1 @c -*- coding: utf-8; mode: texinfo; -*-
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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12 @node General input and output
13 @chapter General input and output
15 This section deals with general LilyPond input and output issues,
16 rather than specific notation.
20 * Titles and headers::
21 * Working with input files::
22 * Controlling output::
28 @section Input structure
30 The main format of input for LilyPond are text files. By convention,
31 these files end with @code{.ly}.
34 * Structure of a score::
35 * Multiple scores in a book::
40 @node Structure of a score
41 @subsection Structure of a score
45 A @code{\score} block must contain a single music expression
46 delimited by curly brackets:
54 @warning{There must be @strong{only one} outer music expression in
55 a @code{\score} block, and it @strong{must} be surrounded by
58 This single music expression may be of any size, and may contain
59 other music expressions to any complexity. All of these examples
60 are music expressions:
66 @lilypond[verbatim,quote]
73 @lilypond[verbatim,quote]
75 \new Staff { c'4 c' c' c' }
76 \new Staff { d'4 d' d' d' }
84 \new Staff @{ \flute @}
85 \new Staff @{ \oboe @}
88 \new Staff @{ \violinI @}
89 \new Staff @{ \violinII @}
95 Comments are one exception to this general rule. (For others see
96 @ref{File structure}.) Both single-line comments and comments
97 delimited by @code{%@{ .. %@}} may be placed anywhere within an
98 input file. They may be placed inside or outside a @code{\score}
99 block, and inside or outside the single music expression within a
105 @rlearning{Working on input files},
106 @rlearning{Music expressions explained},
107 @rlearning{Score is a (single) compound musical expression}.
110 @node Multiple scores in a book
111 @subsection Multiple scores in a book
114 @cindex movements, multiple
116 A document may contain multiple pieces of music and text. Examples
117 of these are an etude book, or an orchestral part with multiple
118 movements. Each movement is entered with a @code{\score} block,
126 and texts are entered with a @code{\markup} block,
136 All the movements and texts which appear in the same @code{.ly} file
137 will normally be typeset in the form of a single output file.
151 However, if you want multiple output files from the same @code{.ly}
152 file, then you can add multiple @code{\book} blocks, where each such
153 @code{\book} block will result in a separate output. If you do not
154 specify any @code{\book} block in the file, LilyPond will implicitly
155 treat the full file as a single @code{\book} block, see @ref{File
156 structure}. One important exception is within lilypond-book documents,
157 where you explicitly have to add a @code{\book} block, otherwise only
158 the first @code{\score} or @code{\markup} will appear in the output.
160 The header for each piece of music can be put inside the @code{\score}
161 block. The @code{piece} name from the header will be printed before
162 each movement. The title for the entire book can be put inside the
163 @code{\book}, but if it is not present, the @code{\header} which is at
164 the top of the file is inserted.
168 title = "Eight miniatures"
169 composer = "Igor Stravinsky"
173 \header @{ piece = "Romanze" @}
176 ..text of second verse..
179 ..text of third verse..
183 \header @{ piece = "Menuetto" @}
189 Pieces of music may be grouped into book parts using @code{\bookpart}
190 blocks. Book parts are separated by a page break, and can start with a
191 title, like the book itself, by specifying a @code{\header} block.
197 subtitle = "First part"
204 subtitle = "Second part"
212 @subsection File structure
222 A @code{.ly} file may contain any number of toplevel expressions, where a
223 toplevel expression is one of the following:
227 An output definition, such as @code{\paper}, @code{\midi}, and
228 @code{\layout}. Such a definition at the toplevel changes the default
229 book-wide settings. If more than one such definition of
230 the same type is entered at the top level any definitions in the later
231 expressions have precedence.
234 A direct scheme expression, such as
235 @code{#(set-default-paper-size "a7" 'landscape)} or
236 @code{#(ly:set-option 'point-and-click #f)}.
239 A @code{\header} block. This sets the global header block. This
240 is the block containing the definitions for book-wide settings, like
241 composer, title, etc.
244 A @code{\score} block. This score will be collected with other
245 toplevel scores, and combined as a single @code{\book}.
246 This behavior can be changed by setting the variable
247 @code{toplevel-score-handler} at toplevel. The default handler is
248 defined in the init file @file{../scm/@/lily@/.scm}.
251 A @code{\book} block logically combines multiple movements
252 (i.e., multiple @code{\score} blocks) in one document. If there
253 are a number of @code{\score}s, one output file will be created
254 for each @code{\book} block, in which all corresponding movements
255 are concatenated. The only reason to explicitly specify
256 @code{\book} blocks in a @code{.ly} file is if you wish to create
257 multiple output files from a single input file. One exception is
258 within lilypond-book documents, where you explicitly have to add
259 a @code{\book} block if you want more than a single @code{\score}
260 or @code{\markup} in the same example. This behavior can be
261 changed by setting the variable @code{toplevel-book-handler} at
262 toplevel. The default handler is defined in the init file
263 @file{../scm/@/lily@/.scm}.
266 A @code{\bookpart} block. A book may be divided into several parts,
267 using @code{\bookpart} blocks, in order to ease the page breaking,
268 or to use different @code{\paper} settings in different parts.
271 A compound music expression, such as
276 This will add the piece in a @code{\score} and format it in a
277 single book together with all other toplevel @code{\score}s and music
278 expressions. In other words, a file containing only the above
279 music expression will be translated into
295 This behavior can be changed by setting the variable
296 @code{toplevel-music-handler} at toplevel. The default handler is
297 defined in the init file @file{../scm/@/lily@/.scm}.
300 A markup text, a verse for example
303 2. The first line verse two.
307 Markup texts are rendered above, between or below the scores or music
308 expressions, wherever they appear.
318 This can be used later on in the file by entering @code{\foo}. The
319 name of a variable should have alphabetic characters only; no
320 numbers, underscores or dashes.
