+++ /dev/null
-
-This documents serious bugs
-
-Send bug reports to bug-gnu-music@gnu.org. For help and questions use
-help-gnu-music@gnu.org and gnu-music-discuss@gnu.org. Please consult
-the faq before mailing your problems.
-
-
-
-********
-
-[LinuxPPC-R5, egcs-1.1.2-12c]
-
-Serious egcs-1.1.2-12c (stock LinuxPPC R5) bug on ppc:
-
- *dest++ = *src++;
-
-Bug report filed, fixed in egcs-1.1.2-12f or gcc-2.95-0a.
-Although we've currently got a workaround in place, the compiler
-is buggy; you should upgrade:
-
- ftp://dev.linuxppc.org/users/fsirl/R5/RPMS/ppc/
-
-
-[LinuxPPC-R4, egcs-1.0.2]
-
-All compiling with -O2 is suspect, in particular guile-1.3, and
-Lily herself will break.
-
-
-[Linux i386]
-
-A binary RPM of Guile 1.3 has been distributed from the LilyPond ftp
-site. This binary was made in RedHat 5.x, and it will fail if this
-RPM is used with RedHat 6.x.
-
-
-[GUILE 1.3.2]
-
-Guile 1.3.2 is buggy in several respects. Do not use it for LilyPond.
-
-
-[Sparc64/Solaris 2.6, make-3.77]
-
-GNU make-3.77 is buggy on this platform, upgrade to 3.78.1 or newer.
-
-
-[Sparc64/Solaris 2.6, ld]
-
-Not yet resolved.
-
-
-[AIX 4.3 ld]
-
-The following is from the gcc install/SPECIFIC file.
-
- Some versions of the AIX binder (linker) can fail with a relocation
- overflow severe error when the -bbigtoc option is used to link
- GCC-produced object files into an executable that overflows the TOC.
-A
- fix for APAR IX75823 (OVERFLOW DURING LINK WHEN USING GCC AND
- -BBIGTOC) is available from IBM Customer Support and from its
- [27]service.boulder.ibm.com website as PTF U455193.
-
- Binutils does not support AIX 4.3 (at least through release 2.9). GNU
- as and GNU ld will not work properly and one should not configure GCC
- to use those GNU utilities. Use the native AIX tools which do
- interoperate with GCC.
-
-add -Wl,-bbigtoc to USER_LDFLAGS, ie:
-
- LDFLAGS='-Wl,-bbigtoc' ./configure
-
-
-[All platforms]
-
-Some bugs may be captured in input/bugs/*y
-
-[Linux i386, RedHat 5.2 with updates to 6.0]
-
-Compiling with
-
- configure --disable-checking --enable-printing --disable-optimise --disable-debugging
-
-results in core dumps, during parsing of init files. Cause unknown.
-Solution: use
-
- --enable-checking and --enable-optimize
-
-[Linux libg++ 2.7]
-
-LilyPond occasionally crashes while parsing the initialisation files.
-This is a very obscure bug, and usually entering the commandline
-differently "fixes" it.
-
- lilypond input.ly
-
-and
-
- lilypond -I. ./input.ly
-
-makes a difference
-
-Typical stacktrace:
-
- SIGSEGV
- __libc_malloc (bytes=16384)
- ?? ()
- yyFlexLexer::yy_create_buffer ()
- Includable_lexer::new_input (this=0x8209a00, s={strh_ = {
- :
-
-This behaviour has been observed with machines that have old libg++
-versions (LinuxPPC feb '98, RedHat 4.x).
-
-
-pl 12.jcn2
- - smobs
+12.jcn1
+ - auto-knees, input/test/auto-knee.ly
+pl 12.rrr2
+ - voltaSpannerDuration may be a rational
+ - .ly files corrected, Voice.dynamicDir to Voice.dynamicDirection
-pl 12.jcn1
- - auto-knees, input/test/auto-knee.ly
+pl 12.rrr1
+ - key (K:) with clef, bug fix for abc2ly
+ - voltaSpannerDuration code added to lilypond
+pl 12.hwn1
+ - junked wordwrap
+ - bf: use position (not pitch) for autochange
+ - mudela-book fixes: --dependencies, --dep-prefix
+ - mudela.tely more updates. Now absorbed LilyPond manpage.
+ - BUGS now in INSTALL.texi
+
+*******
pl 11.uu1
- changed debug init code.
SUBDIRS= user metadoc bibliography pictures topdocs ntweb
STEPMAKE_TEMPLATES=documentation texinfo
-README_TOP_FILES=NEWS DEDICATION TODO AIMS
+README_TOP_FILES=NEWS DEDICATION TODO AIMS CHANGES
INFO_FILES = $(wildcard $(outdir)/$(package).info*)
EXTRA_DIST_FILES = COPYRIGHT
copy-for-me:
$(foreach a, $(README_TOP_FILES),cp ../$(a) $(outdir)/$(a).txt && ) true
+
local-WWW: $(HTML_FILES) $(OUTTEX_FILES:.tex=.ps.gz) $(OUTYO_FILES:.yo=.latex) $(OUTYO_FILES:.yo=.ps.gz) $(addprefix $(outdir)/, $(BIB_FILES:.bib=.html)) $(datafiles)
- $(PYTHON) $(step-bindir)/ls-latex.py --title 'LaTeX documents about design and implementation of LilyPond' \
- $(YO_FILES) $(OUTYO_FILES:.yo=.latex) $(BIB_FILES) $(DOC_FILES) $(TEX_FILES)\
+ $(PYTHON) $(step-bindir)/ls-latex.py --title 'References on Music Notation' \
+ $(YO_FILES) $(OUTYO_FILES:.yo=.latex) $(BIB_FILES) $(DOC_FILES) $(TEX_FILES) \
| sed "s!$(outdir)/!!g" > $(outdir)/index.html
$(outdir)/%.bib: %.bib
@String{CitH = {Computing and the Humanities}}
@String{CMJ = {Computer Music Journal}}
-@TechRep=ort{roush88,
+@TechReport{roush88,
note = {Rules on formatting music formulated for use in computers. Mainly distilled from [Ross] HWN},
year = {1988},
title = {Music Formatting Guidelines},
@node Language- mudela, Do you support -, Documentation, FAQ - GNU LilyPond FAQs
@section Language: mudela
-@subsubsection Why can't you type @code{#c} in stead of @code{cis} ?
-
-We think that @code{#c} looks as if you are entering the symbols to
-print (which you are not; remember, you're entering the musical
-content in Mudela)
-
-@subsubsection Why do I have to type the accidentals to the note if I specified them?
+@subsubsection Why do I have to type the accidentals to the note if I
+specified them in the keysignature?
Take this example
@example
@end example
Independently of how it was written and what the current key was, you
-would say that you are playing and reading "two C-sharp" notes. We
-have tried to make the language somewhat context-free. Of course
-sheet music is not context-free. Unfortunately, sheet music is also 2
-dimensional, and ASCII is not.
-
-Technically it would be feasible to have the Interpreting phase do
-tricky things to add (or leave out) the accidentals, but we think that
-it is impractical: it hampers the readability and portability of your
-source, since you need LilyPond to fill in the details and actually
-make sense of it.
+would say that you are playing and reading "two C-sharp" notes, so you
+have to enter C-sharp twice.
@subsubsection What is @code{cis} anyway
Silas S. Brown <ssb22@@hermes.cam.ac.uk>:
+@quotation
+
There are several aspects to sheet music copyright:
1. The music itself - copyright for the composer's life plus 70 years (so
References - best one I know is the UK-based Performing Right Society,
@uref{http://www.prs.co.uk/} (especially "membership") and their links to other
international equivalents.
+@end quotation
-@email{wl@@gnu.org} writes:
+Werner Lemberg @email{wl@@gnu.org} writes:
@quotation
- I realise that typesetting can be copyright - this is the reason I
- can't buy a book of Bach's Urtexts (for example), photocopy parts
- of it and give them away.
-@end quotation
-Sorry, but you can (at least in Austria or Germany, but not in
-France)! Typesetting an Urtext edition isn't copyrighted --
-typesetting is a handcraft, not an art. What's copyrighted in an
-Urtext edition is the editor's comment or the revision remarks,
-cadenzas added by the editor, etc.
+Typesetting [at least in Austria or Germany, but not in France] [..]
+isn't copyrighted -- typesetting is a handcraft, not an
+art.
+
+What's copyrighted in an Urtext edition is the editor's comment or
+the revision remarks, cadenzas added by the editor, etc.
+
+Urtext editions per se are @emph{not} copyrighted -- if you print
+exactly what the composer has written, how can there some copyright be
+added? Copyrighted are usually only the `Critical notes', the foreword,
+and the cadenzas some editors have added.
+
+This means that the `Photocopying forbidden' sign in many scores is not
+always correct for e.g. J.S. Bach -- you are allowed to copy the pages
+which don't contain editorial stuff which is probably copyrighted.
+
+A very unfortunate situation for the publishers.
+
+@end quotation
+
Glen Prideaux, @email{glenprideaux@@MailAndNews.com}:
+@quotation
One has to be careful. In Australia typesetting IS covered by copyright, but
only for 25 years (as opposed to 50 years from the death of the
author/composer/artist for virtually any other copyright). If the
typesetting originates in a country that does not protect typesetting then
there may indeed be no copyright protection available to control the use of
mudela files.
+@end quotation
-
-
-Juergen Reuter <reuterj@@ira.uka.de>:
+Juergen Reuter @email{reuterj@@ira.uka.de}
[More information can be had at: ]
for a summary of copyright relative to old music, also for the
expert forum for such subsubsections.
-Werner Lemberg <sx0005@@sx2.HRZ.Uni-Dortmund.DE>:
-
-This is not correct. Urtext editions per se are @emph{not} copyrighted
--- if you print exactly what the composer has written, how can there
-some copyright be added? Copyrighted are usually only the `Critical
-notes', the foreword, and the cadenzas some editors have added.
-
-This means that the `Photocopying forbidden' sign in many scores is
-not always correct for e.g. J.S. Bach -- you are allowed to copy the
-pages which don't contain editorial stuff which is probably
-copyrighted.
-
-A very unfortunate situation for the publishers.
-
@node Windows32, Top, Copyright, FAQ - GNU LilyPond FAQs
@section Windows32
@unnumberedsubsec Introduction
-@itemize @bullet
-@item @uref{DEDICATION.html,DEDICATION}
-@item @uref{faq.html,FAQs}
-@item @uref{../topdocs/out-www/README.html,The README}
-@item @uref{../topdocs/out-www/INSTALL.html,The installation instructions}
+@itemize
+@item @uref{../topdocs/out-www/README.html, README}
+@item @uref{../topdocs/out-www/INSTALL.html, Installation Instructions}
+@item @uref{../topdocs/out-www/AUTHORS.html,The Authors}
@end itemize
-@unnumberedsubsec Why: Background Information
-@itemize @bullet
-@item @uref{AIMS.txt,Why?}
-@item @uref{../pictures/out-www/lelieblond.png,The logo} large size
-@item @uref{../pictures/out-www/lelie_logo.png,The logo} medium size
-@end itemize
-@unnumberedsubsec Documentation: manuals
+
+@unnumberedsubsec Documentation
@itemize @bullet
-@item @uref{../tex/out-www/index.html,User documentation}
+@item @uref{faq.html,FAQs}
+@item @uref{programs.html,`Manual pages'}
+@item @uref{../user/out-www/index.html,User documentation}
@item @uref{../metadoc/out-www/index.html,Hacker documentation}
-@item @uref{../out-www/programs.html,`Manual pages'}
@item @uref{../bibliography/out-www/,Bibliography}
-@item @uref{../tex/out-www/glossary.html,Musical vocabulary}
@end itemize
-@unnumberedsubsec The program
+
+@unnumberedsubsec Miscellaneous blurbs
+
@itemize @bullet
-@item @uref{TODO.txt,The TODO list}
-@item @uref{CHANGES.txt,The Change log}
-@item @uref{../topdocs/out-www/AUTHORS.html,The Authors}
-@item @uref{../topdocs/out-www/PATCHES.html,Sending and applying Patches}
+@item @uref{TODO.txt, TODO list}
+@item @uref{CHANGES.txt,Change log}
+@item @uref{DEDICATION.html,DEDICATION}
+@item @uref{AIMS.txt,Why?}
@end itemize
+
@unnumberedsubsec Links
@itemize @bullet
-@item @uref{../tex/out-www/index.html,Papers, books and online-resources on music typesetting}
-@item @uref{../tex/out-www/index.html,Other packages for printing music}
-@item @uref{links.html,bf(download) LilyPond and other interesting links}
+@item @uref{links.html,@strong{download} LilyPond and other interesting links}
+@end itemize
+
+@unnumberedsubsec Logo:
+@itemize
+@item @uref{../pictures/out-www/lelieblond.png, logo} in large size
+@item @uref{../pictures/out-www/lelie_logo.png, logo} in medium size
@end itemize
@bye
depth=../..
-DATA_FILES = $(wildcard *.data)
-datafiles = $(addprefix $(outdir)/,$(DATA_FILES:.data=.html))
TEX_FILES = $(wildcard *.tex)
DOC_FILES = $(wildcard *.doc)
-
DVI_FILES = $(addprefix $(outdir)/,$(DOC_FILES:.doc=.dvi) $(TELY_FILES:.tely=.dvi))
-OUT_BIB_FILES = $(addprefix $(outdir)/, $(BIB_FILES))
-
OUTTEX_FILES = $(addprefix $(outdir)/, $(TEX_FILES))
OUTDOC_FILES = $(addprefix $(outdir)/, $(DOC_FILES))
-EL_FILES = $(wildcard *.el)
-BIB_FILES= $(wildcard *.bib)
-EXTRA_DIST_FILES= $(BIB_FILES) $(DOC_FILES) $(DATA_FILES) $(EL_FILES) $(TEX_FILES) $(wildcard *.sty)
-HTML_FILES = $(addprefix $(outdir)/, $(TELY_FILES:.tely=.html))
+
+EXTRA_DIST_FILES= $(DOC_FILES) $(TEX_FILES) $(wildcard *.sty)
+HTML_FILES = $(addprefix $(outdir)/, $(TEXI_FILES:.texi=.html) $(TELY_FILES:.tely=.html))
PS_FILES = $(DVI_FILES:.dvi=.ps)
STEPMAKE_TEMPLATES=tex documentation texinfo
export BIBINPUTS:=$(shell pwd)//$(PATHSEP)$(BIBINPUTS)
include $(depth)/make/stepmake.make
-
-
-
-
-
dvi: $(DVI_FILES)
ps: $(PS_FILES)
# urg
default:
-GENHTMLS = engraving colorado computer-notation
-OUTGENHTMLS = $(addprefix $(outdir)/, $(GENHTMLS:%=%.html))
-
-#urg should generalise and move Lilypond -> StepMake
-# URG. Lilypond specific. Move out.
-$(outdir)/%.html: %.data $(depth)/VERSION
- $(PYTHON) $(step-bindir)/table-to-html.py --columns=7 --linesep='\r' --package=$(topdir) -o $@ $<
- $(footify) $@
-
-$(outdir)/%.tex: %.data $(depth)/VERSION
- $(PYTHON) $(step-bindir)/table-to-html.py --columns=7 --linesep='\r' --package=$(topdir) -o $@ --latex $<
-
+localclean:
+ rm -f fonts.aux fonts.log feta*.tfm feta*.*pk
-local-WWW-donotdoit: $(HTML_FILES) $(OUTTEX_FILES:.doc=.ps.gz) $(addprefix $(outdir)/, $(BIB_FILES:.bib=.html)) $(datafiles) ps
- $(PYTHON) $(step-bindir)/ls-latex.py --title 'LaTeX documents about design and implementation of LilyPond' \
- $(TELY_FILES) $(BIB_FILES) $(DOC_FILES) $(TEX_FILES)\
+local-WWW: $(HTML_FILES)
+ $(PYTHON) $(step-bindir)/ls-latex.py --title 'Hacker documentation' \
+ $(DOC_FILES) $(TEXI_FILES) $(TELY_FILES) \
| sed "s!$(outdir)/!!g" > $(outdir)/index.html
- $(footify) $(outdir)/index.html
-
-$(outdir)/%.bib: %.bib
- ln -f $< $@
-
-# ignore result since bib2html is nonstandard. Errors would halt the RPM build.j
-$(outdir)/%.html: %.bib
- -bib2html $< $@
- $(footify) $@
-
-# Yeah right:
-# make -k out/mudela.dvi => cp -f out/vocabulary.tex out/mudela.dvi
-
-#out/%: $(outdir)/%
-# cp -f $< $@
-
-locamlclean:
- rm -f fonts.aux fonts.log feta*.tfm feta*.*pk
--- /dev/null
+\input texinfo @c -*-texinfo-*- vim:tw=72
+@setfilename regression-test.info
+@settitle LilyPond Regression test
+
+@c fool ls-latex
+@ignore
+@author Han-Wen Nienhuys and Jan Nieuwenhuizen
+@title LilyPond Regression test
+@end ignore
+
+@node Top, , ,
+
+@section Introduction
+
+This document tries give an brief overview of LilyPond features. When
+the text correspond with the shown notation, we consider LilyPond
+Officially BugFree (tm). This document is intended for finding bugs,
+and documenting bugfixes.
+
+@section Notes and rests
+
+Rests. Note that the dot of 8th, 16th and 32nd rests rest should be
+next to the top of the rest. All rests except the whole rest are
+centered on the middle staff line.
+
+@mudelafile{rest.fly}
+
+Note head shapes are settable. The stem endings should be adjusted
+per note head. If you want different note head styles on one stem,
+you must create a special context called Thread.
+
+@mudelafile{noteheadstyle.ly}
+
+Noteheads can have dots, and ---although this is bad style in duple
+meters--- rests can too. Augmentation dots should never be printed on
+a staff line, but rather be shifted vertically. They should go up, but
+in case of multiple parts, the down stems have down shifted dots.
+(Wanske p. 186) In case of chords, all dots should be in a column.
+The dots go along as rests are shifted to avoid collisions.
+
+@mudelafile{dots.fly}
+
+Multiple measure rests do not collide with barlines and clefs. They
+are not expanded when you set @code{Score.SkipBars}. Although the
+multi-measure-rest is a Spanner, minimum distances are set to keep it
+colliding from barlines.
+
+@mudelafile{multi-measure-rest.ly}
+
+@section Stems
+
+Stem tremolos (official naming?) or rolls are tremolo signs that look
+like beam segments crossing stems. If the stem is in a beam, the
+tremolo must be parallel to the beam. If the stem is invisible
+(eg. on a whole note), the tremolo must be centered on the note.
+
+@mudelafile{stem-tremolo.ly}
+
+Chord tremolos look like beams, but are a kind of repeat symbol.
+To avoid confusion, chord tremolo beams do not reach the stems, but
+leave a gap. Chord tremolo beams on half notes are not ambiguous,
+as half notes cannot appear in a regular beam, and should reach the
+stems.
+
+@mudelafile{chord-tremolo.sly}
+
+Beams, stems and noteheads often have communication troubles, since
+the two systems for y dimensions (1 unit = staffspace, 1 unit = 1
+point) are mixed.
+
+Stems, beams, ties and slurs should behave similarly, when placed
+on the middle staff line. Of course stem-direction is down for high
+notes, and up for low notes.
+
+@mudelafile{stem-direction.sly}
+
+Similarly, if @code{stem_default_neutral_direction} is set to @code{-1}.
+
+@mudelafile{stem-direction-down.ly}
+
+@section Scripts
+
+The staccato dot (and all scripts with follow-into-staff set), must
+not be on staff lines.
+
+@mudelafile{staccato-pos.sly}
+
+@section Grace notes
+
+Grace notes are typeset as an encapsulated piece of music. You can
+have beams, notes, chords, stems etc. within a @code{\grace} section.
+Slurs that start within a grace section, but aren't ended are attached
+to the next normal note. Grace notes have zero duration. If there
+are tuplets, the grace notes won't be under the brace. Grace notes
+can have accidentals, but they are (currently) spaced at a fixed
+distance. Grace notes (of course) come before the accidentals of the
+main note. Grace notes can also be positioned after the main note.
+
+@mudelafile{grace.ly}
+
+
+@section Beams, slurs and other spanners
+
+Beaming is generated automatically. Beams may cross bar lines. In that
+case, line breaks are forbidden. Yet clef and key signatures are
+hidden just as with breakable bar lines.
+
+@mudelafile{beaming.ly}
+
+Beams should behave reasonably well, even under extreme circumstances.
+Stems may be short, but noteheads should never touch the beam.
+
+@mudelafile{beam-extreme.ly}
+
+Beams should always reach the middle staff line, the second beam
+counting from the note head side, should never be lower than the
+second staff line. This does not hold for grace note beams.
+
+@mudelafile{beam-position.sly}
+
+Slurs should look nice and symmetric. The curvature may increase
+only to avoid noteheads, and as little as possible.
+
+@mudelafile{slur-symmetry.ly}
+@mudelafile{slur-symmetry-1.ly}
+
+Ties are strictly horizontal. They are placed in between note heads.
+The horizontal middle should not overlap with a staffline.
+
+@mudelafile{tie.ly}
+
+Beams can be typeset over fixed distance aligned staffs, beam
+beautification doesn't really work, but knees do. Beams should be
+behave well, wherever the switching point is.
+
+@mudelafile{beam-interstaff.ly}
+
+The same goes for slurs. They behave decently when broken across
+linebreak.
+
+@mudelafile{slur-interstaff.ly}
+
+Tuplets are indicated by a bracket with a number. There should be no
+bracket if there is one beam that matches the length of the tuplet.
+The bracket does not interfere with the stafflines, and the number is
+centered in the gap in the bracket.
+
+@mudelafile{tup.ly}
+
+@section Repeats
+
+LilyPond has three modes for repeats: folded, unfolded and
+semi-unfolded. Unfolded repeats are fully written out. Semi unfolded
+repeats have the body written and all alternatives sequentially.
+Folded repeats have the body written and all alternatives
+simultaneously. If the number of alternatives is larger than the
+repeat count, the excess alternatives are ignored. If the number of
+alternatives is smaller, the first alternative is multiplied to get to
+the number of repeats.
+
+Unfolded behavior:
+
+@mudelafile{repeat-unfold.ly}
+
+Semi (un)folded behavior. Voltas can start on non-barline moments.
+If they don't barlines should still be shown.
+
+@mudelafile{repeat-semifold.ly}
+
+Folded. This doesn't make sense without alternatives, but it works.
+
+@mudelafile{repeat-fold.ly}
+
+@section Lyrics
+
+Lyrics can be set to a melody automatically. Excess lyrics will be
+dumped. Lyrics will not be set over rests. You can have melismata
+either by setting a property melismaBusy, or by setting
+automaticMelismas (which will set melismas during slurs and ties). If
+you want a different order than first Music, then Lyrics, you must
+precook a chord of staffs/lyrics and label those. Of course
+@code{\rhythm} ignores any other rhythms in the piece. Hyphens and
+extenders do not assume anything about lyric lengths, so they continue
+to work.
+
+@mudelafile{lyric-combine.ly}
+
+@section Multiple notes
+
+Rests should not collide with beams, stems and noteheads. Rests may
+be under beams. Rests should be move by integral number of spaces
+inside the staff, and by half spaces outside. Notice that the half
+and whole rests just outside the staff get ledger lines in different
+cases.
+
+@mudelafile{rest-collision.ly}
+
+Normal collisions. We have support for polyphony, where the
+middle voices are horizontally shifted.
+
+@mudelafile{collisions.ly}
+
+The number of stafflines of a staff can be set with the property
+numberOfStaffLines. Ledger lines both on note heads and rests are
+adjusted. Barlines also are adjusted.
+
+
+@mudelafile{number-staff-lines.fly}
+
+@section Spacing
+
+In a limited number of cases, LilyPond corrects for optical spacing
+effects. In this example, space for opposite pointed stems is adjusted
+
+@mudelafile{stem-spacing.sly}
+
+If there are accidentals in the music, we add space, but the space
+between note and accidentals is less than between the notes with the
+same value. Clef changes also get extra space, but not as much as
+barlines.
+
+
+Even if a line is very tightly spaced, there will still be room
+between prefatory matter and the following notes. The space after the
+prefatory is very rigid. In contrast, the space before the barline
+must stretch like the space within the measure.
+
+Tight:
+
+@mudelafile{spacing-tight.ly}
+
+Natural:
+
+@mudelafile{spacing-natural.ly}
+
+Loose:
+
+@mudelafile{spacing-loose.ly}
+
+
+@section Global stuff
+
+Markings that are attached to (invisible) barlines are
+delicate: the are attached to the rest of the score without the score
+knowing it. Consequently, they fall over often.
+
+@mudelafile{bar-scripts.ly}
+
+Staff margins are also markings attached to barlines. They should be
+left of the staff, and be centered vertically wrt the staff. They may
+be on normal staffs, but also on compound staffs, like the PianoStaff
+
+@mudelafile{staff-margin.ly}
+
+Breathing signs, also used for phrasing, do normally not influence
+global spacing -- only if space gets tight, notes are shifted to make
+room for the breathing sign. Breathing signs break beams running
+through their voice. In the following example, the notes in the first
+two measures all have the same distance from each other:
+
+@mudelafile{breathing-sign.ly}
+
+Fonts are available in a default set of sizes: 11, 13, 16, 20, 23 and
+26pt staffheight. Sizes of the text fonts and symbol fonts are made
+to match the staff dimensions.
+
+@mudelafile[nofly]{size11.ly}
+
+@mudelafile[nofly]{size13.ly}
+
+@mudelafile[nofly]{size16.ly}
+
+@mudelafile[nofly]{size20.ly}
+
+@mudelafile[nofly]{size23.ly}
+
+@mudelafile[nofly]{size26.ly}
+
+
+@section Clefs and Time Signatures
+
+The transparent clef should not occupy any space and with style
+@code{fullSizeChanges}, the changing clef should be typeset in full
+size. For octaviated clefs, the ``8'' should appear closely above or
+below the clef respectively. The ``8'' is processed in a convoluted
+way, so this is fragile as well.
+
+@mudelafile{clefs.ly}
+
+@ignore
+@c the input file is too long and does not test for specific bugs
+By default, time signatures are written with two numbers. With style
+``C'', 4/4 and 2/2 are written with their corresponding symbols and
+with style ``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 symbols, all other signatures retain the default
+layout. The style ``1'', gives single number signatures for all
+signatures.
+%
+\mu delafile{time.fly}
+@end ignore
+
+@bye
+++ /dev/null
-\input texinfo @c -*-texinfo-*-
-@setfilename foo
-@settitle foo
-
-@c @node Top
-@c @top
-
-@menu
-* foo:: bar
-@end menu
-
-@node foo
-@section foo
-
-@mudela[verbatim, intertext="produces this music:"]
-\include "paper16.ly"
-\score{
- \notes\relative c'{
- a b c
- }
-}
-@end mudela
-
-@bye
@menu
* Programs:: Your Softs-
* convert-mudela:: convert-mudela to newer versions
-* LilyPond:: the GNU Music Typesetter
* Ly2dvi:: Python utility to convert mudela to DVI
* midi2ly:: convert MIDI to -mudela-
@end menu
-
-@node convert-mudela, convert-mudela DESCRIPTION, Programs, Top
-@menu
-* convert-mudela DESCRIPTION:: convert-mudela DESCRIPTION
-* convert-mudela SYNOPSIS:: convert-mudela SYNOPSIS
-* convert-mudela OPTIONS:: convert-mudela OPTIONS
-* convert-mudela BUGS:: convert-mudela BUGS
-* convert-mudela Authors:: convert-mudela Authors
-@end menu
-@chapter convert-mudela
-
-convert-mudela sequentially applies different mudela-conversions to
-upgrade a Mudela input file.
