1 @c -*- coding: utf-8; mode: texinfo; -*-
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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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.
510 @rlearning{How LilyPond input files work}.
513 @node Titles and headers
514 @section Titles and headers
516 Almost all printed music includes a title and the composer's name;
517 some pieces include a lot more information.
520 * Creating titles headers and footers::
521 * Custom headers footers and titles::
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}.
713 @node Default layout of headers and footers
714 @unnumberedsubsubsec Default layout of headers and footers
716 @emph{Headers} and @emph{footers} are lines of text appearing at
717 the top and bottom of pages, separate from the main text of a book.
718 They are controlled by the following @code{\paper} variables:
721 @item @code{oddHeaderMarkup}
722 @item @code{evenHeaderMarkup}
723 @item @code{oddFooterMarkup}
724 @item @code{evenFooterMarkup}
727 These markup variables can only access text fields from top-level
728 @code{\header} blocks (which apply to all scores in the book) and are
729 defined in @file{ly/titling-init.ly}. By default:
734 page numbers are automatically placed on the top far left (if even) or
735 top far right (if odd), starting from the second page.
738 the @code{instrument} text field is placed in the center of every
739 page, starting from the second page.
742 the @code{copyright} text is centered on the bottom of the first page.
745 the @code{tagline} is centered on the bottom of the last page, and below
746 the @code{copyright} text if there is only a single page.
750 @lilypond[papersize=a8landscape]
760 The default tagline can be changed by adding a @code{tagline} in the
761 top-level @code{\header} block.
763 @lilypond[papersize=a8landscape,verbatim]
766 tagline = "... music notation for Everyone"
776 To remove the @code{tagline} set the value to @code{##f}.
779 @node Custom headers footers and titles
780 @subsection Custom headers footers and titles
782 @c TODO: somewhere put a link to header spacing info
783 @c (you'll have to explain it more in NR 4).
786 * Custom text formatting for title blocks::
787 * Custom layout for title blocks::
788 * Custom layout for headers and footers::
792 @node Custom text formatting for title blocks
793 @unnumberedsubsubsec Custom text formatting for title blocks
795 Standard @code{\markup} commands can be used to customize any header,
796 footer and title text within the @code{\header} block.
798 @lilypond[quote,verbatim,noragged-right]
802 piece = \markup { \fontsize #4 \bold "PRAELUDIUM I" }
803 subtitle = \markup { \italic "(Excerpt)" }
810 @ref{Formatting text}.
813 @node Custom layout for title blocks
814 @unnumberedsubsubsec Custom layout for title blocks
816 @code{\markup} commands in the @code{\header} block are useful for
817 simple text formatting, but they do not allow precise control over the
818 placement of titles. To customize the placement of the text fields,
819 use either or both of the following @code{\paper} variables:
822 @item @code{bookTitleMarkup}
823 @item @code{scoreTitleMarkup}
826 These markup variables are discussed in
827 @ref{Default layout of book and score title blocks}.
829 The default settings for @code{scoreTitleMarkup} as defined in
830 @file{ly/titling-init.ly} are:
833 scoreTitleMarkup = \markup @{ \column @{
834 \on-the-fly #print-all-headers @{ \bookTitleMarkup \hspace #1 @}
836 \fromproperty #'header:piece
837 \fromproperty #'header:opus
843 This places the @code{piece} and @code{opus} text fields at opposite
844 ends of the same line:
846 @lilypond[quote,verbatim,noragged-right]
850 piece = "PRAELUDIUM I"
856 This example redefines @code{scoreTitleMarkup} so that the @code{piece}
857 text field is centered and in a large, bold font.
859 @lilypond[papersize=a5,quote,verbatim,noragged-right]
863 scoreTitleMarkup = \markup {
866 \fontsize #4 \bold \fromproperty #'header:piece
867 \fromproperty #'header:opus
871 \header { tagline = ##f }
875 piece = "PRAELUDIUM I"
882 Text fields normally reserved for the main title block can be included
883 in individual score title blocks with the @code{print-all-headers}
884 placed inside the @code{\paper} block. A disadvantage of using this
885 method is that the text fields that are intended specifically for the
886 top-level @code{\header} block need to be manually suppressed in every
887 @code{\score} block. See @ref{Title blocks explained}.
889 To avoid this, add the desired text field to the @code{scoreTitleMarkup}
890 definition. In the following example, the @code{composer} text field
891 (normally associated with @code{bookTitleMarkup}) is added to
892 @code{scoreTitleMarkup}, allowing each score to list a different
895 @lilypond[papersize=a5,quote,verbatim,noragged-right]
899 scoreTitleMarkup = \markup {
902 \fontsize #4 \bold \fromproperty #'header:piece
903 \fromproperty #'header:composer
907 \header { tagline = ##f }
912 composer = "Christian Petzold"
919 composer = "François Couperin"
925 It is also possible to create your own custom text fields, and refer to
926 them in the markup definition.
928 @lilypond[papersize=a5,quote,verbatim,noragged-right]
932 scoreTitleMarkup = \markup {
935 \override #`(direction . ,UP) {
937 \center-align \fontsize #-1 \bold
938 \fromproperty #'header:mycustomtext %% User-defined field
939 \center-align \fontsize #4 \bold
940 \fromproperty #'header:piece
943 \fromproperty #'header:opus
947 \header { tagline = ##f }
952 mycustomtext = "A 4 VOCI" %% User-defined field
961 @ref{Title blocks explained}.
964 @node Custom layout for headers and footers
965 @unnumberedsubsubsec Custom layout for headers and footers
967 @c can make-header and make-footer be removed from
968 @c paper-defaults-init.ly? -mp
970 @code{\markup} commands in the @code{\header} block are useful for
971 simple text formatting, but they do not allow precise control over the
972 placement of headers and footers. To customize the placement of
973 the text fields, use either or both of the following @code{\paper}
977 @item @code{oddHeaderMarkup}
978 @item @code{evenHeaderMarkup}
979 @item @code{oddFooterMarkup}
980 @item @code{evenFooterMarkup}
983 The following example centers page numbers at the bottom of every
984 page. First, the default settings for @code{oddHeaderMarkup} and
985 @code{evenHeaderMarkup} are removed by defining each as a @emph{null}
986 markup. Then, @code{oddFooterMarkup} is redefined with the page
987 number centered. Finally, @code{evenFooterMarkup} is given the
988 same layout by defining it as @code{\oddFooterMarkup}:
990 @lilypond[papersize=a8,quote,verbatim,noragged-right]
993 print-page-number = ##t
994 print-first-page-number = ##t
995 oddHeaderMarkup = \markup \null
996 evenHeaderMarkup = \markup \null
997 oddFooterMarkup = \markup {
999 \on-the-fly #print-page-number-check-first
1000 \fromproperty #'page:page-number-string
1003 evenFooterMarkup = \oddFooterMarkup
1006 \new Staff { s1 \break s1 \break s1 }
1013 @ref{Title blocks explained},
1014 @ref{Default layout of book and score title blocks}.