324 The following example shows three things that may be entered at
329 % Don't justify the output
341 At any point in a file, any of the following lexical instructions can
345 @item @code{\version}
346 @item @code{\include}
347 @item @code{\sourcefilename}
348 @item @code{\sourcefileline}
350 A single-line comment, introduced by a leading @code{%} sign.
353 A multi-line comment delimited by @code{%@{ .. %@}}.
359 Whitespace between items in the input stream is generally ignored,
360 and may be freely omitted or extended to enhance readability.
361 However, whitespace should always be used in the following
362 circumstances to avoid errors:
365 @item Around every opening and closing curly bracket.
366 @item After every command or variable, i.e. every item that
367 begins with a @code{\} sign.
368 @item After every item that is to be interpreted as a Scheme
369 expression, i.e. every item that begins with a @code{#} sign.
370 @item To separate all elements of a Scheme expression.
371 @item In @code{lyricmode} to separate all the terms in both
372 @code{\override} and @code{\set} commands. In particular, spaces
373 must be used around the dot and the equals sign in commands like
374 @code{\override Score . LyricText #'font-size = #5} and before and
375 after the entire command.
381 @rlearning{How LilyPond input files work}.
384 @node Titles and headers
385 @section Titles and headers
387 Almost all printed music includes a title and the composer's name;
388 some pieces include a lot more information.
393 * Reference to page numbers::
394 * Table of contents::
398 @node Creating titles
399 @subsection Creating titles
401 Titles are created for each @code{\score} block, as well as for the full
402 input file (or @code{\book} block) and book parts (created by
403 @code{\bookpart} blocks).
405 The contents of the titles are taken from the @code{\header} blocks.
406 The header block for a book supports the following
412 The dedicatee of the music, centered at the top of the first page.
416 The title of the music, centered just below the dedication.
420 Subtitle, centered below the title.
422 @funindex subsubtitle
424 Subsubtitle, centered below the subtitle.
428 Name of the poet, flush-left below the subsubtitle.
432 Name of the instrument, centered below the subsubtitle. Also
433 centered at the top of pages (other than the first page).
437 Name of the composer, flush-right below the subsubtitle.
441 Meter string, flush-left below the poet.
445 Name of the arranger, flush-right below the composer.
449 Name of the piece, flush-left below the meter.
453 Name of the opus, flush-right below the arranger.
455 @cindex page breaks, forcing
456 @funindex breakbefore
458 This forces the title to start on a new page (set to ##t or ##f).
462 Copyright notice, centered at the bottom of the first page. To
463 insert the copyright symbol, see @ref{Text encoding}.
467 Centered at the bottom of the last page.
471 Here is a demonstration of the fields available. Note that you
472 may use any @ref{Formatting text}, commands in the header.
474 @lilypond[quote,verbatim,line-width=11.0\cm]
477 paper-height = 10.0\cm
482 dedication = "dedicated to me"
483 title = \markup \center-column { "Title first line" "Title second line,
485 subtitle = "the subtitle,"
486 subsubtitle = #(string-append "subsubtitle LilyPond version "
489 composer = \markup \center-column { "composer" \small "(1847-1973)" }
490 texttranslator = "Text Translator"
491 meter = \markup { \teeny "m" \tiny "e" \normalsize "t" \large "e" \huge
493 arranger = \markup { \fontsize #8.5 "a" \fontsize #2.5 "r" \fontsize
494 #-2.5 "r" \fontsize #-5.3 "a" \fontsize #7.5 "nger" }
495 instrument = \markup \bold \italic "instrument"
519 As demonstrated before, you can use multiple @code{\header} blocks.
520 When same fields appear in different blocks, the latter is used.
521 Here is a short example.
525 composer = "Composer"
533 piece = "New piece" % overwrite previous one
538 If you define the @code{\header} inside the @code{\score} block, then
539 normally only the @code{piece} and @code{opus} headers will be printed.
540 Note that the music expression must come before the @code{\header}.
542 @lilypond[quote,verbatim,line-width=11.0\cm]
546 title = "title" % not printed
553 @funindex print-all-headers
555 You may change this behavior (and print all the headers when defining
556 @code{\header} inside @code{\score}) by using
560 print-all-headers = ##t
567 The default footer is empty, except for the first page, where the
568 @code{copyright} field from @code{\header} is inserted, and the last
569 page, where @code{tagline} from @code{\header} is added. The default
570 tagline is @qq{Music engraving by LilyPond (@var{version})}.@footnote{Nicely
571 printed parts are good PR for us, so please leave the tagline if you
574 Headers may be completely removed by setting them to false.
585 @subsection Custom titles
587 A more advanced option is to change the definitions of the following
588 variables in the @code{\paper} block. The init file
589 @file{../ly/titling-init.ly} lists the default layout.
592 @funindex bookTitleMarkup
593 @item bookTitleMarkup
594 This is the title added at the top of the entire output document.
595 Typically, it has the composer and the title of the piece
597 @funindex scoreTitleMarkup
598 @item scoreTitleMarkup
599 This is the title put over a @code{\score} block. Typically, it has
600 the name of the movement (@code{piece} field).
602 @funindex oddHeaderMarkup
603 @item oddHeaderMarkup
604 This is the page header for odd-numbered pages.
606 @funindex evenHeaderMarkup
607 @item evenHeaderMarkup
608 This is the page header for even-numbered pages. If unspecified,
609 the odd header is used instead.
611 By default, headers are defined such that the page number is on the
612 outside edge, and the instrument is centered.
614 @funindex oddFooterMarkup
615 @item oddFooterMarkup
616 This is the page footer for odd-numbered pages.
618 @funindex evenFooterMarkup
619 @item evenFooterMarkup
620 This is the page footer for even-numbered pages. If unspecified,
621 the odd header is used instead.
623 By default, the footer has the copyright notice on the first, and
624 the tagline on the last page.
634 The following definition will put the title flush left, and the
635 composer flush right on a single line.
639 bookTitleMarkup = \markup {
641 \fromproperty #'header:title
642 \fromproperty #'header:composer
648 @node Reference to page numbers
649 @subsection Reference to page numbers
651 A particular place of a score can be marked using the @code{\label}
652 command, either at top-level or inside music. This label can then be
653 referred to in a markup, to get the number of the page where the marked
654 point is placed, using the @code{\page-ref} markup command.