-
-@node convert-mudela DESCRIPTION, convert-mudela SYNOPSIS, convert-mudela, convert-mudela
-@section DESCRIPTION
-
-Upgrade a Mudela input file from FROM_PATCHLEVEL to TO_PATCHLEVEL.
-If no files are given, the standard input and output are used.
-
-@node convert-mudela SYNOPSIS, convert-mudela OPTIONS, convert-mudela DESCRIPTION, convert-mudela
-@section SYNOPSIS
-
- convert-mudela [options] [files]
-
-@node convert-mudela OPTIONS, convert-mudela BUGS, convert-mudela SYNOPSIS, convert-mudela
-@section OPTIONS
-@table @samp
-@item --output
- The output file to write.
-@item --edit
- Do an inline edit of the input file. override @code{--output}
-@item --show-rules
- shows all known conversions, and exit
-@item --from=FROM_PATCHLEVEL
- Set the level to convert from. If this is not set, convert-mudela will
- guess this, on the basis of @code{\version} strings in the file
-@item --to=TO_PATCHLEVEL
- Set the goal version of the conversion. It defaults to the latest
- available version.
-@end table
-
-@node convert-mudela BUGS, convert-mudela Authors, convert-mudela OPTIONS, convert-mudela
-@section BUGS
-
-Not all language changes are handled. Multiple output options won't
-work.
-
-convert-mudela is written in python, so you have install
-@uref{http://www.python.org,python}.
-
-@node convert-mudela Authors, LilyPond, convert-mudela BUGS, convert-mudela
-@section Authors
-
-@email{hanwen@@cs.uu.nl, Han-Wen Nienhuys}, @uref{http://www.cs.uu.nl/people/hanwen}
-
-
-
-
-
-
-
-
-@node LilyPond, LilyPond SYNOPSIS, convert-mudela Authors, Top
-@menu
-* LilyPond SYNOPSIS:: LilyPond SYNOPSIS
-* LilyPond DESCRIPTION:: LilyPond DESCRIPTION
-* LilyPond OPTIONS:: LilyPond OPTIONS
-* LilyPond FEATURES:: LilyPond FEATURES
-* LilyPond DISCLAIMER:: LilyPond DISCLAIMER
-* LilyPond PROBLEMS:: LilyPond PROBLEMS
-* LilyPond FILES:: LilyPond FILES
-* LilyPond environment:: LilyPond environment
-* LilyPond BUGS:: LilyPond BUGS
-* LilyPond SEE ALSO:: LilyPond SEE ALSO
-* LilyPond REMARKS:: LilyPond REMARKS
-* LilyPond Authors:: LilyPond Authors
-@end menu
-@chapter LilyPond
-
-@cindex LilyPond
-
-@node LilyPond SYNOPSIS, LilyPond DESCRIPTION, LilyPond, LilyPond
-@section SYNOPSIS
- @strong{lilypond} [OPTION]... [MUDELA-FILE]...
-
-@node LilyPond DESCRIPTION, LilyPond OPTIONS, LilyPond SYNOPSIS, LilyPond
-@section DESCRIPTION
-
-LilyPond is a music typesetter. It produces beautiful sheet music
-using a high level description file as input. LilyPond is part of
-the GNU Project.
-
-
-@node LilyPond OPTIONS, LilyPond FEATURES, LilyPond DESCRIPTION, LilyPond
-@section OPTIONS
-@table @samp
-@item -f,--format=
- Output format for sheet music. Choices are tex (for TeX
- output), ps (for PostScript) and scm (for GUILE)
-@item -I,--include=
- add @file{FILE} to the search path for input files.
-@item -m,--midi
- Disable TeX output. If you have a \midi definition, it will do the
- midi output only.
-@item -M,--dependencies
- Also output rules to be included in Makefile.
-@item -d,--debug
- Turn debugging info on. GNU LilyPond reads the file @file{.dstreamrc},
- which lists what functions and classes may produce copious debugging
- output.
-@item -s,--safe
- Disallow untrusted @code{\include} directives, backslashes in TeX
-code and named output.
-@item -t,--test
- Switch on any experimental features. Not for general public use.
-@item -w,--warranty
- Show the warranty with which GNU LilyPond comes. (It comes with
- @strong{NO WARRANTY}!)
-@item -o,--output=FILE
- Set the default output file to @file{FILE}.
-@item -h,--help
- Show a summary of usage.
-@item -i,--init=FILE
- Set init file to @file{FILE} (default: @file{init.ly}).
-@item --include, -I=DIRECTORY
- Add @file{DIRECTORY} to the search path for input files.
-@item --ignore-version, -V
- Make the incompatible mudela version warning non-fatal.
-@end table
-
-@node LilyPond FEATURES, LilyPond DISCLAIMER, LilyPond OPTIONS, LilyPond
-@section FEATURES
-
-This is an overview of the features that GNU LilyPond supports. For
-details on how to use them, you should consult the Mudela tutorial,
-which is included with the package.
-
-@itemize @bullet
-@item ASCII script input, with identifiers (for music reuse),
- customizable notenames, customisable fontset.
-@item MIDI output lets you check if you have entered the correct notes.
-@item MIDI to Mudela conversion through the mi2mu program.
-@item Multiple staffs in one score. Each staff can have different time signatures.
-@item Beams, slurs, ties, chords, super/subscripts (accents and text)
- triplets, general n-plet (triplet, quadruplets, etc.), lyrics,
- transposition, dynamics (both absolute and hairpin style).
-@item Multiple voices within one staff; beams optionally shared
- between voices. Up to four voices is handled cleanly.
-@item Multiple scores within one input file. Each score is output to
- a different file.
-@item Clef changes, meter changes, cadenza-mode, key changes, repeat bars.
-@end itemize
-
-@node LilyPond DISCLAIMER, LilyPond PROBLEMS, LilyPond FEATURES, LilyPond
-@section DISCLAIMER
-
-GNU LilyPond is copyright 1996-1999 by its authors. GNU LilyPond is
-distributed under the terms of the GNU General Public License. GNU LilyPond
-is provided without any warranty what so ever.
-GNU LilyPond may be freely distributed. For further information consult
-the GNU General Public License, from the file @file{COPYING}.
-
-@node LilyPond PROBLEMS, LilyPond FILES, LilyPond DISCLAIMER, LilyPond
-@section PROBLEMS
-
-There is an extensive list of todoes and bugs. See the file
-@file{TODO} distributed with the sources. If you have a problem you
-should try to find out
-
-@itemize @bullet
-@item If the bug has been fixed in a newer release.
-@item If the bug has been found earlier, consult @file{TODO} and @file{BUGS}.
-@end itemize
-
-If you have found a bug, then we would appreciate it if you sent a
-bugreport.
-
-@itemize @bullet
-@item Send a copy of the input which causes the error.
-@item Send a description of the platform you use.
-@item Send a description of the LilyPond version you use
- (with compile/configure options please).
-@item Send a description of the bug itself.
-@item Send it to @email{bug-gnu-music@@gnu.org}; you don't have to be subscribed
- to this mailinglist.
-@end itemize
-
-@node LilyPond FILES, LilyPond environment, LilyPond PROBLEMS, LilyPond
-@section FILES
-@table @samp
-@item @file{init.ly}
- The initialisation file with symbol tables etc. It
- includes files from the directory
- @file{PREFIX/share/lilypond/ly/}. (@file{PREFIX} typically is @file{/usr/local}
-)@end table
-
-@node LilyPond environment, LilyPond BUGS, LilyPond FILES, LilyPond
-@section environment
-
-@table @samp
-@item LILYINCLUDE
- additional directories for finding lilypond data. The
- format is like the format of @file{PATH}.
-@item LILYPREFIX
- [FIXME]
-@item LANG
- selects the language for the warning messages of LilyPond.
-@end table
-
-@node LilyPond BUGS, LilyPond SEE ALSO, LilyPond environment, LilyPond
-@section BUGS
-
-Lots of them. See @file{TODO} and @file{BUGS}
-
-@node LilyPond SEE ALSO, LilyPond REMARKS, LilyPond BUGS, LilyPond
-@section SEE ALSO
-
-LilyPond comes with various other documentation files. They are
-included in the source package.
-
-A further source for information is the website, which can be found at
-@uref{http://www.lilypond.org/}. The website contains on-line versions
-of the documentation
-
-GNU LilyPond is updated very frequently, the latest version is always
-available at: @uref{ftp://ftp.cs.uu.nl/pub/GNU/LilyPond}. This FTP
-site is mirrored at a number of sites; consult the project web pages
-for information about mirrors.
-
-For programs which are part of the GNU music project, the following
-mailing list have been setup:
-
-@table @samp
-@item @email{info-gnu-music@@gnu.org}
- For information on the GNU Music project, to subscribe: send mail with
- subject "subscribe" to @email{info-gnu-music-request@@gnu.org}
-@item @email{help-gnu-music@@gnu.org}
- For help with programs from the GNU music project. To subscribe: send
- mail with subject "subscribe" to @email{help-gnu-music-request@@gnu.org}
-@item @email{bug-gnu-music@@gnu.org}
- If you have bugreports, you should send them to this list. If you want
- to read all bugreports, you should subscribe to this list. To
- subscribe: send mail with subject "subscribe" to
- @email{bug-gnu-music-request@@gnu.org}
-@item @email{gnu-music-discuss@@gnu.org}
- For discussions concerning the GNU Music project, to subscribe: send
- mail with subject "subscribe" to
- @email{gnu-music-discuss-request@@gnu.org}
-@end table
-
-Announces of new versions will be sent to info-gnu-music and
-gnu-music-discuss.
-
-@node LilyPond REMARKS, LilyPond Authors, LilyPond SEE ALSO, LilyPond
-@section REMARKS
-
-GNU LilyPond has no connection with the music package Rosegarden, other
-than the names being similar :-)
-
-@node LilyPond Authors, Ly2dvi, LilyPond REMARKS, LilyPond
-@section Authors
-
-@cindex Author
-
-@itemize @bullet
-@item @email{hanwen@@cs.uu.nl, Han-Wen Nienhuys}
- @uref{http://www.cs.uu.nl/people/hanwen}
-@item @email{janneke@@gnu.org, Jan Nieuwenhuizen}
- @uref{http://www.xs4all.nl/~jantien}
-@end itemize
-
-Please consult the documentation file @file{AUTHORS} for more detailed
-information, and small contributions.
-
-
-
-
@node Ly2dvi, Ly2dvi DESCRIPTION, LilyPond Authors, Top
@menu
* Ly2dvi DESCRIPTION:: Ly2dvi DESCRIPTION
depth = ../..
-BLURBS=BLURB COPERTINA FLAPTEKST
STEPMAKE_TEMPLATES=documentation tex texinfo yolily-topdoc
LOCALSTEPMAKE_TEMPLATES=lilypond mudela
@section Abstract
-TODO: document xdeltas
-
This document explains what you need to install LilyPond, and what you
should do. If you are going to compile and install LilyPond often,
e.g. when doing development, you might want to check out the
@emph{If you upgrade by patching do remember to rerun autoconf after
applying the patch}.
+If you do not want to download the entire archive for each version, the
+safest method for upgrading is to use @file{xdelta}, see
+@uref{ftp://ftp.xcf.berkeley.edu/pub/xdelta/}
+
+The following command produces @file{lilypond-1.1.55.tar.gz} from
+@file{lilypond-1.1.54} identical (up to compression dates) to the .55 on
+the FTP site.
+@example
+ xdelta patch lilypond-1.1.54-1.1.55.xd lilypond-1.1.54.tar.gz
+@end example
+
@section Prerequisites
For compilation you need:
compile if you use debugging information. If you are short on
disk-space run configure with @code{--disable-debugging}.
+@item
Although we recommend to use Unix, LilyPond is known to run on Windows
NT/95/98 as well. See Section Windows NT/95,es.
-@item EGCS 1.1 or newer. Check out @uref{ ftp://ftp.gnu.org/pub/gcc/, ftp://ftp.gnu.org/pub/gcc/}
+@item EGCS 1.1 or newer. Check out @uref{ftp://ftp.gnu.org/pub/gcc/}.
@item Python 1.5,
Check out
-@uref{ftp://ftp.python.org,ftp://ftp.python.org} or @uref{ftp://ftp.cwi.nl/pub/python,ftp://ftp.cwi.nl/pub/python}.
+@uref{ftp://ftp.python.org} or @uref{ftp://ftp.cwi.nl/pub/python}.
@item GUILE 1.3, check out @uref{http://www.gnu.org/software/guile/guile.html,http://www.gnu.org/software/guile/guile.html}.
@end itemize
-You also have to install @file{buildscripts/out/ps-to-gifs} in a
-directory that is in the path.
-
@section configuring and compiling
to install GNU LilyPond, simply type:
@end example
This will install a number of files, something close to:
-@example
+@example
/usr/local/man/man1/mi2mu.1
/usr/local/man/man1/convert-mudela.1
/usr/local/man/man1/mudela-book.1
/usr/local/man/man1/lilypond.1
/usr/local/bin/lilypond
/usr/local/bin/mi2mu
+ /usr/local/bin/convert-mudela
+ /usr/local/bin/mudela-book
+ /usr/local/bin/abc2ly
/usr/local/share/lilypond/*
/usr/local/share/locale/@{it,nl@}/LC_MESSAGES/lilypond.mo
-
@end example
@file{.pk} and @file{.tfm} files of the fonts. A script has been
provided to do the work for you, see @file{bin/clean-fonts.sh}.
-@unnumberedsec CAVEATS
-
-
-@itemize @bullet
-@item The -O2 option triggers bugs on various platforms (PowerPC, Alpha).
- If you experience problems, you should first try turning off
- this.
-@item On PPC you need at least EGCS-1.1.2f.
-@end itemize
@section Redhat linux
Separate instructions on building for W32 are available; See file
README-W32, included with the sources.
-@section Bugs
+@section Problems
+
+
+For help and questions use @email{help-gnu-music@@gnu.org} and
+@email{gnu-music-discuss@@gnu.org}. Please consult the faq before
+mailing your problems.
+
+If you find bugs, please send bug reports to
+@email{bug-gnu-music@@gnu.org}.
+
+Known bugs that are LilyPond's fault are listed in @file{TODO}, or
+demonstrated in @file{input/bugs/}.
+
+Known bugs that are not LilyPond's fault are documented here.
+
+@unnumbered All platforms
+@table @bullet
+@item GUILE 1.3.2
+Guile 1.3.2 is buggy in several respects. Do not use it for LilyPond.
+@end table
+
+@unnumbered LinuxPPC Bugs:
+
+@table @bullet
+@item R5, egcs-1.1.2-12c
+Egcs-1.1.2-12c (stock LinuxPPC R5) has a serious bug, upgrade to
+fixed in egcs-1.1.2-12f or gcc-2.95-0a, @uref{ftp://dev.linuxppc.org/users/fsirl/R5/RPMS/ppc/}
+
+@item R4, egcs-1.0.2
+All compiling with @code{-O2} is suspect, in particular guile-1.3, and
+Lily herself will break.
+@end table
+
+
+
+@unnumbered Linux-i386
+
+@table @bullet
+@item SuSE6.2 and similar platforms (glibc 2.1, libstdc++ 2.9.0)
+
+Lily will crash during parsing (which suggests a C++ library
+incompatibility). Precise cause, precise platform description or
+solution are not known.
+
+Note that this only happens on some computers with the said platform.
+
+@item GUILE
+A binary RPM of Guile 1.3 has been distributed from the LilyPond ftp
+site. This binary was made in RedHat 5.x, and it will fail if this
+RPM is used with RedHat 6.x.
+
+
+@item libg++ 2.7
+
+LilyPond occasionally crashes while parsing the initialisation files.
+This is a very obscure bug, and usually entering the commandline
+differently "fixes" it.
+
+@example
+ lilypond input.ly
+@end example
+
+and
+@example
+ lilypond -I. ./input.ly
+@end example
+makes a difference
+
+Typical stacktrace:
+@example
+ SIGSEGV
+ __libc_malloc (bytes=16384)
+ ?? ()
+ yyFlexLexer::yy_create_buffer ()
+ Includable_lexer::new_input (this=0x8209a00, s=@{strh_ = @{
+@end example
+
+This behaviour has been observed with machines that have old libg++
+versions (LinuxPPC feb '98, RedHat 4.x).
+@end table
+
+
+
+
+@unnumbered Solaris:
+
+@table @bullet
+@item Sparc64/Solaris 2.6, GNU make-3.77
+
+GNU make-3.77 is buggy on this platform, upgrade to 3.78.1 or newer.
+
+
+@item Sparc64/Solaris 2.6, ld
+
+Not yet resolved.
+@end table
+
+
+@unnumbered AIX
+
+@table @bullet
+@item AIX 4.3 ld
+
+The following is from the gcc install/SPECIFIC file.
+@quotation
+ Some versions of the AIX binder (linker) can fail with a relocation
+ overflow severe error when the -bbigtoc option is used to link
+ GCC-produced object files into an executable that overflows the TOC. A
+ fix for APAR IX75823 (OVERFLOW DURING LINK WHEN USING GCC AND
+ -BBIGTOC) is available from IBM Customer Support and from its
+ 27service.boulder.ibm.com website as PTF U455193.
+
+ Binutils does not support AIX 4.3 (at least through release 2.9). GNU
+ as and GNU ld will not work properly and one should not configure GCC
+ to use those GNU utilities. Use the native AIX tools which do
+ interoperate with GCC.
+@end quotation
+
+add -Wl,-bbigtoc to USER_LDFLAGS, ie:
+@example
+ LDFLAGS='-Wl,-bbigtoc' ./configure
+@end example
+
+@end table
-Send bug reports to bug-gnu-music@@gnu.org. For help and questions use
-help-gnu-music@@gnu.org and gnu-music-discuss@@gnu.org. Please consult
-the faq before mailing your problems.
@section Authors
\input texinfo @c -*-texinfo-*-
@setfilename README.info
@settitle This is the toplevel README to LilyPond
-
-@node Top, , cdrom distributions, (dir)
+@node Top, , ,
@top
-@menu
-* This is the toplevel README to LilyPond::This is the toplevel README to LilyPond
-@end menu
-
-
-
-@node This is the toplevel README to LilyPond, versioning, , Top
-@menu
-* versioning:: versioning
-* requirements:: requirements
-* installation:: installation
-* documentation:: documentation
-* comments:: comments
-* windows 32:: windows 32
-* caveats:: caveats
-* bugs:: bugs
-* cdrom distributions:: cdrom distributions
-@end menu
@chapter This is the toplevel README to LilyPond
using a high level description file as input. LilyPond is part of
the GNU Project.
-@node versioning, requirements, This is the toplevel README to LilyPond, This is the toplevel README to LilyPond
-@section versioning
+@section Versioning
LilyPond uses a versioning scheme similar to the Linux kernel. In a
version "x.y.z", an even second number 'y' denotes a stable version.
production, please use the latest stable version. Development versions
may not produce good or nice scores.
-@node requirements, installation, versioning, This is the toplevel README to LilyPond
-@section requirements
+@section Requirements
For the compilation and running of LilyPond you need some additional
packages. Please refer to the installation instructions.
NOTE: If you downloaded a binary (.rpm or a W95/NT .zip file), then
you don't have to compile LilyPond.
-@node installation, documentation, requirements, This is the toplevel README to LilyPond
-@section installation
+@section Installation
For your convenience, a formatted copy of the INSTALL instructions are
in the toplevel directory, as INSTALL.txt
-@node documentation, comments, installation, This is the toplevel README to LilyPond
-@section documentation
+@section Documentation
The real documentation is the directory Documentation/
@end itemize
-@node comments, windows 32, documentation, This is the toplevel README to LilyPond
-@section comments
+@section Comments
LilyPond is a long way from finished and polished. We do appreciate
criticism, comments, bugreports, patches, etc.
@end example
-and @emph{not} to us personally. See @file{Documentation/links.yo} for more info.
+and @emph{not} to us personally. See @file{Documentation/mail.texi} for
+more info.
-@node windows 32, caveats, comments, This is the toplevel README to LilyPond
-@section windows 32
+@section Windows 32
If you have received this file as part of a DOS/Window32 distribution
(@file{LilyPond-*.zip}), then it is advisable to also download the
If you decide to build LilyPond from source, please read the INSTALL.txt
document first, especially the Windows NT/95 section.
-@node caveats, bugs, windows 32, This is the toplevel README to LilyPond
-@section caveats
-
-* Please read the file BUGS for some ugly bugs.
+@section Caveats
-* If you have installed a previous version, be sure to remove old font
-files, eg
+If you have installed a previous version, be sure to remove old font
+files, eg.,
@example
rm `find /var/lib/texmf/fonts -name 'feta*'`
@end example
a script to do this for you is in @file{buildscripts/clean-fonts.sh}
-@node bugs, cdrom distributions, caveats, This is the toplevel README to LilyPond
-@section bugs
+@section Bugs
-Send bug reports to @email{bug-gnu-music@@gnu.org}. For help and questions use
- @email{help-gnu-music@@gnu.org} and @email{gnu-music-discuss@@gnu.org}.
-Please consult the faq before mailing your problems.
+Send bug reports to @email{bug-gnu-music@@gnu.org}. For help and
+questions use @email{help-gnu-music@@gnu.org} and
+@email{gnu-music-discuss@@gnu.org}. Please consult the FAQ and
+installation instructions before mailing your problems.
-@node cdrom distributions, Top, bugs, This is the toplevel README to LilyPond
-@section cdrom distributions
+@section CDROM distributions
if you have received LilyPond on a cdrom, chances are that development
has moved a some patchlevels up. Please check the latest version of
LilyPond handling real music. MIDI, view PNG, PostScript, and Source.
@end itemize
-@unnumberedsec Documentation
+@unnumberedsec More information
@itemize @bullet
-@item @uref{Documentation/tex/out-www/tutorial.html,Tutorial}
-@item @uref{Documentation/out-www/faq.html,FAQ}
+@item @uref{Documentation/out-www/index.html, Documentation}
@item @uref{Documentation/out-www/mail.html,Mailing Lists}
-@item @uref{Documentation/out-www/index.html,All of the LilyPond documentation}
-@item @uref{./docxx/index.html,The DOC++ documentation of the C++ sources.}
-@item @uref{Documentation/topdocs/out-www/INSTALL.html,The installation instructions}
+@item @uref{./docxx/index.html,Source code documentation}
@end itemize
@unnumberedsec Sites
DVI_FILES = $(addprefix $(outdir)/,$(DOC_FILES:.doc=.dvi) $(TELY_FILES:.tely=.dvi))
-EXTRA_DIST_FILES= $(DOC_FILES) $(DATA_FILES)
+EXTRA_DIST_FILES= $(DOC_FILES) $(DATA_FILES) $(wildcard *.itexi *.itely)
+
HTML_FILES = $(addprefix $(outdir)/, $(TELY_FILES:.tely=.html))
PS_FILES = $(DVI_FILES:.dvi=.ps) $(OUTDOC_FILES:.doc=.ps) $(OUTTEX_FILES:.tex=.ps)
OUTGENHTMLS = $(addprefix $(outdir)/, $(GENHTMLS:%=%.html))
local-WWW: $(HTML_FILES) $(datafiles) $(PS_GZ_FILES)
- $(PYTHON) $(step-bindir)/ls-latex.py --title 'User documentation about LilyPond' \
+ $(PYTHON) $(step-bindir)/ls-latex.py --title 'User documentation' \
$(DOC_FILES) $(TEX_FILES) $(TELY_FILES) \
| sed "s!$(outdir)/!!g" > $(outdir)/index.html
$(footify) $(outdir)/index.html
ln -f $< $@
localclean:
- rm -f fonts.aux fonts.log feta*.tfm feta*.*pk
+ rm -f fonts.aux fonts.log feta*.tfm feta*.*pk
--- /dev/null
+@node Reporting Bugs, , , Top
+@section Bug reports
+
+There is an extensive list of todoes and bugs. See the file
+@file{TODO} distributed with the sources. If you have a problem you
+please try to find out
+
+@itemize @bullet
+@item If the bug has been fixed in a newer release.
+@item If the bug has been found earlier, consult @file{TODO} and @file{BUGS}.
+@end itemize
+
+If you have really found a bug, then we would appreciate it if you
+sent a bugreport.
+
+@itemize @bullet
+@item Send a copy of the input which causes the error.
+@item Send a description of the platform you use.
+@item Send a description of the LilyPond version you use
+ (with compile/configure options please).
+@item Send a description of the bug itself.
+@item Send it to @email{bug-gnu-music@@gnu.org}; you don't have to be subscribed
+ to this mailinglist.
+@end itemize
--- /dev/null
+@node convert-mudela, , ,Top
+@chapter convert-mudela
+@code{convert-mudela} sequentially applies different
+mudela-conversions to upgrade a Mudela input file. It uses
+@code{\version} statements in the file to detect the old version
+number.
+
+@example
+ convert-mudela [options] [files]
+@end example
+
+@section Options
+@table @samp
+@item --output
+ The output file to write.
+@item --edit
+ Do an inline edit of the input file. override @code{--output}
+@item --show-rules
+ shows all known conversions, and exit
+@item --from=@var{FROM_PATCHLEVEL}
+ Set the level to convert from. If this is not set, convert-mudela will
+ guess this, on the basis of @code{\version} strings in the file
+@item --to=@var{TO_PATCHLEVEL}
+ Set the goal version of the conversion. It defaults to the latest
+ available version.
+@end table
+
+Not all language changes are handled. Multiple output options won't
+work.
+
+convert-mudela is written in python, so you have install
+@uref{http://www.python.org,python}. It was written by
+@email{hanwen@@cs.uu.nl, Han-Wen Nienhuys}.
+
+
+
--- /dev/null
+@node Glossary, , , Top
+@chapter Glossary
+
+This is a list of musical terms, along with explanations and
+translations. It is not complete, so additions are welcome.
+Languages are marked thusly:
+
+@itemize
+@item NL - Nederlands
+@item UK - British English
+@item F - French
+@item I - Italian
+@end itemize
+
+@table @strong
+
+@item Enharmonic Comma
+
+F: comma enharmonique
+
+
+@ignore
+
+F: doigté de pédale
+
+F: doigté, D: Fingersatz
+
+F: indication de pédale
+
+F: pointillés.
+
+@end ignore
+
+@item A
+F: la, D: a.
+
+
+
+
+@item accent
+F: accent, D: Akzent NL: accent I: accento.
+
+
+
+@item accidental
+F: altération accidentelle, D: Vorzeichen, Versetzungszeichen, Akzidenz NL: toevallig teken, I: accidento.
+
+
+
+@item adjacent keys
+F: tons voisins.
+
+
+
+@item alto
+F: alto, D: Alt, NL: alt.
+
+
+
+@item ancient form??? (diatonic minor scale)
+F: forme du mode mineur ancien.
+
+
+
+@item appoggiatura
+F: appogiature, ports de voix, notes d'agrèment, D: langer Vorschlag, NL: lange voorslag, I: appogiature.
+
+
+
+@item arbitrary number of bars' rest
+F: bâton de pause, NL: meermaats rust.
+
+
+
+@item arpeggio
+F: arpège, arpègement, D: Arpeggio, Brechungen, NL: gebroken akoord, I: arpeggio.
+
+
+
+@item artificial measure
+F: mesure artificielle.
+
+
+
+@item artificial rest
+F: respiration.
+
+
+
+@item ascending interval
+
+F: intervalle ascendant, NL: stijgend interval.
+
+
+@item augmented (interval)
+
+F: augmenté (intervalle), D: übermäßig (Intervall), NL: overmatig interval.
+
+
+@item autograph
+
+1. A manuscript in the composer's own hand. 2. Music prepared for
+photoreproduction by freehand drawing, with only the aid of a
+straightedge ruler and T-square, which attempts to emulate
+engraving. This required more skill than engraving.
+
+@item B
+
+F: si, D: h.