1017 @node Reference to page numbers
1018 @subsection Reference to page numbers
1020 A particular place of a score can be marked using the @code{\label}
1021 command, either at top-level or inside music. This label can then be
1022 referred to in a markup, to get the number of the page where the marked
1023 point is placed, using the @code{\page-ref} markup command.
1026 \header { tagline = ##f }
1032 \pageBreak \mark A \label #'markA
1036 \markup { The first score begins on page \page-ref #'firstScore "0" "?" }
1037 \markup { Mark A is on page \page-ref #'markA "0" "?" }
1041 The @code{\page-ref} markup command takes three arguments:
1043 @item the label, a scheme symbol, eg. @code{#'firstScore};
1044 @item a markup that will be used as a gauge to estimate the dimensions
1046 @item a markup that will be used in place of the page number if the label
1050 The reason why a gauge is needed is that, at the time markups are
1051 interpreted, the page breaking has not yet occurred, so the page numbers
1052 are not yet known. To work around this issue, the actual markup
1053 interpretation is delayed to a later time; however, the dimensions of
1054 the markup have to be known before, so a gauge is used to decide these
1055 dimensions. If the book has between 10 and 99 pages, it may be "00",
1056 ie. a two digit number.
1067 @node Table of contents
1068 @subsection Table of contents
1069 A table of contents is included using the @code{\markuplines \table-of-contents}
1070 command. The elements which should appear in the table of contents are
1071 entered with the @code{\tocItem} command, which may be used either at
1072 top-level, or inside a music expression.
1075 \markuplines \table-of-contents
1078 \tocItem \markup "First score"
1082 \tocItem \markup "Some particular point in the first score"
1087 \tocItem \markup "Second score"
1095 The markups which are used to format the table of contents are defined
1096 in the @code{\paper} block. The default ones are @code{tocTitleMarkup},
1097 for formatting the title of the table, and @code{tocItemMarkup}, for
1098 formatting the toc elements, composed of the element title and page
1099 number. These variables may be changed by the user:
1103 %% Translate the toc title into French:
1104 tocTitleMarkup = \markup \huge \column {
1105 \fill-line { \null "Table des matières" \null }
1108 %% use larger font size
1109 tocItemMarkup = \markup \large \fill-line {
1110 \fromproperty #'toc:text \fromproperty #'toc:page
1115 Note how the toc element text and page number are referred to in
1116 the @code{tocItemMarkup} definition.
1118 New commands and markups may also be defined to build more elaborated
1121 @item first, define a new markup variable in the @code{\paper} block
1122 @item then, define a music function which aims at adding a toc element
1123 using this markup paper variable.
1126 In the following example, a new style is defined for entering act names
1127 in the table of contents of an opera:
1131 tocActMarkup = \markup \large \column {
1133 \fill-line { \null \italic \fromproperty #'toc:text \null }
1139 #(define-music-function (parser location text) (markup?)
1140 (add-toc-item! 'tocActMarkup text))
1143 @lilypond[line-width=11.0\cm]
1144 \header { tagline = ##f }
1146 tocActMarkup = \markup \large \column {
1148 \fill-line { \null \italic \fromproperty #'toc:text \null }
1154 #(define-music-function (parser location text) (markup?)
1155 (add-toc-item! 'tocActMarkup text))
1158 \markuplines \table-of-contents
1159 \tocAct \markup { Atto Primo }
1160 \tocItem \markup { Coro. Viva il nostro Alcide }
1161 \tocItem \markup { Cesare. Presti omai l'Egizzia terra }
1162 \tocAct \markup { Atto Secondo }
1163 \tocItem \markup { Sinfonia }
1164 \tocItem \markup { Cleopatra. V'adoro, pupille, saette d'Amore }
1169 Dots can be added to fill the line between an item and its page number:
1171 @lilypond[verbatim,quote]
1172 \header { tagline = ##f }
1174 tocItemMarkup = \tocItemWithDotsMarkup
1178 \markuplines \table-of-contents
1179 \tocItem \markup { Allegro }
1180 \tocItem \markup { Largo }
1187 Init files: @file{../ly/toc-init.ly}.
1191 @funindex \table-of-contents
1192 @code{\table-of-contents},
1198 @node Working with input files
1199 @section Working with input files
1202 * Including LilyPond files::
1203 * Different editions from one source::
1204 * Special characters::
1208 @node Including LilyPond files
1209 @subsection Including LilyPond files
1212 @cindex including files
1214 A large project may be split up into separate files. To refer to
1218 \include "otherfile.ly"
1221 The line @code{\include "otherfile.ly"} is equivalent to pasting the
1222 contents of @file{otherfile.ly} into the current file at the place
1223 where the @code{\include} appears. For example, in a large
1224 project you might write separate files for each instrument part
1225 and create a @qq{full score} file which brings together the
1226 individual instrument files. Normally the included file will
1227 define a number of variables which then become available
1228 for use in the full score file. Tagged sections can be
1229 marked in included files to assist in making them usable in
1230 different places in a score, see @ref{Different editions from
1233 Files in the current working directory may be referenced by
1234 specifying just the file name after the @code{\include} command.
1235 Files in other locations may be included by giving either a full
1236 path reference or a relative path reference (but use the UNIX
1237 forward slash, /, rather than the DOS/Windows back slash, \, as the
1238 directory separator.) For example, if @file{stuff.ly} is located
1239 one directory higher than the current working directory, use
1242 \include "../stuff.ly"
1246 or if the included orchestral parts files are all located in a
1247 subdirectory called @file{parts} within the current directory, use
1250 \include "parts/VI.ly"
1251 \include "parts/VII.ly"
1255 Files which are to be included can also contain @code{\include}
1256 statements of their own. By default, these second-level
1257 @code{\include} statements are not interpreted until they have
1258 been brought into the main file, so the file names they specify
1259 must all be relative to the directory containing the main file,
1260 not the directory containing the included file. However,
1261 this behavior can be changed by passing the option
1262 @option{-drelative-includes} option at the command line
1263 (or by adding @code{#(ly:set-option 'relative-includes #t)}
1264 at the top of the main input file). With @code{relative-includes}
1265 set, the path for each @code{\include} command will be taken
1266 relative to the file containing that command. This behavior is
1267 recommended and it will become the default behavior in a future
1268 version of lilypond.