656 @lilypond[verbatim,line-width=11.0\cm]
657 \header { tagline = ##f }
663 \pageBreak \mark A \label #'markA
668 \markup { The first score begins on page \page-ref #'firstScore "0" "?" }
669 \markup { Mark A is on page \page-ref #'markA "0" "?" }
673 The @code{\page-ref} markup command takes three arguments:
675 @item the label, a scheme symbol, eg. @code{#'firstScore};
676 @item a markup that will be used as a gauge to estimate the dimensions
678 @item a markup that will be used in place of the page number if the label
682 The reason why a gauge is needed is that, at the time markups are
683 interpreted, the page breaking has not yet occurred, so the page numbers
684 are not yet known. To work around this issue, the actual markup
685 interpretation is delayed to a later time; however, the dimensions of
686 the markup have to be known before, so a gauge is used to decide these
687 dimensions. If the book has between 10 and 99 pages, it may be "00",
688 ie. a two digit number.
699 @node Table of contents
700 @subsection Table of contents
701 A table of contents is included using the @code{\markuplines \table-of-contents}
702 command. The elements which should appear in the table of contents are
703 entered with the @code{\tocItem} command, which may be used either at
704 top-level, or inside a music expression.
707 \markuplines \table-of-contents
710 \tocItem \markup "First score"
714 \tocItem \markup "Some particular point in the first score"
719 \tocItem \markup "Second score"
727 The markups which are used to format the table of contents are defined
728 in the @code{\paper} block. The default ones are @code{tocTitleMarkup},
729 for formatting the title of the table, and @code{tocItemMarkup}, for
730 formatting the toc elements, composed of the element title and page
731 number. These variables may be changed by the user:
735 %% Translate the toc title into French:
736 tocTitleMarkup = \markup \huge \column {
737 \fill-line { \null "Table des matières" \null }
740 %% use larger font size
741 tocItemMarkup = \markup \large \fill-line {
742 \fromproperty #'toc:text \fromproperty #'toc:page
747 Note how the toc element text and page number are referred to in
748 the @code{tocItemMarkup} definition.
750 New commands and markups may also be defined to build more elaborated
753 @item first, define a new markup variable in the @code{\paper} block
754 @item then, define a music function which aims at adding a toc element
755 using this markup paper variable.
758 In the following example, a new style is defined for entering act names
759 in the table of contents of an opera:
763 tocActMarkup = \markup \large \column {
765 \fill-line { \null \italic \fromproperty #'toc:text \null }
771 #(define-music-function (parser location text) (markup?)
772 (add-toc-item! 'tocActMarkup text))
775 @lilypond[line-width=11.0\cm]
776 \header { tagline = ##f }
778 tocActMarkup = \markup \large \column {
780 \fill-line { \null \italic \fromproperty #'toc:text \null }
786 #(define-music-function (parser location text) (markup?)
787 (add-toc-item! 'tocActMarkup text))
790 \markuplines \table-of-contents
791 \tocAct \markup { Atto Primo }
792 \tocItem \markup { Coro. Viva il nostro Alcide }
793 \tocItem \markup { Cesare. Presti omai l'Egizzia terra }
794 \tocAct \markup { Atto Secondo }
795 \tocItem \markup { Sinfonia }
796 \tocItem \markup { Cleopatra. V'adoro, pupille, saette d'Amore }
803 Init files: @file{../ly/@/toc@/-init@/.ly}.
807 @funindex \table-of-contents
808 @code{\table-of-contents},
814 @node Working with input files
815 @section Working with input files
818 * Including LilyPond files::
819 * Different editions from one source::
821 * Displaying LilyPond notation::
825 @node Including LilyPond files
826 @subsection Including LilyPond files
829 @cindex including files
831 A large project may be split up into separate files. To refer to
835 \include "otherfile.ly"
838 The line @code{\include "otherfile.ly"} is equivalent to pasting the
839 contents of @file{otherfile.ly} into the current file at the place
840 where the @code{\include} appears. For example, in a large
841 project you might write separate files for each instrument part
842 and create a @qq{full score} file which brings together the
843 individual instrument files. Normally the included file will
844 define a number of variables which then become available
845 for use in the full score file. Tagged sections can be
846 marked in included files to assist in making them usable in
847 different places in a score, see @ref{Different editions from
850 Files in the current working directory may be referenced by
851 specifying just the file name after the @code{\include} command.
852 Files in other locations may be included by giving either a full
853 path reference or a relative path reference (but use the UNIX
854 forward slash, /, rather than the DOS/Windows back slash, \, as the
855 directory separator.) For example, if @file{stuff.ly} is located
856 one directory higher than the current working directory, use
859 \include "../stuff.ly"
863 or if the included orchestral parts files are all located in a
864 subdirectory called @file{parts} within the current directory, use
867 \include "parts/VI.ly"
868 \include "parts/VII.ly"
872 Files which are to be included can also contain @code{\include}
873 statements of their own. By default, these second-level
874 @code{\include} statements are not interpreted until they have
875 been brought into the main file, so the file names they specify
876 must all be relative to the directory containing the main file,
877 not the directory containing the included file. However,
878 this behavior can be changed by passing the option
879 @code{-drelative-includes} option at the command line
880 (or by adding @code{#(ly:set-option 'relative-includes #t)}
881 at the top of the main input file). With @code{relative-includes}
882 set, the path for each @code{\include} command will be taken
883 relative to the file containing that command. This behavior is
884 recommended and it will become the default behavior in a future
887 Files can also be included from a directory in a search path
888 specified as an option when invoking LilyPond from the command
889 line. The included files are then specified using just their
890 file name. For example, to compile @file{main.ly} which includes
891 files located in a subdirectory called @file{parts} by this method,
892 cd to the directory containing @file{main.ly} and enter
895 lilypond --include=parts main.ly
906 Files which are to be included in many scores may be placed in
907 the LilyPond directory @file{../ly}. (The location of this
908 directory is installation-dependent - see
909 @rlearning{Other sources of information}). These files can then
910 be included simply by naming them on an @code{\include} statement.