+
+
+
+
+
+@item backfall; forefall
+
+F: accent, chute, port de voix, D: Vorschlag, NL: korte voorslag, I: appogiature.
+
+
+
+
+
+@item bar line
+
+F: barre (de mesure), D: Taktstrich, NL: maatstreep, I: stanghetta.
+
+
+
+
+
+@item bar; measure
+
+F: mesure, D: Takt, NL: maat, maatstreep.
+
+
+
+
+
+@item baritone
+
+F: bariton, D: Bariton, NL: bariton.
+
+
+
+@item F clef
+
+D: F-Schlüssel, NL: F sleutel.
+
+A clef shaped as a curl with two dots. The position between the dots is the line of the F below central C.
+
+
+
+
+@item bass clef
+
+F: clé de fa, D: Bass-Schlüssel, NL: bas sleutel, I: chiave di basso.
+
+A clef setting with central C on the first top ledger line.
+
+
+
+
+@item bass
+
+F: basse, D: Bass, NL: bas.
+
+
+
+
+
+@item beam
+
+F: barre, D: Balken, NL: waardestreep/balk, I: barra.
+
+
+
+
+
+@item beat
+
+F: temps, D: Takt(-schlag), NL: tel.
+
+
+
+
+
+@item brace
+
+F: accolade, D: Klammer, NL: accolade, haak, I: accolada.
+
+Symbol at the start of a system that connects staffs.
+
+
+
+
+@item brass
+
+ D: Blechbläser, NL: koper (blazers).
+
+
+
+
+
+@item alto clef
+
+F: clé d'ut, D: Altschlüssel, NL: alt sleutel, I: chiave di tenore.
+
+Clef setting that has central C on the middle staff line.
+
+
+
+
+@item C clef
+
+ NL: C sleutel. .
+
+A clef symbol that looks like a horizontally mirrored 3. It indicates the position of the central C. Used in different positions.
+
+
+
+
+@item C
+
+F: do, D: c, NL: C.
+
+
+
+
+
+@item C
+
+F: ut, D: c.
+
+
+
+
+
+@item cadence
+
+F: cadence, D: Kadenz, NL: cadens.
+
+
+
+
+
+@item cadenza
+
+F: fioriture, D: Kadenz, NL: cadens, I: cadenza.
+
+
+
+
+
+@item cent
+
+ D: Cent, NL: cent.
+
+1/1200 of an octave (1/100 of an equally tempered semitone)
+
+
+
+
+@item chain of trills
+
+F: chaîne de trilles, NL: triller.
+
+
+
+
+
+@item character
+
+F: caractère.
+
+
+
+
+
+@item chevron
+
+F: chevron.
+
+
+
+
+
+@item chord
+
+F: accord, D: Akkord, NL: akkoord.
+
+
+
+
+
+@item chromatic scale
+
+F: gamme chromatique, D: Chromatische Tonleiter, NL: chromatische toonladder.
+
+
+
+
+
+@item chromatic semitone
+
+F: demi-ton chromatique, NL: chromatische halve toon.
+
+
+
+
+
+@item chromatic transposition
+
+F: transposition chromatique.
+
+
+
+
+
+@item chromatic type
+
+F: genre chromatique.
+
+
+
+
+
+@item church mode; ecclesiastical mode
+
+F: mode ecclésiastique, D: Kirchentonart, NL: kerk toonladder.
+
+
+
+
+
+@item clef
+
+F: clé, D: Notenschlüssel, NL: sleutel, I: la chiave (pl. le chiavi).
+
+
+
+
+
+@item comma
+
+F: comma, D: Komma, NL: komma.
+
+Difference in pitch of a note when the note is derived from a different tuning system.
+
+
+
+
+@item compound interval
+
+F: intervalle composé, D: Komplementärintervall.
+
+
+
+
+
+@item compound measure
+
+F: mesure composée, NL: samengestelde maat.
+
+
+
+
+
+@item conjunct movement
+
+F: mouvement conjoint.
+
+
+
+
+
+@item consonant interval; consonance
+
+F: consonance, D: Konsonanz, NL: consonant.
+
+
+
+
+
+@item contralto
+
+F: contralto, D: Alt(-stimme), alt-.
+
+
+
+
+
+@item contro-time
+
+F: contre-temps.
+
+@item Copying, Music
+
+A music copyist did fast freehand scores and parts on preprinted staff
+lines for performance. Some of their conventions (e.g.: the placement of
+noteheads on stems) varied slightly from those of engravers. Some of
+their practices (not that) were superior and could well be adopted by
+music typesetters. This also required more skill than engraving.
+
+
+@item crescendo
+
+F: crescendo, D: Crescendo, I: crescendo.
+
+written with an extended opening angular bracket, indicates increasing volume
+
+
+
+
+@item cue-notes
+
+ D: Stichnoten, NL: stichnoten.
+
+In an orchestral part, notes for a different instrument that hint when to start playing. Usually printed in smaller type.
+
+
+
+
+@item D
+
+F: ré, D: d.
+
+
+
+
+
+@item dash over/below
+
+ I: pizzicato.
+
+With plucked strings
+
+
+
+
+@item decrescendo
+
+ D: Decrescendo, I: decrescendo.
+
+written with an extended closing angular bracket, indicates decreasing volume
+
+
+
+
+@item degree [of the scale]
+
+F: degré [de la gamme], D: Stufe [der Tonleiter], NL: trap [van de toonladder].
+
+
+
+
+
+@item descending interval
+
+F: intervalle descendant, NL: dalend interval.
+
+
+
+
+
+@item diatonic major scale
+
+F: gamme diatonique majeure, D: Diatonische Durtonleiter, NL: diatonische majeur toonladder.
+
+
+
+
+
+@item diatonic minor scale
+
+F: gamme diatonique mineure, D: Diatonische Molltonleiter.
+
+
+
+
+
+@item diatonic semitone
+
+F: demi-ton diatonique, NL: diatonische halve toon.
+
+
+
+
+
+@item diatonic type
+
+F: genre diatonique, D: diatonisch.
+
+
+
+
+
+@item diatonic
+
+F: diatonique, NL: diatonisch.
+
+A diatonic scale is a scale consisting of whole and half tones.
+
+
+
+
+@item diminished (interval)
+
+F: diminué (intervalle), D: vermindert (Intervall), NL: verminderd (interval).
+
+
+
+
+
+@item disjunct movement
+
+F: mouvement disjoint.
+
+
+
+
+
+@item dissonant interval; dissonance
+
+F: dissonance, D: Dissonanz, NL: dissonant interval; dissonant.
+
+
+
+
+
+@item dominant ninth chord
+
+F: accord de neuvième dominante, NL: dominant noon akkoord.
+
+
+
+
+
+@item dominant seventh chord
+
+F: accord de septième dominante, D: Dominantseptakkord, NL: dominant septiem akkoord.
+
+
+
+
+
+@item dominant
+
+F: dominante, D: Dominante, NL: dominant.
+
+A tone that creates tension;the fifth degree of the scale.
+
+
+
+
+@item dorian mode
+
+ D: Dorische Tonart, NL: dorische toonladder.
+
+Mode obtained by raising the sixth in minor mode. A Dorian scale can be played from D to D with no sharps or flats.
+
+
+
+
+@item dot (augmentation dot)
+
+F: point, D: Punkt (Verlängerungspunkt), NL: punt, I: punto.
+
+An augmentation dot after note adds multiplies the duration by one and a half.
+
+
+
+
+@item dot and curved line combined
+
+F: point et liaison combinés.
+
+
+
+
+
+@item dot over/below
+
+ D: Staccato, NL: staccato, I: staccato.
+
+Play each note short.
+
+
+
+
+@item dot
+
+F: point, D: Punkt, NL: punt.
+
+
+
+
+
+@item dotted note
+
+F: note pointée, D: punktierte Note.
+
+
+
+
+
+@item double appoggiatura
+
+F: appogiature double.
+
+
+
+
+
+@item double bar line
+
+F: double barre, D: Doppel(takt)strich, NL: dubbele streep, I: doppia barra.
+
+Indicates the end of a section within a movement.
+
+
+
+
+@item double dotted note
+
+F: note doublement pointée, D: doppel-punktierte Note.
+
+
+
+
+
+@item double flat
+
+F: double bémol, D: Doppel-Be, NL: dubbelmol, I: doppio bemolle.
+
+
+
+
+
+@item double sharp
+
+F: double dièse, D: Doppelkreuz, NL: dubbelkruis, I: doppio diesis.
+
+Raise pitch by two semitones
+
+
+
+
+@item double trill
+
+F: trille double, D: Doppeltriller.
+
+A trill on a chord
+
+
+
+
+@item double triplet
+
+F: double triolet, D: Doppeltriole, NL: dubbele triool.
+
+
+
+
+
+@item double whole note
+
+ UK: breve, D: Brevis, NL: brevis, I: breve.
+
+Note during twice as long as a whole note. Mainly used in pre-1650 music.
+
+
+
+
+@item duple meter
+
+F: temps binaire, NL: tweedelige maatsoort.
+
+
+
+
+
+@item duplet
+
+F: duolet, D: Duole, NL: duool.
+
+
+
+
+
+@item duration
+
+F: durée, D: Dauer, Länge, NL: duur, lengte.
+
+
+
+
+
+@item E
+
+F: mi, D: e.
+
+
+
+
+
+@item eighth note
+
+F: croche, UK: quaver, D: Achtelnote, NL: achtste noot.
+
+
+
+
+
+@item eighth rest
+
+F: demi-soupir, UK: quaver rest, D: Achtelpause, NL: achtste rust.
+
+
+
+
+
+@item engraving
+
+D: Notenstechen, NL: steken.
+
+Engraving means incising or etching a metal plate for
+printing. Photoengraving means drawing music with ink in a manner
+similar to drafting or engineering drawing, using similar tools.
+
+The traditional process of music printing is done through: cutting in a
+plate of metal. Now also the term for the art of music typography.
+
+
+
+
+@item enharmonic
+
+F: enharmonique, D: enharmonisch, NL: enharmonisch.
+
+Two notes, intervals, or scales are enharmonic if they have different names but sound the same. Examples: C sharp and D flat, diminished fourth and major third
+
+
+
+
+@item equal temperament
+
+F: tempérament égal, NL: getempereerde stemming.
+
+Tuning system in which each semitone is precisely 100 cents.
+
+
+
+
+@item essential alteration
+
+F: altération essentielle.
+
+
+
+
+
+@item expression mark
+
+F: signe d'expressoin, D: Vortragszeichen, NL: voordrachtsteken, I: segno d'espressione.
+
+
+
+
+
+@item extension of interval
+
+F: extension d'intervalle.
+
+
+
+
+
+@item F
+
+F: fa, D: f.
+
+
+
+
+
+@item fermata
+
+F: pauses, D: Fermate, NL: fermate, I: fermata.
+
+Prolonged sound or silence of indefinite duration
+
+
+
+
+@item fifth
+
+F: quinte, D: Quinte, NL: kwint.
+
+
+
+
+
+@item flag; hook; tail; pennant
+
+F: crochet, D: Fähnchen, NL: vlaggetje, I: coda uncinata.
+
+Ornament at the end of the stem of a note. The number of flags determines the lengths of notes shorter than a quarter note.
+
+
+
+
+@item flat
+
+F: bémol, D: Be, NL: mol, I: bemolle.
+
+Lower pitch by a semitone
+
+
+
+
+@item four-bar rest
+
+F: bâton de pause.
+
+
+
+
+
+@item fourth
+
+F: quarte, D: Quarte, NL: kwart.
+
+
+
+
+
+@item G
+
+F: sol, D: g.
+
+
+
+
+
+@item glissando
+
+F: glissement, D: Glissando, NL: glissando, I: glissando.
+
+Letting the pitch slide fluently from one note to the other
+
+
+
+
+@item graces
+
+F: petites notes, D: Verzierungen, Manieren, NL: versieringen, I: appogiature.
+
+
+
+
+
+@item grand staff
+
+ NL: piano systeem.
+
+A combination of two staffs with a brace. Usually used for piano music.
+
+
+
+
+@item half note
+
+F: blanche, UK: minim, D: Halbe Note, NL: halve noot.
+
+
+
+
+
+@item half rest
+
+F: demi-pause, UK: minim rest, D: Halbe Pause, NL: halve rust.
+
+
+
+
+
+@item harmonic cadence
+
+F: cadence harmonique, NL: harmonische cadens.
+
+Sequence of chords that terminate a musical phrase or section.
+
+
+
+
+@item harmonic form (diatonic minor scale)
+
+F: forme harmonique.
+
+
+
+
+
+@item harmonic interval
+
+F: intervalle harmonique, D: Harmonisches Intervall.
+
+
+
+
+
+@item incomplete measure
+
+F: mesure incomplète.
+
+
+
+
+
+@item interval
+
+F: intervalle, D: Intervall, NL: interval.
+
+Difference in pitch between two notes
+
+
+
+
+@item inversion of interval
+
+F: renversement d'intervalle, NL: interval inversie.
+
+
+
+
+
+@item irregular contro-time
+
+F: contre-temps irrégulier.
+
+
+
+
+
+@item irregular group
+
+F: groupe irrégulier.
+
+
+
+
+
+@item irregular measure
+
+F: mesure irrégulière.
+
+
+
+
+
+@item irregular syncopation
+
+F: syncope irrégulière, NL: onregelmatige syncope.
+
+
+
+
+
+@item just intonation
+
+ I: .
+
+Tuning system in which the notes are obtained by adding and subtracting natural fifths and thirds.
+
+
+
+
+@item key signature
+
+F: armure, armature [de la clé], signes des accidentals, D: Vorzeichen, NL: toonsoort (voortekens), I: segni di chiave.
+
+
+
+
+
+@item kind of note
+
+F: figure de note.
+
+
+
+
+
+@item kind of rest
+
+F: figure de silence.
+
+
+
+
+
+@item leading note
+
+F: sensible.
+
+
+
+
+
+@item ledger line; leger line
+
+F: ligne supplémentaire, D: Hilfslinien, Kopfstriche (?), NL: hulplijntje, I: lineette.
+
+A ledger line is an extension of the staff.
+
+
+
+
+@item legato curve
+
+F: liaison rythmique, NL: legato boog.
+
+
+
+
+
+@item lilypond
+
+F: étang de lis, UK: lily pond, D: Lilienteich, NL: lelievijver, I: stagno del giglio.
+
+A pond with lilies floating in it, also the name of a music typesetter.
+
+
+
+
+@item line
+
+F: ligne, D: Linie, NL: lijn.
+
+
+
+
+
+@item long appoggiatura
+
+F: appogiature longue.
+
+
+
+
+
+@item lower number
+
+F: chiffre inférieur.
+
+
+
+
+
+@item major (interval)
+
+F: majeur (intervalle), D: groß (Intervall), NL: groot (interval).
+
+
+
+
+
+@item major mode
+
+F: mode majeur, D: Dur.
+
+
+
+
+
+@item meantone temperament
+
+F: tempérament mésotonique.
+
+Tuning based on a fifth that is 16 cents smaller than the natural fifth.
+
+
+
+
+@item mediant
+
+F: médiante, NL: mediant.
+
+The third degree of a scale
+
+
+
+
+@item melodic cadence
+
+F: cadence mélodique, NL: cadens.
+
+A free-form section at the end of a solo-concerto, where the soloist can demonstrate his/her virtuosity.
+
+
+
+
+@item melodic form (diatonic minor scale)
+
+F: forme mélodique.
+
+
+
+
+
+@item meter; time
+
+F: mètre, D: Takt, Metrum, NL: maatsoort.
+
+A recurring pattern of stress
+
+
+
+
+@item metronome
+
+F: métronome, D: Metronom, NL: metronoom.
+
+Device which sounds a steady beat
+
+
+
+
+@item metronomic indication
+
+F: indication métronomique, D: Metronomangabe.
+
+Exact tempo indication (in beats per minute). Also denoted by M.M. (Mälzel's Metronom)
+
+
+
+
+@item mezzo-soprano
+
+F: mezzo-soprano, D: Mezzosopran.
+
+
+
+
+
+@item middle C
+
+F: do central, D: eingestrichenes c, NL: centrale C.
+
+First C below the 440 Hz A.
+
+
+
+
+@item minor (interval)
+
+F: mineur (intervalle), D: klein (Intervall).
+
+
+
+
+
+@item minor mode
+
+F: mode mineur, D: Moll.
+
+
+
+
+
+@item modal note
+
+F: note modale.
+
+
+
+
+
+@item mode
+
+F: mode, D: Geschlecht.
+
+
+
+
+
+@item modulation
+
+F: modulation, D: Modulation, NL: modulatie.
+
+
+
+
+
+@item mordent
+
+F: mordant, pincè, D: Pralltriller, Mordent, NL: mordent, I: mordente.
+
+
+
+
+
+@item motive
+
+F: incise, D: Motiv, NL: motief.
+
+
+
+
+
+@item musical ladder
+
+F: échelle musicale.
+
+
+
+
+
+@item mixolydian mode
+
+ D: Mixolydische Tonart, NL: Mixolydische toonladder.
+
+Mode obtained by lowering the seventh in major. A mixolydian scale can be obtained by playing G to G with no sharps or flats.
+
+
+
+
+@item natural sign
+
+F: bécarre, D: Auflösungszeichen, NL: herstellingsteken, I: bequadro.
+
+Do not play the following note flat or sharp.
+
+
+
+
+@item ninth
+
+ D: None, NL: noon.
+
+
+
+
+
+@item note head
+
+ D: Notenkopf, NL: noot balletje.
+
+
+
+
+
+@item note
+
+F: note, D: Note, NL: noot, I: nota.
+
+
+
+
+
+@item octave line
+
+F: échelle d'octave.
+
+
+
+
+
+@item octave line
+
+F: clé d'octave.
+
+
+
+
+
+@item octave sign
+
+F: octave, D: Oktave, I: ottava.
+
+
+
+
+
+@item octave
+
+F: octave, D: Oktave, NL: octaaf.
+
+
+
+
+
+@item ornament; embellishment; accessory
+
+F: agrèment, ornement, D: Verzierungen, I: fiorette, fioriture,
+abbellimenti.
+
+
+@item ossia
+
+NL: alternatief
+
+Ossia (otherwise) marks an alternative. It is an added staff or piano
+score, usually only a few measures long, which presents another version
+of the music, for small hands, for example.
+
+
+@item part
+
+NL: partij.
+
+
+
+
+
+@item pause
+
+F: pause, D: Luftpause.
+
+
+
+
+
+@item pause
+
+F: point d'orgue.
+
+
+
+
+
+@item perfect (interval)
+
+F: juste (intervalle), D: rein (Intervall), NL: rein (interval).
+
+
+
+
+
+@item perfect major chord
+
+F: accord parfait majeur.
+
+
+
+
+
+@item perfect minor chord
+
+F: accord parfait mineur.
+
+
+
+
+
+@item phrase member
+
+F: membre de phrase.
+
+
+
+
+
+@item phrase
+
+F: phrase, D: Phrase, NL: frase, zin.
+
+
+
+
+
+@item phrasing
+
+F: phrasé.
+
+
+
+
+
+@item pitch pipe; tuning fork
+
+F: diapason, D: Stimmgabel, NL: stemfluitje; stemvork.
+
+
+
+
+
+@item pitch
+
+F: hauteur, D: Tonhöhe, NL: toonhoogte.
+
+
+
+
+
+@item Pythagorean comma
+
+F: comma pythagoricien, D: Pythagoräisches Komma, NL: komma van Pythagoras.
+
+A sequence of fifths starting on C eventually circles back to C (B sharp), but this B sharp is 24 cents higher than C. This gap is the Pythagorean comma.
+
+
+
+
+@item quadruplet
+
+F: quartolet, NL: kwartool.
+
+
+
+
+
+@item quarter note
+
+F: noire, UK: crotchet, D: Viertelnote, NL: kwartnoot.
+
+
+
+
+
+@item quarter rest
+
+F: soupir, UK: crotchet rest, D: Viertelpause, NL: kwart rust.
+
+
+
+
+
+@item register
+
+F: registre, D: Register, NL: register.
+
+
+
+
+
+@item regular contro-time
+
+F: contre-temps régulier.
+
+
+
+
+
+@item regular syncopation
+
+F: syncope régulière.
+
+
+
+
+
+@item relative scales
+
+F: gammes relatives, tons relatifs.
+
+
+
+
+
+@item repeat
+
+F: barre de reprise, D: Wiederholung, NL: herhaling.
+
+
+
+
+
+@item rest
+
+F: silence.
+
+
+
+
+
+@item rest
+
+F: soupir, D: Pause, NL: rust, I: pausa.
+
+
+
+
+
+@item return sign
+
+F: renvoi, NL: herstellingsteken.
+
+
+
+
+
+@item rhythm
+
+F: rythme, D: Rhythmus, NL: ritme.
+
+
+
+
+
+@item rhythmic curve
+
+F: courbe rythmique.
+
+
+
+
+
+@item scale
+
+F: gamme, D: Tonleiter, NL: toonladder.
+
+
+
+
+
+@item score
+
+F: partition, D: Partitur, NL: partituur.
+
+
+
+
+
+@item second
+
+F: seconde, D: Sekunde, I: secunde.
+
+
+
+
+
+@item semitone
+
+F: demi-ton, D: Halbton, NL: halve toon.
+
+
+
+
+
+@item seventh
+
+F: septième, D: Septime, NL: septiem, I: septime.
+
+
+
+
+
+@item sextuplet
+
+F: sextolet, D: Sextole, NL: sextool.
+
+
+
+
+
+@item sextuplet
+
+F: sixain, NL: sextool.
+
+
+
+
+
+@item shading signs
+
+F: signes indicateurs de nuance.
+
+
+
+
+
+@item shading
+
+F: nuance, D: Nuance.
+
+
+
+
+
+@item sharp
+
+F: dièse, D: Kreuz (um Halbton erhöht), NL: kruis.
+
+
+
+
+
+@item short appoggiatura
+
+F: appogiature brève.
+
+
+
+
+
+@item simple appoggiatura
+
+F: appogiature simple.
+
+
+
+
+
+@item simple interval
+
+F: intervalle simple.
+
+
+
+
+
+@item simple measure
+
+F: mesure simple.
+
+
+
+
+
+@item sixteenth note
+
+F: double croche, UK: semiquaver, D: Sechzehntelnote, NL: zestiende noot.
+
+
+
+
+
+@item sixteenth rest
+
+F: quart de soupir, UK: semiquaver rest, D: Sechzehntelpause, NL: zestiende rust.
+
+
+
+
+
+@item sixth
+
+F: sixte, D: Sexte, NL: sext.
+
+
+
+
+
+@item sixty-fourth note
+
+F: quadruple croche, UK: hemidemisemiquaver, D: Vierundsechzigstelnote, NL: vierenzestigste noot.
+
+
+
+
+
+@item sixty-fourth rest
+
+F: seizième de soupir, UK: hemidemisemiquaver rest, D: Vierundsechzigstelpause.
+
+
+
+
+
+@item slur
+
+F: liaison, coulé, D: Bindungszeichen, Bindebogen, NL: binding, bindingsboog, I: legatura.
+
+
+
+
+
+@item soprano
+
+F: soprano, D: Sopran, NL: sopraan.
+
+
+
+
+
+@item space
+
+F: espace.
+
+
+
+
+
+@item staff
+
+F: portée, D: Noten(linien)system, NL: (noten)balk; partij.
+
+pl staves or staffs
+
+
+
+
+@item stem
+
+F: queue, D: Stiel, Hals, NL: stok, I: asta, gamba.
+
+
+
+
+
+@item strings
+
+ D: Streicher, NL: strijkers.
+
+
+
+
+
+@item strong beat
+
+F: temps fort, NL: thesis.
+
+
+
+
+
+@item subdominant
+
+F: sous-dominante, D: Subdominante.
+
+The fourth degree of the scale
+
+
+
+
+@item submediant
+
+ I: .
+
+The sixth scale degree
+
+
+
+
+@item subtonic
+
+F: sous-tonique, D: Subtonika.
+
+The seventh degree of the scale
+
+
+
+
+@item superdominant
+
+F: sus-dominante.
+
+The sixth scale degree
+
+
+
+
+@item supertonic
+
+F: sus-tonique.
+
+The second scale degree
+
+
+
+
+@item syncopation; upbeat
+
+F: syncope, D: Synkope, NL: syncope.
+
+
+
+
+
+@item syntonic comma
+
+F: comma syntonique, NL: komma van Didymos, syntonische komma.
+
+Difference between the natural third and the third obtained by Pythagorean tuning, euqal to 22 cents.
+
+
+
+
+@item system
+
+F: système, D: System, NL: systeem, I: sitema.
+
+
+
+
+
+@item tempo indication
+
+F: signes de temps, D: Zeitmaß, Tempobezeichnung, NL: tempo aanduiding, I: segno di tempo.
+
+
+
+
+
+@item tempo; movement
+
+F: mouvement, D: Tempo.
+
+
+
+
+
+@item tenor
+
+F: ténor, D: Tenor.
+
+
+
+
+
+@item tenth
+
+ D: Dezime, NL: deciem, I: decime.
+
+
+
+
+
+@item tetrachord
+
+F: tétracorde, D: Vierklang.
+
+
+
+
+
+@item third
+
+F: tierce, D: Terz, NL: terts.
+
+
+
+
+
+@item thirty-second note
+
+F: triple croche, UK: demisemiquaver, D: Zweiunddreißigstelnote, NL: 32e noot.
+
+
+
+
+
+@item thirty-second rest
+
+F: huitième de soupir, UK: demisemiquaver rest, D: Zweiunddreißigstelpause, NL: 32e rust.
+
+
+
+
+
+@item tie
+
+F: liaison, D: Haltebogen, NL: overbinding, I: legatura.
+
+A curve that shows the prolongation (as opposed to the repetition fo a note)
+
+
+
+
+@item time signature
+
+F: chiffrage (chiffres indicateurs), signe de valeur, D: Taktvorzeichnung, Taktvorzeichen, NL: maatsoort, I: segni di tempo.
+
+
+
+
+
+@item tonal note
+
+F: note tonale.
+
+
+
+
+
+@item tonality
+
+F: tonalité, D: Tonalität, NL: tonaliteit.
+
+
+
+
+
+@item tone
+
+F: ton, D: Ton, NL: toon.
+
+
+
+
+
+@item tonic
+
+F: tonique, D: Tonika, NL: tonica.
+
+
+
+
+
+@item transposition
+
+F: transposition, D: Transposition, NL: transpositie.
+
+Shifting a melody up or down in pitch, while keeping the same relative pitches.
+
+
+
+
+@item G clef
+
+ NL: G sleutel.
+
+A clef symbol with a loop at the top and a spiral in the center. The center of the spiral indicates the G above central C.
+
+
+
+
+@item treble clef
+
+F: clé de sol, D: Violinschlüssel, NL: viool sleutel, I: chiave di violino.
+
+Clef setting where the second lowest line is the G above central C.
+
+
+
+
+@item tremolo
+
+F: trèmolo, D: Tremolo, NL: tremolo, I: tremolo.
+
+
+
+
+
+@item trill; shake
+
+F: trille, tremblement, battement (cadence), D: Triller, NL: triller, I: trillo.
+
+
+
+
+
+@item triple meter
+
+F: temps ternaire, NL: driedelige maatsoort.
+
+
+
+
+
+@item triplet
+
+F: triolet, D: Triole.
+
+
+
+
+
+@item tritone
+
+F: triton, D: Tritonus.
+
+
+
+
+
+@item turn; gruppetto
+
+F: brisè, groupe, doublè, grupetto, D: Doppelschlag, NL: dubbelslag, I: grupetto.
+
+
+
+
+
+@item two-bar rest
+
+F: bâton de pause.
+
+
+
+
+@item underline over/below
+
+F: portamento, D: Portato.