1270 Files can also be included from a directory in a search path
1271 specified as an option when invoking LilyPond from the command
1272 line. The included files are then specified using just their
1273 file name. For example, to compile @file{main.ly} which includes
1274 files located in a subdirectory called @file{parts} by this method,
1275 cd to the directory containing @file{main.ly} and enter
1278 lilypond --include=parts main.ly
1281 and in main.ly write
1289 Files which are to be included in many scores may be placed in
1290 the LilyPond directory @file{../ly}. (The location of this
1291 directory is installation-dependent - see
1292 @rlearning{Other sources of information}). These files can then
1293 be included simply by naming them on an @code{\include} statement.
1294 This is how the language-dependent files like @file{english.ly} are
1297 LilyPond includes a number of files by default when you start
1298 the program. These includes are not apparent to the user, but the
1299 files may be identified by running @code{lilypond --verbose} from
1300 the command line. This will display a list of paths and files that
1301 LilyPond uses, along with much other information. Alternatively,
1302 the more important of these files are discussed in
1303 @rlearning{Other sources of information}. These files may be
1304 edited, but changes to them will be lost on installing a new
1305 version of LilyPond.
1307 Some simple examples of using @code{\include} are shown in
1308 @rlearning{Scores and parts}.
1312 @rlearning{Other sources of information},
1313 @rlearning{Scores and parts}.
1316 If an included file is given a name which is the same as one in
1317 LilyPond's installation files, LilyPond's file from the
1318 installation files takes precedence.
1321 @node Different editions from one source
1322 @subsection Different editions from one source
1324 Several methods can be used to generate different versions of a score
1325 from the same music source. Variables are perhaps the most useful for
1326 combining lengthy sections of music and/or annotation. Tags are more
1327 useful for selecting one section from several alternative shorter
1328 sections of music, and can also be used for splicing pieces of music
1329 together at different points.
1331 Whichever method is used, separating the notation from the structure of
1332 the score will make it easier to change the structure while leaving the
1338 * Using global settings::
1341 @node Using variables
1342 @unnumberedsubsubsec Using variables
1344 @cindex variables, use of
1346 If sections of the music are defined in variables they can be
1347 reused in different parts of the score, see @rlearning{Organizing
1348 pieces with variables}. For example, an @notation{a cappella}
1349 vocal score frequently includes a piano reduction of the parts
1350 for rehearsal purposes which is identical to the vocal music, so
1351 the music need be entered only once. Music from two variables
1352 may be combined on one staff, see @ref{Automatic part combining}.
1355 @lilypond[verbatim,quote]
1356 sopranoMusic = \relative c'' { a4 b c b8( a) }
1357 altoMusic = \relative g' { e4 e e f }
1358 tenorMusic = \relative c' { c4 b e d8( c) }
1359 bassMusic = \relative c' { a4 gis a d, }
1360 allLyrics = \lyricmode {King of glo -- ry }
1362 \new Staff = "Soprano" \sopranoMusic
1363 \new Lyrics \allLyrics
1364 \new Staff = "Alto" \altoMusic
1365 \new Lyrics \allLyrics
1366 \new Staff = "Tenor" {
1370 \new Lyrics \allLyrics
1371 \new Staff = "Bass" {
1375 \new Lyrics \allLyrics
1378 \set Staff.printPartCombineTexts = ##f
1384 \set Staff.printPartCombineTexts = ##f
1394 Separate scores showing just the vocal parts or just the piano
1395 part can be produced by changing just the structural statements,
1396 leaving the musical notation unchanged.
1398 For lengthy scores, the variable definitions may be placed in
1399 separate files which are then included, see @ref{Including
1403 @unnumberedsubsubsec Using tags
1406 @funindex \keepWithTag
1407 @funindex \removeWithTag
1408 @funindex \pushToTag
1409 @funindex \appendToTag
1411 @cindex keep tagged music
1412 @cindex remove tagged music
1413 @cindex splice into tagged music
1415 The @code{\tag #'@var{partA}} command marks a music expression
1416 with the name @var{partA}.
1417 Expressions tagged in this way can be selected or filtered out by
1418 name later, using either @code{\keepWithTag #'@var{name}} or
1419 @code{\removeWithTag #'@var{name}}. The result of applying these filters
1420 to tagged music is as follows:
1421 @multitable @columnfractions .5 .5
1425 Tagged music preceded by @code{\keepWithTag #'@var{name}}
1426 @tab Untagged music and music tagged with @var{name} is included;
1427 music tagged with any other tag name is excluded.
1429 Tagged music preceded by @code{\removeWithTag #'@var{name}}
1430 @tab Untagged music and music tagged with any tag name other than
1431 @var{name} is included; music tagged with @var{name} is
1434 Tagged music not preceded by either @code{\keepWithTag} or
1435 @code{\removeWithTag}
1436 @tab All tagged and untagged music is included.
1439 The arguments of the @code{\tag}, @code{\keepWithTag} and
1440 @code{\removeWithTag} commands should be a symbol
1441 (such as @code{#'score} or @code{#'part}), followed
1442 by a music expression.
1444 In the following example, we see two versions of a piece of music,
1445 one showing trills with the usual notation, and one with trills
1446 explicitly expanded:
1448 @lilypond[verbatim,quote]
1449 music = \relative g' {
1451 \tag #'trills { d8.\trill }
1452 \tag #'expand { \repeat unfold 3 { e32 d } }
1457 \keepWithTag #'trills \music
1460 \keepWithTag #'expand \music
1465 Alternatively, it is sometimes easier to exclude sections of music:
1467 @lilypond[verbatim,quote]
1468 music = \relative g' {
1470 \tag #'trills { d8.\trill }
1471 \tag #'expand {\repeat unfold 3 { e32 d } }
1476 \removeWithTag #'expand
1480 \removeWithTag #'trills
1485 Tagged filtering can be applied to articulations, texts, etc. by
1489 -\tag #'@var{your-tag}
1492 to an articulation. For example, this would define a note with a
1493 conditional fingering indication and a note with a conditional
1498 c1-\tag #'warn ^"Watch!"