911 This is how the language-dependent files like @file{english.ly} are
914 LilyPond includes a number of files by default when you start
915 the program. These includes are not apparent to the user, but the
916 files may be identified by running @code{lilypond --verbose} from
917 the command line. This will display a list of paths and files that
918 LilyPond uses, along with much other information. Alternatively,
919 the more important of these files are discussed in
920 @rlearning{Other sources of information}. These files may be
921 edited, but changes to them will be lost on installing a new
924 Some simple examples of using @code{\include} are shown in
925 @rlearning{Scores and parts}.
930 @rlearning{Other sources of information},
931 @rlearning{Scores and parts}.
936 If an included file is given a name which is the same as one in
937 LilyPond's installation files, LilyPond's file from the
938 installation files takes precedence.
942 @node Different editions from one source
943 @subsection Different editions from one source
945 Several mechanisms are available to facilitate the generation
946 of different versions of a score from the same music source.
947 Variables are perhaps most useful for combining lengthy sections
948 of music and/or annotation in various ways, while tags are more
949 useful for selecting one from several alternative shorter sections
950 of music. Whichever method is used, separating the notation from
951 the structure of the score will make it easier to change the
952 structure while leaving the notation untouched.
959 @node Using variables
960 @unnumberedsubsubsec Using variables
962 @cindex variables, use of
964 If sections of the music are defined in variables they can be
965 reused in different parts of the score, see @rlearning{Organizing
966 pieces with variables}. For example, an @notation{a cappella}
967 vocal score frequently includes a piano reduction of the parts
968 for rehearsal purposes which is identical to the vocal music, so
969 the music need be entered only once. Music from two variables
970 may be combined on one staff, see @ref{Automatic part combining}.
973 @lilypond[verbatim,quote]
974 sopranoMusic = \relative c'' { a4 b c b8( a)}
975 altoMusic = \relative g' { e4 e e f }
976 tenorMusic = \relative c' { c4 b e d8( c) }
977 bassMusic = \relative c' { a4 gis a d, }
978 allLyrics = \lyricmode {King of glo -- ry }
980 \new Staff = "Soprano" \sopranoMusic
981 \new Lyrics \allLyrics
982 \new Staff = "Alto" \altoMusic
983 \new Lyrics \allLyrics
984 \new Staff = "Tenor" {
988 \new Lyrics \allLyrics
989 \new Staff = "Bass" {
993 \new Lyrics \allLyrics
996 \set Staff.printPartCombineTexts = ##f
1002 \set Staff.printPartCombineTexts = ##f
1012 Separate scores showing just the vocal parts or just the piano
1013 part can be produced by changing just the structural statements,
1014 leaving the musical notation unchanged.
1016 For lengthy scores, the variable definitions may be placed in
1017 separate files which are then included, see @ref{Including
1021 @unnumberedsubsubsec Using tags
1024 @funindex \keepWithTag
1025 @funindex \removeWithTag
1027 @cindex keep tagged music
1028 @cindex remove tagged music
1030 The @code{\tag #'@var{partA}} command marks a music expression
1031 with the name @var{partA}.
1032 Expressions tagged in this way can be selected or filtered out by
1033 name later, using either @code{\keepWithTag #'@var{name}} or
1034 @code{\removeWithTag #'@var{name}}. The result of applying these filters
1035 to tagged music is as follows:
1036 @multitable @columnfractions .5 .5
1040 Tagged music preceded by @code{\keepWithTag #'@var{name}}
1041 @tab Untagged music and music tagged with @var{name} is included;
1042 music tagged with any other tag name is excluded.
1044 Tagged music preceded by @code{\removeWithTag #'@var{name}}
1045 @tab Untagged music and music tagged with any tag name other than
1046 @var{name} is included; music tagged with @var{name} is
1049 Tagged music not preceded by either @code{\keepWithTag} or
1050 @code{\removeWithTag}
1051 @tab All tagged and untagged music is included.
1054 The arguments of the @code{\tag}, @code{\keepWithTag} and
1055 @code{\removeWithTag} commands should be a symbol
1056 (such as @code{#'score} or @code{#'part}), followed
1057 by a music expression.
1059 In the following example, we see two versions of a piece of music,
1060 one showing trills with the usual notation, and one with trills
1061 explicitly expanded:
1063 @lilypond[verbatim,quote]
1064 music = \relative g' {
1066 \tag #'trills {d8.\trill }
1067 \tag #'expand {\repeat unfold 3 {e32 d} }
1072 \keepWithTag #'trills \music
1075 \keepWithTag #'expand \music
1080 Alternatively, it is sometimes easier to exclude sections of music:
1082 @lilypond[verbatim,quote]
1083 music = \relative g' {
1085 \tag #'trills {d8.\trill }
1086 \tag #'expand {\repeat unfold 3 {e32 d} }
1091 \removeWithTag #'expand
1095 \removeWithTag #'trills
1100 Tagged filtering can be applied to articulations, texts, etc. by
1104 -\tag #'@var{your-tag}
1107 to an articulation. For example, this would define a note with a
1108 conditional fingering indication and a note with a conditional
1113 c1-\tag #'warn ^"Watch!"
1116 Multiple tags may be placed on expressions with multiple
1117 @code{\tag} entries:
1119 @lilypond[quote,verbatim]
1120 music = \relative c'' {
1121 \tag #'a \tag #'both { a a a a }
1122 \tag #'b \tag #'both { b b b b }
1125 \keepWithTag #'a \music
1126 \keepWithTag #'b \music
1127 \keepWithTag #'both \music
1131 Multiple @code{\removeWithTag} filters may be applied to a single
1132 music expression to remove several differently named tagged sections:
1134 @lilypond[verbatim,quote]
1135 music = \relative c'' {
1136 \tag #'A { a a a a }
1137 \tag #'B { b b b b }
1138 \tag #'C { c c c c }
1139 \tag #'D { d d d d }
1148 Two or more @code{\keepWithTag} filters applied to a single music
1149 expression will cause @emph{all} tagged sections to be removed, as
1150 the first filter will remove all tagged sections except the one
1151 named, and the second filter will remove even that tagged section.
