1 @c -*- coding: utf-8; mode: texinfo; -*-
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. For details, see the Contributors'
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13 @node General input and output
14 @chapter General input and output
16 This section deals with general LilyPond input and output issues,
17 rather than specific notation.
21 * Titles and headers::
22 * Working with input files::
23 * Controlling output::
25 * Extracting musical information::
30 @section Input structure
32 The main format of input for LilyPond are text files. By convention,
33 these files end with @file{.ly}.
36 * Structure of a score::
37 * Multiple scores in a book::
38 * Multiple output files from one input file::
44 @node Structure of a score
45 @subsection Structure of a score
49 A @code{\score} block must contain a single music expression
50 delimited by curly brackets:
58 @warning{There must be @strong{only one} outer music expression in
59 a @code{\score} block, and it @strong{must} be surrounded by
62 This single music expression may be of any size, and may contain
63 other music expressions to any complexity. All of these examples
64 are music expressions:
70 @lilypond[verbatim,quote]
77 @lilypond[verbatim,quote]
79 \new Staff { c'4 c' c' c' }
80 \new Staff { d'4 d' d' d' }
88 \new Staff @{ \flute @}
89 \new Staff @{ \oboe @}
92 \new Staff @{ \violinI @}
93 \new Staff @{ \violinII @}
99 Comments are one exception to this general rule. (For others see
100 @ref{File structure}.) Both single-line comments and comments
101 delimited by @code{%@{ .. %@}} may be placed anywhere within an
102 input file. They may be placed inside or outside a @code{\score}
103 block, and inside or outside the single music expression within a
106 Remember that even in a file containing only a @code{\score} block, it
107 is implicitly enclosed in a \book block. A \book block in a source
108 file produces at least one output file, and by default the name of the
109 output file produced is derived from the name of the input file, so
110 @file{fandangoforelephants.ly} will produce
111 @file{fandangoforelephants.pdf}.
113 (For more details about @code{\book} blocks, see
114 @ref{Multiple scores in a book},
115 @ref{Multiple output files from one input file} @ref{File structure}.)
119 @rlearning{Working on input files},
120 @rlearning{Music expressions explained},
121 @rlearning{Score is a (single) compound musical expression}.
124 @node Multiple scores in a book
125 @subsection Multiple scores in a book
128 @cindex movements, multiple
130 A document may contain multiple pieces of music and text. Examples
131 of these are an etude book, or an orchestral part with multiple
132 movements. Each movement is entered with a @code{\score} block,
140 and texts are entered with a @code{\markup} block,
150 All the movements and texts which appear in the same @file{.ly} file
151 will normally be typeset in the form of a single output file.
165 One important exception is within lilypond-book documents,
166 where you explicitly have to add a @code{\book} block, otherwise only
167 the first @code{\score} or @code{\markup} will appear in the output.
169 The header for each piece of music can be put inside the @code{\score}
170 block. The @code{piece} name from the header will be printed before
171 each movement. The title for the entire book can be put inside the
172 @code{\book}, but if it is not present, the @code{\header} which is at
173 the top of the file is inserted.
177 title = "Eight miniatures"
178 composer = "Igor Stravinsky"
182 \header @{ piece = "Romanze" @}
185 ..text of second verse..
188 ..text of third verse..
192 \header @{ piece = "Menuetto" @}
198 Pieces of music may be grouped into book parts using @code{\bookpart}
199 blocks. Book parts are separated by a page break, and can start with a
200 title, like the book itself, by specifying a @code{\header} block.
206 subtitle = "First part"
213 subtitle = "Second part"
220 @node Multiple output files from one input file
221 @subsection Multiple output files from one input file
223 If you want multiple output files from the same @file{.ly} file,
224 then you can add multiple @code{\book} blocks, where each
225 such \book block will result in a separate output file.
226 If you do not specify any @code{\book} block in the
227 input file, LilyPond will implicitly treat the whole
228 file as a single \book block, see
229 @ref{File structure}.
231 When producing multiple files from a single source file, Lilypond
232 ensures that none of the output files from any @code{\book} block
233 overwrites the output file produced by a preceding @code{\book} from
236 It does this by adding a suffix to the output name for each
237 @code{\book} which uses the default output file name derived from the
240 The default behaviour is to append a version-number suffix for each
241 name which may clash, so
246 \layout @{ @dots{} @}
250 \layout @{ @dots{} @}
254 \layout @{ @dots{} @}
258 in source file @file{eightminiatures.ly}
263 @file{eightminiatures.pdf},
265 @file{eightminiatures-1.pdf} and
267 @file{eightminiatures-2.pdf}.
270 @node Output file names
271 @subsection Output file names
273 @funindex \bookOutputSuffix
274 @funindex \bookOutputName
276 Lilypond provides facilities to allow you to control what file names
277 are used by the various back-ends when producing output files.
279 In the previous section, we saw how Lilypond prevents name-clashes when
280 producing several ouputs from a single source file. You also have the
281 ability to specify your own suffixes for each @code{\book} block, so
282 for example you can produce files called
283 @file{eightminiatures-Romanze.pdf}, @file{eightminiatures-Menuetto.pdf}
284 and @file{eightminiatures-Nocturne.pdf} by adding a
285 @code{\bookOutputSuffix} declaration inside each @code{\book} block.
289 \bookOutputSuffix "Romanze"
291 \layout @{ @dots{} @}
294 \bookOutputSuffix "Menuetto"
296 \layout @{ @dots{} @}
299 \bookOutputSuffix "Nocturne"
301 \layout @{ @dots{} @}
305 You can also specify a different output filename for @code{book} block,
306 by using @code{\bookOutputName} declarations
310 \bookOutputName "Romanze"
312 \layout @{ @dots{} @}
315 \bookOutputName "Menuetto"
317 \layout @{ @dots{} @}
320 \bookOutputName "Nocturne"
322 \layout @{ @dots{} @}
326 The file above will produce these output files:
332 @file{Menuetto.pdf} and
339 @subsection File structure
349 A @file{.ly} file may contain any number of toplevel expressions, where a
350 toplevel expression is one of the following:
354 An output definition, such as @code{\paper}, @code{\midi}, and
355 @code{\layout}. Such a definition at the toplevel changes the default
356 book-wide settings. If more than one such definition of
357 the same type is entered at the top level any definitions in the later
358 expressions have precedence.
361 A direct scheme expression, such as
362 @code{#(set-default-paper-size "a7" 'landscape)} or
363 @code{#(ly:set-option 'point-and-click #f)}.
366 A @code{\header} block. This sets the global header block. This
367 is the block containing the definitions for book-wide settings, like
368 composer, title, etc.
371 A @code{\score} block. This score will be collected with other
372 toplevel scores, and combined as a single @code{\book}.
373 This behavior can be changed by setting the variable
374 @code{toplevel-score-handler} at toplevel. The default handler is
375 defined in the init file @file{../scm/lily.scm}.
378 A @code{\book} block logically combines multiple movements
379 (i.e., multiple @code{\score} blocks) in one document. If there
380 are a number of @code{\score}s, one output file will be created
381 for each @code{\book} block, in which all corresponding movements
382 are concatenated. The only reason to explicitly specify
383 @code{\book} blocks in a @file{.ly} file is if you wish to create
384 multiple output files from a single input file. One exception is
385 within lilypond-book documents, where you explicitly have to add
386 a @code{\book} block if you want more than a single @code{\score}
387 or @code{\markup} in the same example. This behavior can be
388 changed by setting the variable @code{toplevel-book-handler} at
389 toplevel. The default handler is defined in the init file
390 @file{../scm/lily.scm}.
393 A @code{\bookpart} block. A book may be divided into several parts,
394 using @code{\bookpart} blocks, in order to ease the page breaking,
395 or to use different @code{\paper} settings in different parts.
398 A compound music expression, such as
403 This will add the piece in a @code{\score} and format it in a
404 single book together with all other toplevel @code{\score}s and music
405 expressions. In other words, a file containing only the above
406 music expression will be translated into
423 This behavior can be changed by setting the variable
424 @code{toplevel-music-handler} at toplevel. The default handler is
425 defined in the init file @file{../scm/lily.scm}.
428 A markup text, a verse for example
431 2. The first line verse two.
435 Markup texts are rendered above, between or below the scores or music
436 expressions, wherever they appear.
446 This can be used later on in the file by entering @code{\foo}. The
447 name of a variable should have alphabetic characters only; no
448 numbers, underscores or dashes.
452 The following example shows three things that may be entered at
457 % Don't justify the output
469 At any point in a file, any of the following lexical instructions can
473 @item @code{\version}
474 @item @code{\include}
475 @item @code{\sourcefilename}
476 @item @code{\sourcefileline}
478 A single-line comment, introduced by a leading @code{%} sign.
481 A multi-line comment delimited by @code{%@{ .. %@}}.
487 Whitespace between items in the input stream is generally ignored,
488 and may be freely omitted or extended to enhance readability.