+
+
+
+
+
+@item unison
+
+F: unisson, D: Unisono, I: unisono.
+
+Different instruments playing exactly the same melody.
+
+
+
+
+@item unit of beat
+
+F: unité de temps.
+
+
+
+
+
+@item unit of measure
+
+F: unité de mesure.
+
+
+
+
+
+@item upbeat; arsis
+
+ D: Auftakt.
+
+
+
+
+
+@item upper number
+
+F: chiffre supérieur.
+
+
+
+
+
+@item voice
+
+F: voix, D: Stimme, NL: stem.
+
+
+
+@item weak beat
+
+F: temps faible, NL: arsis.
+
+
+
+
+
+@item whole note
+
+F: ronde, UK: semibreve, D: Ganze Note, NL: hele noot.
+
+
+
+
+
+@item whole rest
+
+F: pause, UK: semibreve rest, D: Ganze Pause.
+
+
+
+
+
+@item woodwind
+
+D: Holzbläser, NL: houtblazers.
+
+
+@end table
+
+++ /dev/null
-
-This is a list of musical terms, along with explanations and
-translations. It is not complete, so additions are welcome.
-Languages are marked thusly:
-
-@itemize
-@item NL - Nederlands
-@item UK - British English
-@item F - French
-@item I - Italian
-@end itemize
-
-@table @strong
-
-@item Enharmonic Comma
-
-F: comma enharmonique
-
-
-@ignore
-
-F: doigté de pédale
-
-F: doigté, D: Fingersatz
-
-F: indication de pédale
-
-F: pointillés.
-
-@end ignore
-
-@item A
-F: la, D: a.
-
-
-
-
-@item accent
-F: accent, D: Akzent NL: accent I: accento.
-
-
-
-@item accidental
-F: altération accidentelle, D: Vorzeichen, Versetzungszeichen, Akzidenz NL: toevallig teken, I: accidento.
-
-
-
-@item adjacent keys
-F: tons voisins.
-
-
-
-@item alto
-F: alto, D: Alt, NL: alt.
-
-
-
-@item ancient form??? (diatonic minor scale)
-F: forme du mode mineur ancien.
-
-
-
-@item appoggiatura
-F: appogiature, ports de voix, notes d'agrèment, D: langer Vorschlag, NL: lange voorslag, I: appogiature.
-
-
-
-@item arbitrary number of bars' rest
-F: bâton de pause, NL: meermaats rust.
-
-
-
-@item arpeggio
-F: arpège, arpègement, D: Arpeggio, Brechungen, NL: gebroken akoord, I: arpeggio.
-
-
-
-@item artificial measure
-F: mesure artificielle.
-
-
-
-@item artificial rest
-F: respiration.
-
-
-
-@item ascending interval
-
-F: intervalle ascendant, NL: stijgend interval.
-
-
-@item augmented (interval)
-
-F: augmenté (intervalle), D: übermäßig (Intervall), NL: overmatig interval.
-
-
-@item autograph
-
-1. A manuscript in the composer's own hand. 2. Music prepared for
-photoreproduction by freehand drawing, with only the aid of a
-straightedge ruler and T-square, which attempts to emulate
-engraving. This required more skill than engraving.
-
-@item B
-
-F: si, D: h.
-
-
-
-
-
-@item backfall; forefall
-
-F: accent, chute, port de voix, D: Vorschlag, NL: korte voorslag, I: appogiature.
-
-
-
-
-
-@item bar line
-
-F: barre (de mesure), D: Taktstrich, NL: maatstreep, I: stanghetta.
-
-
-
-
-
-@item bar; measure
-
-F: mesure, D: Takt, NL: maat, maatstreep.
-
-
-
-
-
-@item baritone
-
-F: bariton, D: Bariton, NL: bariton.
-
-
-
-@item F clef
-
-D: F-Schlüssel, NL: F sleutel.
-
-A clef shaped as a curl with two dots. The position between the dots is the line of the F below central C.
-
-
-
-
-@item bass clef
-
-F: clé de fa, D: Bass-Schlüssel, NL: bas sleutel, I: chiave di basso.
-
-A clef setting with central C on the first top ledger line.
-
-
-
-
-@item bass
-
-F: basse, D: Bass, NL: bas.
-
-
-
-
-
-@item beam
-
-F: barre, D: Balken, NL: waardestreep/balk, I: barra.
-
-
-
-
-
-@item beat
-
-F: temps, D: Takt(-schlag), NL: tel.
-
-
-
-
-
-@item brace
-
-F: accolade, D: Klammer, NL: accolade, haak, I: accolada.
-
-Symbol at the start of a system that connects staffs.
-
-
-
-
-@item brass
-
- D: Blechbläser, NL: koper (blazers).
-
-
-
-
-
-@item alto clef
-
-F: clé d'ut, D: Altschlüssel, NL: alt sleutel, I: chiave di tenore.
-
-Clef setting that has central C on the middle staff line.
-
-
-
-
-@item C clef
-
- NL: C sleutel. .
-
-A clef symbol that looks like a horizontally mirrored 3. It indicates the position of the central C. Used in different positions.
-
-
-
-
-@item C
-
-F: do, D: c, NL: C.
-
-
-
-
-
-@item C
-
-F: ut, D: c.
-
-
-
-
-
-@item cadence
-
-F: cadence, D: Kadenz, NL: cadens.
-
-
-
-
-
-@item cadenza
-
-F: fioriture, D: Kadenz, NL: cadens, I: cadenza.
-
-
-
-
-
-@item cent
-
- D: Cent, NL: cent.
-
-1/1200 of an octave (1/100 of an equally tempered semitone)
-
-
-
-
-@item chain of trills
-
-F: chaîne de trilles, NL: triller.
-
-
-
-
-
-@item character
-
-F: caractère.
-
-
-
-
-
-@item chevron
-
-F: chevron.
-
-
-
-
-
-@item chord
-
-F: accord, D: Akkord, NL: akkoord.
-
-
-
-
-
-@item chromatic scale
-
-F: gamme chromatique, D: Chromatische Tonleiter, NL: chromatische toonladder.
-
-
-
-
-
-@item chromatic semitone
-
-F: demi-ton chromatique, NL: chromatische halve toon.
-
-
-
-
-
-@item chromatic transposition
-
-F: transposition chromatique.
-
-
-
-
-
-@item chromatic type
-
-F: genre chromatique.
-
-
-
-
-
-@item church mode; ecclesiastical mode
-
-F: mode ecclésiastique, D: Kirchentonart, NL: kerk toonladder.
-
-
-
-
-
-@item clef
-
-F: clé, D: Notenschlüssel, NL: sleutel, I: la chiave (pl. le chiavi).
-
-
-
-
-
-@item comma
-
-F: comma, D: Komma, NL: komma.
-
-Difference in pitch of a note when the note is derived from a different tuning system.
-
-
-
-
-@item compound interval
-
-F: intervalle composé, D: Komplementärintervall.
-
-
-
-
-
-@item compound measure
-
-F: mesure composée, NL: samengestelde maat.
-
-
-
-
-
-@item conjunct movement
-
-F: mouvement conjoint.
-
-
-
-
-
-@item consonant interval; consonance
-
-F: consonance, D: Konsonanz, NL: consonant.
-
-
-
-
-
-@item contralto
-
-F: contralto, D: Alt(-stimme), alt-.
-
-
-
-
-
-@item contro-time
-
-F: contre-temps.
-
-@item Copying, Music
-
-A music copyist did fast freehand scores and parts on preprinted staff
-lines for performance. Some of their conventions (e.g.: the placement of
-noteheads on stems) varied slightly from those of engravers. Some of
-their practices (not that) were superior and could well be adopted by
-music typesetters. This also required more skill than engraving.
-
-
-@item crescendo
-
-F: crescendo, D: Crescendo, I: crescendo.
-
-written with an extended opening angular bracket, indicates increasing volume
-
-
-
-
-@item cue-notes
-
- D: Stichnoten, NL: stichnoten.
-
-In an orchestral part, notes for a different instrument that hint when to start playing. Usually printed in smaller type.
-
-
-
-
-@item D
-
-F: ré, D: d.
-
-
-
-
-
-@item dash over/below
-
- I: pizzicato.
-
-With plucked strings
-
-
-
-
-@item decrescendo
-
- D: Decrescendo, I: decrescendo.
-
-written with an extended closing angular bracket, indicates decreasing volume
-
-
-
-
-@item degree [of the scale]
-
-F: degré [de la gamme], D: Stufe [der Tonleiter], NL: trap [van de toonladder].
-
-
-
-
-
-@item descending interval
-
-F: intervalle descendant, NL: dalend interval.
-
-
-
-
-
-@item diatonic major scale
-
-F: gamme diatonique majeure, D: Diatonische Durtonleiter, NL: diatonische majeur toonladder.
-
-
-
-
-
-@item diatonic minor scale
-
-F: gamme diatonique mineure, D: Diatonische Molltonleiter.
-
-
-
-
-
-@item diatonic semitone
-
-F: demi-ton diatonique, NL: diatonische halve toon.
-
-
-
-
-
-@item diatonic type
-
-F: genre diatonique, D: diatonisch.
-
-
-
-
-
-@item diatonic
-
-F: diatonique, NL: diatonisch.
-
-A diatonic scale is a scale consisting of whole and half tones.
-
-
-
-
-@item diminished (interval)
-
-F: diminué (intervalle), D: vermindert (Intervall), NL: verminderd (interval).
-
-
-
-
-
-@item disjunct movement
-
-F: mouvement disjoint.
-
-
-
-
-
-@item dissonant interval; dissonance
-
-F: dissonance, D: Dissonanz, NL: dissonant interval; dissonant.
-
-
-
-
-
-@item dominant ninth chord
-
-F: accord de neuvième dominante, NL: dominant noon akkoord.
-
-
-
-
-
-@item dominant seventh chord
-
-F: accord de septième dominante, D: Dominantseptakkord, NL: dominant septiem akkoord.
-
-
-
-
-
-@item dominant
-
-F: dominante, D: Dominante, NL: dominant.
-
-A tone that creates tension;the fifth degree of the scale.
-
-
-
-
-@item dorian mode
-
- D: Dorische Tonart, NL: dorische toonladder.
-
-Mode obtained by raising the sixth in minor mode. A Dorian scale can be played from D to D with no sharps or flats.
-
-
-
-
-@item dot (augmentation dot)
-
-F: point, D: Punkt (Verlängerungspunkt), NL: punt, I: punto.
-
-An augmentation dot after note adds multiplies the duration by one and a half.
-
-
-
-
-@item dot and curved line combined
-
-F: point et liaison combinés.
-
-
-
-
-
-@item dot over/below
-
- D: Staccato, NL: staccato, I: staccato.
-
-Play each note short.
-
-
-
-
-@item dot
-
-F: point, D: Punkt, NL: punt.
-
-
-
-
-
-@item dotted note
-
-F: note pointée, D: punktierte Note.
-
-
-
-
-
-@item double appoggiatura
-
-F: appogiature double.
-
-
-
-
-
-@item double bar line
-
-F: double barre, D: Doppel(takt)strich, NL: dubbele streep, I: doppia barra.
-
-Indicates the end of a section within a movement.
-
-
-
-
-@item double dotted note
-
-F: note doublement pointée, D: doppel-punktierte Note.
-
-
-
-
-
-@item double flat
-
-F: double bémol, D: Doppel-Be, NL: dubbelmol, I: doppio bemolle.
-
-
-
-
-
-@item double sharp
-
-F: double dièse, D: Doppelkreuz, NL: dubbelkruis, I: doppio diesis.
-
-Raise pitch by two semitones
-
-
-
-
-@item double trill
-
-F: trille double, D: Doppeltriller.
-
-A trill on a chord
-
-
-
-
-@item double triplet
-
-F: double triolet, D: Doppeltriole, NL: dubbele triool.
-
-
-
-
-
-@item double whole note
-
- UK: breve, D: Brevis, NL: brevis, I: breve.
-
-Note during twice as long as a whole note. Mainly used in pre-1650 music.
-
-
-
-
-@item duple meter
-
-F: temps binaire, NL: tweedelige maatsoort.
-
-
-
-
-
-@item duplet
-
-F: duolet, D: Duole, NL: duool.
-
-
-
-
-
-@item duration
-
-F: durée, D: Dauer, Länge, NL: duur, lengte.
-
-
-
-
-
-@item E
-
-F: mi, D: e.
-
-
-
-
-
-@item eighth note
-
-F: croche, UK: quaver, D: Achtelnote, NL: achtste noot.
-
-
-
-
-
-@item eighth rest
-
-F: demi-soupir, UK: quaver rest, D: Achtelpause, NL: achtste rust.
-
-
-
-
-
-@item engraving
-
-D: Notenstechen, NL: steken.
-
-Engraving means incising or etching a metal plate for
-printing. Photoengraving means drawing music with ink in a manner
-similar to drafting or engineering drawing, using similar tools.
-
-The traditional process of music printing is done through: cutting in a
-plate of metal. Now also the term for the art of music typography.
-
-
-
-
-@item enharmonic
-
-F: enharmonique, D: enharmonisch, NL: enharmonisch.
-
-Two notes, intervals, or scales are enharmonic if they have different names but sound the same. Examples: C sharp and D flat, diminished fourth and major third
-
-
-
-
-@item equal temperament
-
-F: tempérament égal, NL: getempereerde stemming.
-
-Tuning system in which each semitone is precisely 100 cents.
-
-
-
-
-@item essential alteration
-
-F: altération essentielle.
-
-
-
-
-
-@item expression mark
-
-F: signe d'expressoin, D: Vortragszeichen, NL: voordrachtsteken, I: segno d'espressione.
-
-
-
-
-
-@item extension of interval
-
-F: extension d'intervalle.
-
-
-
-
-
-@item F
-
-F: fa, D: f.
-
-
-
-
-
-@item fermata
-
-F: pauses, D: Fermate, NL: fermate, I: fermata.
-
-Prolonged sound or silence of indefinite duration
-
-
-
-
-@item fifth
-
-F: quinte, D: Quinte, NL: kwint.
-
-
-
-
-
-@item flag; hook; tail; pennant
-
-F: crochet, D: Fähnchen, NL: vlaggetje, I: coda uncinata.
-
-Ornament at the end of the stem of a note. The number of flags determines the lengths of notes shorter than a quarter note.
-
-
-
-
-@item flat
-
-F: bémol, D: Be, NL: mol, I: bemolle.
-
-Lower pitch by a semitone
-
-
-
-
-@item four-bar rest
-
-F: bâton de pause.
-
-
-
-
-
-@item fourth
-
-F: quarte, D: Quarte, NL: kwart.
-
-
-
-
-
-@item G
-
-F: sol, D: g.
-
-
-
-
-
-@item glissando
-
-F: glissement, D: Glissando, NL: glissando, I: glissando.
-
-Letting the pitch slide fluently from one note to the other
-
-
-
-
-@item graces
-
-F: petites notes, D: Verzierungen, Manieren, NL: versieringen, I: appogiature.
-
-
-
-
-
-@item grand staff
-
- NL: piano systeem.
-
-A combination of two staffs with a brace. Usually used for piano music.
-
-
-
-
-@item half note
-
-F: blanche, UK: minim, D: Halbe Note, NL: halve noot.
-
-
-
-
-
-@item half rest
-
-F: demi-pause, UK: minim rest, D: Halbe Pause, NL: halve rust.
-
-
-
-
-
-@item harmonic cadence
-
-F: cadence harmonique, NL: harmonische cadens.
-
-Sequence of chords that terminate a musical phrase or section.
-
-
-
-
-@item harmonic form (diatonic minor scale)
-
-F: forme harmonique.
-
-
-
-
-
-@item harmonic interval
-
-F: intervalle harmonique, D: Harmonisches Intervall.
-
-
-
-
-
-@item incomplete measure
-
-F: mesure incomplète.
-
-
-
-
-
-@item interval
-
-F: intervalle, D: Intervall, NL: interval.
-
-Difference in pitch between two notes
-
-
-
-
-@item inversion of interval
-
-F: renversement d'intervalle, NL: interval inversie.
-
-
-
-
-
-@item irregular contro-time
-
-F: contre-temps irrégulier.
-
-
-
-
-
-@item irregular group
-
-F: groupe irrégulier.
-
-
-
-
-
-@item irregular measure
-
-F: mesure irrégulière.
-
-
-
-
-
-@item irregular syncopation
-
-F: syncope irrégulière, NL: onregelmatige syncope.
-
-
-
-
-
-@item just intonation
-
- I: .
-
-Tuning system in which the notes are obtained by adding and subtracting natural fifths and thirds.
-
-
-
-
-@item key signature
-
-F: armure, armature [de la clé], signes des accidentals, D: Vorzeichen, NL: toonsoort (voortekens), I: segni di chiave.
-
-
-
-
-
-@item kind of note
-
-F: figure de note.
-
-
-
-
-
-@item kind of rest
-
-F: figure de silence.
-
-
-
-
-
-@item leading note
-
-F: sensible.
-
-
-
-
-
-@item ledger line; leger line
-
-F: ligne supplémentaire, D: Hilfslinien, Kopfstriche (?), NL: hulplijntje, I: lineette.
-
-A ledger line is an extension of the staff.
-
-
-
-
-@item legato curve
-
-F: liaison rythmique, NL: legato boog.
-
-
-
-
-
-@item lilypond
-
-F: étang de lis, UK: lily pond, D: Lilienteich, NL: lelievijver, I: stagno del giglio.
-
-A pond with lilies floating in it, also the name of a music typesetter.
-
-
-
-
-@item line
-
-F: ligne, D: Linie, NL: lijn.
-
-
-
-
-
-@item long appoggiatura
-
-F: appogiature longue.
-
-
-
-
-
-@item lower number
-
-F: chiffre inférieur.
-
-
-
-
-
-@item major (interval)
-
-F: majeur (intervalle), D: groß (Intervall), NL: groot (interval).
-
-
-
-
-
-@item major mode
-
-F: mode majeur, D: Dur.
-
-
-
-
-
-@item meantone temperament
-
-F: tempérament mésotonique.
-
-Tuning based on a fifth that is 16 cents smaller than the natural fifth.
-
-
-
-
-@item mediant
-
-F: médiante, NL: mediant.
-
-The third degree of a scale
-
-
-
-
-@item melodic cadence
-
-F: cadence mélodique, NL: cadens.
-
-A free-form section at the end of a solo-concerto, where the soloist can demonstrate his/her virtuosity.
-
-
-
-
-@item melodic form (diatonic minor scale)
-
-F: forme mélodique.
-
-
-
-
-
-@item meter; time
-
-F: mètre, D: Takt, Metrum, NL: maatsoort.
-
-A recurring pattern of stress
-
-
-
-
-@item metronome
-
-F: métronome, D: Metronom, NL: metronoom.
-
-Device which sounds a steady beat
-
-
-
-
-@item metronomic indication
-
-F: indication métronomique, D: Metronomangabe.
-
-Exact tempo indication (in beats per minute). Also denoted by M.M. (Mälzel's Metronom)
-
-
-
-
-@item mezzo-soprano
-
-F: mezzo-soprano, D: Mezzosopran.
-
-
-
-
-
-@item middle C
-
-F: do central, D: eingestrichenes c, NL: centrale C.
-
-First C below the 440 Hz A.
-
-
-
-
-@item minor (interval)
-
-F: mineur (intervalle), D: klein (Intervall).
-
-
-
-
-
-@item minor mode
-
-F: mode mineur, D: Moll.
-
-
-
-
-
-@item modal note
-
-F: note modale.
-
-
-
-
-
-@item mode
-
-F: mode, D: Geschlecht.
-
-
-
-
-
-@item modulation
-
-F: modulation, D: Modulation, NL: modulatie.
-
-
-
-
-
-@item mordent
-
-F: mordant, pincè, D: Pralltriller, Mordent, NL: mordent, I: mordente.
-
-
-
-
-
-@item motive
-
-F: incise, D: Motiv, NL: motief.
-
-
-
-
-
-@item musical ladder
-
-F: échelle musicale.
-
-
-
-
-
-@item mixolydian mode
-
- D: Mixolydische Tonart, NL: Mixolydische toonladder.
-
-Mode obtained by lowering the seventh in major. A mixolydian scale can be obtained by playing G to G with no sharps or flats.
-
-
-
-
-@item natural sign
-
-F: bécarre, D: Auflösungszeichen, NL: herstellingsteken, I: bequadro.
-
-Do not play the following note flat or sharp.
-
-
-
-
-@item ninth
-
- D: None, NL: noon.
-
-
-
-
-
-@item note head
-
- D: Notenkopf, NL: noot balletje.
-
-
-
-
-
-@item note
-
-F: note, D: Note, NL: noot, I: nota.
-
-
-
-
-
-@item octave line
-
-F: échelle d'octave.
-
-
-
-
-
-@item octave line
-
-F: clé d'octave.
-
-
-
-
-
-@item octave sign
-
-F: octave, D: Oktave, I: ottava.
-
-
-
-
-
-@item octave
-
-F: octave, D: Oktave, NL: octaaf.
-
-
-
-
-
-@item ornament; embellishment; accessory
-
-F: agrèment, ornement, D: Verzierungen, I: fiorette, fioriture,
-abbellimenti.
-
-
-@item ossia
-
-NL: alternatief
-
-Ossia (otherwise) marks an alternative. It is an added staff or piano
-score, usually only a few measures long, which presents another version
-of the music, for small hands, for example.
-
-
-@item part
-
-NL: partij.
-
-
-
-
-
-@item pause
-
-F: pause, D: Luftpause.
-
-
-
-
-
-@item pause
-
-F: point d'orgue.
-
-
-
-
-
-@item perfect (interval)
-
-F: juste (intervalle), D: rein (Intervall), NL: rein (interval).
-
-
-
-
-
-@item perfect major chord
-
-F: accord parfait majeur.
-
-
-
-
-
-@item perfect minor chord
-
-F: accord parfait mineur.
-
-
-
-
-
-@item phrase member
-
-F: membre de phrase.
-
-
-
-
-
-@item phrase
-
-F: phrase, D: Phrase, NL: frase, zin.
-
-
-
-
-
-@item phrasing
-
-F: phrasé.
-
-
-
-
-
-@item pitch pipe; tuning fork
-
-F: diapason, D: Stimmgabel, NL: stemfluitje; stemvork.
-
-
-
-
-
-@item pitch
-
-F: hauteur, D: Tonhöhe, NL: toonhoogte.
-
-
-
-
-
-@item Pythagorean comma
-
-F: comma pythagoricien, D: Pythagoräisches Komma, NL: komma van Pythagoras.
-
-A sequence of fifths starting on C eventually circles back to C (B sharp), but this B sharp is 24 cents higher than C. This gap is the Pythagorean comma.
-
-
-
-
-@item quadruplet
-
-F: quartolet, NL: kwartool.
-
-
-
-
-
-@item quarter note
-
-F: noire, UK: crotchet, D: Viertelnote, NL: kwartnoot.
-
-
-
-
-
-@item quarter rest
-
-F: soupir, UK: crotchet rest, D: Viertelpause, NL: kwart rust.
-
-
-
-
-
-@item register
-
-F: registre, D: Register, NL: register.
-
-
-
-
-
-@item regular contro-time
-
-F: contre-temps régulier.
-
-
-
-
-
-@item regular syncopation
-
-F: syncope régulière.
-
-
-
-
-
-@item relative scales
-
-F: gammes relatives, tons relatifs.
-
-
-
-
-
-@item repeat
-
-F: barre de reprise, D: Wiederholung, NL: herhaling.
-
-
-
-
-
-@item rest
-
-F: silence.
-
-
-
-
-
-@item rest
-
-F: soupir, D: Pause, NL: rust, I: pausa.
-
-
-
-
-
-@item return sign
-
-F: renvoi, NL: herstellingsteken.
-
-
-
-
-
-@item rhythm
-
-F: rythme, D: Rhythmus, NL: ritme.
-
-
-
-
-
-@item rhythmic curve
-
-F: courbe rythmique.
-
-
-
-
-
-@item scale
-
-F: gamme, D: Tonleiter, NL: toonladder.
-
-
-
-
-
-@item score
-
-F: partition, D: Partitur, NL: partituur.
-
-
-
-
-
-@item second
-
-F: seconde, D: Sekunde, I: secunde.
-
-
-
-
-
-@item semitone
-
-F: demi-ton, D: Halbton, NL: halve toon.
-
-
-
-
-
-@item seventh
-
-F: septième, D: Septime, NL: septiem, I: septime.
-
-
-
-
-
-@item sextuplet
-
-F: sextolet, D: Sextole, NL: sextool.
-
-
-
-
-
-@item sextuplet
-
-F: sixain, NL: sextool.
-
-
-
-
-
-@item shading signs
-
-F: signes indicateurs de nuance.
-
-
-
-
-
-@item shading
-
-F: nuance, D: Nuance.
-
-
-
-
-
-@item sharp
-
-F: dièse, D: Kreuz (um Halbton erhöht), NL: kruis.
-
-
-
-
-
-@item short appoggiatura
-
-F: appogiature brève.
-
-
-
-
-
-@item simple appoggiatura
-
-F: appogiature simple.
-
-
-
-
-
-@item simple interval
-
-F: intervalle simple.
-
-
-
-
-
-@item simple measure
-
-F: mesure simple.
-
-
-
-
-
-@item sixteenth note
-
-F: double croche, UK: semiquaver, D: Sechzehntelnote, NL: zestiende noot.
-
-
-
-
-
-@item sixteenth rest
-
-F: quart de soupir, UK: semiquaver rest, D: Sechzehntelpause, NL: zestiende rust.
-
-
-
-
-
-@item sixth
-
-F: sixte, D: Sexte, NL: sext.
-
-
-
-
-
-@item sixty-fourth note
-
-F: quadruple croche, UK: hemidemisemiquaver, D: Vierundsechzigstelnote, NL: vierenzestigste noot.
-
-
-
-
-
-@item sixty-fourth rest
-
-F: seizième de soupir, UK: hemidemisemiquaver rest, D: Vierundsechzigstelpause.
-
-
-
-
-
-@item slur
-
-F: liaison, coulé, D: Bindungszeichen, Bindebogen, NL: binding, bindingsboog, I: legatura.
-
-
-
-
-
-@item soprano
-
-F: soprano, D: Sopran, NL: sopraan.
-
-
-
-
-
-@item space
-
-F: espace.
-
-
-
-
-
-@item staff
-
-F: portée, D: Noten(linien)system, NL: (noten)balk; partij.
-
-pl staves or staffs
-
-
-
-
-@item stem
-
-F: queue, D: Stiel, Hals, NL: stok, I: asta, gamba.
-
-
-
-
-
-@item strings
-
- D: Streicher, NL: strijkers.
-
-
-
-
-
-@item strong beat
-
-F: temps fort, NL: thesis.
-
-
-
-
-
-@item subdominant
-
-F: sous-dominante, D: Subdominante.
-
-The fourth degree of the scale
-
-
-
-
-@item submediant
-
- I: .
-
-The sixth scale degree
-
-
-
-
-@item subtonic
-
-F: sous-tonique, D: Subtonika.
-
-The seventh degree of the scale
-
-
-
-
-@item superdominant
-
-F: sus-dominante.
-
-The sixth scale degree
-
-
-
-
-@item supertonic
-
-F: sus-tonique.
-
-The second scale degree
-
-
-
-
-@item syncopation; upbeat
-
-F: syncope, D: Synkope, NL: syncope.
-
-
-
-
-
-@item syntonic comma
-
-F: comma syntonique, NL: komma van Didymos, syntonische komma.
-
-Difference between the natural third and the third obtained by Pythagorean tuning, euqal to 22 cents.
-
-
-
-
-@item system
-
-F: système, D: System, NL: systeem, I: sitema.