1156 @rlearning{Organizing pieces with variables}.
1159 @ref{Automatic part combining},
1160 @ref{Including LilyPond files}.
1164 @c This warning is more general than this placement implies.
1165 @c Rests are not merged whether or not they come from tagged sections.
1166 @c Should be deleted? -td
1170 Multiple rests are not merged if you create a score with more
1171 than one tagged section at the same place.
1176 @subsection Text encoding
1180 @cindex non-ASCII characters
1182 LilyPond uses the character repertoire defined by the Unicode
1183 consortium and ISO/IEC 10646. This defines a unique name and
1184 code point for the character sets used in virtually all modern
1185 languages and many others too. Unicode can be implemented using
1186 several different encodings. LilyPond uses the UTF-8 encoding
1187 (UTF stands for Unicode Transformation Format) which represents
1188 all common Latin characters in one byte, and represents other
1189 characters using a variable length format of up to four bytes.
1191 The actual appearance of the characters is determined by the
1192 glyphs defined in the particular fonts available - a font defines
1193 the mapping of a subset of the Unicode code points to glyphs.
1194 LilyPond uses the Pango library to layout and render multi-lingual
1197 LilyPond does not perform any input-encoding conversions. This
1198 means that any text, be it title, lyric text, or musical
1199 instruction containing non-ASCII characters, must be encoded in
1200 UTF-8. The easiest way to enter such text is by using a
1201 Unicode-aware editor and saving the file with UTF-8 encoding. Most
1202 popular modern editors have UTF-8 support, for example, vim, Emacs,
1203 jEdit, and GEdit do. All MS Windows systems later than NT use
1204 Unicode as their native character encoding, so even Notepad can
1205 edit and save a file in UTF-8 format. A more functional
1206 alternative for Windows is BabelPad.
1208 If a LilyPond input file containing a non-ASCII character is not
1209 saved in UTF-8 format the error message
1212 FT_Get_Glyph_Name () error: invalid argument
1217 Here is an example showing Cyrillic, Hebrew and Portuguese
1221 %c No verbatim here as the code does not display correctly in PDF
1223 bulgarian = \lyricmode {
1224 Жълтата дюля беше щастлива, че пухът, който цъфна, замръзна като гьон.
1228 hebrew = \lyricmode {
1229 זה כיף סתם לשמוע איך תנצח קרפד עץ טוב בגן.
1233 portuguese = \lyricmode {
1234 à vo -- cê uma can -- ção legal
1240 \addlyrics { \bulgarian }
1241 \addlyrics { \hebrew }
1242 \addlyrics { \portuguese }
1245 To enter a single character for which the Unicode code point is
1246 known but which is not available in the editor being used, use
1247 either @code{\char ##xhhhh} or @code{\char #dddd} within a
1248 @code{\markup} block, where @code{hhhh} is the hexadecimal code for
1249 the character required and @code{dddd} is the corresponding decimal
1250 value. Leading zeroes may be omitted, but it is usual to specify
1251 all four characters in the hexadecimal representation. (Note that
1252 the UTF-8 encoding of the code point should @emph{not} be used
1253 after @code{\char}, as UTF-8 encodings contain extra bits indicating
1254 the number of octets.) Unicode code charts and a character name
1255 index giving the code point in hexadecimal for any character can be
1256 found on the Unicode Consortium website,
1257 @uref{http://www.unicode.org/}.
1259 For example, @code{\char ##x03BE} and @code{\char #958} would both
1260 enter the Unicode U+03BE character, which has the Unicode name
1261 @qq{Greek Small Letter Xi}.
1263 Any Unicode code point may be entered in this way and if all special
1264 characters are entered in this format it is not necessary to save
1265 the input file in UTF-8 format. Of course, a font containing all
1266 such encoded characters must be installed and available to LilyPond.
1268 The following example shows Unicode hexadecimal values being entered
1269 in four places -- in a rehearsal mark, as articulation text, in
1270 lyrics and as stand-alone text below the score:
1272 @lilypond[quote,verbatim]
1275 c1 \mark \markup { \char ##x03EE }
1276 c1_\markup { \tiny { \char ##x03B1 " to " \char ##x03C9 } }
1278 \addlyrics { O \markup { \concat{ Ph \char ##x0153 be! } } }
1280 \markup { "Copyright 2008--2009" \char ##x00A9 }
1283 @cindex copyright sign
1285 To enter the copyright sign in the copyright notice use:
1289 copyright = \markup @{ \char ##x00A9 "2008" @}
1293 @node Displaying LilyPond notation
1294 @subsection Displaying LilyPond notation
1296 @funindex \displayLilyMusic
1297 Displaying a music expression in LilyPond notation can be
1298 done using the music function @code{\displayLilyMusic}. For example,
1302 \displayLilyMusic \transpose c a, @{ c e g a bes @}
1309 @{ a, cis e fis g @}
1312 By default, LilyPond will print these messages to the console along
1313 with all the other messages. To split up these messages and save
1314 the results of @code{\display@{STUFF@}}, redirect the output to
1317 @c TODO What happens under Windows?
1320 lilypond file.ly >display.txt
1325 @node Controlling output
1326 @section Controlling output
1329 * Extracting fragments of music::
1330 * Skipping corrected music::
1331 * Alternative output formats::
1334 @node Extracting fragments of music
1335 @subsection Extracting fragments of music
1337 It is possible to quote small fragments of a large score directly from
1338 the output. This can be compared to clipping a piece of a paper score
1341 This is done by defining the measures that need to be cut out
1342 separately. For example, including the following definition
1350 (make-rhythmic-location 5 1 2)
1351 (make-rhythmic-location 7 3 4)))
1356 will extract a fragment starting halfway the fifth measure, ending in
1357 the seventh measure. The meaning of @code{5 1 2} is: after a 1/2 note
1358 in measure 5, and @code{7 3 4} after 3 quarter notes in measure 7.
