
2796 ("clarinet" . (0.3 . 0.6)))
2797 my-instrument-equalizer-alist))
2799 #(define (my-instrument-equalizer s)
2800 (let ((entry (assoc s my-instrument-equalizer-alist)))
2809 \set Score.instrumentEqualizer = #my-instrument-equalizer
2810 \set Staff.midiInstrument = #"flute"
2811 \new Voice \relative c''' {
2819 \set Staff.midiInstrument = #"clarinet"
2820 \new Voice \relative c'' {
2835 @c Delete when satisfied this is adequately covered elsewhere -td
2837 @n ode Microtones in MIDI
2838 @s ubsection Microtones in MIDI
2840 @cindex microtones in MIDI
2842 Microtones consisting of half sharps and half flats are exported
2843 to the MIDI file and render correctly in MIDI players which support
2844 pitch bending. See @ref{Note names in other languages}. Here is
2845 an example showing all the half sharps and half flats. It can be
2846 copied out and compiled to test microtones in your MIDI player.
2848 @lilypond[verbatim,quote]
2865 @node Percussion in MIDI
2866 @subsection Percussion in MIDI
2868 Percussion instruments are generally notated in a @code{DrumStaff}
2869 context and when notated in this way they are outputted correctly
2870 to MIDI channel@tie{}10, but some pitched percussion instruments,
2871 like the xylophone, marimba, vibraphone, timpani, etc., are
2872 treated like @qq{normal} instruments and music for these instruments
2873 should be entered in a normal @code{Staff} context, not a
2874 @code{DrumStaff} context, to obtain the correct MIDI output.
2876 Some non-pitched percussion sounds included in the general MIDI
2877 standard, like melodic tom, taiko drum, synth drum, etc., cannot
2878 be reached via MIDI channel@tie{}10, so the notation for such
2879 instruments should also be entered in a normal @code{Staff}
2880 context, using suitable normal pitches.
2882 Many percussion instruments are not included in the general MIDI
2883 standard, e.g. castanets. The easiest, although unsatisfactory,
2884 method of producing some MIDI output when writing for such
2885 instruments is to substitute the nearest sound from the standard
2888 @c TODO Expand with examples, and any other issues
2892 Because the general MIDI standard does not contain rim shots, the
2893 sidestick is used for this purpose instead.
2895 @node The Articulate script
2896 @subsection The Articulate script
2898 A more realistic MIDI output is possible when using the Articulate
2899 script. It tries to take articulations (slurs, staccato, etc) into
2900 account, by replacing notes with sequential music of suitably
2901 time-scaled note plus skip. It also tries to unfold trills turns
2902 etc., and take rallentando and accelerando into account.
2904 To use the Articulate script, you have to include it at the top of
2908 \include "articulate.ly"
2911 and in the @code{\score} section do
2914 \unfoldRepeats \articulate <<
2915 all the rest of the score...
2919 After altering your input file this way, the visual output is heavily
2920 altered, but the standard @code{\midi} block will produce a better
2923 Although not essential for the Articulate script to work, you may want
2924 to insert the @code{\unfoldRepeats} command as it appears in the
2925 example shown above as it enables performing abbreviatures such as
2930 Articulate shortens chords and some music (esp. organ music) could
2934 @node Extracting musical information
2935 @section Extracting musical information
2937 In addition to creating graphical output and MIDI, LilyPond can
2938 display musical information as text.
2941 * Displaying LilyPond notation::
2942 * Displaying scheme music expressions::
2943 * Saving music events to a file::
2946 @node Displaying LilyPond notation
2947 @subsection Displaying LilyPond notation
2949 @funindex \displayLilyMusic
2950 Displaying a music expression in LilyPond notation can be
2951 done with the music function @code{\displayLilyMusic}. To see the
2952 output, you will typically want to call LilyPond using the command
2957 \displayLilyMusic \transpose c a, @{ c4 e g a bes @}
2964 @{ a,4 cis e fis g @}
2967 By default, LilyPond will print these messages to the console
2968 along with all the other LilyPond compilation messages. To split
2969 up these messages and save the results of @code{\display@{STUFF@}},
2970 redirect the output to a file.
2973 lilypond file.ly >display.txt
2977 Note that Lilypond does not just display the music expression, but
2978 also interprets it (since @code{\displayLilyMusic} returns it in
2979 addition to displaying it). This is convenient since you can just
2980 insert @code{\displayLilyMusic} into existing music in order to get
2981 information about it. If you don't actually want Lilypond to
2982 interpret the displayed music as well as display it, use @code{\void}
2983 in order to have it ignored:
2987 \void \displayLilyMusic \transpose c a, @{ c4 e g a bes @}
2992 @node Displaying scheme music expressions
2993 @subsection Displaying scheme music expressions
2995 See @rextend{Displaying music expressions}.
2998 @node Saving music events to a file
2999 @subsection Saving music events to a file
3001 Music events can be saved to a file on a per-staff basis by
3002 including a file in your main score.
3005 \include "event-listener.ly"
3008 This will create file(s) called @file{FILENAME-STAFFNAME.notes} or
3009 @file{FILENAME-unnamed-staff.notes} for each staff. Note that if
3010 you have multiple unnamed staves, the events for all staves will
3011 be mixed together in the same file. The output looks like this:
3014 0.000 note 57 4 p-c 2 12
3016 0.250 note 62 4 p-c 7 12
3017 0.500 note 66 8 p-c 9 12
3018 0.625 note 69 8 p-c 14 12
3023 The syntax is a tab-delimited line, with two fixed fields on each
3024 line followed by optional parameters.
3027 @var{time} @var{type} @var{...params...}
3030 This information can easily be read into other programs such as
3031 python scripts, and can be very useful for researchers wishing to
3032 perform musical analysis or playback experiments with LilyPond.
3037 Not all lilypond music events are supported by
3038 @file{event-listener.ly}. It is intended to be a well-crafted
3039 @qq{proof of concept}. If some events that you want to see are
3040 not included, copy @file{event-listener.ly} into your lilypond
3041 directory and modify the file so that it outputs the information