-
-
-
-
-
-@item tempo indication
-
-F: signes de temps, D: Zeitmaß, Tempobezeichnung, NL: tempo aanduiding, I: segno di tempo.
-
-
-
-
-
-@item tempo; movement
-
-F: mouvement, D: Tempo.
-
-
-
-
-
-@item tenor
-
-F: ténor, D: Tenor.
-
-
-
-
-
-@item tenth
-
- D: Dezime, NL: deciem, I: decime.
-
-
-
-
-
-@item tetrachord
-
-F: tétracorde, D: Vierklang.
-
-
-
-
-
-@item third
-
-F: tierce, D: Terz, NL: terts.
-
-
-
-
-
-@item thirty-second note
-
-F: triple croche, UK: demisemiquaver, D: Zweiunddreißigstelnote, NL: 32e noot.
-
-
-
-
-
-@item thirty-second rest
-
-F: huitième de soupir, UK: demisemiquaver rest, D: Zweiunddreißigstelpause, NL: 32e rust.
-
-
-
-
-
-@item tie
-
-F: liaison, D: Haltebogen, NL: overbinding, I: legatura.
-
-A curve that shows the prolongation (as opposed to the repetition fo a note)
-
-
-
-
-@item time signature
-
-F: chiffrage (chiffres indicateurs), signe de valeur, D: Taktvorzeichnung, Taktvorzeichen, NL: maatsoort, I: segni di tempo.
-
-
-
-
-
-@item tonal note
-
-F: note tonale.
-
-
-
-
-
-@item tonality
-
-F: tonalité, D: Tonalität, NL: tonaliteit.
-
-
-
-
-
-@item tone
-
-F: ton, D: Ton, NL: toon.
-
-
-
-
-
-@item tonic
-
-F: tonique, D: Tonika, NL: tonica.
-
-
-
-
-
-@item transposition
-
-F: transposition, D: Transposition, NL: transpositie.
-
-Shifting a melody up or down in pitch, while keeping the same relative pitches.
-
-
-
-
-@item G clef
-
- NL: G sleutel.
-
-A clef symbol with a loop at the top and a spiral in the center. The center of the spiral indicates the G above central C.
-
-
-
-
-@item treble clef
-
-F: clé de sol, D: Violinschlüssel, NL: viool sleutel, I: chiave di violino.
-
-Clef setting where the second lowest line is the G above central C.
-
-
-
-
-@item tremolo
-
-F: trèmolo, D: Tremolo, NL: tremolo, I: tremolo.
-
-
-
-
-
-@item trill; shake
-
-F: trille, tremblement, battement (cadence), D: Triller, NL: triller, I: trillo.
-
-
-
-
-
-@item triple meter
-
-F: temps ternaire, NL: driedelige maatsoort.
-
-
-
-
-
-@item triplet
-
-F: triolet, D: Triole.
-
-
-
-
-
-@item tritone
-
-F: triton, D: Tritonus.
-
-
-
-
-
-@item turn; gruppetto
-
-F: brisè, groupe, doublè, grupetto, D: Doppelschlag, NL: dubbelslag, I: grupetto.
-
-
-
-
-
-@item two-bar rest
-
-F: bâton de pause.
-
-
-
-
-@item underline over/below
-
-F: portamento, D: Portato.
-
-
-
-
-
-@item unison
-
-F: unisson, D: Unisono, I: unisono.
-
-Different instruments playing exactly the same melody.
-
-
-
-
-@item unit of beat
-
-F: unité de temps.
-
-
-
-
-
-@item unit of measure
-
-F: unité de mesure.
-
-
-
-
-
-@item upbeat; arsis
-
- D: Auftakt.
-
-
-
-
-
-@item upper number
-
-F: chiffre supérieur.
-
-
-
-
-
-@item voice
-
-F: voix, D: Stimme, NL: stem.
-
-
-
-@item weak beat
-
-F: temps faible, NL: arsis.
-
-
-
-
-
-@item whole note
-
-F: ronde, UK: semibreve, D: Ganze Note, NL: hele noot.
-
-
-
-
-
-@item whole rest
-
-F: pause, UK: semibreve rest, D: Ganze Pause.
-
-
-
-
-
-@item woodwind
-
-D: Holzbläser, NL: houtblazers.
-
-
-@end table
-
--- /dev/null
+
+@node Invoking LilyPond, , , Top
+@chapter Invoking LilyPond
+@cindex Invoking LilyPond
+
+
+@example
+ @strong{lilypond} [OPTION]... [MUDELA-FILE]...
+@end example
+
+@section Options
+
+@table @samp
+@item -f,--format=
+ Output format for sheet music. Choices are tex (for TeX
+ output), ps (for PostScript) and scm (for GUILE)
+@item -I,--include=
+ add @file{FILE} to the search path for input files.
+@item -m,--midi
+ Disable TeX output. If you have a \midi definition, it will do the
+ midi output only.
+@item -M,--dependencies
+ Also output rules to be included in Makefile.
+@item -d,--debug
+ Turn debugging info on. GNU LilyPond reads the file @file{.dstreamrc},
+ which lists what functions and classes may produce copious debugging
+ output.
+@item -s,--safe
+ Disallow untrusted @code{\include} directives, backslashes in TeX
+code and named output.
+@item -t,--test
+ Switch on any experimental features. Not for general public use.
+@item -w,--warranty
+ Show the warranty with which GNU LilyPond comes. (It comes with
+ @strong{NO WARRANTY}!)
+@item -o,--output=FILE
+ Set the default output file to @file{FILE}.
+@item -h,--help
+ Show a summary of usage.
+@item -i,--init=FILE
+ Set init file to @file{FILE} (default: @file{init.ly}).
+@item --include, -I=DIRECTORY
+ Add @file{DIRECTORY} to the search path for input files.
+@item --ignore-version, -V
+ Make the incompatible mudela version warning non-fatal.
+@end table
+
+
+
+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 @{
+1 \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.}
+
+
+
+@section Environment variables
+
+@table @samp
+@item LILYINCLUDE
+ additional directories for finding lilypond data. The
+ format is like the format of @file{PATH}.
+@item LILYPREFIX
+ [FIXME]
+@item LANG
+ selects the language for the warning messages of LilyPond.
+@end table
+
+
--- /dev/null
+\input texinfo @c -*-texinfo-*-
+@setfilename lilypond.info
+@settitle LilyPond Reference Manual
+
+
+
+@titlepage
+@title LilyPond
+@subtitle The GNU Project Typesetter
+@author Han-Wen Nienhuys, Jan Nieuwenhuizen and Adrian Mariano
+
+ Copyright @copyright 1999 by the authors
+
+@vskip 0pt plus 1filll
+
+Permission is granted to make and distribute verbatim
+copies of this manual provided the copyright notice and
+this permission notice are preserved on all copies.
+
+Permission is granted to copy and distribute modified
+versions of this manual under the conditions for
+verbatim copying, provided also that the sections
+entitled ``Copying'' and ``GNU General Public License''
+are included exactly as in the original, and provided
+that the entire resulting derived work is distributed
+under the terms of a permission notice identical to this
+one.
+
+Permission is granted to copy and distribute
+translations of this manual into another language,
+under the above conditions for modified versions,
+except that this permission notice may be stated in a
+translation approved by the Free Software Foundation.
+
+@end titlepage
+
+@ifinfo
+This file documents GNU LilyPond.
+
+Copyright 1999 Han-Wen Nienhuys, Jan Nieuwenhuizen and Adrian Mariano
+
+Permission is granted to make and distribute verbatim
+copies of this manual provided the copyright notice and
+this permission notice are preserved on all copies.
+
+@ignore
+Permission is granted to process this file through TeX
+and print the results, provided the printed document
+carries a copying permission notice identical to this
+one except for the removal of this paragraph (this
+paragraph not being relevant to the printed manual).
+
+@end ignore
+
+Permission is granted to copy and distribute modified
+versions of this manual under the conditions for
+verbatim copying, provided also that the sections
+entitled ``Copying'' and ``GNU General Public License''
+are included exactly as in the original, and provided
+that the entire resulting derived work is distributed
+under the terms of a permission notice identical to this
+one.
+
+Permission is granted to copy and distribute
+translations of this manual into another language,
+under the above conditions for modified versions,
+except that this permission notice may be stated in a
+translation approved by the Free Software Foundation.
+
+@end ifinfo
+
+@ignore
+Should add disclaimer, abstract
+
+"GNU LilyPond has no connection with the music package Rosegarden, other
+than the names being similar :-)"
+
+
+
+@end ignore
+
+@contents
+
+@node Top, , , (dir)
+@top
+@menu
+* Tutorial:: a tutorial introduction to lilypond.
+* Invoking LilyPond:: Operation.
+* Reporting Bugs:: Where to report bugs.
+* Reference Manual:: Reference Manual.
+* Glossary:: A dictionary of musical terms.
+* More information:: Where to turn to for more help.
+* convert-mudela:: Upgrading input files.
+* Index:: Unified index.
+@end menu
+
+@macro keyindex {word}
+@cindex \word\
+
+@end macro
+
+@macro indexcode {word}
+@cindex \word\
+
+@end macro
+
+
+@mbinclude tutorial.itely
+
+
+@include invoking.itexi
+
+@include bugs.itexi
+
+@mbinclude refman.itely
+
+@include glossary.itexi
+
+@include moreinfo.itexi
+
+@include convert-mudela.itexi
+
+@node Index, , , Top
+@unnumbered Index
+
+@printindex cp
+
+@bye
--- /dev/null
+@node More information, , , Top
+@section Resources
+
+A further source for information is the website, which can be found at
+@uref{http://www.lilypond.org/}. The website contains on-line
+versions of the documentation
+
+GNU LilyPond is updated very frequently, the latest version is always
+available at: @uref{ftp://ftp.cs.uu.nl/pub/GNU/LilyPond/}. This FTP
+site is mirrored at a number of sites; consult the project web pages
+for information about mirrors.
+
+For programs which are part of the GNU music project, the following
+mailing list have been setup:
+
+@table @samp
+@item @email{info-gnu-music@@gnu.org}
+ For information on the GNU Music project, to subscribe: send mail with
+ subject "subscribe" to @email{info-gnu-music-request@@gnu.org}
+@item @email{help-gnu-music@@gnu.org}
+ For help with programs from the GNU music project. To subscribe: send
+ mail with subject "subscribe" to @email{help-gnu-music-request@@gnu.org}
+@item @email{bug-gnu-music@@gnu.org}
+ If you have bugreports, you should send them to this list. If you want
+ to read all bugreports, you should subscribe to this list. To
+ subscribe: send mail with subject "subscribe" to
+ @email{bug-gnu-music-request@@gnu.org}
+@item @email{gnu-music-discuss@@gnu.org}
+ For discussions concerning the GNU Music project, to subscribe: send
+ mail with subject "subscribe" to
+ @email{gnu-music-discuss-request@@gnu.org}
+@end table
+
+Announces of new versions will be sent to info-gnu-music and
+gnu-music-discuss.
+++ /dev/null
-\input texinfo @c -*-texinfo-*-
-@setfilename mudela.info
-@settitle Reference Manual
-
-@node Top, , , (dir)
-@top
-@menu
-* Tutorial:: a tutorial introduction to lilypond
-* Reference Manual:: Reference Manual
-* Glossary:: A dictionary of musical terms.
-@end menu
-
-@macro keyindex {word}
-@cindex \word\
-
-@end macro
-
-@macro indexcode {word}
-@cindex \word\
-
-@end macro
-
-@node Tutorial, , , Top
-@menu
-* Introduction:: Introduction
-* The first tune:: The first tune
-* Lyrics and chords:: Lyrics and chords
-* Piano music:: Piano music
-* end of tutorial:: The end
-@end menu
-@chapter Tutorial
-
-@node Introduction, , , Tutorial
-@section Introduction
-
-
-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, , , Tutorial
-@section The first tune
-
-
-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, , , Tutorial
-@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, , , Tutorial
-@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@dots{} 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 @dots{}} 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 end of tutorial, , , Tutorial
-@section The end
-
-That's all folks. From here, you can either try fiddling with input
-files, or you can read the reference manual.
-
-
-
-
-
-
-@node Reference Manual, , , 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
-* Running LilyPond:: Running LilyPond
-@end menu
-
-@chapter Reference Manual
-
-
-
-@node Overview, , , 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, , , 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:
-
-@example
- \score @{ @var{musicexpr} @var{outputdefs} @}
-@end example
-
-@var{outputdefs} are zero or more output definitions. If no output
-definition is supplied, the default @code{\paper} block will be added.
-
-
-
-@cindex header
-
-@keyindex{header}
-
-The syntax is
-
-@example
- \header @{ @var{key1} = @var{val1};
- @var{key2} = @var{val2}; @dots{} @}
-@end example
-
-A header describes the file's contents. It can also appear in a
-@code{\score} block. Tools like @code{ly2dvi}@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, , , Reference Manual
-
-Note name tables can be specified using
-
-@example
- \notenames@keyindex{notenames}
- @{ @var{assignmentlist} @}
-@end example
-
-@var{assignmentlist} is a list of definitions of the form
-
-@example
- @var{name} = @var{pitch}
-@end example
-
-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.
-
-@example
- \scm @keyindex{scm} @var{scheme} ;
-@end example
-
-Evaluates the specified Scheme code. The result is discarded.
-
-@example
-\scmfile@keyindex{scmfile} @var{filename};
-@end example
-
-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, , , 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.
-
-@example
- \accepts
- \addlyrics
- \alternative
- \bar
- \breathe
- \cadenza
- \chordmodifiers
- \chords
- \clef
- \cm
- \consists
- \consistsend
- \context
- \duration
- \font
- \grace
- \header
- \in
- \key
- \keysignature
- \lyrics
- \mark
- \midi
- \mm
- \musicalpitch
- \name
- \notenames
- \notes
- \paper
- \partial
- \penalty
- \property
- \pt
- \relative
- \remove
- \repeat
- \repetitions
- \scm
- \scmfile
- \score
- \script
- \sequential
- \shape
- \simultaneous
- \skip
- \spanrequest
- \tempo
- \textscript
- \time
- \times
- \translator
- \transpose
- \type
-@end example
-
-
-
-
-@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 [FIXME] 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.
-
-@example
- \maininput@keyindex{maininput}
-@end example
-
-This command is used in init files to signal that the user file must
-be read. This command cannot be used in a user file.
-
-@example
- \include@keyindex{include} @var{file}
-@end example
-
-Include @var{file}. The argument @var{file} may be a quoted string (an
-unquoted string will not work here!) or a string identifier. The full
-filename including the @file{.ly} extension must be given,
-
-@example
- \version@keyindex{version} @var{string} ;
-@end example
-
-Specify the version of LilyPond that a file was written for. The
-argument is a version string in quotes, for example @code{"1.2.0"}.
-This is used to detect invalid input, and to aid
-@code{convert-mudela}, a tool that automatically upgrades input files.
-
-
-
-@cindex other languages
-
-@node notelang, , , 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 [FIXME].
-
-
-
-@cindex lexical modes
-
-@cindex modes
-
-@node modes, , , 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, , , 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 [FIXME] 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 [FIXME].
-
-@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.
-
-@example
- foo = \foo * 2.0
-@end example
-
-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, , , 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:
-
-@example
-\sequential @{ c4 d4 @}
-@end example
-
-The meaning of this compound expression is to play the `@code{c}'
-first, and then the `@code{d}' (as opposed to playing them
-simultaneously, for instance).
-
-Atomic music expression are discussed in
-subsection XREF-atomicmusic [FIXME]. Compound music expressions are
-discussed in subsection XREF-compoundmusic [FIXME].
-
-
-
-@node Atomic music expressions, , , Reference Manual
-@section Atomic music expressions
-@node atomicmusic, , , Reference Manual
-
-
-
-@cindex pitch
-
-@cindex duration
-
-
-The syntax for pitch specification is
-
-
-@example
- \musicalpitch@keyindex{musicalpitch} @{ @var{octave} @var{note} @var{shift} @}
-@end example
-
-@var{octave} is specified by an integer, zero for the octave
-containing middle C. @var{note} is a number from 0 to 7, with 0
-corresponding to C and 7 corresponding to B. The shift is zero for a
-natural, negative to add flats, or positive to add sharps.
-
-In Note and Chord mode, pitches may be designated by names. See
-section XREF-notelang [FIXME] for pitch names in different languages.
-
-The syntax for duration specification is
-
-@example
- \duration@keyindex{duration}
- @{ @var{length} @var{dotcount} @}
-@end example
-
-@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 [FIXME] for details.
-
-
-@node notedesc, , , Reference Manual
-
-@cindex note specification
-
-@cindex pitches
-
-@cindex entering notes
-
-A note specification has the form
-
-@example
- @var{pitch}[@var{octavespec}][!][?][@var{duration}]
-@end example
-
-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 [FIXME] 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 [FIXME] 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 [FIXME].
-
-
-
-@cindex properties
-
-@example
- \property@keyindex{property}
- @var{contextname}.@var{propname} = @var{value}
-@end example
-
-Sets the @var{propname} property of the context @var{contextname} to
-the specified @var{value}. All three arguments are strings.
-Depending on the context, it may be necessary to quote the strings or
-to leave space on both sides of the dot.
-
-
-
-@cindex translator switches
-
-@example
- \translator@keyindex{translator}
- @var{contexttype} = @var{name}
-@end example
-
-A music expression indicating that the context which is a direct
-child of the a context of type @var{contexttype} should be shifted to
-a context of type @var{contexttype} and the specified name.
-
-Usually this is used to switch staffs in Piano music, e.g.
-
-@example
- \translator Staff = top @var{Music}
-@end example
-
-
-
-@cindex commands
-
-Commands are music expressions that have no duration.
-
-
-@example
-
- @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;}
-@end example
-
-Change the key signature. @var{type} should be
-@code{\major}@keyindex{major} or @code{\minor}@keyindex{minor} to get
-@var{pitch}-major or @var{pitch}-minor, respectively. The second
-argument is optional; the default is major keys. The @var{\context}
-argument can also be given as an integer, which tells the number of
-semitones that should be added to the pitch given in the subsequent
-@code{\key}@keyindex{key} commands to get the corresponding major key,
-e.g., @code{\minor}@keyindex{minor} is defined as 3. The standard
-mode names @code{\ionian}@keyindex{ionian},
-@code{\locrian}@keyindex{locrian}, @code{\aeolian}@keyindex{aeolian},
-@code{\mixolydian}@keyindex{mixolydian}, @code{\lydian}@keyindex{lydian},
-@code{\phrygian}@keyindex{phrygian}, and @code{\dorian}@keyindex{dorian}
-are also defined.
-
-@example
-
- @code{\keysignature}@keyindex{keysignature} @var{pitchseq} @code{;}
-@end example
-
-Specify an arbitrary key signature. The pitches from @var{pitch} will
-be printed in the key signature in the order that they appear on the
-list.
-
-
-@example
- \mark@keyindex{mark} @var{unsigned};
- \mark @var{string};
-@end example
-
-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, , , Reference Manual
-
-@example
- \bar@keyindex{bar} @var{bartype};
-@end example
-
-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 [FIXME].
-
-
-
-@example
- \cadenza@keyindex{cadenza} @var{togglevalue} @code{;}
-@end example
-
-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.
-
-@example
-
- \time@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;}
-@end example
-
-Change the time signature. The default time signature is 4/4.
-The time signature is used to generate bar lines.
-
-@example
-
- \tempo@keyindex{tempo} @var{duration} = @var{perminute} @code{;}
-@end example
-
-Used to specify the tempo. For example, `@code{\tempo 4 = 76;}'
-requests output with 76 quarter notes per minute.
-
-@example
-
- \partial@keyindex{partial} @var{duration} @code{;}
-@end example
-
-@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.
-
-@example
-
- @code{|}@indexcode{|}
-@cindex bar check
-
-@end example
-
-@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.
-
-
-@example
-
- \penalty@keyindex{penalty} @var{int} @code{;}
-@end example
-
-Discourage or encourage line breaks. See identifiers
-@code{\break}@keyindex{break} and @code{\nobreak}@keyindex{nobreak} in
-section [on identifiers] [FIXME].
-
-@example
-
- \clef@keyindex{clef} @var{clefname} @code{;}
-@end example
-
-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}'.
-
-@example
-
- \skip@keyindex{skip} @var{duration} @code{;}
-@end example
-
-Skips the amount of time specified by @var{duration}. If no other
-music is played, a gap will be left for the skipped time with no
-notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
-this has the same effect as the space rest `@code{s}'.
-
-
-@cindex beams
-
-@node manualbeam, , , 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 [FIXME].
-
-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 [FIXME]).
-
-@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}.
-
-
-@example
-
- \textscript@keyindex{textscript} @var{text} @var{style}
-@end example
-
-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
-
-@example
-
- \script@keyindex{script} @var{alias}
-@end example
-
-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
-
-
-@example
-
- \spanrequest@keyindex{spanrequest} @var{startstop} @var{type}
-@end example
-
-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, , , 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, , , Reference Manual
-@section Compound music expressions
-
-@cindex compound music expressions
-
-@node compoundmusic, , , 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
-
-@example
-
- \context@keyindex{context}
- @var{contexttype} [@code{=} @var{contextname}] @var{musicexpr}
-@end example
-
-Interpret @var{musicexpr} within a context of type @var{contexttype}.
-If the context does not exist, it will be created. The new context
-can optionally be given a name. See
-section XREF-contextselection [FIXME] and XREF-contextdefs [FIXME] 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 [FIXME] for more
-information on modes.
-
-More information on context selection can be found in
-section XREF-contextselection [FIXME].
-
-
-
-@cindex sequential music
-
-
-
-@example
-
- \sequential@keyindex{sequential}
- @code{@{} @var{musicexprlist} @code{@}}
-@end example
-
-This means that list should be played or written in sequence, i.e.,
-the second after the first, the third after the second. The duration
-of sequential music is the the sum of the durations of the elements.
-There is a shorthand, which leaves out the keyword:
-
-@example
-
- @code{@{} @var{musicexprlist} @code{@}}
-@end example
-
-
-
-@cindex simultaneous music
-
-@indexcode{<}
-@indexcode{>}
-
-@example
-
- \simultaneous@keyindex{simultaneous}
- @code{@{} @var{musicexprlist} @code{@}}
-@end example
-
-It constructs a music expression where all of its arguments start at
-the same moment. The duration is the maximum of the durations of the
-elements. The following shorthand is a common idiom:
-
-@example
-
- @code{<} @var{musicexprlist} @code{>}
-@end example
-
-If you try to use a chord as the first thing in your score, you might
-get multiple staffs instead of a chord.
-
-@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, , , 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.
-
-@example
-
- \relative@keyindex{relative} @var{startpitch} @var{musicexpr}
-@end example
-
-The octave of notes that appear in @var{musicexpr} are calculated as
-follows: If no octave changing marks are used, the basic interval
-between this and the last note is always taken to be a fourth or
-less.@footnote{The interval is determined without regarding
-accidentals. A @code{fisis} following a @code{ceses} will be put above
-the @code{ceses}.} The octave changing marks `@code{'}' and `@code{,}'
-can then be added to raise or lower the pitch by an extra octave.
-Upon entering relative mode, an absolute starting pitch must be
-specified that will act as the predecessor of the first note of
-@var{musicexpr}.
-
-Entering scales is straightforward in relative mode.
-
-@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 [FIXME]).
-
-@example
-
- @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}].
-@end example
-
-@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.
-
-@example
-
- \times@keyindex{times} @var{fraction} @var{musicexpr}
-@end example
-
-The duration of @var{musicexpr} will be multiplied by the fraction.
-In print, the fraction's denominator will be printed over the notes,
-optionally with a bracket. The most common tuplet is the triplet in
-which 3 notes have the length of 2, so the notes are 2/3 of
-their written length:
-
-@mudela[fragment,verbatim,center]
- g'4 \times 2/3 {c'4 c' c'} d'4 d'4
-@end mudela
-
-
-
-@cindex grace notes
-
-@example
-
- \grace@keyindex{grace} @var{musicexpr}
-@end example
-
-A grace note expression has duration 0; the next real note is
-assumed to be the main note.
-
-You cannot have the grace note after the main note, in terms of
-duration, and main notes, but you can typeset the grace notes to the
-right of the main note using the property
-@code{graceAlignPosition}@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.
-
-@example
-
- @code{\grace @{ \grace c32 c16 @} c4}
-@end example
-
-may result in run-time errors of LilyPond. Since the meaning of such
-a construct is unclear, we don't consider this a loss. Similarly,
-juxtaposing two @code{\grace} sections is syntactically valid, but
-makes no sense and may cause runtime errors.
-
-Ending a staff or score with grace notes may also generate a run-time
-error, since there will be no main note to attach the grace notes to.
-
-
-
-@cindex repeats
-
-@node sec-repeats, , , Reference Manual
-
-In order to specify repeats, use the @code{\repeat}@keyindex{repeat}
-keyword. Since repeats look and sound differently when played or
-printed, there are a few different variants of repeats.
-
-@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
-
-@example
-
- \repeat @var{variant} @var{repeatcount} @var{repeatbody}
-@end example
-
-If you have alternative endings, you may add
-
-@example
-
- \alternative@keyindex{alternative}
- @code{@{} @var{alternative1}
- @var{alternative2}
- @var{alternative3} @dots{} @code{@}}
-@end example
-
-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, , , Reference Manual
-
-A music expression can be transposed with
-@code{\transpose}@keyindex{transpose}. The syntax is
-
-@example
-
- \transpose @var{pitch} @var{musicexpr}
-@end example
-
-This means that middle C in @var{musicexpr} is transposed to
-@var{pitch}.
-
-@code{\transpose} distinguishes between enharmonic pitches: both
-@code{\transpose cis'} or @code{\transpose des'} will transpose up half
-a tone. The first version will print sharps and the second version
-will print flats.
-
-@quotation
-
-@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
-
-@example
-
- \addlyrics @var{musicexpr1 musicexpr2}
-@end example
-
-This means that both @var{musicexpr1} and @var{musicexpr2} are
-interpreted, but that every non-command atomic music expression
-(``every syllable'') in @var{musicexpr2} is interpreted using timing
-of @var{musicexpr1}.
-
-If the property @code{automaticMelismata}@indexcode{automaticMelismata} is set in the
-context of @var{musicexpr1}, no lyrics will be put on slurred or tied
-notes.
-
-@quotation
-
-@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, , , 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
-
- @example
-foo = bar
-@end example
-
- can be interpreted as making a string identifier @code{\foo}
- containing @code{"bar"}, or a music identifier @code{\foo}
- containing the syllable `bar'.
-
- @item The assignment
-
- @example
-foo = -6
-@end example
-
- can be interpreted as making an integer identifier
- containing -6, or a Request identifier containing the
- fingering `6' (with neutral direction).
-
- @item If you do a nested repeat like
-
- @quotation
-
-@example
-\repeat @dots{}
-\repeat @dots{}
-\alternative
-@end example
-
- @end quotation
-
- then it is ambiguous to which @code{\repeat} the
- @code{\alternative} belongs. This is the classic if-then-else
- dilemma. It may be solved by using braces.
-
- @item (an as yet unidentified ambiguity :-)
-@end itemize
-
-
-
-@node Notation conversion specifics, , , Reference Manual
-@section Notation conversion specifics
-
-
-
-@cindex automatic beam generation
-
-@node autobeam, , , 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 [FIXME].
-
-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, , , 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, , , 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:
-
-@example
-
- @example
-\score @{ \notes < c4 > @}
-@end example
-
-@end example
-
-The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
-context. When the note `@code{c4}' itself is interpreted, a set of
-contexts is needed that will accept notes. The default for this is a
-@code{Voice} context, contained in a @code{Staff} context. Creation of
-these contexts results in the staff being printed.
-
-
-@node contextselection, , , 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
-
-@example
-
- \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
-@end example
-
-When the interpretation of this music expression starts, the context
-for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
-expression.