489 However, whitespace should always be used in the following
490 circumstances to avoid errors:
493 @item Around every opening and closing curly bracket.
494 @item After every command or variable, i.e. every item that
495 begins with a @code{\} sign.
496 @item After every item that is to be interpreted as a Scheme
497 expression, i.e. every item that begins with a @code{#}@tie{}sign.
498 @item To separate all elements of a Scheme expression.
499 @item In @code{lyricmode} to separate all the terms in both
500 @code{\override} and @code{\set} commands. In particular, spaces
501 must be used around the dot and the equals sign in commands like
502 @code{\override Score . LyricText #'font-size = #5} and before and
503 after the entire command.
509 @rlearning{How LilyPond input files work}.
512 @node Titles and headers
513 @section Titles and headers
515 Almost all printed music includes a title and the composer's name;
516 some pieces include a lot more information.
519 * Creating titles headers and footers::
520 * Custom headers footers and titles::
521 * Creating footnotes::
522 * Reference to page numbers::
523 * Table of contents::
527 @node Creating titles headers and footers
528 @subsection Creating titles headers and footers
531 * Title blocks explained::
532 * Default layout of book and score title blocks::
533 * Default layout of headers and footers::
537 @node Title blocks explained
538 @unnumberedsubsubsec Title blocks explained
540 @c TODO: figure out how \bookpart titles work
542 There are two types of title blocks: the main title block that appears
543 above of the first @code{\score} of a book, and individual title
544 blocks that appear within each @code{\score} block. Text fields for
545 both types are entered using a @code{\header} block.
547 If the book only has a single score, the @code{\header} block may be
548 placed inside or outside of the @code{\score} block.
550 @warning{Remember when adding a @bs{}@code{header} block inside a
551 @bs{}@code{score} block, that the music expression must come before the
552 @bs{}@code{header} block.}
554 @lilypond[papersize=a5,quote,verbatim,noragged-right]
557 composer = "J. S. Bach."
561 \new Staff \relative g, {
564 \repeat unfold 2 { g16( d' b') a b d, b' d, } |
565 \repeat unfold 2 { g,16( e' c') b c e, c' e, } |
573 \new Staff \relative b {
577 <g, d' b'~>4 b'16 a( g fis) g( d e fis) g( a b c) |
578 d16( b g fis) g( e d c) b(c d e) fis( g a b) |
586 Text fields from the main title block of a book can be displayed in all
587 @code{\score} blocks, or manually suppressed:
589 @lilypond[papersize=a5,quote,verbatim,noragged-right]
592 print-all-headers = ##t
595 title = "DAS WOHLTEMPERIRTE CLAVIER"
597 % Do not display the tagline for this book
600 \markup { \vspace #1 }
604 \new Staff { \clef "bass" s1 }
607 title = "PRAELUDIUM I"
609 % Do not display the subtitle for this score
616 \new Staff { \clef "bass" s1 }
620 subsubtitle = "A 4 VOCI"
622 % Do not display the subtitle for this score
631 @ref{File structure},
632 @ref{Custom layout for title blocks}.
635 @node Default layout of book and score title blocks
636 @unnumberedsubsubsec Default layout of book and score title blocks
638 The layout and formatting of title blocks are controlled by two
639 @code{\paper} variables; @code{bookTitleMarkup} for the main
640 @code{\header} title block and @code{scoreTitleMarkup} for individual
641 @code{\header} blocks within a @code{\score}.
643 @lilypond[papersize=a6,quote,verbatim,noragged-right]
645 % The following fields are centered
646 dedication = "Dedication"
648 subtitle = "Subtitle"
649 subsubtitle = "Subsubtitle"
650 instrument = "Instrument"
652 % The following fields are left-aligned on the left side
656 % The following fields are right-aligned on the right side
657 composer = "Composer"
658 arranger = "Arranger"
664 % The following fields are placed at opposite ends of the same line
671 @c Is the bit about \null markups true? -mp
673 Text fields left unset in a @code{\header} block are replaced with
674 @code{\null} markups so that the space is not wasted.
676 The default settings for @code{scoreTitleMarkup} place the @code{piece}
677 and @code{opus} text fields at opposite ends of the same line.
681 Use the @code{breakbefore} variable inside a @code{\header} block
682 that is itself in a @code{\score} block, to make the top-level
683 @code{\header} block titles appear on the first page on their own, with
684 the music (defined in the @code{\score} block) starting on the next.
686 @lilypond[papersize=a8landscape,verbatim,noragged-right]
689 title = "This is my Title"
690 subtitle = "This is my Subtitle"
691 copyright = "This is the bottom of the first page"
694 \repeat unfold 4 { e'' e'' e'' e'' }
696 piece = "This is the Music"
705 @rlearning{How LilyPond input files work},
708 @ref{File structure}.
711 @file{ly/titling-init.ly}.
714 @node Default layout of headers and footers
715 @unnumberedsubsubsec Default layout of headers and footers
717 @emph{Headers} and @emph{footers} are lines of text appearing at
718 the top and bottom of pages, separate from the main text of a book.
719 They are controlled by the following @code{\paper} variables:
722 @item @code{oddHeaderMarkup}
723 @item @code{evenHeaderMarkup}
724 @item @code{oddFooterMarkup}
725 @item @code{evenFooterMarkup}
728 These markup variables can only access text fields from top-level
729 @code{\header} blocks (which apply to all scores in the book) and are
730 defined in @file{ly/titling-init.ly}. By default:
735 page numbers are automatically placed on the top far left (if even) or
736 top far right (if odd), starting from the second page.
739 the @code{instrument} text field is placed in the center of every
740 page, starting from the second page.
743 the @code{copyright} text is centered on the bottom of the first page.
746 the @code{tagline} is centered on the bottom of the last page, and below
747 the @code{copyright} text if there is only a single page.
751 @lilypond[papersize=a8landscape]
761 The default tagline can be changed by adding a @code{tagline} in the
762 top-level @code{\header} block.
764 @lilypond[papersize=a8landscape,verbatim]
767 tagline = "... music notation for Everyone"
777 To remove the @code{tagline} set the value to @code{##f}.
780 @node Custom headers footers and titles
781 @subsection Custom headers footers and titles
783 @c TODO: somewhere put a link to header spacing info
784 @c (you'll have to explain it more in NR 4).
787 * Custom text formatting for title blocks::
788 * Custom layout for title blocks::
789 * Custom layout for headers and footers::
793 @node Custom text formatting for title blocks
794 @unnumberedsubsubsec Custom text formatting for title blocks
796 Standard @code{\markup} commands can be used to customize any header,
797 footer and title text within the @code{\header} block.
799 @lilypond[quote,verbatim,noragged-right]
803 piece = \markup { \fontsize #4 \bold "PRAELUDIUM I" }
804 subtitle = \markup { \italic "(Excerpt)" }
811 @ref{Formatting text}.
814 @node Custom layout for title blocks
815 @unnumberedsubsubsec Custom layout for title blocks
817 @code{\markup} commands in the @code{\header} block are useful for
818 simple text formatting, but they do not allow precise control over the
819 placement of titles. To customize the placement of the text fields,
820 use either or both of the following @code{\paper} variables:
823 @item @code{bookTitleMarkup}
824 @item @code{scoreTitleMarkup}
827 These markup variables are discussed in
828 @ref{Default layout of book and score title blocks}.
830 The default settings for @code{scoreTitleMarkup} as defined in
831 @file{ly/titling-init.ly} are:
834 scoreTitleMarkup = \markup @{ \column @{
835 \on-the-fly #print-all-headers @{ \bookTitleMarkup \hspace #1 @}
837 \fromproperty #'header:piece
838 \fromproperty #'header:opus
844 This places the @code{piece} and @code{opus} text fields at opposite
845 ends of the same line:
847 @lilypond[quote,verbatim,noragged-right]
851 piece = "PRAELUDIUM I"
857 This example redefines @code{scoreTitleMarkup} so that the @code{piece}
858 text field is centered and in a large, bold font.
860 @lilypond[papersize=a5,quote,verbatim,noragged-right]
864 scoreTitleMarkup = \markup {
867 \fontsize #4 \bold \fromproperty #'header:piece
868 \fromproperty #'header:opus
872 \header { tagline = ##f }
876 piece = "PRAELUDIUM I"
883 Text fields normally reserved for the main title block can be included
884 in individual score title blocks with the @code{print-all-headers}
885 placed inside the @code{\paper} block. A disadvantage of using this
886 method is that the text fields that are intended specifically for the
887 top-level @code{\header} block need to be manually suppressed in every
888 @code{\score} block. See @ref{Title blocks explained}.