1501 Multiple tags may be placed on expressions with multiple
1502 @code{\tag} entries:
1504 @lilypond[quote,verbatim]
1505 music = \relative c'' {
1506 \tag #'a \tag #'both { a4 a a a }
1507 \tag #'b \tag #'both { b4 b b b }
1510 \keepWithTag #'a \music
1511 \keepWithTag #'b \music
1512 \keepWithTag #'both \music
1516 Multiple @code{\removeWithTag} filters may be applied to a single
1517 music expression to remove several differently named tagged sections:
1519 @lilypond[verbatim,quote]
1520 music = \relative c'' {
1521 \tag #'A { a4 a a a }
1522 \tag #'B { b4 b b b }
1523 \tag #'C { c4 c c c }
1524 \tag #'D { d4 d d d }
1533 Two or more @code{\keepWithTag} filters applied to a single music
1534 expression will cause @emph{all} tagged sections to be removed, as
1535 the first filter will remove all tagged sections except the one
1536 named, and the second filter will remove even that tagged section.
1538 Sometimes you want to splice some music at a particular place in an
1539 existing music expression. You can use @code{\pushToTag} and
1540 @code{\appendToTag} for adding material at the front or end of the
1541 @code{elements} of an existing music construct. Not every music
1542 construct has @code{elements}, but sequential and simultaneous music are
1545 @lilypond[verbatim,quote]
1546 test = { \tag #'here { \tag #'here <<c''>> } }
1549 \pushToTag #'here c'
1550 \pushToTag #'here e'
1551 \pushToTag #'here g' \test
1552 \appendToTag #'here c'
1553 \appendToTag #'here e'
1554 \appendToTag #'here g' \test
1558 Both commands get a tag, the material to splice in at every occurence of
1559 the tag, and the tagged expression. The commands make sure to
1560 copy everything that they change so that the original @code{\test}
1561 retains its meaning.
1565 @rlearning{Organizing pieces with variables}.
1568 @ref{Automatic part combining},
1569 @ref{Including LilyPond files}.
1573 @c This warning is more general than this placement implies.
1574 @c Rests are not merged whether or not they come from tagged sections.
1575 @c Should be deleted? -td
1579 Multiple rests are not merged if you create a score with more
1580 than one tagged section at the same place.
1584 @node Using global settings
1585 @unnumberedsubsubsec Using global settings
1587 @cindex include-settings
1589 Global settings can be included from a separate file:
1592 lilypond -dinclude-settings=MY_SETTINGS.ly MY_SCORE.ly
1595 Groups of settings such as page size, font or type face can be stored
1596 in separate files. This allows different editions from the same score
1597 as well as standard settings to be applied to many scores, simply by
1598 specifying the proper settings file.
1600 This technique also works well with the use of style sheets, as
1601 discussed in @rlearning{Style sheets}.
1605 @rlearning{Organizing pieces with variables},
1606 @rlearning{Style sheets}.
1609 @ref{Including LilyPond files}.
1611 @node Special characters
1612 @subsection Special characters
1614 @cindex special characters
1615 @cindex non-ASCII characters
1625 @unnumberedsubsubsec Text encoding
1629 LilyPond uses the character repertoire defined by the Unicode
1630 consortium and ISO/IEC 10646. This defines a unique name and
1631 code point for the character sets used in virtually all modern
1632 languages and many others too. Unicode can be implemented using
1633 several different encodings. LilyPond uses the UTF-8 encoding
1634 (UTF stands for Unicode Transformation Format) which represents
1635 all common Latin characters in one byte, and represents other
1636 characters using a variable length format of up to four bytes.
1638 The actual appearance of the characters is determined by the
1639 glyphs defined in the particular fonts available - a font defines
1640 the mapping of a subset of the Unicode code points to glyphs.
1641 LilyPond uses the Pango library to layout and render multi-lingual
1644 LilyPond does not perform any input-encoding conversions. This
1645 means that any text, be it title, lyric text, or musical
1646 instruction containing non-ASCII characters, must be encoded in
1647 UTF-8. The easiest way to enter such text is by using a
1648 Unicode-aware editor and saving the file with UTF-8 encoding. Most
1649 popular modern editors have UTF-8 support, for example, vim, Emacs,
1650 jEdit, and GEdit do. All MS Windows systems later than NT use
1651 Unicode as their native character encoding, so even Notepad can
1652 edit and save a file in UTF-8 format. A more functional
1653 alternative for Windows is BabelPad.
1655 If a LilyPond input file containing a non-ASCII character is not
1656 saved in UTF-8 format the error message
1659 FT_Get_Glyph_Name () error: invalid argument
1664 Here is an example showing Cyrillic, Hebrew and Portuguese
1668 %c No verbatim here as the code does not display correctly in PDF
1670 bulgarian = \lyricmode {
1671 Жълтата дюля беше щастлива, че пухът, който цъфна, замръзна като гьон.
1675 hebrew = \lyricmode {
1676 זה כיף סתם לשמוע איך תנצח קרפד עץ טוב בגן.
1680 portuguese = \lyricmode {
1681 à vo -- cê uma can -- ção legal
1687 \addlyrics { \bulgarian }
1688 \addlyrics { \hebrew }
1689 \addlyrics { \portuguese }
1694 @unnumberedsubsubsec Unicode
1698 To enter a single character for which the Unicode code point is
1699 known but which is not available in the editor being used, use
1700 either @code{\char ##xhhhh} or @code{\char #dddd} within a
1701 @code{\markup} block, where @code{hhhh} is the hexadecimal code for
1702 the character required and @code{dddd} is the corresponding decimal
1703 value. Leading zeroes may be omitted, but it is usual to specify
1704 all four characters in the hexadecimal representation. (Note that
1705 the UTF-8 encoding of the code point should @emph{not} be used
1706 after @code{\char}, as UTF-8 encodings contain extra bits indicating
1707 the number of octets.) Unicode code charts and a character name
1708 index giving the code point in hexadecimal for any character can be
1709 found on the Unicode Consortium website,
1710 @uref{http://www.unicode.org/}.
1712 For example, @code{\char ##x03BE} and @code{\char #958} would both
1713 enter the Unicode U+03BE character, which has the Unicode name
1714 @qq{Greek Small Letter Xi}.
1716 Any Unicode code point may be entered in this way and if all special
1717 characters are entered in this format it is not necessary to save
1718 the input file in UTF-8 format. Of course, a font containing all
1719 such encoded characters must be installed and available to LilyPond.