-
-Lastly, you may wonder, why this:
-
-@quotation
-
-@example
-\score @{
- \notes \relative c'' @{
- c4 d4 e4
- @}
-@}
-@end example
-
-@end quotation
-
-doesn't result in this:
-
-@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
-
-@example
-
- @var{propname} @code{=} @var{value}
-@end example
-
-This assignment happens before interpretation starts, so a
-@code{\property} expression will override any predefined settings.
-
-The @code{\property} expression will create any property you specify.
-There is no guarantee that a property will be used. So if you spell
-a property name wrong, there will be no error message.
-
-The property settings are used during the interpretation phase. They
-are read by the LilyPond modules where interpretation contexts are
-built of. These modules are called @emph{translators}. Translators for
-notation are called @emph{engravers}, and translators for sound are
-called @emph{performers}.
-
-The precise result of a property is determined by the implementation
-of the translator that reads them. Therefore, the result of a
-property can vary, since it is implementation and configuration
-dependent.
-
-In order to fully find out what properties are used, you must
-currently search the source code for calls to @code{get_property}.
-The rest of the section is devoted to an (incomplete) overview of
-available properties.
-
-
-@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
-
-
-@subsubheading Voice properties
-
-@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 [FIXME].
-
- @item @code{beamAutoBegin}@indexcode{beamAutoBegin}
- Specifies when automatically generated beams can start. See
- section XREF-autobeam [FIXME].
-
- @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.
-
-[FIXME: this should be moved]
-
-Lilypond always arranges note heads on alternate sides of a stem (that
-is, within a single voice) as necessary to prevent collisions (note head
-overlaps). For up stems, the upper note of a colliding pair is placed
-on the right side of the stem, the lower on the left. For down stems,
-the algorithm works in reverse.
-
-Lily also attempts to prevent collisions of note heads in different
-voices. A situation where chords of two or more voices are played
-simultaneously within one staff.
-
-By default, if only two voices (and both have opposite stem directions)
-are in this 'collision group', the notes both are shifted by @code{0.5
-\quartwidth} if there are unisons or seconds between the voices.
-
-If there are more than two voices in a collision group, shifting is
-inactive by default, since in this case, there are multiple chords with
-the same stem direction. By distinguish between those chords, LilyPond
-can do collision resolution in these cases as well.
-
-Distinguishing between voices with the same stem direction, is done by
-setting the property @code{Voice.horizontalNoteShift}. It must be set
-to a different integer for each voice. Then, all note heads in collision
-groups (not just unisons and seconds) will be offset, one voice relative
-another. The following fragment of sheet music shows how shifting is
-done, with values of @code{horizontalNoteShift} printed over and under
-the notes. In this case the chords are just simple notes.
-
-@c URG : mudela book bug.
-@mudela[singleline]
-\score {
- \notes \context Staff <
- \context Voice = VA { \stemup f''4^"0" }
- \context Voice = VB {\stemup
- \property Voice.horizontalNoteShift = 1 d''4^" 1" }
- \context Voice = VC { \stemup \property
-Voice.horizontalNoteShift = 2 b'4^" 2" }
- \context Voice = VD { \stemdown \property
-Voice.horizontalNoteShift = 1 g'4_"1 " }
- \context Voice = VE { \stemdown e'4_"0" }
- >
-}
-@end mudela
-
-If you are not satisfied with the collision resolution of LilyPond, you
-can override the horizontal shift value of the chord of one Voice, by
-setting @code{forceHorizontalShift}. This sets the amount shift,
-measured in black note head widths.
-
-To take complete control of note position shifts in complex passages,
-you have set things up for normal collisions and override all shifts by
-setting @code{forceHorizontalShift} to zero everywhere
-@example
-\property Voice.horizontalNoteShift = <n>
-\property Voice.forceHorizontalShift = "0.0"
-@end example
-
-Then you can set the force property to a suitable value before each note
-that really needs it (unisons and seconds), and reset it to 0.0 after
-the note.
-
- @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 [FIXME]. 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 [FIXME]
- 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:
-
- @example
- \keysignature bes fis'
- @end example
-
- 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, , , Reference Manual
-@section Notation output definitions
-
-@cindex output
-
-@cindex notation output
-
-@cindex output definition
-
-@node paper, , , Reference Manual
-
-The most important output definition is the @code{\paper} block, for
-music notation. The syntax is
-
-@example
-
- @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
-@end example
-
-where each of the items is one of
-
-@itemize @bullet
- @item An assignment. The assignment must be terminated by a
- semicolon. See section XREF-papervars [FIXME] for information on
- paper variables.
-
- @item A context definition. See section XREF-contextdefs [FIXME] for
- more information on context definitions.
-
- @item A margin shape declaration. The syntax is
-
- @example
-
- \shape @var{indent1}@code{,} @var{width1}@code{,}
- @var{indent2}@code{,} @var{width2} @dots{} @code{;}
- @end example
-
- @keyindex{shape}
-
- Each pair of @var{indent} and @var{width} values is a dimension
- specifying how far to indent and how wide to make the line.
- 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
-
- @example
-
- @var{fontsize} @code{=} \font@keyindex{font} @var{fontname}
- @end example
-
- @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, , , 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, , , 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:
-
-@example
-
- \translator @code{@{}
- @var{translatorinit} @var{translatormodifierlist}
- @code{@}}
-@end example
-
-@var{translatorinit} can be an identifier or of the form
-
-@example
-
- \type @var{typename} @code{;}
-@end example
-
-@var{typename} is one of
-
-@table @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 [FIXME] 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 @{ @dots{} @}
-@}
-\score @{
- \notes @{
- @dots{}
- @}
- \paper @{
- \translator @{ \foo @dots{} @}
- @}
-@}
-@end example
-
-@end quotation
-
-
-@cindex paper types, engravers, and pre-defined translators
-
-Some pre-defined identifiers can simplify modification of
-translators. The pre-defined identifiers are:
-
-@table @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, , , 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, , , 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, , , 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, , , Reference Manual
-
-@section Pre-defined Identifiers
-
-@cindex pre-defined identifiers
-
-
-Various identifiers are defined in the initialization files to
-provide shorthands for some settings. Most of them are in
-@file{ly/declarations.ly}.
-
-@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, , , 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.}
-
-@node Glossary, , , Top
-@chapter Glossary
-
-@include glossary.texi
-
-
-@bye
--- /dev/null
+@node Properties, , , Top
+
+@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
+
+
+@subsubheading Voice properties
+
+@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 [FIXME].
+
+ @item @code{beamAutoBegin}@indexcode{beamAutoBegin}
+ Specifies when automatically generated beams can start. See
+ section XREF-autobeam [FIXME].
+
+ @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.
+
+[FIXME: this should be moved]
+
+Lilypond always arranges note heads on alternate sides of a stem (that
+is, within a single voice) as necessary to prevent collisions (note head
+overlaps). For up stems, the upper note of a colliding pair is placed
+on the right side of the stem, the lower on the left. For down stems,
+the algorithm works in reverse.
+
+Lily also attempts to prevent collisions of note heads in different
+voices. A situation where chords of two or more voices are played
+simultaneously within one staff.
+
+By default, if only two voices (and both have opposite stem directions)
+are in this 'collision group', the notes both are shifted by @code{0.5
+\quartwidth} if there are unisons or seconds between the voices.
+
+If there are more than two voices in a collision group, shifting is
+inactive by default, since in this case, there are multiple chords with
+the same stem direction. By distinguish between those chords, LilyPond
+can do collision resolution in these cases as well.
+
+Distinguishing between voices with the same stem direction, is done by
+setting the property @code{Voice.horizontalNoteShift}. It must be set
+to a different integer for each voice. Then, all note heads in collision
+groups (not just unisons and seconds) will be offset, one voice relative
+another. The following fragment of sheet music shows how shifting is
+done, with values of @code{horizontalNoteShift} printed over and under
+the notes. In this case the chords are just simple notes.
+
+@c URG : mudela book bug.
+@mudela[singleline]
+\score {
+ \notes \context Staff <
+ \context Voice = VA { \stemup f''4^"0" }
+ \context Voice = VB {\stemup
+ \property Voice.horizontalNoteShift = 1 d''4^" 1" }
+ \context Voice = VC { \stemup \property
+Voice.horizontalNoteShift = 2 b'4^" 2" }
+ \context Voice = VD { \stemdown \property
+Voice.horizontalNoteShift = 1 g'4_"1 " }
+ \context Voice = VE { \stemdown e'4_"0" }
+ >
+}
+@end mudela
+
+If you are not satisfied with the collision resolution of LilyPond, you
+can override the horizontal shift value of the chord of one Voice, by
+setting @code{forceHorizontalShift}. This sets the amount shift,
+measured in black note head widths.
+
+To take complete control of note position shifts in complex passages,
+you have set things up for normal collisions and override all shifts by
+setting @code{forceHorizontalShift} to zero everywhere
+@example
+\property Voice.horizontalNoteShift = <n>
+\property Voice.forceHorizontalShift = "0.0"
+@end example
+
+Then you can set the force property to a suitable value before each note
+that really needs it (unisons and seconds), and reset it to 0.0 after
+the note.
+
+ @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 [FIXME]. 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 [FIXME]
+ 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:
+
+ @example
+ \keysignature bes fis'
+ @end example
+
+ 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
+
--- /dev/null
+
+
+@node Reference Manual, , , Top
+@menu
+* Overview:: Overview
+* Top level:: Top level
+* notenames:: notenames
+* Lexical conventions:: Lexical conventions
+* Other languages:: notelang
+* modes:: modes
+* Types:: Types
+* Music expressions:: Music expressions
+* Atomic music expressions:: Atomic music expressions
+* Note specification:: notedesc
+* barlines:: barlines
+* Manual beams:: Manual beam
+* tremolo:: tremolo
+* Compound music expressions:: Compound music expressions
+* relative:: relative
+* Repeats:: Repeats
+* transpose:: transpose
+* Ambiguities:: Ambiguities
+* Notation conversion specifics:: Notation conversion specifics
+* autobeam:: autobeam
+* lyricprint:: lyricprint
+* Notation Contexts:: Notation Contexts
+* Properties:: Changing formatting
+* Notation output definitions:: Notation output definitions
+* paper:: paper
+* Paper variables:: papervars
+* contextdefs:: contextdefs
+* engravers:: engravers
+* Sound output:: Sound output
+* midilist:: midilist
+* Pre-defined Identifiers:: Pre-defined Identifiers
+@end menu
+
+@chapter Reference Manual
+
+
+
+@node Overview, , , 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, , , 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:
+
+@example
+ \score @{ @var{musicexpr} @var{outputdefs} @}
+@end example
+
+@var{outputdefs} are zero or more output definitions. If no output
+definition is supplied, the default @code{\paper} block will be added.
+
+
+
+@cindex header
+
+@keyindex{header}
+
+The syntax is
+
+@example
+ \header @{ @var{key1} = @var{val1};
+ @var{key2} = @var{val2}; @dots{} @}
+@end example
+
+A header describes the file's contents. It can also appear in a
+@code{\score} block. Tools like @code{ly2dvi}@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, , , Reference Manual
+
+Note name tables can be specified using
+
+@example
+ \notenames@keyindex{notenames}
+ @{ @var{assignmentlist} @}
+@end example
+
+@var{assignmentlist} is a list of definitions of the form
+
+@example
+ @var{name} = @var{pitch}
+@end example
+
+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.
+
+@example
+ \scm @keyindex{scm} @var{scheme} ;
+@end example
+
+Evaluates the specified Scheme code. The result is discarded.
+
+@example
+\scmfile@keyindex{scmfile} @var{filename};
+@end example
+
+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, , , 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.
+
+@example
+ \accepts
+ \addlyrics
+ \alternative
+ \bar
+ \breathe
+ \cadenza
+ \chordmodifiers
+ \chords
+ \clef
+ \cm
+ \consists
+ \consistsend
+ \context
+ \duration
+ \font
+ \grace
+ \header
+ \in
+ \key
+ \keysignature
+ \lyrics
+ \mark
+ \midi
+ \mm
+ \musicalpitch
+ \name
+ \notenames
+ \notes
+ \paper
+ \partial
+ \penalty
+ \property
+ \pt
+ \relative
+ \remove
+ \repeat
+ \repetitions
+ \scm
+ \scmfile
+ \score
+ \script
+ \sequential
+ \shape
+ \simultaneous
+ \skip
+ \spanrequest
+ \tempo
+ \textscript
+ \time
+ \times
+ \translator
+ \transpose
+ \type
+@end example
+
+
+
+
+@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 [FIXME] 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.
+
+@example
+ \maininput@keyindex{maininput}
+@end example
+
+This command is used in init files to signal that the user file must
+be read. This command cannot be used in a user file.
+
+@example
+ \include@keyindex{include} @var{file}
+@end example
+
+Include @var{file}. The argument @var{file} may be a quoted string (an
+unquoted string will not work here!) or a string identifier. The full
+filename including the @file{.ly} extension must be given,
+
+@example
+ \version@keyindex{version} @var{string} ;
+@end example
+
+Specify the version of LilyPond that a file was written for. The
+argument is a version string in quotes, for example @code{"1.2.0"}.
+This is used to detect invalid input, and to aid
+@code{convert-mudela}, a tool that automatically upgrades input files.
+
+
+
+@cindex other languages
+
+@node Other languages, , , 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 [FIXME].
+
+
+
+@cindex lexical modes
+
+@cindex modes
+
+@node modes, , , 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, , , 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 [FIXME] 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 [FIXME].
+
+@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.
+
+@example
+ foo = \foo * 2.0
+@end example
+
+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, , , 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:
+
+@example
+\sequential @{ c4 d4 @}
+@end example
+
+The meaning of this compound expression is to play the `@code{c}'
+first, and then the `@code{d}' (as opposed to playing them
+simultaneously, for instance).
+
+Atomic music expression are discussed in
+subsection XREF-atomicmusic [FIXME]. Compound music expressions are
+discussed in subsection XREF-compoundmusic [FIXME].
+
+
+
+@node Atomic music expressions, , , Reference Manual
+@section Atomic music expressions
+
+
+
+
+@cindex pitch
+
+@cindex duration
+
+
+The syntax for pitch specification is
+
+
+@example
+ \musicalpitch@keyindex{musicalpitch} @{ @var{octave} @var{note} @var{shift} @}
+@end example
+
+@var{octave} is specified by an integer, zero for the octave
+containing middle C. @var{note} is a number from 0 to 7, with 0
+corresponding to C and 7 corresponding to B. The shift is zero for a
+natural, negative to add flats, or positive to add sharps.
+
+In Note and Chord mode, pitches may be designated by names. See
+section XREF-notelang [FIXME] for pitch names in different languages.
+
+The syntax for duration specification is
+
+@example
+ \duration@keyindex{duration}
+ @{ @var{length} @var{dotcount} @}
+@end example
+
+@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 [FIXME] for details.
+
+
+@node Note specification, , , Reference Manual
+
+@cindex note specification
+
+@cindex pitches
+
+@cindex entering notes
+
+A note specification has the form
+
+@example
+ @var{pitch}[@var{octavespec}][!][?][@var{duration}]
+@end example
+
+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 [FIXME] 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 [FIXME] 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 [FIXME].
+
+
+
+@cindex properties
+
+@example
+ \property@keyindex{property}
+ @var{contextname}.@var{propname} = @var{value}
+@end example
+
+Sets the @var{propname} property of the context @var{contextname} to
+the specified @var{value}. All three arguments are strings.
+Depending on the context, it may be necessary to quote the strings or
+to leave space on both sides of the dot.
+
+
+
+@cindex translator switches
+
+@example
+ \translator@keyindex{translator}
+ @var{contexttype} = @var{name}
+@end example
+
+A music expression indicating that the context which is a direct
+child of the a context of type @var{contexttype} should be shifted to
+a context of type @var{contexttype} and the specified name.
+
+Usually this is used to switch staffs in Piano music, e.g.
+
+@example
+ \translator Staff = top @var{Music}
+@end example
+
+
+
+@cindex commands
+
+Commands are music expressions that have no duration.
+
+
+@example
+
+ @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;}
+@end example
+
+Change the key signature. @var{type} should be
+@code{\major}@keyindex{major} or @code{\minor}@keyindex{minor} to get
+@var{pitch}-major or @var{pitch}-minor, respectively. The second
+argument is optional; the default is major keys. The @var{\context}
+argument can also be given as an integer, which tells the number of
+semitones that should be added to the pitch given in the subsequent
+@code{\key}@keyindex{key} commands to get the corresponding major key,
+e.g., @code{\minor}@keyindex{minor} is defined as 3. The standard
+mode names @code{\ionian}@keyindex{ionian},
+@code{\locrian}@keyindex{locrian}, @code{\aeolian}@keyindex{aeolian},
+@code{\mixolydian}@keyindex{mixolydian}, @code{\lydian}@keyindex{lydian},
+@code{\phrygian}@keyindex{phrygian}, and @code{\dorian}@keyindex{dorian}
+are also defined.
+
+@example
+
+ @code{\keysignature}@keyindex{keysignature} @var{pitchseq} @code{;}
+@end example
+
+Specify an arbitrary key signature. The pitches from @var{pitch} will
+be printed in the key signature in the order that they appear on the
+list.
+
+
+@example
+ \mark@keyindex{mark} @var{unsigned};
+ \mark @var{string};
+@end example
+
+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, , , Reference Manual
+
+@example
+ \bar@keyindex{bar} @var{bartype};
+@end example
+
+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 [FIXME].
+
+
+
+@example
+ \cadenza@keyindex{cadenza} @var{togglevalue} @code{;}
+@end example
+
+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.
+
+@example
+
+ \time@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;}
+@end example
+
+Change the time signature. The default time signature is 4/4.
+The time signature is used to generate bar lines.
+
+@example
+
+ \tempo@keyindex{tempo} @var{duration} = @var{perminute} @code{;}
+@end example
+
+Used to specify the tempo. For example, `@code{\tempo 4 = 76;}'
+requests output with 76 quarter notes per minute.
+
+@example
+
+ \partial@keyindex{partial} @var{duration} @code{;}
+@end example
+
+@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.
+
+@example
+
+ @code{|}@indexcode{|}
+@cindex bar check
+
+@end example
+
+@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.
+
+
+@example
+
+ \penalty@keyindex{penalty} @var{int} @code{;}
+@end example
+
+Discourage or encourage line breaks. See identifiers
+@code{\break}@keyindex{break} and @code{\nobreak}@keyindex{nobreak} in
+section [on identifiers] [FIXME].
+
+@example
+
+ \clef@keyindex{clef} @var{clefname} @code{;}
+@end example
+
+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}'.
+
+@example
+
+ \skip@keyindex{skip} @var{duration} @code{;}
+@end example
+
+Skips the amount of time specified by @var{duration}. If no other
+music is played, a gap will be left for the skipped time with no
+notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
+this has the same effect as the space rest `@code{s}'.
+
+
+@cindex beams
+
+@node Manual beams, , , 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 [FIXME].
+
+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 [FIXME]).
+
+@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}.
+
+
+@example
+
+ \textscript@keyindex{textscript} @var{text} @var{style}
+@end example
+
+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
+
+@example
+
+ \script@keyindex{script} @var{alias}
+@end example
+
+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
+
+
+@example
+
+ \spanrequest@keyindex{spanrequest} @var{startstop} @var{type}
+@end example
+
+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, , , 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, , , Reference Manual
+@section Compound music expressions
+
+@cindex compound music expressions
+
+Music expressions are compound data structures. You can nest music
+expressions any way you like. This simple example shows how three
+chords can be expressed in two different ways:
+
+@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
+@keyindex{context}
+
+@example
+ \context
+ @var{contexttype} [= @var{contextname}] @var{musicexpr}
+@end example
+
+Interpret @var{musicexpr} within a context of type @var{contexttype}.
+If the context does not exist, it will be created. The new context
+can optionally be given a name. See
+section XREF-contextselection [FIXME] and XREF-contextdefs [FIXME] 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 [FIXME] for more
+information on modes.
+
+More information on context selection can be found in
+section XREF-contextselection [FIXME].
+
+
+
+@cindex sequential music
+
+
+
+@example
+
+ \sequential@keyindex{sequential}
+ @code{@{} @var{musicexprlist} @code{@}}
+@end example
+
+This means that list should be played or written in sequence, i.e.,
+the second after the first, the third after the second. The duration
+of sequential music is the the sum of the durations of the elements.
+There is a shorthand, which leaves out the keyword:
+
+@example
+
+ @code{@{} @var{musicexprlist} @code{@}}
+@end example
+
+
+
+@cindex simultaneous music
+
+@indexcode{<}
+@indexcode{>}
+
+@example
+
+ \simultaneous@keyindex{simultaneous}
+ @code{@{} @var{musicexprlist} @code{@}}
+@end example
+
+It constructs a music expression where all of its arguments start at
+the same moment. The duration is the maximum of the durations of the
+elements. The following shorthand is a common idiom:
+
+@example
+
+ @code{<} @var{musicexprlist} @code{>}
+@end example
+
+If you try to use a chord as the first thing in your score, you might
+get multiple staffs instead of a chord.
+
+@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, , , 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.
+
+@example
+
+ \relative@keyindex{relative} @var{startpitch} @var{musicexpr}
+@end example
+
+The octave of notes that appear in @var{musicexpr} are calculated as
+follows: If no octave changing marks are used, the basic interval
+between this and the last note is always taken to be a fourth or
+less.@footnote{The interval is determined without regarding
+accidentals. A @code{fisis} following a @code{ceses} will be put above
+the @code{ceses}.} The octave changing marks `@code{'}' and `@code{,}'
+can then be added to raise or lower the pitch by an extra octave.
+Upon entering relative mode, an absolute starting pitch must be
+specified that will act as the predecessor of the first note of
+@var{musicexpr}.
+
+Entering scales is straightforward in relative mode.
+
+@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 [FIXME]).
+
+@example
+
+ @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}].
+@end example
+
+@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.
+
+@example
+
+ \times@keyindex{times} @var{fraction} @var{musicexpr}
+@end example
+
+The duration of @var{musicexpr} will be multiplied by the fraction.
+In print, the fraction's denominator will be printed over the notes,
+optionally with a bracket. The most common tuplet is the triplet in
+which 3 notes have the length of 2, so the notes are 2/3 of
+their written length:
+
+@mudela[fragment,verbatim,center]
+ g'4 \times 2/3 {c'4 c' c'} d'4 d'4
+@end mudela
+
+
+
+@cindex grace notes
+
+@example
+
+ \grace@keyindex{grace} @var{musicexpr}
+@end example
+
+A grace note expression has duration 0; the next real note is
+assumed to be the main note.
+
+You cannot have the grace note after the main note, in terms of
+duration, and main notes, but you can typeset the grace notes to the
+right of the main note using the property
+@code{graceAlignPosition}@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.
+
+@example
+
+ @code{\grace @{ \grace c32 c16 @} c4}
+@end example
+
+may result in run-time errors of LilyPond. Since the meaning of such
+a construct is unclear, we don't consider this a loss. Similarly,
+juxtaposing two @code{\grace} sections is syntactically valid, but
+makes no sense and may cause runtime errors.
+
+Ending a staff or score with grace notes may also generate a run-time
+error, since there will be no main note to attach the grace notes to.
+
+
+
+@cindex repeats
+
+@node Repeats, , , Reference Manual
+
+In order to specify repeats, use the @code{\repeat}@keyindex{repeat}
+keyword. Since repeats look and sound differently when played or
+printed, there are a few different variants of repeats.
+
+@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
+
+@example
+
+ \repeat @var{variant} @var{repeatcount} @var{repeatbody}
+@end example
+
+If you have alternative endings, you may add
+
+@example
+
+ \alternative@keyindex{alternative}
+ @code{@{} @var{alternative1}
+ @var{alternative2}
+ @var{alternative3} @dots{} @code{@}}
+@end example
+
+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, , , Reference Manual
+
+A music expression can be transposed with
+@code{\transpose}@keyindex{transpose}. The syntax is
+
+@example
+
+ \transpose @var{pitch} @var{musicexpr}
+@end example
+
+This means that middle C in @var{musicexpr} is transposed to
+@var{pitch}.
+
+@code{\transpose} distinguishes between enharmonic pitches: both
+@code{\transpose cis'} or @code{\transpose des'} will transpose up half
+a tone. The first version will print sharps and the second version
+will print flats.
+
+@quotation
+
+@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
+
+@example
+
+ \addlyrics @var{musicexpr1 musicexpr2}
+@end example
+
+This means that both @var{musicexpr1} and @var{musicexpr2} are
+interpreted, but that every non-command atomic music expression
+(``every syllable'') in @var{musicexpr2} is interpreted using timing
+of @var{musicexpr1}.
+
+If the property @code{automaticMelismata}@indexcode{automaticMelismata} is set in the
+context of @var{musicexpr1}, no lyrics will be put on slurred or tied
+notes.
+
+@quotation
+
+@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, , , 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
+
+ @example
+foo = bar
+@end example
+
+ can be interpreted as making a string identifier @code{\foo}
+ containing @code{"bar"}, or a music identifier @code{\foo}
+ containing the syllable `bar'.
+
+ @item The assignment
+
+ @example
+foo = -6
+@end example
+
+ can be interpreted as making an integer identifier
+ containing -6, or a Request identifier containing the
+ fingering `6' (with neutral direction).
+
+ @item If you do a nested repeat like
+
+ @quotation
+
+@example
+\repeat @dots{}
+\repeat @dots{}
+\alternative
+@end example
+
+ @end quotation
+
+ then it is ambiguous to which @code{\repeat} the
+ @code{\alternative} belongs. This is the classic if-then-else
+ dilemma. It may be solved by using braces.
+
+ @item (an as yet unidentified ambiguity :-)
+@end itemize
+
+
+
+@node Notation conversion specifics, , , Reference Manual
+@section Notation conversion specifics
+
+
+
+@cindex automatic beam generation
+
+@node autobeam, , , 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 [FIXME].
+
+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, , , 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, , , 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:
+
+@example
+
+ @example
+\score @{ \notes < c4 > @}
+@end example
+
+@end example
+
+The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
+context. When the note `@code{c4}' itself is interpreted, a set of
+contexts is needed that will accept notes. The default for this is a
+@code{Voice} context, contained in a @code{Staff} context. Creation of
+these contexts results in the staff being printed.
+
+
+@cindex context
+
+You can also create contexts manually, and you probably have to do so
+if you want to typeset complicated multiple part material. If a
+`@code{\context} @var{name} @var{musicexpr}' expression is encountered
+during the interpretation phase, the @var{musicexpr} argument will be
+interpreted with a context of type @var{name}. If you specify a name,
+the specific context with that name is searched.
+
+If a context of the specified type and name can not be found, a new
+one is created. For example,
+
+@quotation
+
+@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
+
+@example
+
+ \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
+@end example
+
+When the interpretation of this music expression starts, the context
+for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
+expression.
+
+Lastly, you may wonder, why this:
+
+@quotation
+
+@example
+\score @{
+ \notes \relative c'' @{
+ c4 d4 e4
+ @}
+@}
+@end example
+
+@end quotation
+
+doesn't result in this:
+
+@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
+
+@example
+
+ @var{propname} @code{=} @var{value}
+@end example
+
+This assignment happens before interpretation starts, so a
+@code{\property} expression will override any predefined settings.
+
+The @code{\property} expression will create any property you specify.
+There is no guarantee that a property will be used. So if you spell
+a property name wrong, there will be no error message.
+
+The property settings are used during the interpretation phase. They
+are read by the LilyPond modules where interpretation contexts are
+built of. These modules are called @emph{translators}. Translators for
+notation are called @emph{engravers}, and translators for sound are
+called @emph{performers}.
+
+The precise result of a property is determined by the implementation
+of the translator that reads them. Therefore, the result of a
+property can vary, since it is implementation and configuration
+dependent.