890 To avoid this, add the desired text field to the @code{scoreTitleMarkup}
891 definition. In the following example, the @code{composer} text field
892 (normally associated with @code{bookTitleMarkup}) is added to
893 @code{scoreTitleMarkup}, allowing each score to list a different
896 @lilypond[papersize=a5,quote,verbatim,noragged-right]
900 scoreTitleMarkup = \markup {
903 \fontsize #4 \bold \fromproperty #'header:piece
904 \fromproperty #'header:composer
908 \header { tagline = ##f }
913 composer = "Christian Petzold"
920 composer = "François Couperin"
926 It is also possible to create your own custom text fields, and refer to
927 them in the markup definition.
929 @lilypond[papersize=a5,quote,verbatim,noragged-right]
933 scoreTitleMarkup = \markup {
936 \override #`(direction . ,UP) {
938 \center-align \fontsize #-1 \bold
939 \fromproperty #'header:mycustomtext %% User-defined field
940 \center-align \fontsize #4 \bold
941 \fromproperty #'header:piece
944 \fromproperty #'header:opus
948 \header { tagline = ##f }
953 mycustomtext = "A 4 VOCI" %% User-defined field
962 @ref{Title blocks explained}.
965 @node Custom layout for headers and footers
966 @unnumberedsubsubsec Custom layout for headers and footers
968 @c can make-header and make-footer be removed from
969 @c paper-defaults-init.ly? -mp
971 @code{\markup} commands in the @code{\header} block are useful for
972 simple text formatting, but they do not allow precise control over the
973 placement of headers and footers. To customize the placement of
974 the text fields, use either or both of the following @code{\paper}
978 @item @code{oddHeaderMarkup}
979 @item @code{evenHeaderMarkup}
980 @item @code{oddFooterMarkup}
981 @item @code{evenFooterMarkup}
984 The following example centers page numbers at the bottom of every
985 page. First, the default settings for @code{oddHeaderMarkup} and
986 @code{evenHeaderMarkup} are removed by defining each as a @emph{null}
987 markup. Then, @code{oddFooterMarkup} is redefined with the page
988 number centered. Finally, @code{evenFooterMarkup} is given the
989 same layout by defining it as @code{\oddFooterMarkup}:
991 @lilypond[papersize=a8,quote,verbatim,noragged-right]
994 print-page-number = ##t
995 print-first-page-number = ##t
996 oddHeaderMarkup = \markup \null
997 evenHeaderMarkup = \markup \null
998 oddFooterMarkup = \markup {
1000 \on-the-fly #print-page-number-check-first
1001 \fromproperty #'page:page-number-string
1004 evenFooterMarkup = \oddFooterMarkup
1007 \new Staff { s1 \break s1 \break s1 }
1014 @ref{Title blocks explained},
1015 @ref{Default layout of book and score title blocks}.
1018 @node Creating footnotes
1019 @subsection Creating footnotes
1021 There are two types of footnotes that can be created; automatic
1022 footnotes and manual footnotes.
1025 * Footnotes overview::
1026 * Automatic footnotes::
1027 * Manual footnotes::
1030 @node Footnotes overview
1031 @unnumberedsubsubsec Footnotes overview
1033 Automatic footnotes create incrementing, numerical indicators and
1034 manual footnotes allow a custom indicator to be created instead. All
1035 grobs, top-level @code{\markup} and chorded notes can be annotated.
1037 The order in which each grob is drawn determines the order in which each
1038 indicator and so footnotes are created during compilation.
1041 @node Automatic footnotes
1042 @unnumberedsubsubsec Automatic footnotes
1044 Automatic footnotes take three arguments; the @var{Layout Object} to be
1045 annotated, the @samp{(x . y)} position of the indicator and a
1046 @code{\markup} that will appear in the footnote at the bottom of the
1049 The command @code{\footnote} must come @emph{before} the grob that the
1050 footnote is being attached to:
1052 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1054 \header { tagline = ##f }
1056 \footnote #'(0.5 . -2) #'NoteHead
1057 \markup { The first note }
1059 \footnote #'(0.5 . 1) #'NoteHead
1060 \markup { The third note }
1066 To annotate chorded notes, the @code{\footnote} must come @emph{after}
1067 the note to which the footnote is being attached as a @code{TextScript}:
1069 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1071 \header { tagline = ##f }
1074 c-\footnote #'(1 . -1.25) "Here is a C"
1075 es-\footnote #'(2 . -0.25) \markup { \italic "An E-flat" }
1076 g-\footnote #'(2 . 3) \markup { \bold "This is a G" }
1082 @warning {When footnotes have the same vertical position, the footnotes
1083 are printed in order of descendancy; the higher the footnote, the
1084 higher up in the list.}
1086 Here are some more examples of footnoted grobs, also showing the
1087 relative position of the footnotes to the tagline and copyright.
1089 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1091 \header { copyright = \markup { "Copyright 1970" } }
1093 \footnote #'(-3 . 0) #'DynamicText
1094 \markup { \bold Forte }
1096 \footnote #'(0 . 1.5) #'Slur
1100 \footnote #'(0 . -2) #'Beam
1104 \footnote #'(1 . -1) #'Stem
1105 \markup { \teeny { This is a stem } }
1108 \footnote #'(0 . 0.5) #'AccidentalCautionary
1109 \markup \italic { A cautionary accidental }
1111 \footnote #'(0.5 . -0.5) #'TextScript
1112 \markup \italic { Slow Down }
1118 For top-level @code{\markup}, the @code{\auto-footnote} command is
1121 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1123 \header { tagline = ##f }
1124 \markup { \auto-footnote "A simple tune" \italic "By me" }
1132 @node Manual footnotes
1133 @unnumberedsubsubsec Manual footnotes
1135 @cindex footnotes, manual
1137 Manual footnotes takes four arguments; the @var{Layout Object} to be
1138 annotated, the @samp{(x . y)} position of the indicator and two
1139 @code{\markup} commands; the first is the indicator attached to the note
1140 or grob and the second is the footnote at the bottom of the page.
1142 Like automatic footnotes, manual @code{\footnote} commands must come
1143 @emph{before} the grob that the footnote is annotating and attached as a
1146 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1148 \header { tagline = ##f }
1151 "1" #'(0.5 . -2) #'NoteHead \markup { \italic "1. The first note" }
1154 \markup { \bold "2" } #'(0.5 . 1) #'NoteHead "2. The second note"
1156 d\p-\footnote "3" #'(0.5 . -1) #'DynamicText "3. Piano"
1161 To annotate chorded notes with manual footnotes:
1163 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1165 \header { tagline = ##f }
1168 c-\footnote "1" #'(1 . -1.25) "1. C"
1170 \markup { \bold "b" } #'(2 . -0.25) "b. E-flat"
1171 g-\footnote "3" #'(2 . 3) \markup { \italic "iii. G" }
1177 @warning {When footnotes have the same vertical position, the footnotes
1178 are printed in order of descendancy; the higher the footnote, the
1179 higher up in the list.}
1181 Here are some examples of manually footnoted grobs, also showing
1182 the relative position of the footnotes to the tagline and copyright
1184 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1186 \header { tagline = ##f }
1189 \markup { \teeny 1 } #'(-3 . 0) #'DynamicText
1190 \markup { 1. \bold Forte }
1193 \markup { \teeny b } #'(0 . 1.5) #'Slur
1194 \markup { b. A slur }
1198 \markup { \teeny 3 } #'(0 . -2) #'Beam
1203 \markup { 4 } #'(1 . -1) #'Stem
1204 \markup { \bold 4. { This is a stem } }
1208 \markup \concat \teeny { "sharp (v)" }
1209 #'(0 . 0.5) #'AccidentalCautionary
1210 \markup \italic { v. A cautionary accidental }
1213 \markup \concat \teeny { "a" } #'(0.5 . -0.5) #'TextScript
1214 \markup \italic { a. Slow Down }
1219 \markup { \teeny \musicglyph #"rests.4" }
1220 #'(1.5 . -0.25) #'BreathingSign
1226 To manually footnote a top-level @code{\markup}:
1228 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1230 \header { tagline = ##f }
1231 \markup { "A simple tune" \footnote "*" \italic "* By me" }
1240 @rlearning{Objects and interfaces}.
1247 @ref{Titles and headers}.
1249 Internals Reference:
1250 @rinternals{FootnoteEvent},
1251 @rinternals{FootnoteItem},
1252 @rinternals{FootnoteSpanner},
1253 @rinternals{Footnote_engraver}.
1256 Multiple footnotes for the same page can only be stacked, one on top of
1257 the other, and cannot be printed on the same line. Footnotes cannot be
1258 attached to @code{MultiMeasureRests} and may collide with @code{Staff},
1259 @code{\markup} objects and other @code{footnote} annotations. When
1260 using any manual @code{footnote} command a @code{\paper} block
1261 containing @code{footnote-auto-number = ##f} is required.
1264 @node Reference to page numbers
1265 @subsection Reference to page numbers
1267 A particular place of a score can be marked using the @code{\label}
1268 command, either at top-level or inside music. This label can then be
1269 referred to in a markup, to get the number of the page where the marked
1270 point is placed, using the @code{\page-ref} markup command.