1360 More clip regions can be defined by adding more pairs of
1361 rhythmic-locations to the list.
1363 In order to use this feature, LilyPond must be invoked with
1364 @code{-dclip-systems}. The clips are output as EPS files, and are
1365 converted to PDF and PNG if these formats are switched on as well.
1367 For more information on output formats, see @rprogram{Invoking lilypond}.
1369 @node Skipping corrected music
1370 @subsection Skipping corrected music
1373 @funindex skipTypesetting
1374 @funindex showFirstLength
1375 @funindex showLastLength
1377 When entering or copying music, usually only the music near the end (where
1379 are adding notes) is interesting to view and correct. To speed up
1380 this correction process, it is possible to skip typesetting of all but
1381 the last few measures. This is achieved by putting
1384 showLastLength = R1*5
1389 in your source file. This will render only the last 5 measures
1390 (assuming 4/4 time signature) of every @code{\score} in the input
1391 file. For longer pieces, rendering only a small part is often an order
1392 of magnitude quicker than rendering it completely. When working on the
1393 beginning of a score you have already typeset (e.g. to add a new part),
1394 the @code{showFirstLength} property may be useful as well.
1396 Skipping parts of a score can be controlled in a more fine-grained
1397 fashion with the property @code{Score.skipTypesetting}. When it is
1398 set, no typesetting is performed at all.
1400 This property is also used to control output to the MIDI file. Note that
1401 it skips all events, including tempo and instrument changes. You have
1404 @lilypond[quote,fragment,ragged-right,verbatim]
1407 \set Score.skipTypesetting = ##t
1409 \set Score.skipTypesetting = ##f
1413 In polyphonic music, @code{Score.skipTypesetting} will affect all
1414 voices and staves, saving even more time.
1416 @node Alternative output formats
1417 @subsection Alternative output formats
1419 @cindex scalable vector graphics output
1421 @cindex encapsulated postscript output
1424 The default output formats for the printed score are Portable
1425 Document Format (PDF) and PostScript (PS). Scalable Vector
1426 Graphics (SVG), Encapsulated PostScript (EPS) and Portable
1427 Network Graphics (PNG) output formats are also available through
1428 command line options, see @rprogram{Command line options for
1433 @section MIDI output
1438 MIDI (Musical Instrument Digital Interface) is a standard for
1439 connecting and controlling digital instruments. A MIDI file is a
1440 series of notes in a number of tracks. It is not an actual
1441 sound file; you need special software to translate between the
1442 series of notes and actual sounds.
1444 Pieces of music can be converted to MIDI files, so you can listen to
1445 what was entered. This is convenient for checking the music; octaves
1446 that are off or accidentals that were mistyped stand out very much
1447 when listening to the MIDI output.
1450 The midi output allocates a channel for each staff, and one for global
1451 settings. Therefore the midi file should not have more than 15 staves
1452 (or 14 if you do not use drums). Other staves will remain silent.
1455 * Creating MIDI files::
1457 * What goes into the MIDI output?::
1459 * Controlling MIDI dynamics::
1460 * Percussion in MIDI::
1463 @node Creating MIDI files
1464 @subsection Creating MIDI files
1466 To create a MIDI output file from a LilyPond input file, add a
1467 @code{\midi} block to a score, for example,
1476 If there is a @code{\midi} block in a @code{\score} with no
1477 @code{\layout} block, only MIDI output will be produced. When
1478 notation is needed too, a @code{\layout} block must be also be
1489 Pitches, rhythms, ties, dynamics, and tempo changes are interpreted
1490 and translated correctly to the MIDI output. Dynamic marks,
1491 crescendi and decrescendi translate into MIDI volume levels.
1492 Dynamic marks translate to a fixed fraction of the available MIDI
1493 volume range. Crescendi and decrescendi make the volume vary
1494 linearly between their two extremes. The effect of dynamic markings
1495 on the MIDI output can be removed completely, see @ref{MIDI block}.
1497 The initial tempo and later tempo changes can be specified
1498 with the @code{\tempo} command within the music notation. These
1499 are reflected in tempo changes in the MIDI output. This command
1500 will normally result in the metronome mark being printed, but this
1501 can be suppressed, see @ref{Metronome marks}. An alternative way
1502 of specifying the inital or overall MIDI tempo is described below,
1503 see @ref{MIDI block}.
1505 Due to some limitations on Windows, the default extension for
1506 MIDI files on Windows is @code{.mid}. Other operating systems still
1507 use the extension @code{.midi}. If a different extension is preferred,
1508 insert the following line at the top-level of the input file,
1509 before the start of any @code{\book}, @code{\bookpart} or @code{\score} blocks:
1512 #(ly:set-option 'midi-extension "midi")
1515 The line above will set the default extension for MIDI files to
1518 Alternatively, this option can also be supplied on the command line:
1521 lilypond … -dmidi-extension=midi lilyFile.ly
1525 @unnumberedsubsubsec Instrument names
1527 @cindex instrument names
1528 @funindex Staff.midiInstrument
1530 The MIDI instrument to be used is specified by setting the
1531 @code{Staff.midiInstrument} property to the instrument name.
1532 The name should be chosen from the list in @ref{MIDI instruments}.
1536 \set Staff.midiInstrument = #"glockenspiel"
1542 \new Staff \with @{midiInstrument = #"cello"@} @{
1547 If the selected instrument does not exactly match an instrument from
1548 the list of MIDI instruments, the Grand Piano (@code{"acoustic grand"})
1554 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1555 {changing-midi-output-to-one-channel-per-voice.ly}
