3 @c A menu is needed before every deeper *section nesting of @nodes
4 @c Run M-x texinfo-all-menus-update
5 @c to automagically fill in these menus
6 @c before saving changes
14 Rhythm staff (clef, x-notehead)
15 \partcombine: -> orchestral part-HOWTO.
17 postscript, scheme output?
18 (links to?) using/existance of ly2dvi, lilypond-book
22 @c .{Reference Manual}
24 @node Reference Manual
25 @chapter Reference Manual
27 This document describes GNU LilyPond and its input format. This document
28 has been revised for LilyPond 1.3.125
57 The purpose of LilyPond is explained informally by the term `music
58 typesetter'. This is not a fully correct name: not only does the
59 program print musical symbols, it also makes esthetic decisions. All
60 symbols and their placement is @emph{generated} from a high-level
61 musical description. In other words, LilyPond would be best described
62 by `music compiler' or `music to notation compiler'.
64 Internally, LilyPond is written in a mixture of Scheme and C++. Most of
65 the algorithms and low-level routines are written in C++, but these low
66 level components are glued together using Scheme data
67 structures. LilyPond is linked to GUILE, GNU's Scheme library for
70 When lilypond is run to typeset sheet music, the following happens:
73 @item GUILE Initialization: various scheme files are read
74 @item parsing: first standard .ly initialization files are read, and
75 then the user @file{.ly} file is read.
76 @item interpretation: the music in the file is processed "in playing
77 order", i.e. in the same order as your eyes scan sheet music, and in the
78 same order that you hear the notes play.
81 in this step, the results of the interpretation, a typesetting
82 specification, is solved.
84 @item the visible results ("virtual ink") is written to the output file.
87 These stages, involve data of a specific type: during parsing,
88 @strong{Music} objects are created. During the interpretation,
89 @strong{context} is constructed, and with this context af network of
90 @strong{graphical objects} (``grobs'') is created. The grobs contain
91 unknown variables, and the network forms a set of equations. After
92 solving the equations and filling in these variables, the printed output
93 (in the form of @strong{molecules}) is written to an output file.
95 These threemanship of tasks (parsing, translating, typesetting) and
96 data-structures (music, context, graphical objects) permeates the entire
97 design of the program. This manual is ordered in terms of user
98 tasks. With each concept will be explained to which of the three parts
101 LilyPond input can be classified into three types:
103 @item musical expressions: a musical expression is some combination of
105 @item output definitions: recipes for translating those musical
106 expressions into performances (MIDI) or graphics (eg. PostScript).
108 @item declarations: by declaring and naming musical expressions, you
109 can enter and edit them in manageable chunks.
114 @c . {Modifying music}
115 @node Modifying music
116 @section Modifying music
117 @cindex Modifying music
119 FIXME: more verbose titling:
123 Repeating music expressions?
133 Apply allows a Scheme-function to operate directly on the internal
134 representation of music.
136 \apply #@var{func} @var{music}
138 The function takes two arguments, being a function and an musical
139 argument for that function. The function should return a music
142 This example replaces the text string of a script. It also shows a dump
143 of the music it processes.
145 #(define (testfunc x)
146 (if (equal? (ly-get-mus-property x 'text) "foo")
147 (ly-set-mus-property x 'text "bar"))
149 (ly-set-mus-property x 'elements
150 (map testfunc (ly-get-mus-property x 'elements)))
155 \apply #testfunc { c4_"foo" }
159 For more information on what is possible, see the @ref{Tricks} and the
160 automatically generated documentation.
170 @cindex @code{\repeat}
172 In order to specify repeats, use the @code{\repeat}
173 keyword. Since repeats look and sound differently when played or
174 printed, there are a few different variants of repeats.
178 Repeated music is fully written (played) out. Useful for MIDI
182 This is the normal notation: Repeats are not written out, but
183 alternative endings (voltas) are printed, left to right.
186 Alternative endings are written stacked. Which is unfortunately not
187 practical for anything right now.
195 * Manual repeat commands::
197 * Tremolo subdivision::
201 @subsection Repeat syntax
203 The syntax for repeats is
206 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
209 If you have alternative endings, you may add
211 @cindex @code{\alternative}
213 \alternative @code{@{} @var{alternative1}
215 @var{alternative3} @dots{} @code{@}}
218 where each @var{alternative} is a Music expression.
220 Normal notation repeats are used like this:
224 @lilypond[fragment,verbatim]
226 \repeat volta 2 { c'4 d' e' f' }
227 \repeat volta 2 { f' e' d' c' }
231 With alternative endings:
235 @lilypond[fragment,verbatim]
237 \repeat volta 2 {c'4 d' e' f'}
238 \alternative { {d'2 d'} {f' f} }
242 Folded repeats look like this:@footnote{Folded repeats offer little
243 more over simultaneous music. However, it is to be expected that
244 more functionality -- especially for the MIDI backend -- will be
245 implemented at some point in the future.}
249 @lilypond[fragment,verbatim]
251 \repeat fold 2 {c'4 d' e' f'}
252 \alternative { {d'2 d'} {f' f} }
258 If you don't give enough alternatives for all of the repeats, then
259 the first alternative is assumed to be repeated often enough to equal
260 the specified number of repeats.
263 @lilypond[fragment,verbatim]
267 \repeat volta 3 { e | c2 d2 | e2 f2 | }
268 \alternative { { g4 g g } { a | a a a a | b2. } }
276 As you can see, LilyPond doesn't remember the timing information, nor
277 are slurs or ties repeated. We hope to fix this after 1.4.
279 It is possible to nest @code{\repeat}, although it probably is only
280 meaningful for nested repeats.