1273 \header { tagline = ##f }
1279 \pageBreak \mark A \label #'markA
1283 \markup { The first score begins on page \page-ref #'firstScore "0" "?" }
1284 \markup { Mark A is on page \page-ref #'markA "0" "?" }
1288 The @code{\page-ref} markup command takes three arguments:
1290 @item the label, a scheme symbol, eg. @code{#'firstScore};
1291 @item a markup that will be used as a gauge to estimate the dimensions
1293 @item a markup that will be used in place of the page number if the label
1297 The reason why a gauge is needed is that, at the time markups are
1298 interpreted, the page breaking has not yet occurred, so the page numbers
1299 are not yet known. To work around this issue, the actual markup
1300 interpretation is delayed to a later time; however, the dimensions of
1301 the markup have to be known before, so a gauge is used to decide these
1302 dimensions. If the book has between 10 and 99 pages, it may be "00",
1303 ie. a two digit number.
1314 @node Table of contents
1315 @subsection Table of contents
1316 A table of contents is included using the @code{\markuplist \table-of-contents}
1317 command. The elements which should appear in the table of contents are
1318 entered with the @code{\tocItem} command, which may be used either at
1319 top-level, or inside a music expression.
1322 \markuplist \table-of-contents
1325 \tocItem \markup "First score"
1329 \tocItem \markup "Some particular point in the first score"
1334 \tocItem \markup "Second score"
1342 The markups which are used to format the table of contents are defined
1343 in the @code{\paper} block. The default ones are @code{tocTitleMarkup},
1344 for formatting the title of the table, and @code{tocItemMarkup}, for
1345 formatting the toc elements, composed of the element title and page
1346 number. These variables may be changed by the user:
1350 %% Translate the toc title into French:
1351 tocTitleMarkup = \markup \huge \column {
1352 \fill-line { \null "Table des matières" \null }
1355 %% use larger font size
1356 tocItemMarkup = \markup \large \fill-line {
1357 \fromproperty #'toc:text \fromproperty #'toc:page
1362 Note how the toc element text and page number are referred to in
1363 the @code{tocItemMarkup} definition.
1365 New commands and markups may also be defined to build more elaborated
1368 @item first, define a new markup variable in the @code{\paper} block
1369 @item then, define a music function which aims at adding a toc element
1370 using this markup paper variable.
1373 In the following example, a new style is defined for entering act names
1374 in the table of contents of an opera:
1378 tocActMarkup = \markup \large \column {
1380 \fill-line { \null \italic \fromproperty #'toc:text \null }
1386 #(define-music-function (parser location text) (markup?)
1387 (add-toc-item! 'tocActMarkup text))
1390 @lilypond[line-width=11.0\cm]
1391 \header { tagline = ##f }
1393 tocActMarkup = \markup \large \column {
1395 \fill-line { \null \italic \fromproperty #'toc:text \null }
1401 #(define-music-function (parser location text) (markup?)
1402 (add-toc-item! 'tocActMarkup text))
1405 \markuplist \table-of-contents
1406 \tocAct \markup { Atto Primo }
1407 \tocItem \markup { Coro. Viva il nostro Alcide }
1408 \tocItem \markup { Cesare. Presti omai l'Egizzia terra }
1409 \tocAct \markup { Atto Secondo }
1410 \tocItem \markup { Sinfonia }
1411 \tocItem \markup { Cleopatra. V'adoro, pupille, saette d'Amore }
1416 Dots can be added to fill the line between an item and its page number:
1418 @lilypond[verbatim,quote]
1419 \header { tagline = ##f }
1421 tocItemMarkup = \tocItemWithDotsMarkup
1425 \markuplist \table-of-contents
1426 \tocItem \markup { Allegro }
1427 \tocItem \markup { Largo }
1434 @file{ly/toc-init.ly}.
1437 @funindex \table-of-contents
1438 @code{\table-of-contents},
1444 @node Working with input files
1445 @section Working with input files
1448 * Including LilyPond files::
1449 * Different editions from one source::
1450 * Special characters::
1454 @node Including LilyPond files
1455 @subsection Including LilyPond files
1458 @cindex including files
1460 A large project may be split up into separate files. To refer to
1464 \include "otherfile.ly"
1467 The line @code{\include "otherfile.ly"} is equivalent to pasting the
1468 contents of @file{otherfile.ly} into the current file at the place
1469 where the @code{\include} appears. For example, in a large
1470 project you might write separate files for each instrument part
1471 and create a @qq{full score} file which brings together the
1472 individual instrument files. Normally the included file will
1473 define a number of variables which then become available
1474 for use in the full score file. Tagged sections can be
1475 marked in included files to assist in making them usable in
1476 different places in a score, see @ref{Different editions from
1479 Files in the current working directory may be referenced by
1480 specifying just the file name after the @code{\include} command.
1481 Files in other locations may be included by giving either a full
1482 path reference or a relative path reference (but use the UNIX
1483 forward slash, /, rather than the DOS/Windows back slash, \, as the
1484 directory separator.) For example, if @file{stuff.ly} is located
1485 one directory higher than the current working directory, use
1488 \include "../stuff.ly"
1492 or if the included orchestral parts files are all located in a
1493 subdirectory called @file{parts} within the current directory, use
1496 \include "parts/VI.ly"
1497 \include "parts/VII.ly"
1501 Files which are to be included can also contain @code{\include}
1502 statements of their own. By default, these second-level
1503 @code{\include} statements are not interpreted until they have
1504 been brought into the main file, so the file names they specify
1505 must all be relative to the directory containing the main file,
1506 not the directory containing the included file. However,
1507 this behavior can be changed by passing the option
1508 @option{-drelative-includes} option at the command line
1509 (or by adding @code{#(ly:set-option 'relative-includes #t)}
1510 at the top of the main input file). With @code{relative-includes}
1511 set, the path for each @code{\include} command will be taken
1512 relative to the file containing that command. This behavior is
1513 recommended and it will become the default behavior in a future
1514 version of lilypond.
1516 Files can also be included from a directory in a search path
1517 specified as an option when invoking LilyPond from the command
1518 line. The included files are then specified using just their
1519 file name. For example, to compile @file{main.ly} which includes
1520 files located in a subdirectory called @file{parts} by this method,
1521 cd to the directory containing @file{main.ly} and enter
1524 lilypond --include=parts main.ly
1527 and in main.ly write
1535 Files which are to be included in many scores may be placed in
1536 the LilyPond directory @file{../ly}. (The location of this
1537 directory is installation-dependent - see
1538 @rlearning{Other sources of information}). These files can then
1539 be included simply by naming them on an @code{\include} statement.
1540 This is how the language-dependent files like @file{english.ly} are
1543 LilyPond includes a number of files by default when you start
1544 the program. These includes are not apparent to the user, but the
1545 files may be identified by running @code{lilypond --verbose} from
1546 the command line. This will display a list of paths and files that
1547 LilyPond uses, along with much other information. Alternatively,
1548 the more important of these files are discussed in
1549 @rlearning{Other sources of information}. These files may be
1550 edited, but changes to them will be lost on installing a new
1551 version of LilyPond.
1553 Some simple examples of using @code{\include} are shown in
1554 @rlearning{Scores and parts}.
1558 @rlearning{Other sources of information},
1559 @rlearning{Scores and parts}.
1562 If an included file is given a name which is the same as one in
1563 LilyPond's installation files, LilyPond's file from the
1564 installation files takes precedence.
1567 @node Different editions from one source
1568 @subsection Different editions from one source
1570 Several methods can be used to generate different versions of a score
1571 from the same music source. Variables are perhaps the most useful for
1572 combining lengthy sections of music and/or annotation. Tags are more
1573 useful for selecting one section from several alternative shorter
1574 sections of music, and can also be used for splicing pieces of music
1575 together at different points.
1577 Whichever method is used, separating the notation from the structure of
1578 the score will make it easier to change the structure while leaving the
1584 * Using global settings::
1587 @node Using variables
1588 @unnumberedsubsubsec Using variables
1590 @cindex variables, use of
1592 If sections of the music are defined in variables they can be
1593 reused in different parts of the score, see @rlearning{Organizing
1594 pieces with variables}. For example, an @notation{a cappella}
1595 vocal score frequently includes a piano reduction of the parts
1596 for rehearsal purposes which is identical to the vocal music, so
1597 the music need be entered only once. Music from two variables
1598 may be combined on one staff, see @ref{Automatic part combining}.