1559 @c In 2.11 the following no longer seems to be a problem -td
1561 Unterminated (de)crescendos will not render properly in the midi file,
1562 resulting in silent passages of music. The workaround is to explicitly
1563 terminate the (de)crescendo. For example,
1570 will not work properly but
1580 Changes in the MIDI volume take place only on starting a note, so
1581 crescendi and decrescendi cannot affect the volume of a
1584 Not all midi players correctly handle tempo changes in the midi
1585 output. Players that are known to work include MS Windows Media
1586 Player and @uref{http://@/timidity@/.sourceforge@/.net/,timidity}.
1589 @subsection MIDI block
1592 A @code{\midi} block must appear within a score block if MIDI output
1593 is required. It is analogous to the layout block, but somewhat
1594 simpler. Often, the @code{\midi} block is left empty, but it
1595 can contain context rearrangements, new context definitions or code
1596 to set the values of properties. For example, the following will
1597 set the initial tempo exported to a MIDI file without causing a tempo
1598 indication to be printed:
1606 tempoWholesPerMinute = #(ly:make-moment 72 4)
1612 In this example the tempo is set to 72 quarter note
1613 beats per minute. This kind of tempo specification cannot take
1614 a dotted note length as an argument. If one is required, break
1615 the dotted note into smaller units. For example, a tempo of 90
1616 dotted quarter notes per minute can be specified as 270 eighth
1620 tempoWholesPerMinute = #(ly:make-moment 270 8)
1623 @cindex MIDI context definitions
1625 Context definitions follow precisely the same syntax as those
1626 within a @code{\layout} block. Translation modules for sound are
1627 called performers. The contexts for MIDI output are defined in
1628 @file{../ly/@/performer@/-init@/.ly},
1629 see @rlearning{Other sources of information}.
1630 For example, to remove the effect of dynamics
1631 from the MIDI output, insert the following lines in the
1632 @code{\midi@{ @}} block.
1639 \remove "Dynamic_performer"
1644 MIDI output is created only when a @code{\midi} block is included
1645 within a score block defined with a @code{\score} command. If it
1646 is placed within an explicitly instantiated score context (i.e.
1647 within a @code{\new Score} block) the file will fail. To solve
1648 this, enclose the @code{\new Score} and the @code{\midi} commands
1649 in a @code{\score} block.
1653 \new Score @{ @dots{}notes@dots{} @}
1658 @node What goes into the MIDI output?
1659 @subsection What goes into the MIDI output?
1661 @c TODO Check grace notes - timing is suspect?
1663 @unnumberedsubsubsec Supported in MIDI
1665 @cindex Pitches in MIDI
1666 @cindex MIDI, Pitches
1667 @cindex Quarter tones in MIDI
1668 @cindex MIDI, quarter tones
1669 @cindex Microtones in MIDI
1670 @cindex MIDI, microtones
1671 @cindex Chord names in MIDI
1672 @cindex MIDI, chord names
1673 @cindex Rhythms in MIDI
1674 @cindex MIDI, Rhythms
1677 The following items of notation are reflected in the MIDI output:
1681 @item Microtones (See @ref{Accidentals}. Rendering needs a
1682 player that supports pitch bend.)
1683 @item Chords entered as chord names
1684 @item Rhythms entered as note durations, including tuplets
1685 @item Tremolos entered without @q{@code{:}[@var{number}]}
1688 @item Crescendi, decrescendi over multiple notes
1689 @item Tempo changes entered with a tempo marking
1693 @unnumberedsubsubsec Unsupported in MIDI
1695 @c TODO index as above
1697 The following items of notation have no effect on the MIDI output:
1700 @item Rhythms entered as annotations, e.g. swing
1701 @item Tempo changes entered as annotations with no tempo marking
1702 @item Staccato and other articulations and ornamentations
1703 @item Slurs and Phrasing slurs
1704 @item Crescendi, decrescendi over a single note
1705 @item Tremolos entered with @q{@code{:}[@var{number}]}
1707 @item Microtonal chords
1711 @node Repeats in MIDI
1712 @subsection Repeats in MIDI
1714 @cindex repeats in MIDI
1715 @funindex \unfoldRepeats
1717 With a few minor additions, all types of repeats can be represented
1718 in the MIDI output. This is achieved by applying the
1719 @code{\unfoldRepeats} music function. This function changes all
1720 repeats to unfold repeats.
1722 @lilypond[quote,verbatim]
1724 \repeat tremolo 8 {c'32 e' }
1725 \repeat percent 2 { c''8 d'' }
1726 \repeat volta 2 {c'4 d' e' f'}
1735 When creating a score file using @code{\unfoldRepeats} for MIDI,
1736 it is necessary to make two @code{\score} blocks: one for MIDI
1737 (with unfolded repeats) and one for notation (with volta, tremolo,
1738 and percent repeats). For example,
1746 \unfoldRepeats @var{..music..}
1751 @node Controlling MIDI dynamics
1752 @subsection Controlling MIDI dynamics
1754 MIDI dynamics are implemented by the Dynamic_performer which lives
1755 by default in the Voice context. It is possible to control the
1756 overall MIDI volume, the relative volume of dynamic markings and
1757 the relative volume of different instruments.
1759 @unnumberedsubsubsec Dynamic marks
1761 Dynamic marks are translated to a fixed fraction of the available
1762 MIDI volume range. The default fractions range from 0.25 for
1763 @notation{ppppp} to 0.95 for @notation{fffff}. The set of dynamic
1764 marks and the associated fractions can be seen in
1765 @file{../scm/midi.scm}, see @rlearning{Other sources of information}.
1766 This set of fractions may be changed or extended by providing a
1767 function which takes a dynamic mark as its argument and returns the
1768 required fraction, and setting
1769 @code{Score.dynamicAbsoluteVolumeFunction} to this function.
1771 For example, if a @notation{rinforzando} dynamic marking,
1772 @code{\rfz}, is required, this will not by default
1773 have any effect on the MIDI volume, as this dynamic marking is not
1774 included in the default set. Similarly, if a new dynamic marking
1775 has been defined with @code{make-dynamic-script} that too will not
1776 be included in the default set. The following example shows how the
1777 MIDI volume for such dynamic markings might be added. The Scheme
1778 function sets the fraction to 0.9 if a dynamic mark of rfz is
1779 found, or calls the default function otherwise.