282 @node Manual repeat commands
283 @subsection Manual repeat commands
285 @cindex @code{repeatCommands}
287 The property @code{repeatCommands} can be used to control the layout of
288 repeats. Its value is a Scheme list of repeat commands, where each repeat
296 @item (volta . @var{text})
297 Print a volta bracket saying @var{text}.
299 Stop a running volta bracket
302 @lilypond[verbatim, fragment]
304 \property Score.repeatCommands = #'((volta "93") end-repeat)
306 \property Score.repeatCommands = #'((volta #f))
311 @node Tremolo repeats
312 @subsection Tremolo repeats
313 @cindex tremolo beams
315 To place tremolo marks between notes, use @code{\repeat} with tremolo
317 @lilypond[verbatim,center]
319 \context Voice \notes\relative c' {
320 \repeat "tremolo" 8 { c16 d16 }
321 \repeat "tremolo" 4 { c16 d16 }
322 \repeat "tremolo" 2 { c16 d16 }
323 \repeat "tremolo" 4 c16
326 linewidth = 40*\staffspace;
331 @node Tremolo subdivision
332 @subsection Tremolo subdivision
333 @cindex tremolo marks
334 @cindex @code{tremoloFlags}
336 Tremolo marks can be printed on a single note by adding
337 `@code{:}[@var{length}]' after the note. The length must be at least 8.
338 A @var{length} value of 8 gives one line across the note stem. If the
339 length is omitted, then the last value is used, or the value of the
340 @code{tremoloFlags} property if there was no last value.
342 @lilypond[verbatim,fragment,center]
346 Tremolos in this style do not carry over into the MIDI output.
348 Using this mechanism pays off when you entering many tremolos, since the
349 default argument saves a lot of typing.
360 * Defining pitch names::
369 @subsection Notes mode
373 @cindex @code{\notes}
374 Note mode is introduced by the keyword
375 @code{\notes}. In Note mode, words can only
376 contain alphabetic characters. If @code{word} is encountered,
377 LilyPond first checks for a notename of @code{word}. If no
378 notename is found, then @code{word} is treated as a string.
380 Since combinations of numbers and dots are used for indicating
381 durations, it is not possible to enter real numbers in this mode.
390 @cindex Note specification
392 @cindex entering notes
394 The verbose syntax for pitch specification is
396 @cindex @code{\pitch}
398 \pitch @var{scmpitch}
401 @var{scmpitch} is a pitch scheme object, see @ref{Pitch data type}.
403 In Note and Chord mode, pitches may be designated by names. The default
404 names are the Dutch note names. The notes are specified by the letters
405 @code{c} through @code{b}, where @code{c} is an octave below middle C
406 and the letters span the octave above that C. In Dutch,
407 @cindex note names, Dutch
408 a sharp is formed by adding @code{-is} to the end of a pitch name. A
409 flat is formed by adding @code{-es}. Double sharps and double flats are
410 obtained by adding @code{-isis} or @code{-eses}. @code{aes} and
411 @code{ees} are contracted to @code{as} and @code{es} in Dutch, but both
412 forms will be accepted.
414 LilyPond has predefined sets of notenames for various other languages.
415 To use them, simply include the language specific init file. For
416 example: @code{\include "english.ly"}. The available language files and
417 the names they define are:
420 Note Names sharp flat
421 nederlands.ly c d e f g a bes b -is -es
422 english.ly c d e f g a bf b -s/-sharp -f/-flat
423 deutsch.ly c d e f g a b h -is -es
424 norsk.ly c d e f g a b h -iss/-is -ess/-es
425 svenska.ly c d e f g a b h -iss -ess
426 italiano.ly do re mi fa sol la sib si -d -b
427 catalan.ly do re mi fa sol la sib si -d/-s -b
436 The optional octave specification takes the form of a series of
437 single quote (`@code{'}') characters or a series of comma
438 (`@code{,}') characters. Each @code{'} raises the pitch by one
439 octave; each @code{,} lowers the pitch by an octave.
441 @lilypond[fragment,verbatim,center]
442 c' d' e' f' g' a' b' c''
445 @lilypond[fragment,verbatim,center]
446 cis' dis' eis' fis' gis' ais' bis'
449 @lilypond[fragment,verbatim,center]
450 ces' des' es' fes' ges' as' bes'
453 @lilypond[fragment,verbatim,center]
454 cisis' eisis' gisis' aisis' beses'
457 @lilypond[fragment,verbatim,center]
458 ceses' eses' geses' ases' beses'
462 @c . {Defining pitch names}
463 @node Defining pitch names
464 @subsection Defining pitch names
466 @cindex defining pitch names
467 @cindex pitch names, defining
469 Note names and chord modifiers can be customised for nationalities. The
470 syntax is as follows.
472 @cindex @code{\pitchnames}
473 @cindex @code{\chordmodifiers}
475 \pitchnames @var{scheme-alist}
476 \chordmodifiers @var{scheme-alist}
479 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
480 specific examples how to do this. Some national note names have been
481 provided, among others: Norwegian, Swedish, German, Italian, Catalan,
482 French, Dutch and English.
487 @subsection Durations
491 @cindex @code{\duration}
493 The syntax for an verbose duration specification is
495 \duration @var{scmduration}
498 In Note, Chord, and Lyrics mode, durations may be designated by numbers
499 and dots: durations are entered as their reciprocal values. For notes
500 longer than a whole note, use identifiers.
506 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
508 r1 r2 r4 r8 r16 r32 r64 r64
514 \notes \relative c'' {
515 a\longa a\breve \autoBeamOff
516 a1 a2 a4 a8 a16 a32 a64 a64
518 r1 r2 r4 r8 r16 r32 r64 r64
523 \remove "Clef_engraver";
524 \remove "Staff_symbol_engraver";
525 \remove "Time_signature_engraver";
526 \consists "Pitch_squash_engraver";
533 As you can see, the longa is not printed. To get a longa note head, you
534 have to use a different style of note heads. See [TODO].
536 If the duration is omitted then it is set equal to the previous duration
537 entered. At the start of parsing there is no previous duration, so then
538 a quarter note is assumed. The duration can be followed by a dot
539 (`@code{.}') to obtain dotted note lengths.