1601 @lilypond[verbatim,quote]
1602 sopranoMusic = \relative c'' { a4 b c b8( a) }
1603 altoMusic = \relative g' { e4 e e f }
1604 tenorMusic = \relative c' { c4 b e d8( c) }
1605 bassMusic = \relative c' { a4 gis a d, }
1606 allLyrics = \lyricmode {King of glo -- ry }
1608 \new Staff = "Soprano" \sopranoMusic
1609 \new Lyrics \allLyrics
1610 \new Staff = "Alto" \altoMusic
1611 \new Lyrics \allLyrics
1612 \new Staff = "Tenor" {
1616 \new Lyrics \allLyrics
1617 \new Staff = "Bass" {
1621 \new Lyrics \allLyrics
1624 \set Staff.printPartCombineTexts = ##f
1630 \set Staff.printPartCombineTexts = ##f
1640 Separate scores showing just the vocal parts or just the piano
1641 part can be produced by changing just the structural statements,
1642 leaving the musical notation unchanged.
1644 For lengthy scores, the variable definitions may be placed in
1645 separate files which are then included, see @ref{Including
1649 @unnumberedsubsubsec Using tags
1652 @funindex \keepWithTag
1653 @funindex \removeWithTag
1654 @funindex \pushToTag
1655 @funindex \appendToTag
1657 @cindex keep tagged music
1658 @cindex remove tagged music
1659 @cindex splice into tagged music
1661 The @code{\tag #'@var{partA}} command marks a music expression
1662 with the name @var{partA}.
1663 Expressions tagged in this way can be selected or filtered out by
1664 name later, using either @code{\keepWithTag #'@var{name}} or
1665 @code{\removeWithTag #'@var{name}}. The result of applying these filters
1666 to tagged music is as follows:
1667 @multitable @columnfractions .5 .5
1671 Tagged music preceded by @code{\keepWithTag #'@var{name}}
1672 @tab Untagged music and music tagged with @var{name} is included;
1673 music tagged with any other tag name is excluded.
1675 Tagged music preceded by @code{\removeWithTag #'@var{name}}
1676 @tab Untagged music and music tagged with any tag name other than
1677 @var{name} is included; music tagged with @var{name} is
1680 Tagged music not preceded by either @code{\keepWithTag} or
1681 @code{\removeWithTag}
1682 @tab All tagged and untagged music is included.
1685 The arguments of the @code{\tag}, @code{\keepWithTag} and
1686 @code{\removeWithTag} commands should be a symbol
1687 (such as @code{#'score} or @code{#'part}), followed
1688 by a music expression.
1690 In the following example, we see two versions of a piece of music,
1691 one showing trills with the usual notation, and one with trills
1692 explicitly expanded:
1694 @lilypond[verbatim,quote]
1695 music = \relative g' {
1697 \tag #'trills { d8.\trill }
1698 \tag #'expand { \repeat unfold 3 { e32 d } }
1703 \keepWithTag #'trills \music
1706 \keepWithTag #'expand \music
1711 Alternatively, it is sometimes easier to exclude sections of music:
1713 @lilypond[verbatim,quote]
1714 music = \relative g' {
1716 \tag #'trills { d8.\trill }
1717 \tag #'expand {\repeat unfold 3 { e32 d } }
1722 \removeWithTag #'expand
1726 \removeWithTag #'trills
1731 Tagged filtering can be applied to articulations, texts, etc. by
1735 -\tag #'@var{your-tag}
1738 to an articulation. For example, this would define a note with a
1739 conditional fingering indication and a note with a conditional
1744 c1-\tag #'warn ^"Watch!"
1747 Multiple tags may be placed on expressions with multiple
1748 @code{\tag} entries:
1750 @lilypond[quote,verbatim]
1751 music = \relative c'' {
1752 \tag #'a \tag #'both { a4 a a a }
1753 \tag #'b \tag #'both { b4 b b b }
1756 \keepWithTag #'a \music
1757 \keepWithTag #'b \music
1758 \keepWithTag #'both \music
1762 Multiple @code{\removeWithTag} filters may be applied to a single
1763 music expression to remove several differently named tagged sections:
1765 @lilypond[verbatim,quote]
1766 music = \relative c'' {
1767 \tag #'A { a4 a a a }
1768 \tag #'B { b4 b b b }
1769 \tag #'C { c4 c c c }
1770 \tag #'D { d4 d d d }
1779 Two or more @code{\keepWithTag} filters applied to a single music
1780 expression will cause @emph{all} tagged sections to be removed, as
1781 the first filter will remove all tagged sections except the one
1782 named, and the second filter will remove even that tagged section.
1784 Sometimes you want to splice some music at a particular place in an
1785 existing music expression. You can use @code{\pushToTag} and
1786 @code{\appendToTag} for adding material at the front or end of the
1787 @code{elements} of an existing music construct. Not every music
1788 construct has @code{elements}, but sequential and simultaneous music are
1791 @lilypond[verbatim,quote]
1792 test = { \tag #'here { \tag #'here <<c''>> } }
1795 \pushToTag #'here c'
1796 \pushToTag #'here e'
1797 \pushToTag #'here g' \test
1798 \appendToTag #'here c'
1799 \appendToTag #'here e'
1800 \appendToTag #'here g' \test
1804 Both commands get a tag, the material to splice in at every occurence of
1805 the tag, and the tagged expression. The commands make sure to
1806 copy everything that they change so that the original @code{\test}
1807 retains its meaning.
1811 @rlearning{Organizing pieces with variables}.
1814 @ref{Automatic part combining},
1815 @ref{Including LilyPond files}.
1818 @c This warning is more general than this placement implies.
1819 @c Rests are not merged whether or not they come from tagged sections.
1820 @c Should be deleted? -td
1823 Multiple rests are not merged if you create a score with more
1824 than one tagged section at the same place.
1829 @node Using global settings
1830 @unnumberedsubsubsec Using global settings
1832 @cindex include-settings
1834 Global settings can be included from a separate file:
1837 lilypond -dinclude-settings=MY_SETTINGS.ly MY_SCORE.ly
1840 Groups of settings such as page size, font or type face can be stored
1841 in separate files. This allows different editions from the same score
1842 as well as standard settings to be applied to many scores, simply by
1843 specifying the proper settings file.
1845 This technique also works well with the use of style sheets, as
1846 discussed in @rlearning{Style sheets}.
1850 @rlearning{Organizing pieces with variables},
1851 @rlearning{Style sheets}.
1854 @ref{Including LilyPond files}.
1857 @node Special characters
1858 @subsection Special characters
1860 @cindex special characters
1861 @cindex non-ASCII characters
1871 @unnumberedsubsubsec Text encoding
1875 LilyPond uses the character repertoire defined by the Unicode
1876 consortium and ISO/IEC 10646. This defines a unique name and
1877 code point for the character sets used in virtually all modern
1878 languages and many others too. Unicode can be implemented using
1879 several different encodings. LilyPond uses the UTF-8 encoding
1880 (UTF stands for Unicode Transformation Format) which represents
1881 all common Latin characters in one byte, and represents other
1882 characters using a variable length format of up to four bytes.
1884 The actual appearance of the characters is determined by the
1885 glyphs defined in the particular fonts available - a font defines
1886 the mapping of a subset of the Unicode code points to glyphs.
1887 LilyPond uses the Pango library to layout and render multi-lingual
1890 LilyPond does not perform any input-encoding conversions. This
1891 means that any text, be it title, lyric text, or musical
1892 instruction containing non-ASCII characters, must be encoded in
1893 UTF-8. The easiest way to enter such text is by using a
1894 Unicode-aware editor and saving the file with UTF-8 encoding. Most
1895 popular modern editors have UTF-8 support, for example, vim, Emacs,
1896 jEdit, and GEdit do. All MS Windows systems later than NT use
1897 Unicode as their native character encoding, so even Notepad can
1898 edit and save a file in UTF-8 format. A more functional
1899 alternative for Windows is BabelPad.
1901 If a LilyPond input file containing a non-ASCII character is not
1902 saved in UTF-8 format the error message
1905 FT_Get_Glyph_Name () error: invalid argument
1910 Here is an example showing Cyrillic, Hebrew and Portuguese
1914 %c No verbatim here as the code does not display correctly in PDF
1916 bulgarian = \lyricmode {
1917 Жълтата дюля беше щастлива, че пухът, който цъфна, замръзна като гьон.
1921 hebrew = \lyricmode {
1922 זה כיף סתם לשמוע איך תנצח קרפד עץ טוב בגן.
1926 portuguese = \lyricmode {
1927 à vo -- cê uma can -- ção legal
1933 \addlyrics { \bulgarian }
1934 \addlyrics { \hebrew }
1935 \addlyrics { \portuguese }
1940 @unnumberedsubsubsec Unicode
1944 To enter a single character for which the Unicode code point is
1945 known but which is not available in the editor being used, use
1946 either @code{\char ##xhhhh} or @code{\char #dddd} within a
1947 @code{\markup} block, where @code{hhhh} is the hexadecimal code for
1948 the character required and @code{dddd} is the corresponding decimal
1949 value. Leading zeroes may be omitted, but it is usual to specify
1950 all four characters in the hexadecimal representation. (Note that
1951 the UTF-8 encoding of the code point should @emph{not} be used
1952 after @code{\char}, as UTF-8 encodings contain extra bits indicating
1953 the number of octets.) Unicode code charts and a character name
1954 index giving the code point in hexadecimal for any character can be
1955 found on the Unicode Consortium website,
1956 @uref{http://www.unicode.org/}.