1721 The following example shows Unicode hexadecimal values being entered
1722 in four places -- in a rehearsal mark, as articulation text, in
1723 lyrics and as stand-alone text below the score:
1725 @lilypond[quote,verbatim]
1728 c1 \mark \markup { \char ##x03EE }
1729 c1_\markup { \tiny { \char ##x03B1 " to " \char ##x03C9 } }
1731 \addlyrics { O \markup { \concat { Ph \char ##x0153 be! } } }
1733 \markup { "Copyright 2008--2011" \char ##x00A9 }
1736 @cindex copyright sign
1738 To enter the copyright sign in the copyright notice use:
1742 copyright = \markup @{ \char ##x00A9 "2008" @}
1748 @unnumberedsubsubsec ASCII aliases
1750 A list of ASCII aliases for special characters can be included:
1752 @lilypond[quote,verbatim]
1754 #(include-special-characters)
1757 \markup "&flqq; – &OE;uvre incomplète… &frqq;"
1760 \new Staff { \repeat unfold 9 a'4 }
1762 This is al -- so wor -- kin'~in ly -- rics: –_&OE;…
1767 "The replacement can be disabled:"
1768 "– &OE; …"
1769 \override #'(replacement-alist . ()) "– &OE; …"
1773 You can also make your own aliases, either globally:
1775 @lilypond[quote,verbatim]
1777 #(add-text-replacements!
1778 '(("100" . "hundred")
1779 ("dpi" . "dots per inch")))
1781 \markup "A 100 dpi."
1786 @lilypond[quote,verbatim]
1787 \markup \replace #'(("100" . "hundred")
1788 ("dpi" . "dots per inch")) "A 100 dpi."
1793 @ref{List of special characters}.
1796 @file{ly/text-replacements.ly}.
1800 @node Controlling output
1801 @section Controlling output
1804 * Extracting fragments of music::
1805 * Skipping corrected music::
1806 * Alternative output formats::
1807 * Replacing the notation font::
1810 @node Extracting fragments of music
1811 @subsection Extracting fragments of music
1813 It is possible to quote small fragments of a large score directly from
1814 the output. This can be compared to clipping a piece of a paper score
1817 This is done by defining the measures that need to be cut out
1818 separately. For example, including the following definition
1826 (make-rhythmic-location 5 1 2)
1827 (make-rhythmic-location 7 3 4)))
1832 will extract a fragment starting halfway the fifth measure, ending in
1833 the seventh measure. The meaning of @code{5 1 2} is: after a 1/2 note
1834 in measure 5, and @code{7 3 4} after 3 quarter notes in measure 7.
1836 More clip regions can be defined by adding more pairs of
1837 rhythmic-locations to the list.
1839 In order to use this feature, LilyPond must be invoked with
1840 @option{-dclip-systems}. The clips are output as EPS files, and are
1841 converted to PDF and PNG if these formats are switched on as well.
1843 For more information on output formats, see @rprogram{Invoking lilypond}.
1845 @node Skipping corrected music
1846 @subsection Skipping corrected music
1849 @funindex skipTypesetting
1850 @funindex showFirstLength
1851 @funindex showLastLength
1853 When entering or copying music, usually only the music near the end (where
1855 are adding notes) is interesting to view and correct. To speed up
1856 this correction process, it is possible to skip typesetting of all but
1857 the last few measures. This is achieved by putting
1860 showLastLength = R1*5
1865 in your source file. This will render only the last 5 measures
1866 (assuming 4/4 time signature) of every @code{\score} in the input
1867 file. For longer pieces, rendering only a small part is often an order
1868 of magnitude quicker than rendering it completely. When working on the
1869 beginning of a score you have already typeset (e.g. to add a new part),
1870 the @code{showFirstLength} property may be useful as well.
1872 Skipping parts of a score can be controlled in a more fine-grained
1873 fashion with the property @code{Score.skipTypesetting}. When it is
1874 set, no typesetting is performed at all.
1876 This property is also used to control output to the MIDI file. Note that
1877 it skips all events, including tempo and instrument changes. You have
1880 @lilypond[quote,relative=2,ragged-right,verbatim]
1882 \set Score.skipTypesetting = ##t
1884 \set Score.skipTypesetting = ##f
1888 In polyphonic music, @code{Score.skipTypesetting} will affect all
1889 voices and staves, saving even more time.
1891 @node Alternative output formats
1892 @subsection Alternative output formats
1894 @cindex scalable vector graphics output
1896 @cindex encapsulated postscript output
1899 The default output formats for the printed score are Portable
1900 Document Format (PDF) and PostScript (PS). Scalable Vector
1901 Graphics (SVG), Encapsulated PostScript (EPS) and Portable
1902 Network Graphics (PNG) output formats are also available through
1903 command line options, see @rprogram{Command line options for
1907 @node Replacing the notation font
1908 @subsection Replacing the notation font
1910 Gonville is an alternative to the Feta font used in LilyPond and can
1913 @uref{http://www.chiark.greenend.org.uk/~sgtatham/gonville/ ,http://www.chiark.greenend.org.uk/~sgtatham/gonville/}
1916 Here are a few sample bars of music set in Gonville:
1918 @c NOTE: these images are a bit big, but that's important
1919 @c for the font comparison. -gp
1920 @sourceimage{Gonville_after,,,}
1922 Here are a few sample bars of music set in LilyPond's Feta font:
1924 @sourceimage{Gonville_before,,,}
1926 @subsubheading Installation Instructions for MacOS
1928 Download and extract the zip file. Copy the @code{lilyfonts}
1929 directory to @file{@var{SHARE_DIR}/lilypond/current}; for more
1930 information, see @rlearning{Other sources of information}. Rename the
1931 existing @code{fonts} directory to @code{fonts_orig} and the
1932 @code{lilyfonts} directory to @code{fonts}. To revert back to Feta,
1933 reverse the process.
1936 Learning Manual: @rlearning{Other sources of information}.
1939 Gonville cannot be used to typeset @q{Ancient Music} notation and it is
1940 likely newer glyphs in later releases of LilyPond may not exist in the
1941 Gonville font family. Please refer to the author's website for more
1942 information on these and other specifics, including licensing of
1947 @section MIDI output
1952 MIDI (Musical Instrument Digital Interface) is a standard for
1953 connecting and controlling digital instruments. A MIDI file is a
1954 series of notes in a number of tracks. It is not an actual
1955 sound file; you need special software to translate between the
1956 series of notes and actual sounds.
1958 Pieces of music can be converted to MIDI files, so you can listen to
1959 what was entered. This is convenient for checking the music; octaves
1960 that are off or accidentals that were mistyped stand out very much
1961 when listening to the MIDI output.
1963 Standard MIDI oputput is somewhat crude; optionally, an enhanced and
1964 more realistic MIDI output is available by means of
1965 @ref{The Articulate script}.