542 @lilypond[fragment,verbatim,center]
548 You can alter the length of duration by writing `@code{*}@var{fraction}'
549 after it. This will not affect the appearance of note heads or rests.
555 A note specification has the form
558 @var{pitch}[@var{octavespec}][!][?][@var{duration}]
562 LilyPond will determine what accidentals to typeset depending on the key
563 and context, so alteration refer to what note is heard, not to whether
564 accidentals are printed. A reminder accidental
565 @cindex reminder accidental
567 can be forced by adding an exclamation mark @code{!} after the pitch.
568 A cautionary accidental,
569 @cindex cautionary accidental
571 i.e., an accidental within parentheses can be obtained by adding the
572 question mark `@code{?}' after the pitch.
574 @lilypond[fragment,verbatim,center]
575 cis' d' e' cis' c'? d' e' c'!
584 Rests are entered like notes, with note name `@code{r}'.
585 There is also a note name
586 `@code{s}', which produces a space of the specified
597 \skip @var{duration} @code{;}
601 Skips the amount of time specified by @var{duration}. If no other
602 music is played, a gap will be left for the skipped time with no
603 notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
604 this has the same effect as the spacer rest.
608 @c . {Music notation}
610 @section Music notation
611 @cindex Music notation
625 @code{\key} @var{pitch} @var{type} @code{;}
627 @cindex @code{\minor}
628 @cindex @code{\major}
629 @cindex @code{\minor}
630 @cindex @code{\ionian}
631 @cindex @code{\locrian}
632 @cindex @code{\aeolian}
633 @cindex @code{\mixolydian}
634 @cindex @code{\lydian}
635 @cindex @code{\phrygian}
636 @cindex @code{\dorian}
638 Change the key signature. @var{type} should be @code{\major} or
639 @code{\minor} to get @var{pitch}-major or @var{pitch}-minor,
640 respectively. The second argument is optional; the default is major
641 keys. The @var{\context} argument can also be given as an integer,
642 which tells the number of semitones that should be added to the pitch
643 given in the subsequent @code{\key} commands to get the corresponding
644 major key, e.g., @code{\minor} is defined as 3. The standard mode names
645 @code{\ionian}, @code{\locrian}, @code{\aeolian}, @code{\mixolydian},
646 @code{\lydian}, @code{\phrygian}, and @code{\dorian} are also defined.
650 @subsubsection Clef changes
653 \clef @var{clefname} @code{;}
659 \property Staff.clefGlyph = @var{symbol associated with clefname}
660 \property Staff.clefPosition = @var{clef Y-position for clefname}
661 \property Staff.clefOctavation = @var{extra pitch of clefname}
664 Supported clef-names include
669 @c . {Time signature}
671 @subsection Time signature
672 @cindex Time signature
677 \time @var{numerator}@code{/}@var{denominator} @code{;}
680 A short-cut for doing
682 \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
685 See the documentation of @code{timeSignatureFraction}
689 @subsubsection Partial
693 @cindex partial measure
694 @cindex measure, partial
695 @cindex shorten measures
696 @cindex @code{\partial}
698 \partial @var{duration} @code{;}
704 \property Score.measurePosition = @var{length of duration}
708 See the documentation of @code{measurePosition}.
716 [todo : collisiosn, rest-collisinos, voiceX identifiers, how to
717 which contexts to instantiate.]
721 @cindex @code{\shiftOff}
722 @item @code{\shiftOff}
723 Disable horizontal shifting of note heads that collide.
725 @cindex @code{\shiftOn}
726 @item @code{\shiftOn}
727 Enable note heads that collide with other note heads to be
728 shifted horiztonally. Also @code{\shiftOnn} and @code{\shiftOnnn}
729 set different shift values.
731 @cindex @code{\stemBoth}
732 @item @code{\stemBoth}
733 Allow stems, beams, and slurs to point either upwards or
734 downwards, decided automatically by LilyPond.
736 @cindex @code{\stemDown}
737 @item @code{\stemDown}
738 Force stems, beams, and slurs to point down.
740 @cindex @code{\stemUp}
742 Force stems, beams and slurs to point up.
766 @c . {Automatic beams}
767 @subsubsection Automatic beams
770 @cindex automatic beam generation
772 @cindex @code{Voice.noAutoBeaming}
774 LilyPond will group flagged notes and generate beams autmatically, where
777 This feature can be disabled by setting the @code{Voice.noAutoBeaming}
778 property to true, which you may find necessary for the melody that goes
779 with lyrics, eg. Automatic beaming can easily be overridden for
780 specific cases by specifying explicit beams. This is discussed in the
785 @cindex @code{Voice.autoBeamSettings}
786 @cindex @code{(end * * * *)}
787 @cindex @code{(begin * * * *)}
789 A large number of Voice properties are used to decide how to generate
790 beams. Their default values appear in @file{scm/auto-beam.scm}. In
791 general, beams can begin anywhere, but their ending location is
792 significant. Beams can end on a beat, or at durations specified by the
793 properties in @code{Voice.autoBeamSettings}. To end beams every quarter
794 note, for example, you could set the property @code{(end * * * *)} to
795 @code{(make-moment 1 4)}. To end beams at every three eighth notes you
796 would set it to @code{(make-moment 1 8)}. The same syntax can be used
797 to specify beam starting points using @code{(begin * * * *)}, eg:
800 \property Voice.autoBeamSettings \override
801 #'(end * * * *) = #(make-moment 1 4)
802 \property Voice.autoBeamSettings \override
803 #'(begin * * * *) = #(make-moment 1 8)
807 To allow different settings for different time signatures, instead of
808 the first two asterisks @code{* *} you can specify a time signature; use
809 @code{(end N M * *)} to restrict the definition to
810 `@var{N}@code{/}@var{M}' time. For example, to specify beams ending
811 only for 6/8 time you would use the property @code{(end 6 8 * *)}.