1958 For example, @code{\char ##x03BE} and @code{\char #958} would both
1959 enter the Unicode U+03BE character, which has the Unicode name
1960 @qq{Greek Small Letter Xi}.
1962 Any Unicode code point may be entered in this way and if all special
1963 characters are entered in this format it is not necessary to save
1964 the input file in UTF-8 format. Of course, a font containing all
1965 such encoded characters must be installed and available to LilyPond.
1967 The following example shows Unicode hexadecimal values being entered
1968 in four places -- in a rehearsal mark, as articulation text, in
1969 lyrics and as stand-alone text below the score:
1971 @lilypond[quote,verbatim]
1974 c1 \mark \markup { \char ##x03EE }
1975 c1_\markup { \tiny { \char ##x03B1 " to " \char ##x03C9 } }
1977 \addlyrics { O \markup { \concat { Ph \char ##x0153 be! } } }
1979 \markup { "Copyright 2008--2012" \char ##x00A9 }
1982 @cindex copyright sign
1984 To enter the copyright sign in the copyright notice use:
1988 copyright = \markup @{ \char ##x00A9 "2008" @}
1994 @unnumberedsubsubsec ASCII aliases
1996 A list of ASCII aliases for special characters can be included:
1998 @lilypond[quote,verbatim]
2000 #(include-special-characters)
2003 \markup "&flqq; – &OE;uvre incomplète… &frqq;"
2006 \new Staff { \repeat unfold 9 a'4 }
2008 This is al -- so wor -- kin'~in ly -- rics: –_&OE;…
2013 "The replacement can be disabled:"
2014 "– &OE; …"
2015 \override #'(replacement-alist . ()) "– &OE; …"
2019 You can also make your own aliases, either globally:
2021 @lilypond[quote,verbatim]
2023 #(add-text-replacements!
2024 '(("100" . "hundred")
2025 ("dpi" . "dots per inch")))
2027 \markup "A 100 dpi."
2032 @lilypond[quote,verbatim]
2033 \markup \replace #'(("100" . "hundred")
2034 ("dpi" . "dots per inch")) "A 100 dpi."
2039 @ref{List of special characters}.
2042 @file{ly/text-replacements.ly}.
2045 @node Controlling output
2046 @section Controlling output
2049 * Extracting fragments of music::
2050 * Skipping corrected music::
2051 * Alternative output formats::
2052 * Replacing the notation font::
2055 @node Extracting fragments of music
2056 @subsection Extracting fragments of music
2058 It is possible to quote small fragments of a large score directly from
2059 the output. This can be compared to clipping a piece of a paper score
2062 This is done by defining the measures that need to be cut out
2063 separately. For example, including the following definition
2071 (make-rhythmic-location 5 1 2)
2072 (make-rhythmic-location 7 3 4)))
2077 will extract a fragment starting halfway the fifth measure, ending in
2078 the seventh measure. The meaning of @code{5 1 2} is: after a 1/2 note
2079 in measure 5, and @code{7 3 4} after 3 quarter notes in measure 7.
2081 More clip regions can be defined by adding more pairs of
2082 rhythmic-locations to the list.
2084 In order to use this feature, LilyPond must be invoked with
2085 @option{-dclip-systems}. The clips are output as EPS files, and are
2086 converted to PDF and PNG if these formats are switched on as well.
2088 For more information on output formats, see @rprogram{Invoking lilypond}.
2090 @node Skipping corrected music
2091 @subsection Skipping corrected music
2094 @funindex skipTypesetting
2095 @funindex showFirstLength
2096 @funindex showLastLength
2098 When entering or copying music, usually only the music near the end (where
2100 are adding notes) is interesting to view and correct. To speed up
2101 this correction process, it is possible to skip typesetting of all but
2102 the last few measures. This is achieved by putting
2105 showLastLength = R1*5
2110 in your source file. This will render only the last 5 measures
2111 (assuming 4/4 time signature) of every @code{\score} in the input
2112 file. For longer pieces, rendering only a small part is often an order
2113 of magnitude quicker than rendering it completely. When working on the
2114 beginning of a score you have already typeset (e.g. to add a new part),
2115 the @code{showFirstLength} property may be useful as well.
2117 Skipping parts of a score can be controlled in a more fine-grained
2118 fashion with the property @code{Score.skipTypesetting}. When it is
2119 set, no typesetting is performed at all.
2121 This property is also used to control output to the MIDI file. Note that
2122 it skips all events, including tempo and instrument changes. You have
2125 @lilypond[quote,relative=2,ragged-right,verbatim]
2127 \set Score.skipTypesetting = ##t
2129 \set Score.skipTypesetting = ##f
2133 In polyphonic music, @code{Score.skipTypesetting} will affect all
2134 voices and staves, saving even more time.
2136 @node Alternative output formats
2137 @subsection Alternative output formats
2139 @cindex scalable vector graphics output
2141 @cindex encapsulated postscript output
2144 The default output formats for the printed score are Portable
2145 Document Format (PDF) and PostScript (PS). Scalable Vector
2146 Graphics (SVG), Encapsulated PostScript (EPS) and Portable
2147 Network Graphics (PNG) output formats are also available through
2148 command line options, see
2149 @rprogram{Basic command line options for LilyPond}.
2152 @node Replacing the notation font
2153 @subsection Replacing the notation font
2155 Gonville is an alternative to the Feta font used in LilyPond and can
2158 @uref{http://www.chiark.greenend.org.uk/~sgtatham/gonville/ ,http://www.chiark.greenend.org.uk/~sgtatham/gonville/}
2161 Here are a few sample bars of music set in Gonville:
2163 @c NOTE: these images are a bit big, but that's important
2164 @c for the font comparison. -gp
2165 @sourceimage{Gonville_after,,,}
2167 Here are a few sample bars of music set in LilyPond's Feta font:
2169 @sourceimage{Gonville_before,,,}
2171 @subsubheading Installation Instructions for MacOS
2173 Download and extract the zip file. Copy the @code{lilyfonts}
2174 directory to @file{@var{SHARE_DIR}/lilypond/current}; for more
2175 information, see @rlearning{Other sources of information}. Rename the
2176 existing @code{fonts} directory to @code{fonts_orig} and the
2177 @code{lilyfonts} directory to @code{fonts}. To revert back to Feta,
2178 reverse the process.
2182 @rlearning{Other sources of information}.
2185 Gonville cannot be used to typeset @q{Ancient Music} notation and it is
2186 likely newer glyphs in later releases of LilyPond may not exist in the
2187 Gonville font family. Please refer to the author's website for more
2188 information on these and other specifics, including licensing of
2193 @section MIDI output
2198 MIDI (Musical Instrument Digital Interface) is a standard for
2199 connecting and controlling digital instruments. A MIDI file is a
2200 series of notes in a number of tracks. It is not an actual
2201 sound file; you need special software to translate between the
2202 series of notes and actual sounds.
2204 Pieces of music can be converted to MIDI files, so you can listen to
2205 what was entered. This is convenient for checking the music; octaves
2206 that are off or accidentals that were mistyped stand out very much
2207 when listening to the MIDI output.
2209 Standard MIDI oputput is somewhat crude; optionally, an enhanced and
2210 more realistic MIDI output is available by means of
2211 @ref{The Articulate script}.
2213 The MIDI output allocates a channel for each staff, and reserves channel
2214 10 for drums. There are only 16 MIDI channels per device, so if the
2215 score contains more than 15 staves, MIDI channels will be reused.
2218 * Creating MIDI files::
2220 * What goes into the MIDI output?::
2222 * Controlling MIDI dynamics::
2223 * Percussion in MIDI::
2224 * The Articulate script::
2227 @node Creating MIDI files
2228 @subsection Creating MIDI files
2230 To create a MIDI output file from a LilyPond input file, add a
2231 @code{\midi} block to a score, for example,
2240 If there is a @code{\midi} block in a @code{\score} with no
2241 @code{\layout} block, only MIDI output will be produced. When
2242 notation is needed too, a @code{\layout} block must also be
2253 Pitches, rhythms, ties, dynamics, and tempo changes are interpreted
2254 and translated correctly to the MIDI output. Dynamic marks,
2255 crescendi and decrescendi translate into MIDI volume levels.
2256 Dynamic marks translate to a fixed fraction of the available MIDI
2257 volume range. Crescendi and decrescendi make the volume vary
2258 linearly between their two extremes. The effect of dynamic markings
2259 on the MIDI output can be removed completely, see @ref{MIDI block}.