+
+In order to fully find out what properties are used, you must
+currently search the source code for calls to @code{get_property}.
+The rest of the section is devoted to an (incomplete) overview of
+available properties.
+
+@mbinclude properties.itely
+
+@node Notation output definitions, , , Reference Manual
+@section Notation output definitions
+
+@cindex output
+
+@cindex notation output
+
+@cindex output definition
+
+@node paper, , , Reference Manual
+
+The most important output definition is the @code{\paper} block, for
+music notation. The syntax is
+
+@example
+
+ @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
+@end example
+
+where each of the items is one of
+
+@itemize @bullet
+ @item An assignment. The assignment must be terminated by a
+ semicolon. See section XREF-papervars [FIXME] for information on
+ paper variables.
+
+ @item A context definition. See section XREF-contextdefs [FIXME] for
+ more information on context definitions.
+
+ @item A margin shape declaration. The syntax is
+
+ @example
+
+ \shape @var{indent1}@code{,} @var{width1}@code{,}
+ @var{indent2}@code{,} @var{width2} @dots{} @code{;}
+ @end example
+
+ @keyindex{shape}
+
+ Each pair of @var{indent} and @var{width} values is a dimension
+ specifying how far to indent and how wide to make the line.
+ 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
+
+ @example
+
+ @var{fontsize} @code{=} \font@keyindex{font} @var{fontname}
+ @end example
+
+ @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 Paper variables, , , 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.
+@end table
+
+
+@node contextdefs, , , 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:
+
+@example
+
+ \translator @code{@{}
+ @var{translatorinit} @var{translatormodifierlist}
+ @code{@}}
+@end example
+
+@var{translatorinit} can be an identifier or of the form
+
+@example
+
+ \type @var{typename} @code{;}
+@end example
+
+@var{typename} is one of
+
+@table @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 [FIXME] 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 @{ @dots{} @}
+@}
+\score @{
+ \notes @{
+ @dots{}
+ @}
+ \paper @{
+ \translator @{ \foo @dots{} @}
+ @}
+@}
+@end example
+
+@end quotation
+
+
+@cindex paper types, engravers, and pre-defined translators
+
+Some pre-defined identifiers can simplify modification of
+translators. The pre-defined identifiers are:
+
+@table @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, , , 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, , , 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, , , 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, , , Reference Manual
+
+@section Pre-defined Identifiers
+
+@cindex pre-defined identifiers
+
+
+Various identifiers are defined in the initialization files to
+provide shorthands for some settings. Most of them are in
+@file{ly/declarations.ly}.
+
+@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
+++ /dev/null
-\input texinfo @c -*-texinfo-*- vim:tw=72
-@setfilename regression-test.info
-@settitle LilyPond Regression test
-
-@c fool ls-latex
-@ignore
-@author Han-Wen Nienhuys and Jan Nieuwenhuizen
-@title LilyPond Regression test
-@end ignore
-
-@node Top, , ,
-
-@section Introduction
-
-This document tries give an brief overview of LilyPond features. When
-the text correspond with the shown notation, we consider LilyPond
-Officially BugFree (tm). This document is intended for finding bugs,
-and documenting bugfixes.
-
-@section Notes and rests
-
-Rests. Note that the dot of 8th, 16th and 32nd rests rest should be
-next to the top of the rest. All rests except the whole rest are
-centered on the middle staff line.
-
-@mudelafile{rest.fly}
-
-Note head shapes are settable. The stem endings should be adjusted
-per note head. If you want different note head styles on one stem,
-you must create a special context called Thread.
-
-@mudelafile{noteheadstyle.ly}
-
-Noteheads can have dots, and ---although this is bad style in duple
-meters--- rests can too. Augmentation dots should never be printed on
-a staff line, but rather be shifted vertically. They should go up, but
-in case of multiple parts, the down stems have down shifted dots.
-(Wanske p. 186) In case of chords, all dots should be in a column.
-The dots go along as rests are shifted to avoid collisions.
-
-@mudelafile{dots.fly}
-
-Multiple measure rests do not collide with barlines and clefs. They
-are not expanded when you set @code{Score.SkipBars}. Although the
-multi-measure-rest is a Spanner, minimum distances are set to keep it
-colliding from barlines.
-
-@mudelafile{multi-measure-rest.ly}
-
-@section Stems
-
-Stem tremolos (official naming?) or rolls are tremolo signs that look
-like beam segments crossing stems. If the stem is in a beam, the
-tremolo must be parallel to the beam. If the stem is invisible
-(eg. on a whole note), the tremolo must be centered on the note.
-
-@mudelafile{stem-tremolo.ly}
-
-Chord tremolos look like beams, but are a kind of repeat symbol.
-To avoid confusion, chord tremolo beams do not reach the stems, but
-leave a gap. Chord tremolo beams on half notes are not ambiguous,
-as half notes cannot appear in a regular beam, and should reach the
-stems.
-
-@mudelafile{chord-tremolo.sly}
-
-Beams, stems and noteheads often have communication troubles, since
-the two systems for y dimensions (1 unit = staffspace, 1 unit = 1
-point) are mixed.
-
-Stems, beams, ties and slurs should behave similarly, when placed
-on the middle staff line. Of course stem-direction is down for high
-notes, and up for low notes.
-
-@mudelafile{stem-direction.sly}
-
-Similarly, if @code{stem_default_neutral_direction} is set to @code{-1}.
-
-@mudelafile{stem-direction-down.ly}
-
-@section Scripts
-
-The staccato dot (and all scripts with follow-into-staff set), must
-not be on staff lines.
-
-@mudelafile{staccato-pos.sly}
-
-@section Grace notes
-
-Grace notes are typeset as an encapsulated piece of music. You can
-have beams, notes, chords, stems etc. within a @code{\grace} section.
-Slurs that start within a grace section, but aren't ended are attached
-to the next normal note. Grace notes have zero duration. If there
-are tuplets, the grace notes won't be under the brace. Grace notes
-can have accidentals, but they are (currently) spaced at a fixed
-distance. Grace notes (of course) come before the accidentals of the
-main note. Grace notes can also be positioned after the main note.
-
-@mudelafile{grace.ly}
-
-
-@section Beams, slurs and other spanners
-
-Beaming is generated automatically. Beams may cross bar lines. In that
-case, line breaks are forbidden. Yet clef and key signatures are
-hidden just as with breakable bar lines.
-
-@mudelafile{beaming.ly}
-
-Beams should behave reasonably well, even under extreme circumstances.
-Stems may be short, but noteheads should never touch the beam.
-
-@mudelafile{beam-extreme.ly}
-
-Beams should always reach the middle staff line, the second beam
-counting from the note head side, should never be lower than the
-second staff line. This does not hold for grace note beams.
-
-@mudelafile{beam-position.sly}
-
-Slurs should look nice and symmetric. The curvature may increase
-only to avoid noteheads, and as little as possible.
-
-@mudelafile{slur-symmetry.ly}
-@mudelafile{slur-symmetry-1.ly}
-
-Ties are strictly horizontal. They are placed in between note heads.
-The horizontal middle should not overlap with a staffline.
-
-@mudelafile{tie.ly}
-
-Beams can be typeset over fixed distance aligned staffs, beam
-beautification doesn't really work, but knees do. Beams should be
-behave well, wherever the switching point is.
-
-@mudelafile{beam-interstaff.ly}
-
-The same goes for slurs. They behave decently when broken across
-linebreak.
-
-@mudelafile{slur-interstaff.ly}
-
-Tuplets are indicated by a bracket with a number. There should be no
-bracket if there is one beam that matches the length of the tuplet.
-The bracket does not interfere with the stafflines, and the number is
-centered in the gap in the bracket.
-
-@mudelafile{tup.ly}
-
-@section Repeats
-
-LilyPond has three modes for repeats: folded, unfolded and
-semi-unfolded. Unfolded repeats are fully written out. Semi unfolded
-repeats have the body written and all alternatives sequentially.
-Folded repeats have the body written and all alternatives
-simultaneously. If the number of alternatives is larger than the
-repeat count, the excess alternatives are ignored. If the number of
-alternatives is smaller, the first alternative is multiplied to get to
-the number of repeats.
-
-Unfolded behavior:
-
-@mudelafile{repeat-unfold.ly}
-
-Semi (un)folded behavior. Voltas can start on non-barline moments.
-If they don't barlines should still be shown.
-
-@mudelafile{repeat-semifold.ly}
-
-Folded. This doesn't make sense without alternatives, but it works.
-
-@mudelafile{repeat-fold.ly}
-
-@section Lyrics
-
-Lyrics can be set to a melody automatically. Excess lyrics will be
-dumped. Lyrics will not be set over rests. You can have melismata
-either by setting a property melismaBusy, or by setting
-automaticMelismas (which will set melismas during slurs and ties). If
-you want a different order than first Music, then Lyrics, you must
-precook a chord of staffs/lyrics and label those. Of course
-@code{\rhythm} ignores any other rhythms in the piece. Hyphens and
-extenders do not assume anything about lyric lengths, so they continue
-to work.
-
-@mudelafile{lyric-combine.ly}
-
-@section Multiple notes
-
-Rests should not collide with beams, stems and noteheads. Rests may
-be under beams. Rests should be move by integral number of spaces
-inside the staff, and by half spaces outside. Notice that the half
-and whole rests just outside the staff get ledger lines in different
-cases.
-
-@mudelafile{rest-collision.ly}
-
-Normal collisions. We have support for polyphony, where the
-middle voices are horizontally shifted.
-
-@mudelafile{collisions.ly}
-
-The number of stafflines of a staff can be set with the property
-numberOfStaffLines. Ledger lines both on note heads and rests are
-adjusted. Barlines also are adjusted.
-
-
-@mudelafile{number-staff-lines.fly}
-
-@section Spacing
-
-In a limited number of cases, LilyPond corrects for optical spacing
-effects. In this example, space for opposite pointed stems is adjusted
-
-@mudelafile{stem-spacing.sly}
-
-If there are accidentals in the music, we add space, but the space
-between note and accidentals is less than between the notes with the
-same value. Clef changes also get extra space, but not as much as
-barlines.
-
-
-Even if a line is very tightly spaced, there will still be room
-between prefatory matter and the following notes. The space after the
-prefatory is very rigid. In contrast, the space before the barline
-must stretch like the space within the measure.
-
-Tight:
-
-@mudelafile{spacing-tight.ly}
-
-Natural:
-
-@mudelafile{spacing-natural.ly}
-
-Loose:
-
-@mudelafile{spacing-loose.ly}
-
-
-@section Global stuff
-
-Markings that are attached to (invisible) barlines are
-delicate: the are attached to the rest of the score without the score
-knowing it. Consequently, they fall over often.
-
-@mudelafile{bar-scripts.ly}
-
-Staff margins are also markings attached to barlines. They should be
-left of the staff, and be centered vertically wrt the staff. They may
-be on normal staffs, but also on compound staffs, like the PianoStaff
-
-@mudelafile{staff-margin.ly}
-
-Breathing signs, also used for phrasing, do normally not influence
-global spacing -- only if space gets tight, notes are shifted to make
-room for the breathing sign. Breathing signs break beams running
-through their voice. In the following example, the notes in the first
-two measures all have the same distance from each other:
-
-@mudelafile{breathing-sign.ly}
-
-Fonts are available in a default set of sizes: 11, 13, 16, 20, 23 and
-26pt staffheight. Sizes of the text fonts and symbol fonts are made
-to match the staff dimensions.
-
-@mudelafile[nofly]{size11.ly}
-
-@mudelafile[nofly]{size13.ly}
-
-@mudelafile[nofly]{size16.ly}
-
-@mudelafile[nofly]{size20.ly}
-
-@mudelafile[nofly]{size23.ly}
-
-@mudelafile[nofly]{size26.ly}
-
-
-@section Clefs and Time Signatures
-
-The transparent clef should not occupy any space and with style
-@code{fullSizeChanges}, the changing clef should be typeset in full
-size. For octaviated clefs, the ``8'' should appear closely above or
-below the clef respectively. The ``8'' is processed in a convoluted
-way, so this is fragile as well.
-
-@mudelafile{clefs.ly}
-
-@ignore
-@c the input file is too long and does not test for specific bugs
-By default, time signatures are written with two numbers. With style
-``C'', 4/4 and 2/2 are written with their corresponding symbols and
-with style ``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 symbols, all other signatures retain the default
-layout. The style ``1'', gives single number signatures for all
-signatures.
-%
-\mu delafile{time.fly}
-@end ignore
-
-@bye
--- /dev/null
+
+@chapter Tutorial
+
+
+@node Tutorial, , , Top
+@menu
+* Introduction:: Introduction
+* The first tune:: The first tune
+* Lyrics and chords:: Lyrics and chords
+* Piano music:: Piano music
+* end of tutorial:: The end
+@end menu
+
+@node Introduction, , , Tutorial
+@section Introduction
+
+
+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, , , Tutorial
+@section The first tune
+
+
+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, , , Tutorial
+@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, , , Tutorial
+@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@dots{} 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 @dots{}} 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 end of tutorial, , , Tutorial
+@section The end
+
+That's all folks. From here, you can either try fiddling with input
+files, or you can read the reference manual.
Abstract
========
- TODO: document xdeltas
-
This document explains what you need to install LilyPond, and what
you should do. If you are going to compile and install LilyPond often,
e.g. when doing development, you might want to check out the
_If you upgrade by patching do remember to rerun autoconf after
applying the patch_.
+ If you do not want to download the entire archive for each version,
+the safest method for upgrading is to use `xdelta', see
+`ftp://ftp.xcf.berkeley.edu/pub/xdelta/'
+
+ The following command produces `lilypond-1.1.55.tar.gz' from
+`lilypond-1.1.54' identical (up to compression dates) to the .55 on the
+FTP site.
+ xdelta patch lilypond-1.1.54-1.1.55.xd lilypond-1.1.54.tar.gz
+
Prerequisites
=============
compile if you use debugging information. If you are short on
disk-space run configure with `--disable-debugging'.
- Although we recommend to use Unix, LilyPond is known to run on
+ * Although we recommend to use Unix, LilyPond is known to run on
Windows NT/95/98 as well. See Section Windows NT/95,es.
- * EGCS 1.1 or newer. Check out ftp://ftp.gnu.org/pub/gcc/
- (ftp://ftp.gnu.org/pub/gcc/)
+ * EGCS 1.1 or newer. Check out `ftp://ftp.gnu.org/pub/gcc/'.
- * Python 1.5, Check out ftp://ftp.python.org (ftp://ftp.python.org)
- or ftp://ftp.cwi.nl/pub/python (ftp://ftp.cwi.nl/pub/python).
+ * Python 1.5, Check out `ftp://ftp.python.org' or
+ `ftp://ftp.cwi.nl/pub/python'.
* GUILE 1.3, check out http://www.gnu.org/software/guile/guile.html
(http://www.gnu.org/software/guile/guile.html).
* Doc++ (optional) to read the source code.
- You also have to install `buildscripts/out/ps-to-gifs' in a
-directory that is in the path.
-
configuring and compiling
=========================
/usr/local/man/man1/lilypond.1
/usr/local/bin/lilypond
/usr/local/bin/mi2mu
+ /usr/local/bin/convert-mudela
+ /usr/local/bin/mudela-book
+ /usr/local/bin/abc2ly
/usr/local/share/lilypond/*
/usr/local/share/locale/{it,nl}/LC_MESSAGES/lilypond.mo
`.pk' and `.tfm' files of the fonts. A script has been provided to do
the work for you, see `bin/clean-fonts.sh'.
-CAVEATS
-=======
-
- * The -O2 option triggers bugs on various platforms (PowerPC,
- Alpha). If you experience problems, you should first try
- turning off this.
-
- * On PPC you need at least EGCS-1.1.2f.
-
Redhat linux
============
Separate instructions on building for W32 are available; See file
README-W32, included with the sources.
-Bugs
-====
+Problems
+========
+
+ For help and questions use <help-gnu-music@gnu.org> and
+<gnu-music-discuss@gnu.org>. Please consult the faq before mailing
+your problems.
+
+ If you find bugs, please send bug reports to <bug-gnu-music@gnu.org>.
+
+ Known bugs that are LilyPond's fault are listed in `TODO', or
+demonstrated in `input/bugs/'.
+
+ Known bugs that are not LilyPond's fault are documented here.
+
+All platforms
+*************
+
+*GUILE 1.3.2
+ Guile 1.3.2 is buggy in several respects. Do not use it for
+ LilyPond.
+
+LinuxPPC Bugs:
+**************
+
+*R5, egcs-1.1.2-12c
+ Egcs-1.1.2-12c (stock LinuxPPC R5) has a serious bug, upgrade to
+ fixed in egcs-1.1.2-12f or gcc-2.95-0a,
+ `ftp://dev.linuxppc.org/users/fsirl/R5/RPMS/ppc/'
+
+*R4, egcs-1.0.2
+ All compiling with `-O2' is suspect, in particular guile-1.3, and
+ Lily herself will break.
+
+Linux-i386
+**********
+
+*SuSE6.2 and similar platforms (glibc 2.1, libstdc++ 2.9.0)
+ Lily will crash during parsing (which suggests a C++ library
+ incompatibility). Precise cause, precise platform description or
+ solution are not known.
+
+ Note that this only happens on some computers with the said
+ platform.
+
+*GUILE
+ A binary RPM of Guile 1.3 has been distributed from the LilyPond
+ ftp site. This binary was made in RedHat 5.x, and it will fail if
+ this RPM is used with RedHat 6.x.
+
+*libg++ 2.7
+ LilyPond occasionally crashes while parsing the initialisation
+ files. This is a very obscure bug, and usually entering the
+ commandline differently "fixes" it.
+
+ lilypond input.ly
+
+ and
+ lilypond -I. ./input.ly
+ makes a difference
+
+ Typical stacktrace:
+ SIGSEGV
+ __libc_malloc (bytes=16384)
+ ?? ()
+ yyFlexLexer::yy_create_buffer ()
+ Includable_lexer::new_input (this=0x8209a00, s={strh_ = {
+
+ This behaviour has been observed with machines that have old libg++
+ versions (LinuxPPC feb '98, RedHat 4.x).
+
+Solaris:
+********
+
+*Sparc64/Solaris 2.6, GNU make-3.77
+ GNU make-3.77 is buggy on this platform, upgrade to 3.78.1 or
+ newer.
+
+*Sparc64/Solaris 2.6, ld
+ Not yet resolved.
+
+AIX
+***
+
+*AIX 4.3 ld
+ The following is from the gcc install/SPECIFIC file.
+ Some versions of the AIX binder (linker) can fail with a
+ relocation overflow severe error when the -bbigtoc option
+ is used to link GCC-produced object files into an
+ executable that overflows the TOC. A fix for APAR IX75823
+ (OVERFLOW DURING LINK WHEN USING GCC AND -BBIGTOC) is
+ available from IBM Customer Support and from its
+ 27service.boulder.ibm.com website as PTF U455193.
+
+ Binutils does not support AIX 4.3 (at least through release
+ 2.9). GNU as and GNU ld will not work properly and one
+ should not configure GCC to use those GNU utilities. Use
+ the native AIX tools which do interoperate with GCC.
- Send bug reports to bug-gnu-music@gnu.org. For help and questions
-use help-gnu-music@gnu.org and gnu-music-discuss@gnu.org. Please
-consult the faq before mailing your problems.
+ add -Wl,-bbigtoc to USER_LDFLAGS, ie:
+ LDFLAGS='-Wl,-bbigtoc' ./configure
Authors
=======
using a high level description file as input. LilyPond is part of the
GNU Project.
-versioning
+Versioning
==========
LilyPond uses a versioning scheme similar to the Linux kernel. In a
production, please use the latest stable version. Development versions
may not produce good or nice scores.
-requirements
+Requirements
============
For the compilation and running of LilyPond you need some additional
NOTE: If you downloaded a binary (.rpm or a W95/NT .zip file), then
you don't have to compile LilyPond.
-installation
+Installation
============
For your convenience, a formatted copy of the INSTALL instructions
are in the toplevel directory, as INSTALL.txt
-documentation
+Documentation
=============
The real documentation is the directory Documentation/
make -C Documentation/
-comments
+Comments
========
LilyPond is a long way from finished and polished. We do appreciate
Please send your e-mail to one of the MAILING LISTS
- and _not_ to us personally. See `Documentation/links.yo' for more
+ and _not_ to us personally. See `Documentation/mail.texi' for more
info.
-windows 32
+Windows 32
==========
If you have received this file as part of a DOS/Window32 distribution
If you decide to build LilyPond from source, please read the
INSTALL.txt document first, especially the Windows NT/95 section.
-caveats
+Caveats
=======
- * Please read the file BUGS for some ugly bugs.
-
- * If you have installed a previous version, be sure to remove old
-font files, eg
+ If you have installed a previous version, be sure to remove old font
+files, eg.,
rm `find /var/lib/texmf/fonts -name 'feta*'`
a script to do this for you is in `buildscripts/clean-fonts.sh'
-bugs
+Bugs
====
Send bug reports to <bug-gnu-music@gnu.org>. For help and questions
-use <help-gnu-music@gnu.org> and <gnu-music-discuss@gnu.org>. Please
-consult the faq before mailing your problems.
+use <help-gnu-music@gnu.org> and <gnu-music-discuss@gnu.org>. Please
+consult the FAQ and installation instructions before mailing your
+problems.
-cdrom distributions
+CDROM distributions
===================
if you have received LilyPond on a cdrom, chances are that
-*-outline-layout:(2 (-1 -1 0 :) 0);outline-stylish-prefixes:nil -*-
-
* GNU LilyPond TODO
Features you cannot find in the documentation as working, should be
mentioned here. This is an assorted collection of stuff that will be
.* TODO
. * use Rhythmic_head::position_i () for all Staff_referenced
-. * make diff and make release should leave junk in out/, not in ../test/
+. * .po -> .pot.
. * setting indent to 0 with \shape fails
+. * hara kiri _8 clef.
. * junk -M ?
. * mudela-book doco
-. * Depracate Wordwrap
. * rerun profile
. * fix or replace feta-accordion.mf
. * fix configure with CFLAGS or LDFLAGS, try:
. * Break_req handling is silly (break_forbid () + \break fucks up.)
. * script engraver
-. * HaraKiriStaffContext removes bar lines and doesn't remove
- staff margin text on removed staff lines.
. * Chords:
. * Bass/inversion pitch when not part of Chord
Sometimes a series of changing chords will be blocked out over a static tone
PACKAGE_NAME=LilyPond
MAJOR_VERSION=1
MINOR_VERSION=2
-PATCH_LEVEL=12
-MY_PATCH_LEVEL=jcn2
+PATCH_LEVEL=13
+MY_PATCH_LEVEL=
# use the above to send patches: MY_PATCH_LEVEL is always empty for a
# released version.
\property Staff.fontSize = "-1"
\property Voice.fontSize = "-1"
- \property Voice . dynamicDir = \up \stemdown
+ \property Voice . dynamicDirection = \up \stemdown
%\key gis;
c8 d [e f g a] b c \ff
}
-\context Staff = VB { \property Voice . dynamicDir = \down c,,4 \ff c c c }
+\context Staff = VB { \property Voice . dynamicDirection = \down c,,4 \ff c c c }
>
\paper { linewidth = -1.; }
}
- \paper{
- castingalgorithm = \Wordwrap;
- }
}
Auto_change_iterator::do_process_and_next (Moment m)
{
Music_wrapper_iterator::do_process_and_next (m);
- Pitch_interrogate_req spanish_inquisition;
+ Pitch_interrogate_req spanish_inquisition; // nobody expects it
Music_iterator *it = try_music (&spanish_inquisition);
if (it && spanish_inquisition.pitch_arr_.size ())
{
Musical_pitch p = spanish_inquisition.pitch_arr_[0];
- Direction s = Direction (sign(p.semitone_pitch ()));
+ Direction s = Direction (sign(p.steps ()));
if (s && s != where_dir_)
{
where_dir_ = s;
#include "engraver-group-engraver.hh"
#include "debug.hh"
#include "paper-def.hh"
-#include "score-element.hh"
void
Engraver::fill_staff_info (Staff_info&)
Engraver::announce_element (Score_element_info i)
{
i.origin_trans_l_arr_.push (this);
- Score_element *s = i.elem_l_;
- if (s->self_scm_ == SCM_EOL)
- {
- scm_protect_object (s->smobify_self ());
- }
-
daddy_grav_l()->announce_element (i);
}
virtual Link_array<Score_element> get_extra_dependencies () const;
static Interval dim_cache_callback (Dimension_cache*);
-public:
- SCM smobify_self ();
- static SCM mark_smob (SCM);
- static scm_sizet free_smob (SCM s);
- static int print_smob (SCM s, SCM p, scm_print_state*);
- static long smob_tag;
- static void init_smobs();
- SCM self_scm_;
};
+++ /dev/null
-/*
- word-wrap.hh -- declare Word_wrap
-
- source file of the GNU LilyPond music typesetter
-
- (c) 1997--1999 Han-Wen Nienhuys <hanwen@cs.uu.nl>
-*/
-
-
-#ifndef WORD_WRAP_HH
-#define WORD_WRAP_HH
-
-#include "break.hh"
-
-/// wordwrap type algorithm: move to next line if current is optimal.
-struct Word_wrap : Break_algorithm {
- virtual Array<Column_x_positions> do_solve() const;
-};
-
-#endif // WORD_WRAP_HH
}
extern void init_symbols ();
-extern void init_smobs (); // guh -> .hh
-
void
init_lily_guile ()
{
init_symbols();
init_functions ();
- init_smobs ();
}
#include "paper-score.hh"
#include "paper-column.hh"
#include "scope.hh"
-#include "word-wrap.hh"
#include "gourlay-breaking.hh"
#include "paper-stream.hh"
#include "paper-outputter.hh"
elem_p->pscore_l_ = this;
// take over protection.
- assert (elem_p->self_scm_ != SCM_EOL);
- SCM_CDR(protected_scms_) = gh_cons (elem_p->self_scm_,
+ SCM_CDR(protected_scms_) = gh_cons (elem_p->element_property_alist_,
SCM_CDR (protected_scms_));
- scm_unprotect_object (elem_p->self_scm_);
+ scm_unprotect_object (elem_p->element_property_alist_);
SCM p = elem_p->remove_elt_property (break_helper_only_scm_sym);
if (p != SCM_BOOL_F)
{
Break_algorithm *algorithm_p=0;
Array<Column_x_positions> sol;
- bool try_wrap = !paper_l_->get_var ("castingalgorithm");
- if (!try_wrap)
- {
- algorithm_p = new Gourlay_breaking ;
- algorithm_p->set_pscore (this);
- sol = algorithm_p->solve ();
- delete algorithm_p;
- if (! sol.size ())
- {
- warning (_ ("Can't solve this casting problem exactly; reverting to Word_wrap"));
- try_wrap = true;
- }
- }
- if (try_wrap)
- {
- algorithm_p = new Word_wrap;
- algorithm_p->set_pscore (this);
- sol = algorithm_p->solve ();
- delete algorithm_p;
- }
+ algorithm_p = new Gourlay_breaking ;
+ algorithm_p->set_pscore (this);
+ sol = algorithm_p->solve ();
+ delete algorithm_p;
+
return sol;
}
becel.append (c);
last_number = volta_number;
volta_number ++;
+ Scalar l (get_property ("voltaSpannerDuration", 0));
+ if (l.length_i ()) // voltaSpannerDuration OK?
+ {
+
+ Moment vSD_mom = l.to_rat();
+ if ( vSD_mom < i->car_->length_mom() ) // terminate volta early ?