813 To allow different endings for notes of different durations, instead of
814 th last two asterisks you can specify a duration; use @code{(end * * N
815 M)} to restrict the definition to beams that contain notes of
816 `@var{N}@code{/}@var{M}' duration.
818 For example, to specify beam endings for beams that contain 32nd notes,
819 you would use @code{(end * * 1 32)}.
824 @cindex Automatic beams
825 @subsubsection Manual beams
826 @cindex beams, manual
830 In some cases it may be necessary to override LilyPond's automatic
831 beaming algorithm. For example, the auto beamer will not beam over
832 rests or bar lines, so if you want that, specify the begin and end point
833 manually using @code{[} and @code{]}:
836 @lilypond[fragment,relative,verbatim]
838 r4 [r8 g'' a r8] r8 [g | a] r8
843 @cindex @code{stemLeftBeamCount}
845 If you have specific wishes for the number of beams, you can fully
846 control the number of beams through the properties
847 y@code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}.
849 @lilypond[fragment,relative,verbatim]
852 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
856 @cindex @code{stemRightBeamCount}
859 @c . {Adjusting beams}
860 @unnumberedsubsubsec Adjusting beams
861 @cindex Adjusting beams
882 Slurs connects chords and try to avoid crossing stems. A slur is
883 started with @code{(} and stopped with @code{)}. The
884 starting @code{(} appears to the right of the first note in
885 the slur. The terminal @code{)} appears to the left of the
886 first note in the slur. This makes it possible to put a note in
887 slurs from both sides:
889 @lilypond[fragment,verbatim,center]
890 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
893 @c . {Adjusting slurs}
894 @unnumberedsubsubsec Adjusting slurs
897 @node Slur attachments
898 @subsubsection Slur attachments
900 The ending of a slur should whenever possible be attached to a note
901 head. Only in some instances where beams are involved, LilyPond may
902 attach a slur to a stem end. In some cases, you may want to override
903 LilyPond's decision, e.g., to attach the slur to the stem end. This can
904 be done through @code{Voice.Slur}'s grob-property @code{attachment}:
908 @lilypond[fragment,relative,verbatim]
909 \property Voice.Slur \set #'direction = #1
910 \property Voice.Stem \set #'length = #5.5
912 \property Voice.Slur \set #'attachment = #'(stem . stem)
917 Similarly, slurs can be attached to note heads even when beams are
921 @lilypond[fragment,relative,verbatim]
922 \property Voice.Slur \set #'direction = #1
923 \property Voice.Slur \set #'attachment = #'(head . head)
924 g''16()g()g()g()d'()d()d()d
928 If a slur would strike through a stem or beam, LilyPond will move the
929 slur away vertically (upward or downward). In some cases, this may
930 cause ugly slurs that you may want to correct:
933 @lilypond[fragment,relative,verbatim]
934 \property Voice.Stem \set #'direction = #1
935 \property Voice.Slur \set #'direction = #1
937 \property Voice.Slur \set #'attachment = #'(stem . stem)
942 LilyPond will increase the curvature of a slur trying to stay free of
943 note heads and stems. However, if the curvature would increase too much,
944 the slur will be reverted to its default shape. This decision is based
945 on @code{Voice.Slur}'s grob-property @code{beautiful} value. In some
946 cases, you may find ugly slurs beautiful, and tell LilyPond so by
947 increasing the @code{beautiful} value:
949 [hoe gedefd?? wat betekent beautiful = X?]
954 \notes \context PianoStaff <
956 \context Staff=up { s1 * 6/4 }
957 \context Staff=down <
959 \autochange Staff \context Voice
961 d,8( a' d f a d f d a f d )a
969 Slur \override #'beautiful = #5.0
970 Slur \override #'direction = #1
971 Stem \override #'direction = #-1
972 autoBeamSettings \override #'(end * * * *)
977 VerticalAlignment \override #'threshold = #'(5 . 5)
984 @cindex Adusting slurs
996 A tie connects two adjacent note heads of the same pitch. When used
997 with chords, it connects all of the note heads whose pitches match.
998 Ties are indicated using the tilde symbol `@code{~}'.
999 If you try to tie together chords which have no common pitches, a
1000 warning message will appear and no ties will be created.
1002 @lilypond[fragment,verbatim,center]
1003 e' ~ e' <c' e' g'> ~ <c' e' g'>
1011 @subsubsection Tuplets
1015 Tuplets are made out of a music expression by multiplying their duration
1018 @cindex @code{\times}
1020 \times @var{fraction} @var{musicexpr}
1023 The duration of @var{musicexpr} will be multiplied by the fraction.
1024 In print, the fraction's denominator will be printed over the notes,
1025 optionally with a bracket. The most common tuplet is the triplet in
1026 which 3 notes have the length of 2, so the notes are 2/3 of
1027 their written length:
1029 @lilypond[fragment,verbatim,center]
1030 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
1033 [todo: document tupletSpannerDuration]
1039 @subsubsection Text spanner
1040 @cindex Text spanner
1044 @subsubsection Ottava
1046 @unnumberedsubsubsec Ottava
1048 [move to trick. Not a supported feature.]
1050 @lilypond[fragment,relative,verbatim]
1052 \property Voice.TextSpanner \set #'type = #'dotted-line
1053 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1054 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1055 \property Staff.centralCPosition = #-13
1056 a\spanrequest \start "text" b c a \spanrequest \stop "text"
1061 @c . {Span requests}
1063 @subsubsection Span requests
1064 @cindex Span requests
1066 @cindex @code{\spanrequest}
1069 \spanrequest @var{startstop} @var{type}
1071 @cindex @code{\start}
1072 @cindex @code{\stop}
1074 Define a spanning request. The @var{startstop} parameter is either -1
1075 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
1076 describes what should be started. Supported types are @code{crescendo},
1077 @code{decrescendo}, @code{beam}, @code{slur}. [FIXME: many more] This
1078 is an internal command. Users should use the shorthands which are
1079 defined in the initialization file @file{spanners.ly}.