1967 The MIDI output allocates a channel for each staff, and reserves channel
1968 10 for drums. There are only 16 MIDI channels per device, so if the
1969 score contains more than 15 staves, MIDI channels will be reused.
1972 * Creating MIDI files::
1974 * What goes into the MIDI output?::
1976 * Controlling MIDI dynamics::
1977 * Percussion in MIDI::
1978 * The Articulate script::
1981 @node Creating MIDI files
1982 @subsection Creating MIDI files
1984 To create a MIDI output file from a LilyPond input file, add a
1985 @code{\midi} block to a score, for example,
1994 If there is a @code{\midi} block in a @code{\score} with no
1995 @code{\layout} block, only MIDI output will be produced. When
1996 notation is needed too, a @code{\layout} block must also be
2007 Pitches, rhythms, ties, dynamics, and tempo changes are interpreted
2008 and translated correctly to the MIDI output. Dynamic marks,
2009 crescendi and decrescendi translate into MIDI volume levels.
2010 Dynamic marks translate to a fixed fraction of the available MIDI
2011 volume range. Crescendi and decrescendi make the volume vary
2012 linearly between their two extremes. The effect of dynamic markings
2013 on the MIDI output can be removed completely, see @ref{MIDI block}.
2015 The initial tempo and later tempo changes can be specified
2016 with the @code{\tempo} command within the music notation. These
2017 are reflected in tempo changes in the MIDI output. This command
2018 will normally result in the metronome mark being printed, but this
2019 can be suppressed, see @ref{Metronome marks}. An alternative way
2020 of specifying the initial or overall MIDI tempo is described below,
2021 see @ref{MIDI block}.
2023 Due to some limitations on Windows, the default extension for
2024 MIDI files on Windows is @code{.mid}. Other operating systems still
2025 use the extension @code{.midi}. If a different extension is preferred,
2026 insert the following line at the top-level of the input file,
2027 before the start of any @code{\book}, @code{\bookpart} or @code{\score} blocks:
2030 #(ly:set-option 'midi-extension "midi")
2033 The line above will set the default extension for MIDI files to
2036 Alternatively, this option can also be supplied on the command line:
2039 lilypond … -dmidi-extension=midi lilyFile.ly
2043 @unnumberedsubsubsec Instrument names
2045 @cindex instrument names
2046 @funindex Staff.midiInstrument
2048 The MIDI instrument to be used is specified by setting the
2049 @code{Staff.midiInstrument} property to the instrument name.
2050 The name should be chosen from the list in @ref{MIDI instruments}.
2054 \set Staff.midiInstrument = #"glockenspiel"
2060 \new Staff \with @{midiInstrument = #"cello"@} @{
2065 If the selected instrument does not exactly match an instrument from
2066 the list of MIDI instruments, the Grand Piano (@code{"acoustic grand"})
2072 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2073 {changing-midi-output-to-one-channel-per-voice.ly}
2077 @c In 2.11 the following no longer seems to be a problem -td
2079 Unterminated (de)crescendos will not render properly in the midi file,
2080 resulting in silent passages of music. The workaround is to explicitly
2081 terminate the (de)crescendo. For example,
2088 will not work properly but
2091 @{ a4\< b c d\!\f @}
2098 Changes in the MIDI volume take place only on starting a note, so
2099 crescendi and decrescendi cannot affect the volume of a
2102 Not all midi players correctly handle tempo changes in the midi
2103 output. Players that are known to work include MS Windows Media
2104 Player and @uref{http://@/timidity@/.sourceforge@/.net/,timidity}.
2107 @subsection MIDI block
2110 A @code{\midi} block must appear within a score block if MIDI output
2111 is required. It is analogous to the layout block, but somewhat
2112 simpler. Often, the @code{\midi} block is left empty, but it
2113 can contain context rearrangements, new context definitions or code
2114 to set the values of properties. For example, the following will
2115 set the initial tempo exported to a MIDI file without causing a tempo
2116 indication to be printed:
2124 tempoWholesPerMinute = #(ly:make-moment 72 4)
2130 In this example the tempo is set to 72 quarter note
2131 beats per minute. This kind of tempo specification cannot take
2132 a dotted note length as an argument. If one is required, break
2133 the dotted note into smaller units. For example, a tempo of 90
2134 dotted quarter notes per minute can be specified as 270 eighth
2138 tempoWholesPerMinute = #(ly:make-moment 270 8)
2141 @cindex MIDI context definitions
2143 Context definitions follow precisely the same syntax as those
2144 within a @code{\layout} block. Translation modules for sound are
2145 called performers. The contexts for MIDI output are defined in
2146 @file{../ly/performer-init.ly},
2147 see @rlearning{Other sources of information}.
2148 For example, to remove the effect of dynamics
2149 from the MIDI output, insert the following lines in the
2150 @code{\midi@{ @}} block.
2157 \remove "Dynamic_performer"
2162 MIDI output is created only when a @code{\midi} block is included
2163 within a score block defined with a @code{\score} command.
2167 @{ @dots{}notes@dots{} @}
2172 @node What goes into the MIDI output?
2173 @subsection What goes into the MIDI output?
2175 @c TODO Check grace notes - timing is suspect?
2177 @unnumberedsubsubsec Supported in MIDI
2179 @cindex Pitches in MIDI
2180 @cindex MIDI, Pitches
2181 @cindex Quarter tones in MIDI
2182 @cindex MIDI, quarter tones
2183 @cindex Microtones in MIDI
2184 @cindex MIDI, microtones
2185 @cindex Chord names in MIDI
2186 @cindex MIDI, chord names
2187 @cindex Rhythms in MIDI
2188 @cindex MIDI, Rhythms
2189 @cindex Articlulate scripts
2190 @cindex MIDI, articulations
2191 @cindex articulations in MIDI
2192 @cindex trills in MIDI
2193 @cindex turns in MIDI
2194 @cindex rallentando in MIDI
2195 @cindex accelerando in MIDI
2198 The following items of notation are reflected in the MIDI output:
2202 @item Microtones (See @ref{Accidentals}. Rendering needs a
2203 player that supports pitch bend.)