2261 The initial tempo and later tempo changes can be specified
2262 with the @code{\tempo} command within the music notation. These
2263 are reflected in tempo changes in the MIDI output. This command
2264 will normally result in the metronome mark being printed, but this
2265 can be suppressed, see @ref{Metronome marks}. An alternative way
2266 of specifying the initial or overall MIDI tempo is described below,
2267 see @ref{MIDI block}.
2269 Due to some limitations on Windows, the default extension for
2270 MIDI files on Windows is @code{.mid}. Other operating systems still
2271 use the extension @code{.midi}. If a different extension is preferred,
2272 insert the following line at the top-level of the input file,
2273 before the start of any @code{\book}, @code{\bookpart} or @code{\score} blocks:
2276 #(ly:set-option 'midi-extension "midi")
2279 The line above will set the default extension for MIDI files to
2282 Alternatively, this option can also be supplied on the command line:
2285 lilypond … -dmidi-extension=midi lilyFile.ly
2289 @unnumberedsubsubsec Instrument names
2291 @cindex instrument names
2292 @funindex Staff.midiInstrument
2294 The MIDI instrument to be used is specified by setting the
2295 @code{Staff.midiInstrument} property to the instrument name.
2296 The name should be chosen from the list in @ref{MIDI instruments}.
2300 \set Staff.midiInstrument = #"glockenspiel"
2306 \new Staff \with @{midiInstrument = #"cello"@} @{
2311 If the selected instrument does not exactly match an instrument from
2312 the list of MIDI instruments, the Grand Piano (@code{"acoustic grand"})
2318 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2319 {changing-midi-output-to-one-channel-per-voice.ly}
2323 @c In 2.11 the following no longer seems to be a problem -td
2325 Unterminated (de)crescendos will not render properly in the midi file,
2326 resulting in silent passages of music. The workaround is to explicitly
2327 terminate the (de)crescendo. For example,
2334 will not work properly but
2337 @{ a4\< b c d\!\f @}
2344 Changes in the MIDI volume take place only on starting a note, so
2345 crescendi and decrescendi cannot affect the volume of a
2348 Not all midi players correctly handle tempo changes in the midi
2349 output. Players that are known to work include MS Windows Media
2350 Player and @uref{http://@/timidity@/.sourceforge@/.net/,timidity}.
2353 @subsection MIDI block
2356 A @code{\midi} block must appear within a score block if MIDI output
2357 is required. It is analogous to the layout block, but somewhat
2358 simpler. Often, the @code{\midi} block is left empty, but it
2359 can contain context rearrangements, new context definitions or code
2360 to set the values of properties. For example, the following will
2361 set the initial tempo exported to a MIDI file without causing a tempo
2362 indication to be printed:
2373 In this example the tempo is set to 72 quarter note
2374 beats per minute. @code{\tempo} is actually a music command for
2375 setting properties during the interpretation of music: in the
2376 context of output definitions like a @code{\midi} block, as a matter of
2377 courtesy those are reinterpreted as if they were context modifications.
2379 @cindex MIDI context definitions
2381 Context definitions follow precisely the same syntax as those
2382 within a @code{\layout} block. Translation modules for sound are
2383 called performers. The contexts for MIDI output are defined in
2384 @file{../ly/performer-init.ly},
2385 see @rlearning{Other sources of information}.
2386 For example, to remove the effect of dynamics
2387 from the MIDI output, insert the following lines in the
2388 @code{\midi@{ @}} block.
2395 \remove "Dynamic_performer"
2400 MIDI output is created only when a @code{\midi} block is included
2401 within a score block defined with a @code{\score} command.
2405 @{ @dots{}notes@dots{} @}
2410 @node What goes into the MIDI output?
2411 @subsection What goes into the MIDI output?
2413 @c TODO Check grace notes - timing is suspect?
2415 @unnumberedsubsubsec Supported in MIDI
2417 @cindex Pitches in MIDI
2418 @cindex MIDI, Pitches
2419 @cindex Quarter tones in MIDI
2420 @cindex MIDI, quarter tones
2421 @cindex Microtones in MIDI
2422 @cindex MIDI, microtones
2423 @cindex Chord names in MIDI
2424 @cindex MIDI, chord names
2425 @cindex Rhythms in MIDI
2426 @cindex MIDI, Rhythms
2427 @cindex Articlulate scripts
2428 @cindex MIDI, articulations
2429 @cindex articulations in MIDI
2430 @cindex trills in MIDI
2431 @cindex turns in MIDI
2432 @cindex rallentando in MIDI
2433 @cindex accelerando in MIDI
2436 The following items of notation are reflected in the MIDI output:
2440 @item Microtones (See @ref{Accidentals}. Rendering needs a
2441 player that supports pitch bend.)
2442 @item Chords entered as chord names
2443 @item Rhythms entered as note durations, including tuplets
2444 @item Tremolos entered without @q{@code{:}[@var{number}]}
2447 @item Crescendi, decrescendi over multiple notes
2448 @item Tempo changes entered with a tempo marking
2452 Using @ref{The Articulate script}, a number of items are added to the
2456 @item Articulations (slurs, staccato, etc)
2458 @item Rallentando and accelerando
2462 @unnumberedsubsubsec Unsupported in MIDI
2464 @c TODO index as above
2466 The following items of notation have no effect on the MIDI output,
2467 unless you use @ref{The Articulate script}:
2470 @item Rhythms entered as annotations, e.g. swing
2471 @item Tempo changes entered as annotations with no tempo marking
2472 @item Staccato and other articulations and ornamentations
2473 @item Slurs and Phrasing slurs
2474 @item Crescendi, decrescendi over a single note
2475 @item Tremolos entered with @q{@code{:}[@var{number}]}
2477 @item Microtonal chords
2481 @node Repeats in MIDI
2482 @subsection Repeats in MIDI
2484 @cindex repeats in MIDI
2485 @funindex \unfoldRepeats
2487 With a few minor additions, all types of repeats can be represented
2488 in the MIDI output. This is achieved by applying the
2489 @code{\unfoldRepeats} music function. This function changes all
2490 repeats to unfold repeats.
2492 @lilypond[quote,verbatim]
2494 \repeat tremolo 8 { c'32 e' }
2495 \repeat percent 2 { c''8 d'' }
2496 \repeat volta 2 { c'4 d' e' f' }
2505 In scores containing multiple voices, unfolding of repeats in MIDI
2506 output will only occur correctly if @emph{each} voice contains fully
2507 notated repeat indications.
2509 When creating a score file using @code{\unfoldRepeats} for MIDI,
2510 it is necessary to make two @code{\score} blocks: one for MIDI
2511 (with unfolded repeats) and one for notation (with volta, tremolo,
2512 and percent repeats). For example,
2520 \unfoldRepeats @var{..music..}
2525 @node Controlling MIDI dynamics
2526 @subsection Controlling MIDI dynamics
2528 MIDI dynamics are implemented by the Dynamic_performer which lives
2529 by default in the Voice context. It is possible to control the
2530 overall MIDI volume, the relative volume of dynamic markings and
2531 the relative volume of different instruments.
2533 @unnumberedsubsubsec Dynamic marks
2535 Dynamic marks are translated to a fixed fraction of the available
2536 MIDI volume range. The default fractions range from 0.25 for
2537 @notation{ppppp} to 0.95 for @notation{fffff}. The set of dynamic
2538 marks and the associated fractions can be seen in
2539 @file{../scm/midi.scm}, see @rlearning{Other sources of information}.
2540 This set of fractions may be changed or extended by providing a
2541 function which takes a dynamic mark as its argument and returns the
2542 required fraction, and setting
2543 @code{Score.dynamicAbsoluteVolumeFunction} to this function.
2545 For example, if a @notation{rinforzando} dynamic marking,
2546 @code{\rfz}, is required, this will not by default
2547 have any effect on the MIDI volume, as this dynamic marking is not
2548 included in the default set. Similarly, if a new dynamic marking
2549 has been defined with @code{make-dynamic-script} that too will not
2550 be included in the default set. The following example shows how the
2551 MIDI volume for such dynamic markings might be added. The Scheme
2552 function sets the fraction to 0.9 if a dynamic mark of rfz is
2553 found, or calls the default function otherwise.
2555 @lilypond[verbatim,quote]
2556 #(define (myDynamics dynamic)
2557 (if (equal? dynamic "rfz")
2559 (default-dynamic-absolute-volume dynamic)))
2563 \set Staff.midiInstrument = #"cello"
2564 \set Score.dynamicAbsoluteVolumeFunction = #myDynamics
2576 Alternatively, if the whole table of fractions needs to be
2577 redefined, it would be better to use the
2578 @notation{default-dynamic-absolute-volume} procedure in
2579 @file{../scm/midi.scm} and the associated table as a model.