1081 You can attach a (general) span request to a note using
1083 @lilypond[fragment,verbatim,center]
1084 c'4-\spanrequest \start "slur"
1085 c'4-\spanrequest \stop "slur"
1088 The slur syntax with parentheses is a shorthand for this.
1093 @subsection Ornaments
1102 @subsubsection Articulation
1103 @cindex Articulation
1105 @cindex articulations
1109 A variety of symbols can appear above and below notes to indicate
1110 different characteristics of the performance. These symbols can be
1111 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1112 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
1113 forced to appear above or below the note by writing
1114 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
1115 respectively. Here is a chart showing symbols above notes, with the
1116 name of the corresponding symbol appearing underneath.
1122 \property Score.LyricSyllable \override #'font-family =
1124 \property Score.LyricSyllable \override #'font-shape = #'upright
1125 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1126 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1127 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1128 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1129 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1130 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1131 c''-\thumb c''-\segno c''-\coda
1133 \context Lyrics \lyrics {
1134 accent__ marcato__ staccatissimo__ fermata
1135 stopped__ staccato__ tenuto__ upbow
1136 downbow__ lheel__ rheel__ ltoe
1137 rtoe__ turn__ open__ flageolet
1138 reverseturn__ trill__ prall__ mordent
1139 prallprall__ prallmordent__ uprall__ downprall
1140 thumb__ segno__ coda
1144 linewidth = 5.875\in;
1153 @subsubsection Text scripts
1154 @cindex Text scripts
1158 In addition, it is possible to place arbitrary strings of text or
1159 @TeX{} above or below notes by using a string instead of an
1160 identifier: @code{c^"text"}. Fingerings
1161 can be placed by simply using digits. All of these note ornaments
1162 appear in the printed output but have no effect on the MIDI rendering of
1166 @unnumberedsubsubsec Fingerings
1169 To save typing, fingering instructions (digits 0 to 9 are
1170 supported) and single characters shorthands exist for a few
1175 \notes \context Voice {
1176 \property Voice.TextScript \set #'font-family = #'typewriter
1177 \property Voice.TextScript \set #'font-shape = #'upright
1183 c''4-^_"c-\\^{ }" s4
1190 linewidth = 5.875 \in;
1198 @cindex @code{\textscript}
1202 \textscript @var{text} @var{style}
1205 Defines a text to be printed over or under a note. @var{style} is a
1206 string that may be one of @code{roman}, @code{italic}, @code{typewriter},
1207 @code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.
1209 You can attach a general textscript request using this syntax:
1214 c4-\textscript "6" "finger"
1215 c4-\textscript "foo" "normal"
1220 This is equivalent to @code{c4-6 c4-"foo"}.
1222 @cindex @code{\script}
1231 Prints a symbol above or below a note. The argument is a string which
1232 points into the script-alias table defined in @file{scm/script.scm}.
1233 Usually the @code{\script} keyword is not used directly. Various
1234 helpful identifier definitions appear in @file{script.ly}.
1236 For information on how to add scripts, consult @file{scm/script.scm}.
1243 @subsection Grace notes
1252 @cindex @code{\grace}
1255 @cindex @code{graceAlignPosition}
1258 \grace @var{musicexpr}
1261 A grace note expression has duration 0; the next real note is
1262 assumed to be the main note.
1264 You cannot have the grace note after the main note, in terms of
1265 duration, and main notes, but you can typeset the grace notes to the
1266 right of the main note using the property
1267 @code{graceAlignPosition}.
1268 @cindex @code{flagStyle}
1270 When grace music is interpreted, a score-within-a-score is set up:
1271 @var{musicexpr} has its own time bookkeeping, and you could (for
1272 example) have a separate time signature within grace notes. While in
1273 this score-within-a-score, you can create notes, beams, slurs, etc.
1274 Unbeamed eighth notes and shorter by default have a slash through the
1275 stem. This behavior can be controlled with the
1276 @code{flagStyle} property.
1279 @lilypond[fragment,verbatim]
1281 \grace c8 c4 \grace { [c16 c16] } c4
1282 \grace { \property Grace.flagStyle = "" c16 } c4
1289 At present, nesting @code{\grace} notes is not supported. The following
1290 may cause run-time errors:
1292 @code{\grace @{ \grace c32 c16 @} c4}
1294 Since the meaning of such a construct is unclear, we don't consider
1295 this a loss. Similarly, juxtaposing two @code{\grace} sections is
1296 syntactically valid, but makes no sense and may cause runtime errors.
1298 Ending a staff or score with grace notes may also generate a run-time
1299 error, since there will be no main note to attach the grace notes to.
1301 The present implementation is not robust and generally kludgy. We expect
1302 it to change after LilyPond 1.4. Syntax changes might also be
1315 * Crescendo and Decrescendo::
1324 @subsubsection Glissando
1327 @cindex @code{\glissando}
1329 A glissando line can be requested by attaching a @code{\glissando} to a
1333 @lilypond[fragment,relative,verbatim]
1338 Printing of an additional text (such as @emph{gliss.}) must be done
1345 @subsubsection Dynamics
1358 @cindex @code{\ffff}
1372 Dynamic marks are specified by using an identifier after a note:
1373 @code{c4-\ff}. The available dynamic marks are:
1374 @code{\ppp}, @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f},
1375 @code{\ff}, @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf},
1376 @code{\sff}, @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1378 @c . {Crescendo and Decrescendo}
1379 @node Crescendo and Decrescendo
1380 @subsubsection Crescendo and Decrescendo
1382 @cindex Crescendo and Decrescendo
1386 @cindex @code{\decr}
1387 @cindex @code{\rced}
1394 A crescendo mark is started with @code{\cr} and terminated with
1395 @code{\rc}, the textual reverse of @code{cr}. A decrescendo mark is
1396 started with @code{\decr} and terminated with @code{\rced}. There are
1397 also shorthands for these marks. A crescendo can be started with
1398 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1399 can be terminated with @code{\!}. Note that @code{\!} must go before
1400 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1401 after the last note. Because these marks are bound to notes, if you
1402 want to get several marks during one note, you must use spacer notes.