1781 @lilypond[verbatim,quote]
1782 #(define (myDynamics dynamic)
1783 (if (equal? dynamic "rfz")
1785 (default-dynamic-absolute-volume dynamic)))
1789 \set Staff.midiInstrument = #"cello"
1790 \set Score.dynamicAbsoluteVolumeFunction = #myDynamics
1802 Alternatively, if the whole table of fractions needs to be
1803 redefined, it would be better to use the
1804 @notation{default-dynamic-absolute-volume} procedure in
1805 @file{../scm/midi.scm} and the associated table as a model.
1806 The final example in this section shows how this might be done.
1808 @unnumberedsubsubsec Overall MIDI volume
1810 The minimum and maximum overall volume of MIDI dynamic markings is
1811 controlled by setting the properties @code{midiMinimumVolume} and
1812 @code{midiMaximumVolume} at the @code{Score} level. These
1813 properties have an effect only on dynamic marks, so if they
1814 are to apply from the start of the score a dynamic mark must be
1815 placed there. The fraction corresponding to each dynamic mark is
1816 modified with this formula
1819 midiMinimumVolume + (midiMaximumVolume - midiMinimumVolume) * fraction
1822 In the following example the dynamic range of the overall MIDI
1823 volume is limited to the range 0.2 - 0.5.
1825 @lilypond[verbatim,quote]
1831 \set Staff.midiInstrument = #"flute"
1832 \new Voice \relative c''' {
1840 \set Staff.midiInstrument = #"clarinet"
1841 \new Voice \relative c'' {
1852 tempoWholesPerMinute = #(ly:make-moment 72 2)
1853 midiMinimumVolume = #0.2
1854 midiMaximumVolume = #0.5
1860 @unnumberedsubsubsec Equalizing different instruments (i)
1862 If the minimum and maximum MIDI volume properties are set in
1863 the @code{Staff} context the relative volumes of the MIDI
1864 instruments can be controlled. This gives a basic instrument
1865 equalizer, which can enhance the quality of the MIDI output
1868 In this example the volume of the clarinet is reduced relative
1869 to the volume of the flute. There must be a dynamic
1870 mark on the first note of each instrument for this to work
1873 @lilypond[verbatim,quote]
1879 \set Staff.midiInstrument = #"flute"
1880 \set Staff.midiMinimumVolume = #0.7
1881 \set Staff.midiMaximumVolume = #0.9
1882 \new Voice \relative c''' {
1890 \set Staff.midiInstrument = #"clarinet"
1891 \set Staff.midiMinimumVolume = #0.3
1892 \set Staff.midiMaximumVolume = #0.6
1893 \new Voice \relative c'' {
1904 tempoWholesPerMinute = #(ly:make-moment 72 2)
1910 @unnumberedsubsubsec Equalizing different instruments (ii)
1912 If the MIDI minimum and maximum volume properties are not set
1913 LilyPond will, by default, apply a small degree of equalization
1914 to a few instruments. The instruments and the equalization
1915 applied are shown in the table @notation{instrument-equalizer-alist}
1916 in @file{../scm/midi.scm}.
1918 This basic default equalizer can be replaced by setting
1919 @code{instrumentEqualizer} in the @code{Score} context to a new
1920 Scheme procedure which accepts a MIDI instrument name as its only
1921 argument and returns a pair of fractions giving the minimum and
1922 maximum volumes to be applied to that instrument. This replacement
1923 is done in the same way as shown for resetting the
1924 @code{dynamicAbsoluteVolumeFunction} at the start of this section.
1925 The default equalizer, @notation{default-instrument-equalizer}, in
1926 @file{../scm/midi.scm} shows how such a procedure might be written.
1928 The following example sets the relative flute and clarinet volumes
1929 to the same values as the previous example.
1931 @lilypond[verbatim,quote]
1932 #(define my-instrument-equalizer-alist '())
1934 #(set! my-instrument-equalizer-alist
1937 ("flute" . (0.7 . 0.9))
1938 ("clarinet" . (0.3 . 0.6)))
1939 my-instrument-equalizer-alist))
1941 #(define (my-instrument-equalizer s)
1942 (let ((entry (assoc s my-instrument-equalizer-alist)))
1951 \set Score.instrumentEqualizer = #my-instrument-equalizer
1952 \set Staff.midiInstrument = #"flute"
1953 \new Voice \relative c''' {
1961 \set Staff.midiInstrument = #"clarinet"
1962 \new Voice \relative c'' {
1973 tempoWholesPerMinute = #(ly:make-moment 72 2)
1980 @c Delete when satisfied this is adequately covered elsewhere -td
1982 @n ode Microtones in MIDI
1983 @s ubsection Microtones in MIDI
1985 @cindex microtones in MIDI
1987 Microtones consisting of half sharps and half flats are exported
1988 to the MIDI file and render correctly in MIDI players which support
1989 pitch bending. See @ref{Note names in other languages}. Here is
1990 an example showing all the half sharps and half flats. It can be
1991 copied out and compiled to test microtones in your MIDI player.
1993 @lilypond[verbatim,quote]
2010 @node Percussion in MIDI
2011 @subsection Percussion in MIDI
2013 Percussion instruments are generally notated in a @code{DrumStaff}
2014 context and when notated in this way they are outputted correctly
2015 to MIDI channel@tie{}10, but some pitched percussion instruments,
2016 like the xylophone, marimba, vibraphone, timpani, etc., are
2017 treated like @qq{normal} instruments and music for these instruments
2018 should be entered in a normal @code{Staff} context, not a
2019 @code{DrumStaff} context, to obtain the correct MIDI output.
2021 Some non-pitched percussion sounds included in the general MIDI
2022 standard, like melodic tom, taiko drum, synth drum, etc., cannot
2023 be reached via MIDI channel@tie{}10, so the notation for such
2024 instruments should also be entered in a normal @code{Staff}
2025 context, using suitable normal pitches.
2027 Many percussion instruments are not included in the general MIDI
2028 standard, e.g. castanets. The easiest, although unsatisfactory,
2029 method of producing some MIDI output when writing for such
2030 instruments is to substitute the nearest sound from the standard
2033 @c TODO Expand with examples, and any other issues
2037 Because the general MIDI standard does not contain rim shots, the
2038 sidestick is used for this purpose instead.