+ {
+ vSD_mom += walk_mom;
+ c->last_b_ = true;
+ becel.append (new Bar_create_event (vSD_mom, "stop"));
+ }
+ }
}
- // should think about voltaSpannerDuration
walk_mom += i->car_->length_mom();
if (i->next_)
pscore_l_=0;
lookup_l_ =0;
status_i_ = 0;
- self_scm_ = SCM_EOL;
original_l_ = 0;
element_property_alist_ = scm_protect_object (gh_cons (gh_cons (void_scm_sym, SCM_BOOL_T) , SCM_EOL));
}
Score_element::Score_element (Score_element const&s)
: Graphical_element (s)
{
- self_scm_ = SCM_EOL;
used_b_ = true;
original_l_ =(Score_element*) &s;
element_property_alist_ = scm_protect_object (scm_list_copy (s.element_property_alist_));
{
return 0;
}
-
-static scm_smobfuns score_elt_funs = {
- Score_element::mark_smob, Score_element::free_smob,
- Score_element::print_smob, 0,
-};
-
-
-SCM
-Score_element::smobify_self ()
-{
- if (self_scm_ != SCM_EOL)
- return self_scm_;
-
- SCM s;
- SCM_NEWCELL(s);
- SCM_SETCAR(s,smob_tag);
- SCM_SETCDR(s,this);
- self_scm_ = s;
- scm_unprotect_object (element_property_alist_); // ugh
- return s;
-}
-
-SCM
-Score_element::mark_smob (SCM ses)
-{
- Score_element * s = (Score_element*) SCM_CDR(ses);
- scm_gc_mark (s->self_scm_);
- return s->element_property_alist_;
-}
-
-scm_sizet
-Score_element::free_smob (SCM ses)
-{
- Score_element * s = (Score_element*) SCM_CDR(ses);
- delete s;
- return 0;
-}
-
-int
-Score_element::print_smob (SCM s, SCM p, scm_print_state *)
-{
- return 0;
-}
-
-long Score_element::smob_tag;
-
-void
-Score_element::init_smobs ()
-{
- smob_tag = scm_newsmob (&score_elt_funs);
-}
-
-void
-init_smobs()
-{
- Score_element::init_smobs ();
-}
+++ /dev/null
-/*
- word-wrap.cc -- implement Word_wrap
-
- source file of the LilyPond music typesetter
-
- (c) 1997--1999 Han-Wen Nienhuys <hanwen@cs.uu.nl>
-*/
-
-#include "word-wrap.hh"
-#include "paper-def.hh"
-#include "paper-score.hh"
-#include "debug.hh"
-#include "paper-column.hh"
-#include "line-spacer.hh"
-
-
-/** El stupido. Add a measure until we're past the optimum.
-
-
- A Dynamic Programming type of algorithm
- similar to TeX's is in Gourlay_breaking
-
- UGH. Should think about pre/post break columns.
- */
-Array<Column_x_positions>
-Word_wrap::do_solve () const
-{
- problem_OK ();
-
- Line_of_cols &allcols (pscore_l_->col_l_arr_);
- int curcol_idx = 0;
-
- Array<Column_x_positions> breaking;
- Line_of_cols breakpoints (find_breaks ());
- assert (breakpoints.size ()>=2);
-
- int break_idx=0;
- while (break_idx < breakpoints.size () -1)
- {
- Column_x_positions minimum;
- Column_x_positions current;
-
-
- // do another line
-
- Item *post = breakpoints[break_idx]->find_broken_piece (RIGHT);
- Paper_column *postcol =dynamic_cast<Paper_column*>(post);
-
- int start_break_idx = break_idx;
- current.add_paper_column (postcol);
- curcol_idx++; // skip the breakable.
- break_idx++;
-
- while (break_idx < breakpoints.size ())
- {
- // add another measure.
- while (breakpoints[break_idx] != allcols[curcol_idx])
- {
- current.add_paper_column (allcols[curcol_idx]);
- curcol_idx++;
- }
-
- Item * pre = breakpoints[break_idx]->find_broken_piece (LEFT);
- Paper_column* precol = dynamic_cast<Paper_column*>(pre);
- current.add_paper_column (precol);
-
- current.spacer_l_ = generate_spacing_problem (current.cols_,
- pscore_l_->paper_l_->line_dimensions_int (breaking.size ()));
-
- // try to solve
- if (!feasible (current.cols_))
- {
- if (!minimum.cols_.size ())
- {
- warning (_f ("Ugh, this measure is too long, breakpoint: %d",
- break_idx));
- warning (_ ("Generating stupido solution"));
- current.stupid_solution ();
- current.energy_f_ = - 1; // make sure we break out.
- }
- else
- current.energy_f_ = infinity_f; // make sure we go back
- }
- else
- {
- current.solve_line ();
- current.print ();
- }
-
- delete current.spacer_l_;
- current.spacer_l_ =0;
-
- if (!current.satisfies_constraints_b_ && start_break_idx == break_idx - 1)
- {
- warning ( _ ("I don't fit; put me on Montignac"));
- minimum = current;
- break;
- }
-
- /*
- UGR! bug!
- */
- if (current.energy_f_ < minimum.energy_f_ || current.energy_f_ < 0)
- {
- minimum = current;
- }
- else
- { // we're one col too far.
- break_idx--;
- while (allcols[curcol_idx] != breakpoints[break_idx])
- curcol_idx --;
- break; // do the next line.
- }
-
-
- // add nobreak version of breakable column
- current.cols_.top ()=breakpoints[break_idx];
- curcol_idx ++;
- break_idx++;
- }
-
- *mlog << "[" << break_idx << "]" << flush;
- breaking.push (minimum);
- }
- *mlog << endl;
- return breaking;
-}
-
gourlay_energybound = 100000.;
%{
Maximum number of measures per line to try when using Gourlay
-method. Decreasing this greatly reduces computation time.
+method.
%}
gourlay_maxmeasures = 10.;
-%{
-Gourlay is a better, TeX like algorithm for breaking lines. Wordwrap is faster, but leaves
-really spaced out lines at the end
-%}
-
-Gourlay = 1.0;
-Wordwrap = 0.0;
-
-castingalgorithm = \Gourlay;
%{ Ross. page 151 lists these values, but we think that thick lines
and kernings are too thick.
% in interline
articulation_script_padding_default = 1.0;
-% 1.0 -> faster.
-simple_spacing_solver = 1.0;
+% Backward compatibility -- has no function;
+Gourlay = 0.0;
+Wordwrap =0.0;
+
\include "engraver.ly";
# installed by 'make installextradoc'
EXTRA_DOC_FILES = \
- ANNOUNCEMENT ANNOUNCE-0.1 AUTHORS.txt BUGS COPYING DEDICATION INSTALL.txt NEWS PATCHES.txt README.txt TODO \
+ ANNOUNCEMENT ANNOUNCE-0.1 AUTHORS.txt COPYING DEDICATION INSTALL.txt NEWS PATCHES.txt README.txt TODO \
Documentation/out/*.txt\
Documentation/tex/*.doc\
Documentation/tex/*.bib\
.SUFFIXES: .doc .dvi .mudtex .tely .texi
+SUBST_TEXI_DEPS=sed 's! \.\./! !g' < $(basename $@).dep > $(outdir)/temp.dep ; mv $(outdir)/temp.dep $(basename $@).dep
+
$(outdir)/%.latex: %.doc
- cd $(outdir); $(PYTHON) $(depth)/../scripts/mudela-book.py -I .. -I $(depth)/../input/test/ --dependencies ../$<
-# sed 's! \.\./! !g'< $(basename $@).dep > $(outdir)/temp.dep
-# sed 's!^\(.*\):!'$(outdir)'/\1:!g' < $(outdir)/temp.dep > $(basename $@).dep
-# rm $(outdir)/temp.dep
+ cd $(outdir); $(PYTHON) $(depth)/../scripts/mudela-book.py -I .. -I $(depth)/../input/test/ --dependencies --dep-prefix=$(outdir)/ ../$<
+ $(SUBST_TEXI_DEPS)
$(outdir)/%.texi: %.tely
- cd $(outdir); $(PYTHON) $(depth)/../scripts/mudela-book.py -I .. -I $(depth)/../input/test/ --dependencies --format=texi ../$<
-
+ cd $(outdir); $(PYTHON) $(depth)/../scripts/mudela-book.py -I .. -I $(depth)/../input/test/ --dependencies --dep-prefix=$(outdir)/ --format=texi ../$<
+ $(SUBST_TEXI_DEPS)
Begin3
Title: LilyPond
-Version: 1.2.12
-Entered-date: 04OCT99
+Version: 1.2.13
+Entered-date: 11OCT99
Description:
LilyPond is a music typesetter. It produces beautiful sheet music
using a high level description file as input. LilyPond is part of
janneke@gnu.org (Jan Nieuwenhuizen)
Maintained-by: hanwen@stack.nl (Han-Wen Nienhuys)
Primary-site: sunsite.unc.edu /pub/Linux/apps/sound/convert
- 1000k lilypond-1.2.12.tar.gz
+ 1000k lilypond-1.2.13.tar.gz
Original-site: ftp.cs.uu.nl /pub/GNU/LilyPond/development/
- 1000k lilypond-1.2.12.tar.gz
+ 1000k lilypond-1.2.13.tar.gz
Copying-policy: GPL
End
Name: lilypond
-Version: 1.2.12
+Version: 1.2.13
Release: 1
Copyright: GPL
Group: Applications/Publishing
-Source0: ftp.cs.uu.nl:/pub/GNU/LilyPond/development/lilypond-1.2.12.tar.gz
+Source0: ftp.cs.uu.nl:/pub/GNU/LilyPond/development/lilypond-1.2.13.tar.gz
Summary: A program for printing sheet music.
URL: http://www.cs.uu.nl/~hanwen/lilypond
Packager: Han-Wen Nienhuys <hanwen@cs.uu.nl>
#
SCRIPTS = configure aclocal.m4
-README_FILES = BUGS DEDICATION ANNOUNCE-0.1 ANNOUNCE-1.0 ANNOUNCE-1.2 \
+README_FILES = DEDICATION ANNOUNCE-0.1 ANNOUNCE-1.0 ANNOUNCE-1.2 \
COPYING NEWS-0.1 NEWS-1.0 NEWS-0.0 NEWS-1.1 NEWS TODO AIMS CHANGES
-README_TXT_FILES = README.txt AUTHORS.txt INSTALL.txt
+README_TXT_FILES = README.txt AUTHORS.txt INSTALL.txt
IN_FILES := $(wildcard *.in)
EXTRA_DIST_FILES = dstreamrc mudela-mode.el vimrc VERSION $(README_FILES) $(SCRIPTS) $(IN_FILES)
NON_ESSENTIAL_DIST_FILES = $(README_TXT_FILES)
fonts:
$(MAKE) -C $(depth)/mf
+
examples:
$(MAKE) CONFIGSUFFIX='www' -C input WWW
$(MAKE) CONFIGSUFFIX='www' -C mutopia WWW
- $(footify) `$(FIND) . -name '*.html' -print`
+ $(footify-all-command)
tar --exclude='*.dvi' --exclude='*.tex' --exclude='*.ps' --exclude='*.ppm' -czf $(outdir)/examples.tar.gz `find input mutopia -type d -name 'out-www' -print`
localinstall:
local-WWW-clean:
$(depth)/buildscripts/out/clean-fonts
-footify:
- $(footify) `$(FIND) . -name '*.html' -print`
\version "1.2.0";
vocalVerse = \notes\relative c''{
- \property Voice.dynamicDir=1
+ \property Voice.dynamicDirection=1
\times 2/3 { [ g8( )as] g } c4. g8 |
\times 2/3 { [ f8( )g] f } c'4 f,8 r |
g4.-> f8 \times 2/3 { [ f( )es] d } |
}
vocalThrough = \notes\relative c{
- \property Voice.dynamicDir=1
+ \property Voice.dynamicDirection=1
g''8. g16 b8. b16 d8. d16 |
c4 b r |
g4. b8 d8. c16 |
}
bassIntro = \notes\relative c{
- \property Voice.dynamicDir=1
+ \property Voice.dynamicDirection=1
%1
<c,2 c'> r4 |
<as2 as'> r4 |
bassVerseOne = \notes\relative c{
% \clef bass;
- \property Voice.dynamicDir=1
+ \property Voice.dynamicDirection=1
%5
<c,2 c'> r4 |
<as2 as'> r4 |
}
bassEentje = \notes\relative c{
- \property Voice.dynamicDir=1
+ \property Voice.dynamicDirection=1
<c,8 c'> [<c' f as!> <f as c> <c f as> <f as c> <c f as>] |
c,8 [<c' e g> <e g c> <c e g> <e g c> <c e g>] |
<g,8 g'> [<d'' g> <g b> <d g> <g b> <d g>] |
}
bassThrough = \notes\relative c{
- \property Voice.dynamicDir=1
+ \property Voice.dynamicDirection=1
%61
<g,8^"cresc." g'> [<g' b d> <b d f> <g b d> <as!-> b-> d->> <b d f>] |
<g,8 g'> [<g' d'> <d' f> <g, d'> <as-> b-> d->> <b d f>] |
\property Voice.noAutoBeaming = "1"
\property Staff.automaticMelismata=1
- \property Voice.dynamicDir = \up
+ \property Voice.dynamicDirection = \up
\skip 4 * 12;
\vocalVerse
\skip 4 * 24;
\property Staff.instr = "Cor."
\context Voice = corI <
\globalNoKey
- \stemup \property Voice.dynamicDir = \up
+ \stemup \property Voice.dynamicDirection = \up
\property Voice.articulationScriptVerticalDirection = \up
\corI
>
\context Voice = corII {
- \stemdown \property Voice.dynamicDir = \down
+ \stemdown \property Voice.dynamicDirection = \down
\property Voice.articulationScriptVerticalDirection = \down
\corII
}
\property Staff.instr = "Trp."
\context Voice = trpI <
\globalNoKey
- \stemup \property Voice.dynamicDir = \up
+ \stemup \property Voice.dynamicDirection = \up
\property Voice.articulationScriptVerticalDirection = \up
\trpI
>
\context Voice = trpII {
- \stemdown \property Voice.dynamicDir = \down
+ \stemdown \property Voice.dynamicDirection = \down
\property Voice.articulationScriptVerticalDirection = \down
\trpII
}
if g == 'K': # KEY
a = check_clef(a)
if a:
- __main__.global_key =compute_key (a)# ugh.
m = re.match ('^([^ \t]*) *(.*)$', a) # seperate clef info
if m:
+ __main__.global_key =compute_key (m.group(1))# ugh.
voices_append ('\\key %s;' % lily_key(m.group(1)))
check_clef(m.group(2))
else:
+ __main__.global_key =compute_key (a)# ugh.
voices_append ('\\key %s;' % lily_key(a))
if g == 'O': # Origin
header ['origin'] = a
import sys
import __main__
-outdir = 'out'
+
initfile = ''
program_version = '@TOPLEVEL_VERSION@'
cwd = os.getcwd ()
include_path = [cwd]
+dep_prefix = ''
# TODO: Figure out clean set of options.
('', 'M', 'dependencies', 'write dependencies'),
('', 'n', 'no-lily', 'don\'t run lilypond'),
('FILE', 'o', 'outname', 'prefix for filenames'),
- ('', 'v', 'version', 'print version information' )
+ ('', 'v', 'version', 'print version information' ),
+ ('PREF', '', 'dep-prefix', 'prepend PREF before each -M dependency')
]
format = ''
fd = open(fname)
except IOError:
error ("Error opening `%s'" % fname)
- str = fd.read (-1)
+ str = fd.read ()
s = re.search('%%BoundingBox: ([0-9]+) ([0-9]+) ([0-9]+) ([0-9]+)', str)
if s:
return (int(s.group(3))-int(s.group(1)),
return (0,0)
+
+read_files = []
def find_file (name):
+ f = None
for a in include_path:
try:
nm = os.path.join (a, name)
f = open (nm)
- return nm
+ __main__.read_files.append (nm)
+ break
except IOError:
pass
- return ''
+
+
+ if f:
+ return f.read ()
+ else:
+ error ("File not found `%s'\n" % name)
+ return ''
def error (str):
sys.stderr.write (str + "\n Exiting ... \n\n")
chunks.append (('input', str[: m.start (0)]))
chunks.append (('input', surround))
- chunks = chunks + read_doc_file (m.group (1))
+ chunks = chunks + read_doc_file (m.group (1))
+
chunks.append (('input', surround))
str = str [m.end (0):]
def read_doc_file (filename):
"""Read the input file, substituting for \input, \include, \mudela{} and \mudelafile"""
str = ''
- for ext in ['', '.tex', '.doc', '.tely']:
- try:
- f = open(filename+ ext)
- str = f.read (-1)
- except:
- pass
-
-
- if not str:
- error ("File not found `%s'\n" % filename)
-
- retdeps = [filename]
+ str = find_file(filename)
if __main__.format == '':
latex = re.search ('\\\\document', str[:200])
newchunks = []
for c in chunks:
if c[0] == 'input':
- ch = func (c[1])
- newchunks = newchunks + ch
+ newchunks = newchunks + func (c[1])
else:
newchunks.append (c)
chunks = newchunks
def find_verbatim_chunks (str):
"""Chop STR into a list of tagged chunks, ie. tuples of form
(TYPE_STR, CONTENT_STR), where TYPE_STR is one of 'input' and 'verbatim'
+
"""
chunks = []
str = str [m.end(0):]
- return chunks
+ return chunks
def find_verb_chunks (str):
def mudela_file (match):
"Find \mudelafile, and substitute appropriate \begin / \end blocks."
- d = [] #, d = retdeps
- full_path = find_file (match.group (2))
- if not full_path:
- error("error: can't find file `%s'\n" % match.group(2))
-
- d.append (full_path)
- f = open (full_path)
- str = f.read (-1)
+ str = find_file (match.group (2))
opts = match.group (1)
if opts:
opts = opts[1:-1]
def transform_input_file (in_filename, out_filename):
"""Read the input, and deliver a list of chunks
ready for writing.
+
"""
chunks = read_doc_file (in_filename)
sys.exit (0)
-def write_deps (fn, target, deps):
+def write_deps (fn, target):
sys.stdout.write('writing `%s\'\n' % fn)
f = open (fn, 'w')
- target = target + '.latex'
- f.write ('%s: %s\n'% (target, string.join (deps, ' ')))
+ f.write ('%s%s: ' % (dep_prefix, target))
+ for d in __main__.read_files:
+ f.write ('%s ' % d)
+ f.write ('\n')
f.close ()
+ __main__.read_files = []
-
def identify():
sys.stdout.write ('mudela-book (GNU LilyPond) %s\n' % program_version)
""")
-def main():
- global outdir, initfile, defined_mudela_cmd, defined_mudela_cmd_re
- outname = ''
- try:
- (sh, long) = getopt_args (__main__.options)
- (options, files) = getopt.getopt(sys.argv[1:], sh, long)
- except getopt.error, msg:
- sys.stderr.write("error: %s" % msg)
- sys.exit(1)
-
- do_deps = 0
- for opt in options:
- o = opt[0]
- a = opt[1]
-
- if o == '--include' or o == '-I':
- include_path.append (a)
- elif o == '--version':
- print_version ()
- sys.exit (0)
-
- elif o == '--format' or o == '-o':
- __main__.format = a
- elif o == '--outname' or o == '-o':
- if len(files) > 1:
- #HACK
- sys.stderr.write("Mudela-book is confused by --outname on multiple files")
- sys.exit(1)
- outname = a
- elif o == '--outdir' or o == '-d':
- outdir = a
- elif o == '--help' or o == '-h':
- help ()
- elif o == '--no-lily' or o == '-n':
- __main__.run_lilypond = 0
- elif o == '--dependencies':
- do_deps = 1
- elif o == '--default-mudela-fontsize':
- default_music_fontsize = string.atoi (a)
- elif o == '--init':
- initfile = a
-
- identify()
-
- for input_filename in files:
- file_settings = {}
- if outname:
- my_outname = outname
- else:
- my_outname = os.path.basename(os.path.splitext(input_filename)[0])
- my_depname = my_outname + '.dep'
+outname = ''
+try:
+ (sh, long) = getopt_args (__main__.options)
+ (options, files) = getopt.getopt(sys.argv[1:], sh, long)
+except getopt.error, msg:
+ sys.stderr.write("error: %s" % msg)
+ sys.exit(1)
+
+do_deps = 0
+for opt in options:
+ o = opt[0]
+ a = opt[1]
+
+ if o == '--include' or o == '-I':
+ include_path.append (a)
+ elif o == '--version':
+ print_version ()
+ sys.exit (0)
+
+ elif o == '--format' or o == '-o':
+ __main__.format = a
+ elif o == '--outname' or o == '-o':
+ if len(files) > 1:
+ #HACK
+ sys.stderr.write("Mudela-book is confused by --outname on multiple files")
+ sys.exit(1)
+ outname = a
+ elif o == '--help' or o == '-h':
+ help ()
+ elif o == '--no-lily' or o == '-n':
+ __main__.run_lilypond = 0
+ elif o == '--dependencies':
+ do_deps = 1
+ elif o == '--default-mudela-fontsize':
+ default_music_fontsize = string.atoi (a)
+ elif o == '--init':
+ initfile = a
+ elif o == '--dep-prefix':
+ dep_prefix = a
+
+identify()
+
+for input_filename in files:
+ file_settings = {}
+ if outname:
+ my_outname = outname
+ else:
+ my_outname = os.path.basename(os.path.splitext(input_filename)[0])
+ my_depname = my_outname + '.dep'
- chunks = transform_input_file (input_filename, my_outname)
-
- foutn = my_outname + '.' + format
- sys.stderr.write ("Writing `%s'\n" % foutn)
- fout = open (foutn, 'w')
- for c in chunks:
- fout.write (c[1])
- fout.close ()
+ chunks = transform_input_file (input_filename, my_outname)
- if do_deps:
- # write_deps (my_depname, my_outname, deps)
- sys.stderr.write ("--dependencies broken")
+ foutn = my_outname + '.' + format
+ sys.stderr.write ("Writing `%s'\n" % foutn)
+ fout = open (foutn, 'w')
+ for c in chunks:
+ fout.write (c[1])
+ fout.close ()
-main()
+ if do_deps:
+ write_deps (my_depname, foutn)
import re
+format_names = {'ps.gz': 'Compressed PostScript',
+ 'html' : 'HTML'
+ }
+
class Latex_head:
def __init__ (self):
self.author = ''
self.title = ''
self.date = ''
self.format = ''
-
-def read_latex_header (fn):
- s = gulp_file (fn)
+def read_latex_header (s):
header = Latex_head()
m = re.search(r'\\author{([^}]+)}', s)
if m:
m = re.search (r'\\title{([^}]+)}',s )
if m:
header.title = m.group (1)
- else:
- header.title = 'No title'
-
- header.outfile = fn
- header.outfile = re.sub ('\.latex$', '.ps.gz', header.outfile)
- header.outfile = re.sub ('\.tex$', '.ps.gz', header.outfile)
- header.outfile = re.sub ('\.doc$', '.ps.gz', header.outfile)
- header.format = 'gzipped postscript'
+
+ header.formats = ['ps.gz']
return header
-def bib_header (fn):
- s = gulp_file (fn)
- m = re.search ('% *AUTHOR *= *(.*)$',s)
- header = Latex_head()
+def read_bib_header (s):
+
+ m = re.search ('% *AUTHOR *= *(.*)\n',s)
+
+ header = Latex_head()
+
if m:
header.author = m.group (1)
-
- m = re.search ('% *TITLE *= *(.*)$',s )
+ m = re.search ('% *TITLE *= *(.*)\n',s )
if m:
header.title = m.group (1)
- else:
- header.title = '(bibliography without title)'
- header.outfile = re.sub ( '\.bib$', '.html' , fn)
- header.format = 'HTML'
+ header.formats = ['html']
return header
-def read_pod_header (fn):
+def read_pod_header (s):
header = Latex_head ()
- s = gulp_file (fn)
+
i = re.search( '[^\n \t]', s)
s = s[i:]
i = re.search( '\n\n', s)
s = s[i+2:]
- if i < 0:
- sys.stderr.write ('gulped file: ' + fn + '\n')
- raise 'huh?'
i = re.search( '\n\n', s)
header.title = s[:i]
- header.filename = fn
- header.outfile = re.sub ('\.pod$', '.html', fn)
+
return header
-def read_texinfo_header (fn):
+def read_texinfo_header (s):
header = Latex_head ()
- s = gulp_file (fn)
- m = re.search( '@settitle (.*$)', s)
- if m:
- header.title = m.group (1)
- header.filename = fn
- header.outfile = re.sub ('\.tely', '.html', fn)
- header.format = 'HTML'
- return header
-def read_tely_header (fn):
- header = Latex_head ()
- s = gulp_file (fn)
m = re.search( '@settitle (.*$)', s)
if m:
header.title = m.group (1)
- header.filename = fn
- header.outfile = re.sub ('\.tely', '.html', fn)
- header.format = 'HTML'
+
+ header.formats = ['html', 'ps.gz']
return header
+
def print_html_head (l,o,h):
pre =o
- l.write ('<li><a href=%s>%s (%s)</a>' % (pre + h.outfile, h.title, h.format ))
+
+ fn = pre + h.basename
+
+ t = h.filename
+ if h.title :
+ t = t + ': '+ h.title
+
+ l.write ('<li>%s </a>' % t)
+
if h.author:
l.write ('<p>by %s</p>' % h.author)
+
+ for f in h.formats:
+ l.write ('(<a href=%s.%s>%s</a>)' % (fn, f, format_names [f]))
l.write ('</li>\n')
def help ():
""" % (title, title))
+read_header_funcs = {
+ 'pod' : read_pod_header,
+ 'tex' : read_latex_header,
+ 'doc' : read_latex_header,
+ 'bib': read_bib_header,
+ 'latex' : read_latex_header,
+ 'tely' : read_texinfo_header,
+ 'texi': read_texinfo_header,
+}
+
+
for x in files:
- if re.search ('\\.bib$', x) :
- head = bib_header (x)
- elif re.search ('\\.pod$', x) :
- head = read_pod_header (x)
- elif re.search ('\\.texinfo$', x) :
- head = read_texinfo_header (x)
- elif re.search ('\\.tely$', x):
- head = read_tely_header (x)
- else:
- head = read_latex_header (x)
- if head.title == '':
- head.title = head.filename
+ m = re.search ('\\.([^.]*)$', x)
+ if m == None:
+ continue
+
+ s = gulp_file (x)
+ head = read_header_funcs [m.group(1)] (s)
+
+ head.filename = x
+ head.basename = re.sub ("\\.[^.]+", '', x)
+
print_html_head (l, pre, head)
l.write ('</ul></body></html>')
footify=$(PYTHON) $(step-bindir)/add-html-footer.py --name $(PACKAGE_NAME) --version $(TOPLEVEL_VERSION) --footer $(depth)/Documentation/footer.html.in
+footify-all-command=$(footify) `$(FIND) . -name '*.html' -print`
+
#
YO_FILES := $(wildcard *.yo)
POD_FILES := $(wildcard *.pod)
$(outdir)/%.html: $(outdir)/%.texi
-makeinfo --force --output=$@ --html --no-headers $<
- $(footify) $@
$(outdir)/%.dvi: $(outdir)/%.texi
# --clean only in >= 3.12s
$(MAKE) CONFIGSUFFIX='www' local-WWW
$(MAKE) CONFIGSUFFIX='www' -C Documentation WWW
rm -f `find . -name \*.html~ -print`
- $(footify)
+ $(footify-all-command)
find `find Documentation -type d -name 'out-www'` -not -name '*dvi' -not -name '*ly' -not -name '*tex' -not -name '*.ps' -not -name 'out-www' > wwwlist
-
tar cfz $(outdir)/htmldoc.tar.gz `cat wwwlist` `ls *.png out-www/$(distname).diff.gz $(ERRORLOG)` index.html
localclean:
projects / lilypond.git / commitdiff