1404 @lilypond[fragment,verbatim,center]
1405 c'' \< \! c'' d'' \decr e'' \rced
1406 < f''1 { s4 \< \! s2 \> \! s4 } >
1409 You can also use a text saying @emph{cresc.} instead of hairpins. Here
1410 is an example how to do it:
1412 @lilypond[fragment,relative,verbatim]
1414 \property Voice.crescendoText = "cresc."
1415 \property Voice.crescendoSpanner = #'dashed-line
1424 @subsubsection Bar lines
1428 @cindex measure lines
1435 This is a short-cut for doing
1437 \property Score.whichBar = @var{bartype}
1440 You are encouraged to use @code{\repeat} for repetitions. See
1441 @ref{Repeats}, and the documentation of @code{whichBar} in
1442 @ref{(lilypond-internals)LilyPond context properties}.
1449 @subsubsection Breath marks
1450 @cindex Breath marks
1456 @subsection Bar check
1460 @cindex @code{barCheckNoSynchronize}
1464 Whenever a bar check is encountered during interpretation, a warning
1465 message is issued if it doesn't fall at a measure boundary. This can
1466 help you find errors in the input. Depending on the value of
1467 @code{barCheckNoSynchronize}, the beginning of the measure will be
1468 relocated, so this can also be used to shorten measures.
1470 A bar check is entered using the bar symbol, @code{|}
1481 @section Piano music
1483 * Automatic staff changes::
1484 * Manual staff switches::
1491 @c . {Automatic staff changes}
1492 @node Automatic staff changes
1493 @subsection Automatic staff changes
1494 @cindex Automatic staff changes
1498 @node Manual staff switches
1499 @subsection Manual staff switches
1501 @cindex manual staff switches
1502 @cindex staff switch, manual
1504 @cindex @code{\translator}
1506 \translator @var{contexttype} = @var{name}
1509 A music expression indicating that the context which is a direct
1510 child of the a context of type @var{contexttype} should be shifted to
1511 a context of type @var{contexttype} and the specified name.
1513 Usually this is used to switch staffs in Piano music, e.g.
1516 \translator Staff = top @var{Music}
1530 @subsection Arpeggio
1533 @cindex broken arpeggio
1534 @cindex @code{\arpeggio}
1536 You can specify an arpeggio sign on a chord by attaching an
1537 @code{\arpeggio} to a note of the chord.
1541 @lilypond[fragment,relative,verbatim]
1542 \context Voice <c'\arpeggio e g c>
1546 When an arpeggio crosses staffs in piano music, you attach an arpeggio
1547 to the chords in both staffs, and set
1548 @code{PianoStaff.connectArpeggios}. LilyPond will connect the arpeggios
1552 @lilypond[fragment,relative,verbatim]
1553 \context PianoStaff <
1554 \property PianoStaff.connectArpeggios = ##t
1555 \context Voice = one { <c''\arpeggio e g c> }
1556 \context Voice = other { \clef bass; <c,,\arpeggio e g>}
1563 @c . {Follow Thread}
1565 @subsection Follow Thread
1566 @cindex follow thread
1567 @cindex staff switching
1570 [todo: different name, eg. voice line ? ]
1572 @cindex @code{followThread}
1574 Whenever a voice switches to another staff a line connecting the notes
1575 can be printed automatically. This is enabled if the property
1576 @code{PianoStaff.followThread} is set to true:
1579 @lilypond[fragment,relative,verbatim]
1580 \context PianoStaff <
1581 \property PianoStaff.followThread = ##t
1582 \context Staff \context Voice {
1584 \translator Staff=two
1587 \context Staff=two {\clef bass; \skip 1*2;}
1601 * Automatic syllable durations::
1606 @subsection Lyrics mode
1610 @cindex @code{\lyrics}
1612 Lyrics mode is introduced by the keyword @code{\lyrics}. This mode has
1613 rules that make it easy to include punctuation and diacritical marks in
1614 words: The purpose of Lyrics mode is that you can enter lyrics in @TeX{}
1615 format or a standard encoding without needing quotes. The precise
1616 definition of this mode is ludicrous, and this will remain so until the
1617 authors of LilyPond acquire a deeper understanding of character
1618 encoding, or someone else steps up to fix this.
1620 A word in Lyrics mode begins with: an alphabetic character, @code{_},
1621 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
1622 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
1623 any 8-bit character with ASCII code over 127, or a two-character
1624 combination of a backslash followed by one of @code{`}, @code{'},
1625 @code{"}, or @code{^}.
1627 Subsequent characters of a word can be any character that is not a digit
1628 and not white space. One important consequence of this is that a word
1629 can end with `@code{@}}', which may be confusing. However, LilyPond will
1630 issue a warning. Any @code{_} character which appears in an unquoted
1631 word is converted to a space. This provides a mechanism for introducing
1632 spaces into words without using quotes. Quoted words can also be used
1633 in Lyrics mode to specify words that cannot be written with the above
1634 rules. Here are some examples. Not all of these words are printable by
1639 2B_||_!2B % not a word because it starts with a digit
1640 ``Hello'' % not a word because it starts with `
1641 _ _ _ _ % 4 words, each one a space
1644 Since combinations of numbers and dots are used for indicating
1645 durations, you can not enter real numbers in this mode.