2204 @item Chords entered as chord names
2205 @item Rhythms entered as note durations, including tuplets
2206 @item Tremolos entered without @q{@code{:}[@var{number}]}
2209 @item Crescendi, decrescendi over multiple notes
2210 @item Tempo changes entered with a tempo marking
2214 Using @ref{The Articulate script}, a number of items are added to the
2218 @item Articulations (slurs, staccato, etc)
2220 @item Rallentando and accelerando
2224 @unnumberedsubsubsec Unsupported in MIDI
2226 @c TODO index as above
2228 The following items of notation have no effect on the MIDI output,
2229 unless you use @ref{The Articulate script}:
2232 @item Rhythms entered as annotations, e.g. swing
2233 @item Tempo changes entered as annotations with no tempo marking
2234 @item Staccato and other articulations and ornamentations
2235 @item Slurs and Phrasing slurs
2236 @item Crescendi, decrescendi over a single note
2237 @item Tremolos entered with @q{@code{:}[@var{number}]}
2239 @item Microtonal chords
2243 @node Repeats in MIDI
2244 @subsection Repeats in MIDI
2246 @cindex repeats in MIDI
2247 @funindex \unfoldRepeats
2249 With a few minor additions, all types of repeats can be represented
2250 in the MIDI output. This is achieved by applying the
2251 @code{\unfoldRepeats} music function. This function changes all
2252 repeats to unfold repeats.
2254 @lilypond[quote,verbatim]
2256 \repeat tremolo 8 { c'32 e' }
2257 \repeat percent 2 { c''8 d'' }
2258 \repeat volta 2 { c'4 d' e' f' }
2267 In scores containing multiple voices, unfolding of repeats in MIDI
2268 output will only occur correctly if @emph{each} voice contains fully
2269 notated repeat indications.
2271 When creating a score file using @code{\unfoldRepeats} for MIDI,
2272 it is necessary to make two @code{\score} blocks: one for MIDI
2273 (with unfolded repeats) and one for notation (with volta, tremolo,
2274 and percent repeats). For example,
2282 \unfoldRepeats @var{..music..}
2287 @node Controlling MIDI dynamics
2288 @subsection Controlling MIDI dynamics
2290 MIDI dynamics are implemented by the Dynamic_performer which lives
2291 by default in the Voice context. It is possible to control the
2292 overall MIDI volume, the relative volume of dynamic markings and
2293 the relative volume of different instruments.
2295 @unnumberedsubsubsec Dynamic marks
2297 Dynamic marks are translated to a fixed fraction of the available
2298 MIDI volume range. The default fractions range from 0.25 for
2299 @notation{ppppp} to 0.95 for @notation{fffff}. The set of dynamic
2300 marks and the associated fractions can be seen in
2301 @file{../scm/midi.scm}, see @rlearning{Other sources of information}.
2302 This set of fractions may be changed or extended by providing a
2303 function which takes a dynamic mark as its argument and returns the
2304 required fraction, and setting
2305 @code{Score.dynamicAbsoluteVolumeFunction} to this function.
2307 For example, if a @notation{rinforzando} dynamic marking,
2308 @code{\rfz}, is required, this will not by default
2309 have any effect on the MIDI volume, as this dynamic marking is not
2310 included in the default set. Similarly, if a new dynamic marking
2311 has been defined with @code{make-dynamic-script} that too will not
2312 be included in the default set. The following example shows how the
2313 MIDI volume for such dynamic markings might be added. The Scheme
2314 function sets the fraction to 0.9 if a dynamic mark of rfz is
2315 found, or calls the default function otherwise.
2317 @lilypond[verbatim,quote]
2318 #(define (myDynamics dynamic)
2319 (if (equal? dynamic "rfz")
2321 (default-dynamic-absolute-volume dynamic)))
2325 \set Staff.midiInstrument = #"cello"
2326 \set Score.dynamicAbsoluteVolumeFunction = #myDynamics
2338 Alternatively, if the whole table of fractions needs to be
2339 redefined, it would be better to use the
2340 @notation{default-dynamic-absolute-volume} procedure in
2341 @file{../scm/midi.scm} and the associated table as a model.
2342 The final example in this section shows how this might be done.
2344 @unnumberedsubsubsec Overall MIDI volume
2346 The minimum and maximum overall volume of MIDI dynamic markings is
2347 controlled by setting the properties @code{midiMinimumVolume} and
2348 @code{midiMaximumVolume} at the @code{Score} level. These
2349 properties have an effect only on dynamic marks, so if they
2350 are to apply from the start of the score a dynamic mark must be
2351 placed there. The fraction corresponding to each dynamic mark is
2352 modified with this formula
2355 midiMinimumVolume + (midiMaximumVolume - midiMinimumVolume) * fraction
2358 In the following example the dynamic range of the overall MIDI
2359 volume is limited to the range 0.2 - 0.5.
2361 @lilypond[verbatim,quote]
2367 \set Staff.midiInstrument = #"flute"
2368 \new Voice \relative c''' {
2376 \set Staff.midiInstrument = #"clarinet"
2377 \new Voice \relative c'' {
2388 tempoWholesPerMinute = #(ly:make-moment 72 2)
2389 midiMinimumVolume = #0.2
2390 midiMaximumVolume = #0.5
2396 @unnumberedsubsubsec Equalizing different instruments (i)
2398 If the minimum and maximum MIDI volume properties are set in
2399 the @code{Staff} context the relative volumes of the MIDI
2400 instruments can be controlled. This gives a basic instrument
2401 equalizer, which can enhance the quality of the MIDI output
2404 In this example the volume of the clarinet is reduced relative
2405 to the volume of the flute. There must be a dynamic
2406 mark on the first note of each instrument for this to work
2409 @lilypond[verbatim,quote]
2415 \set Staff.midiInstrument = #"flute"
2416 \set Staff.midiMinimumVolume = #0.7
2417 \set Staff.midiMaximumVolume = #0.9
2418 \new Voice \relative c''' {
2426 \set Staff.midiInstrument = #"clarinet"
2427 \set Staff.midiMinimumVolume = #0.3
2428 \set Staff.midiMaximumVolume = #0.6
2429 \new Voice \relative c'' {
2440 tempoWholesPerMinute = #(ly:make-moment 72 2)
2446 @unnumberedsubsubsec Equalizing different instruments (ii)
2448 If the MIDI minimum and maximum volume properties are not set
2449 LilyPond will, by default, apply a small degree of equalization
2450 to a few instruments. The instruments and the equalization
2451 applied are shown in the table @notation{instrument-equalizer-alist}
2452 in @file{../scm/midi.scm}.
2454 This basic default equalizer can be replaced by setting
2455 @code{instrumentEqualizer} in the @code{Score} context to a new
2456 Scheme procedure which accepts a MIDI instrument name as its only
2457 argument and returns a pair of fractions giving the minimum and
2458 maximum volumes to be applied to that instrument. This replacement
2459 is done in the same way as shown for resetting the
2460 @code{dynamicAbsoluteVolumeFunction} at the start of this section.