2580 The final example in this section shows how this might be done.
2582 @unnumberedsubsubsec Overall MIDI volume
2584 The minimum and maximum overall volume of MIDI dynamic markings is
2585 controlled by setting the properties @code{midiMinimumVolume} and
2586 @code{midiMaximumVolume} at the @code{Score} level. These
2587 properties have an effect only on dynamic marks, so if they
2588 are to apply from the start of the score a dynamic mark must be
2589 placed there. The fraction corresponding to each dynamic mark is
2590 modified with this formula
2593 midiMinimumVolume + (midiMaximumVolume - midiMinimumVolume) * fraction
2596 In the following example the dynamic range of the overall MIDI
2597 volume is limited to the range 0.2 - 0.5.
2599 @lilypond[verbatim,quote]
2605 \set Staff.midiInstrument = #"flute"
2606 \new Voice \relative c''' {
2614 \set Staff.midiInstrument = #"clarinet"
2615 \new Voice \relative c'' {
2627 midiMinimumVolume = #0.2
2628 midiMaximumVolume = #0.5
2634 @unnumberedsubsubsec Equalizing different instruments (i)
2636 If the minimum and maximum MIDI volume properties are set in
2637 the @code{Staff} context the relative volumes of the MIDI
2638 instruments can be controlled. This gives a basic instrument
2639 equalizer, which can enhance the quality of the MIDI output
2642 In this example the volume of the clarinet is reduced relative
2643 to the volume of the flute. There must be a dynamic
2644 mark on the first note of each instrument for this to work
2647 @lilypond[verbatim,quote]
2653 \set Staff.midiInstrument = #"flute"
2654 \set Staff.midiMinimumVolume = #0.7
2655 \set Staff.midiMaximumVolume = #0.9
2656 \new Voice \relative c''' {
2664 \set Staff.midiInstrument = #"clarinet"
2665 \set Staff.midiMinimumVolume = #0.3
2666 \set Staff.midiMaximumVolume = #0.6
2667 \new Voice \relative c'' {
2681 @unnumberedsubsubsec Equalizing different instruments (ii)
2683 If the MIDI minimum and maximum volume properties are not set
2684 LilyPond will, by default, apply a small degree of equalization
2685 to a few instruments. The instruments and the equalization
2686 applied are shown in the table @notation{instrument-equalizer-alist}
2687 in @file{../scm/midi.scm}.
2689 This basic default equalizer can be replaced by setting
2690 @code{instrumentEqualizer} in the @code{Score} context to a new
2691 Scheme procedure which accepts a MIDI instrument name as its only
2692 argument and returns a pair of fractions giving the minimum and
2693 maximum volumes to be applied to that instrument. This replacement
2694 is done in the same way as shown for resetting the
2695 @code{dynamicAbsoluteVolumeFunction} at the start of this section.
2696 The default equalizer, @notation{default-instrument-equalizer}, in
2697 @file{../scm/midi.scm} shows how such a procedure might be written.
2699 The following example sets the relative flute and clarinet volumes
2700 to the same values as the previous example.
2702 @lilypond[verbatim,quote]
2703 #(define my-instrument-equalizer-alist '())
2705 #(set! my-instrument-equalizer-alist
2708 ("flute" . (0.7 . 0.9))
2709 ("clarinet" . (0.3 . 0.6)))
2710 my-instrument-equalizer-alist))
2712 #(define (my-instrument-equalizer s)
2713 (let ((entry (assoc s my-instrument-equalizer-alist)))
2722 \set Score.instrumentEqualizer = #my-instrument-equalizer
2723 \set Staff.midiInstrument = #"flute"
2724 \new Voice \relative c''' {
2732 \set Staff.midiInstrument = #"clarinet"
2733 \new Voice \relative c'' {
2748 @c Delete when satisfied this is adequately covered elsewhere -td
2750 @n ode Microtones in MIDI
2751 @s ubsection Microtones in MIDI
2753 @cindex microtones in MIDI
2755 Microtones consisting of half sharps and half flats are exported
2756 to the MIDI file and render correctly in MIDI players which support
2757 pitch bending. See @ref{Note names in other languages}. Here is
2758 an example showing all the half sharps and half flats. It can be
2759 copied out and compiled to test microtones in your MIDI player.
2761 @lilypond[verbatim,quote]
2778 @node Percussion in MIDI
2779 @subsection Percussion in MIDI
2781 Percussion instruments are generally notated in a @code{DrumStaff}
2782 context and when notated in this way they are outputted correctly
2783 to MIDI channel@tie{}10, but some pitched percussion instruments,
2784 like the xylophone, marimba, vibraphone, timpani, etc., are
2785 treated like @qq{normal} instruments and music for these instruments
2786 should be entered in a normal @code{Staff} context, not a
2787 @code{DrumStaff} context, to obtain the correct MIDI output.
2789 Some non-pitched percussion sounds included in the general MIDI
2790 standard, like melodic tom, taiko drum, synth drum, etc., cannot
2791 be reached via MIDI channel@tie{}10, so the notation for such
2792 instruments should also be entered in a normal @code{Staff}
2793 context, using suitable normal pitches.
2795 Many percussion instruments are not included in the general MIDI
2796 standard, e.g. castanets. The easiest, although unsatisfactory,
2797 method of producing some MIDI output when writing for such
2798 instruments is to substitute the nearest sound from the standard
2801 @c TODO Expand with examples, and any other issues
2805 Because the general MIDI standard does not contain rim shots, the
2806 sidestick is used for this purpose instead.
2808 @node The Articulate script
2809 @subsection The Articulate script
2811 A more realistic MIDI output is possible when using the Articulate
2812 script. It tries to take articulations (slurs, staccato, etc) into
2813 account, by replacing notes with sequential music of suitably
2814 time-scaled note plus skip. It also tries to unfold trills turns
2815 etc., and take rallentando and accelerando into account.
2817 To use the Articulate script, you have to include it at the top of
2821 \include "articulate.ly"
2824 and in the @code{\score} section do
2827 \unfoldRepeats \articulate <<
2828 all the rest of the score...
2832 After altering your input file this way, the visual output is heavily
2833 altered, but the standard @code{\midi} block will produce a better
2836 Although not essential for the Articulate script to work, you may want
2837 to insert the @code{\unfoldRepeats} command as it appears in the
2838 example shown above as it enables performing abbreviatures such as
2843 Articulate shortens chords and some music (esp. organ music) could
2847 @node Extracting musical information
2848 @section Extracting musical information
2850 In addition to creating graphical output and MIDI, LilyPond can
2851 display musical information as text.
2854 * Displaying LilyPond notation::
2855 * Displaying scheme music expressions::
2856 * Saving music events to a file::
2859 @node Displaying LilyPond notation
2860 @subsection Displaying LilyPond notation
2862 @funindex \displayLilyMusic
2863 Displaying a music expression in LilyPond notation can be
2864 done with the music function @code{\displayLilyMusic}. To see the
2865 output, you will typically want to call LilyPond using the command
2870 \displayLilyMusic \transpose c a, @{ c4 e g a bes @}
2877 @{ a,4 cis e fis g @}
2880 By default, LilyPond will print these messages to the console
2881 along with all the other LilyPond compilation messages. To split
2882 up these messages and save the results of @code{\display@{STUFF@}},
2883 redirect the output to a file.
2886 lilypond file.ly >display.txt
2890 Note that Lilypond does not just display the music expression, but
2891 also interprets it (since @code{\displayLilyMusic} returns it in
2892 addition to displaying it). This is convenient since you can just
2893 insert @code{\displayLilyMusic} into existing music in order to get
2894 information about it. If you don't actually want Lilypond to
2895 interpret the displayed music as well as display it, use @code{\void}
2896 in order to have it ignored:
2900 \void \displayLilyMusic \transpose c a, @{ c4 e g a bes @}
2905 @node Displaying scheme music expressions
2906 @subsection Displaying scheme music expressions
2908 See @rextend{Displaying music expressions}.
2911 @node Saving music events to a file
2912 @subsection Saving music events to a file
2914 Music events can be saved to a file on a per-staff basis by
2915 including a file in your main score.
2918 \include "event-listener.ly"
2921 This will create file(s) called @file{FILENAME-STAFFNAME.notes} or
2922 @file{FILENAME-unnamed-staff.notes} for each staff. Note that if
2923 you have multiple unnamed staves, the events for all staves will
2924 be mixed together in the same file. The output looks like this:
2927 0.000 note 57 4 p-c 2 12
2929 0.250 note 62 4 p-c 7 12
2930 0.500 note 66 8 p-c 9 12
2931 0.625 note 69 8 p-c 14 12
2936 The syntax is a tab-delimited line, with two fixed fields on each
2937 line followed by optional parameters.
2940 @var{time} @var{type} @var{...params...}
2943 This information can easily be read into other programs such as
2944 python scripts, and can be very useful for researchers wishing to
2945 perform musical analysis or playback experiments with LilyPond.
2950 Not all lilypond music events are supported by
2951 @file{event-listener.ly}. It is intended to be a well-crafted
2952 @qq{proof of concept}. If some events that you want to see are
2953 not included, copy @file{event-listener.ly} into your lilypond
2954 directory and modify the file so that it outputs the information