1647 @cindex lyrics expressions
1649 Syllables are entered like notes, with pitches replaced by text. For
1650 example, @code{Twin-4 kle4 twin-4 kle4} enters four syllables, each
1651 with quarter note duration. Note that the hyphen has no special
1652 meaning for lyrics, and does not introduce special symbols. See
1653 section @ref{Lexical modes} for a description of what is interpreted as
1656 Spaces can be introduced into a lyric either by using quotes
1657 (@code{"}) or by using an underscore without quotes: @code{He_could4
1658 not4}. All unquoted underscores are converted to spaces. Printing
1659 lyrics is discussed in the next section.
1662 @c . {Printing lyrics}
1663 @node Printing lyrics
1664 @subsection Printing lyrics
1668 Lyric syllables must be interpreted within a @code{Lyrics} context for
1669 printing them. Here is a full example:
1675 \notes \transpose c'' {
1677 e f g2 | e4 f g2 \bar "|.";
1679 \context Lyrics \lyrics {
1680 Va-4 der Ja- cob Va- der Ja- cob
1681 Slaapt gij nog?2 Slaapt4 gij nog?2
1693 @cindex lyric extender
1695 You may want a continuous line after the syllables to show melismata.
1696 To achieve this effect, add a @code{__} lyric as a separate word
1697 after the lyric to be extended. This will create an extender, a line
1698 that extends over the entire duration of the lyric. This line will
1699 run all the way to the start of the next lyric, so you may want to
1700 shorten it by using a blank lyric (using @code{_}).
1707 \notes \relative c'' {
1708 a4 () b () c () d | c () d () b () a | c () d () b () a
1710 \context Lyrics \lyrics {
1711 foo1 __ | bar2. __ _4 | baz1 __
1719 @cindex Lyric hyphen
1721 If you want to have hyphens centered between syllables (rather than
1722 attached to the end of the first syllable) you can use the special
1723 `@code{-}@code{-}' lyric as a separate word between syllables. This
1724 will result in a hyphen which length varies depending on the space
1725 between syllables, and which will be centered between the syllables.
1733 \notes \transpose c'' {
1735 e f g2 | e4 f g2 \bar "|.";
1737 \context Lyrics \lyrics {
1738 Va4 -- der Ja -- cob | Va -- der Ja -- cob |
1739 Slaapt gij nog?2 | Slaapt4 gij nog?2
1748 @c . {Automatic syllable durations}
1749 @node Automatic syllable durations
1750 @subsection Automatic syllable durations
1751 @cindex Automatic syllable durations
1754 [explain automatic phrasing]
1755 @cindex automatic lyric durations
1756 @cindex @code{\addlyrics}
1758 If you have lyrics that are set to a melody, you can import the rhythm
1759 of that melody into the lyrics using @code{\addlyrics}. The syntax for
1762 \addlyrics @var{musicexpr1 musicexpr2}
1765 This means that both @var{musicexpr1} and @var{musicexpr2} are
1766 interpreted, but that every non-command atomic music expression
1767 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1768 of @var{musicexpr1}.
1769 @cindex @code{automaticMelismata}
1771 If the property @code{automaticMelismata} is set in the
1772 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1776 @lilypond[verbatim,fragment]
1779 \property Voice.automaticMelismata = ##t
1780 c8 () cis d8. e16 f2
1782 \context Lyrics \lyrics {
1787 You should use a single rhythm melody, and single rhythm lyrics (a
1788 constant duration is the obvious choice). If you do not, you will get
1789 undesired effects when using multiple stanzas:
1792 @lilypond[verbatim,fragment]
1795 c8 () cis d8. e16 f2
1797 \context Lyrics \lyrics
1804 It is valid (but probably not very useful) to use notes instead of
1805 lyrics for @var{musicexpr2}.
1814 [chords vs. simultaneous music]
1818 * Entering named chords::
1819 * Printing named chords::
1824 @subsection Chords mode
1827 Chord mode is introduced by the keyword
1828 @code{\chords}. It is similar to Note mode, but
1829 words are also looked up in a chord modifier table (containing
1830 @code{maj}, @code{dim}, etc).
1832 Since combinations of numbers and dots are used for indicating
1833 durations, you can not enter real numbers in this mode. Dashes
1834 and carets are used to indicate chord additions and subtractions,
1835 so scripts can not be entered in Chord mode.
1837 @c . {Entering named chords}
1838 @node Entering named chords
1839 @subsection Entering named chords
1840 @cindex Chords names
1842 Chord names are a way to generate simultaneous music expressions that
1843 correspond with traditional chord names. It can only be used in
1844 Chord mode (see section @ref{Lexical modes}).
1848 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
1851 @var{tonic} should be the tonic note of the chord, and @var{duration}
1852 is the chord duration in the usual notation. There are two kinds of
1853 modifiers. One type is @emph{chord additions}, which are obtained by
1854 listing intervals separated by dots. An interval is written by its
1855 number with an optional @code{+} or @code{-} to indicate raising or
1856 lowering by half a step. Chord additions has two effects: It adds
1857 the specified interval and all lower odd numbered intervals to the
1858 chord, and it may lower or raise the specified interval. Intervals
1859 must be separated by a dot (@code{.}).
1862 Throughout these examples, chords have been shifted around the staff
1863 using @code{\transpose}.
1868 @lilypond[fragment,verbatim]
1872 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
1884 The second type of modifier that may appear after the @code{:} is a
1885 named modifier. Named modifiers are listed in the file
1886 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
1887 @code{min} which lower the 3rd half a step, `@code{aug}' which
1888 raises the 5th, `@code{dim}' which lowers the 5th,
1889 `@code{maj}' which adds a raised 7th, and `@code{sus}'
1890 which replaces the 5th with a 4th.
1894 @lilypond[fragment,verbatim]
1897 c1:m c:min7 c:maj c:aug c:dim c:sus
1905 Chord subtractions are used to eliminate notes from a chord. The
1906 notes to be subtracted are listed after a @code{^} character,
1909 @lilypond[fragment,verbatim,center]
1918 Chord inversions can be specified by appending `@code{/}' and
1919 the name of a single note to a chord. This has the effect of
1920 lowering the specified note by an octave so it becomes the lowest
1921 note in the chord. If the specified note is not in the chord, a
1922 warning will be printed.