2461 The default equalizer, @notation{default-instrument-equalizer}, in
2462 @file{../scm/midi.scm} shows how such a procedure might be written.
2464 The following example sets the relative flute and clarinet volumes
2465 to the same values as the previous example.
2467 @lilypond[verbatim,quote]
2468 #(define my-instrument-equalizer-alist '())
2470 #(set! my-instrument-equalizer-alist
2473 ("flute" . (0.7 . 0.9))
2474 ("clarinet" . (0.3 . 0.6)))
2475 my-instrument-equalizer-alist))
2477 #(define (my-instrument-equalizer s)
2478 (let ((entry (assoc s my-instrument-equalizer-alist)))
2487 \set Score.instrumentEqualizer = #my-instrument-equalizer
2488 \set Staff.midiInstrument = #"flute"
2489 \new Voice \relative c''' {
2497 \set Staff.midiInstrument = #"clarinet"
2498 \new Voice \relative c'' {
2509 tempoWholesPerMinute = #(ly:make-moment 72 2)
2516 @c Delete when satisfied this is adequately covered elsewhere -td
2518 @n ode Microtones in MIDI
2519 @s ubsection Microtones in MIDI
2521 @cindex microtones in MIDI
2523 Microtones consisting of half sharps and half flats are exported
2524 to the MIDI file and render correctly in MIDI players which support
2525 pitch bending. See @ref{Note names in other languages}. Here is
2526 an example showing all the half sharps and half flats. It can be
2527 copied out and compiled to test microtones in your MIDI player.
2529 @lilypond[verbatim,quote]
2546 @node Percussion in MIDI
2547 @subsection Percussion in MIDI
2549 Percussion instruments are generally notated in a @code{DrumStaff}
2550 context and when notated in this way they are outputted correctly
2551 to MIDI channel@tie{}10, but some pitched percussion instruments,
2552 like the xylophone, marimba, vibraphone, timpani, etc., are
2553 treated like @qq{normal} instruments and music for these instruments
2554 should be entered in a normal @code{Staff} context, not a
2555 @code{DrumStaff} context, to obtain the correct MIDI output.
2557 Some non-pitched percussion sounds included in the general MIDI
2558 standard, like melodic tom, taiko drum, synth drum, etc., cannot
2559 be reached via MIDI channel@tie{}10, so the notation for such
2560 instruments should also be entered in a normal @code{Staff}
2561 context, using suitable normal pitches.
2563 Many percussion instruments are not included in the general MIDI
2564 standard, e.g. castanets. The easiest, although unsatisfactory,
2565 method of producing some MIDI output when writing for such
2566 instruments is to substitute the nearest sound from the standard
2569 @c TODO Expand with examples, and any other issues
2573 Because the general MIDI standard does not contain rim shots, the
2574 sidestick is used for this purpose instead.
2576 @node The Articulate script
2577 @subsection The Articulate script
2579 A more realistic MIDI output is possible when using the Articulate
2580 script. It tries to take articulations (slurs, staccato, etc) into
2581 account, by replacing notes with sequential music of suitably
2582 time-scaled note plus skip. It also tries to unfold trills turns
2583 etc., and take rallentando and accelerando into account.
2585 To use the Articulate script, you have to include it at the top of
2589 \include "articulate.ly"
2592 and in the @code{\score} section do
2595 \unfoldRepeats \articulate <<
2596 all the rest of the score...
2600 After altering your input file this way, the visual output is heavily
2601 altered, but the standard @code{\midi} block will produce a better
2604 Although not essential for the Articulate script to work, you may want
2605 to insert the @code{\unfoldRepeats} command as it appears in the
2606 example shown above as it enables performing abbreviatures such as
2611 Articulate shortens chords and some music (esp. organ music) could
2615 @node Extracting musical information
2616 @section Extracting musical information
2618 In addition to creating graphical output and MIDI, LilyPond can
2619 display musical information as text.
2622 * Displaying LilyPond notation::
2623 * Displaying scheme music expressions::
2624 * Saving music events to a file::
2627 @node Displaying LilyPond notation
2628 @subsection Displaying LilyPond notation
2630 @funindex \displayLilyMusic
2631 Displaying a music expression in LilyPond notation can be
2632 done with the music function @code{\displayLilyMusic}. To see the
2633 output, you will typically want to call LilyPond using the command
2638 \displayLilyMusic \transpose c a, @{ c4 e g a bes @}
2645 @{ a,4 cis e fis g @}
2648 By default, LilyPond will print these messages to the console
2649 along with all the other LilyPond compilation messages. To split
2650 up these messages and save the results of @code{\display@{STUFF@}},
2651 redirect the output to a file.
2654 lilypond file.ly >display.txt
2658 Note that Lilypond does not just display the music expression, but
2659 also interprets it (since @code{\displayLilyMusic} returns it in
2660 addition to displaying it). This is convenient since you can just
2661 insert @code{\displayLilyMusic} into existing music in order to get
2662 information about it. If you don't actually want Lilypond to
2663 interpret the displayed music as well as display it, use @code{\void}
2664 in order to have it ignored:
2668 \void \displayLilyMusic \transpose c a, @{ c4 e g a bes @}
2673 @node Displaying scheme music expressions
2674 @subsection Displaying scheme music expressions
2676 See @rextend{Displaying music expressions}.
2679 @node Saving music events to a file
2680 @subsection Saving music events to a file
2682 Music events can be saved to a file on a per-staff basis by
2683 including a file in your main score.
2686 \include "event-listener.ly"
2689 This will create file(s) called @file{FILENAME-STAFFNAME.notes} or
2690 @file{FILENAME-unnamed-staff.notes} for each staff. Note that if
2691 you have multiple unnamed staves, the events for all staves will
2692 be mixed together in the same file. The output looks like this:
2695 0.000 note 57 4 p-c 2 12
2697 0.250 note 62 4 p-c 7 12
2698 0.500 note 66 8 p-c 9 12
2699 0.625 note 69 8 p-c 14 12
2704 The syntax is a tab-delimited line, with two fixed fields on each
2705 line followed by optional parameters.
2708 @var{time} @var{type} @var{...params...}
2711 This information can easily be read into other programs such as
2712 python scripts, and can be very useful for researchers wishing to
2713 perform musical analysis or playback experiments with LilyPond.
2718 Not all lilypond music events are supported by
2719 @file{event-listener.ly}. It is intended to be a well-crafted
2720 @qq{proof of concept}. If some events that you want to see are
2721 not included, copy @file{event-listener.ly} into your lilypond
2722 directory and modify the file so that it outputs the information