1924 @lilypond[fragment,verbatim,center]
1934 Bass notes can be added by `@code{/+}' and
1935 the name of a single note to a chord. This has the effect of
1936 adding the specified note to the chord, lowered by an octave,
1937 so it becomes the lowest note in the chord.
1939 @lilypond[fragment,verbatim,center]
1948 The most interesting application is printing chord names, which is
1949 explained in the next subsection.
1951 You should not combine @code{\relative} with named chords. [FIXME]
1953 @c . {Printing named chords}
1954 @node Printing named chords
1955 @subsection Printing named chords
1961 @cindex printing chord names
1964 @cindex @code{ChordNames}
1965 @cindex @code{ChordNameVoice}
1967 For displaying printed chord names, use the @code{ChordNames} and
1968 @code{ChordNameVoice} contexts. The chords may be entered either using
1969 the notation described above, or directly using simultaneous music.
1974 \chords {a1 b c} <d f g> <e g b>
1978 \context ChordNamesVoice \scheme
1979 \context Staff \transpose c'' \scheme
1981 \paper { linewidth = -1.; }
1986 You can make the chord changes stand out more by setting property
1987 @code{ChordNames.chordChanges} to true. This will only display chord
1988 names when there's a change in the chords scheme, but always display the
1989 chord name after a line break:
1995 c1:m \break c:m c:m c:m d
2000 \context ChordNames \scheme
2001 \context Staff \transpose c'' \scheme
2004 linewidth = 40 * \staffspace;
2016 LilyPond examines chords specified as lists of notes to determine a
2017 name to give the chord. LilyPond will not try to
2018 identify chord inversions or added base, which may result in strange
2019 chord names when chords are entered as a list of pitches:
2022 @lilypond[verbatim,center]
2031 \context ChordNamesVoice \scheme
2032 \context Staff \scheme
2034 \paper { linewidth = -1.; }
2039 To specify chord inversions, append @code{/<notename>}. To specify an
2040 added bass note, append @code{/+<notename}:
2043 @lilypond[verbatim,center]
2050 \context ChordNames \scheme
2051 \context Staff \transpose c'' \scheme
2053 \paper { linewidth = -1.; }
2058 The chord names that LilyPond should print are fully customizable. The
2059 code to print chord names is written in Scheme. It can be found in
2060 @file{scm/chord-name.scm}. Chord names are based on Banter style
2061 naming, which is unambiguous and has a logical structure. Typical
2062 American style chord names are implemented as a variation on Banter
2063 names, they can be selected by setting property @code{ChordName.style}
2068 \include "english.ly"
2073 df:m5- % Diminished triad
2074 c:5^3 % Root-fifth chord
2075 c:4^3 % Suspended fourth triad
2076 c:5+ % Augmented triad
2078 c:m5-.7- % Diminished seventh
2079 c:7+ % Major seventh
2080 c:7.4^3 % Dominant seventh suspended fourth
2081 c:5+.7 % Augmented dominant seventh
2082 c:m5-.7 % "Half" diminished seventh
2083 c:5-.7 % Dominant seventh flat fifth
2084 c:5-.7+ % Major seventh flat fifth
2085 c:m7+ % Minor-major seventh
2086 c:m7 % Minor seventh
2087 c:7 % Dominant seventh
2090 c:9^7 % Major triad w/added ninth
2091 c:6.9^7 % Six/Nine chord
2092 c:9 % Dominant ninth
2093 c:7+.9 % Major ninth
2094 c:m7.9 % Minor ninth
2099 \context ChordNames \scheme
2100 \context Staff \transpose c'' \scheme
2105 ChordName \override #'word-space = #1
2106 ChordName \override #'style = #'american
2113 Similarly, Jazz style chord names are implemented as a variation on
2114 American style names:
2120 c:6 % 6 = major triad with added sixth
2121 c:maj % triangle = maj
2126 c:m % m = minor triad
2127 c:m.6 % m6 = minor triad with added sixth
2128 c:m.7+ % m triangle = minor major seventh chord
2136 c:7.5+ % +7 = augmented dominant
2137 c:7.5- % 7b5 = hard diminished dominant
2144 c:13.9-^11 % 7(b9,13)
2145 c:13.9+^11 % 7(#9,13)
2147 c:13-.9-^11 % 7(b9,b13)
2148 c:13-.9+^11 % 7(#9,b13)
2150 % half diminished chords
2151 c:m5-.7 % slashed o = m7b5
2152 c:9.3-.5- % o/7(pure 9)
2155 c:m5-.7- % o = diminished seventh chord
2160 \context ChordNames \scheme
2161 \context Staff \transpose c'' \scheme
2166 ChordName \override #'word-space = #1
2167 ChordName \override #'style = #'jazz
2175 @section Writing parts
2181 * Multi measure rests::
2192 tranposing midi property.
2196 @c . {Rehearsal marks}
2197 @node Rehearsal marks
2198 @subsection Rehearsal marks
2199 @cindex Rehearsal marks
2201 @cindex @code{\mark}
2204 \mark @var{unsigned};
2205 @cindex @code{Mark_engraver}
2209 Prints a mark over or under the staff.
2211 [TODO: automatic increments]
2214 @subsection Transpose
2216 @cindex transposition of pitches
2217 @cindex @code{\transpose}
2219 A music expression can be transposed with @code{\transpose}. The syntax
2222 \transpose @var{pitch} @var{musicexpr}
2225 This means that middle C in @var{musicexpr} is transposed to
2228 @code{\transpose} distinguishes between enharmonic pitches: both
2229 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
2230 a tone. The first version will print sharps and the second version
2234 @lilypond[fragment,verbatim]
2237 { \key e \major; c d e f }
2239 \transpose des'' { \key e \major; c d e f }
2240 \transpose cis'' { \key e \major; c d e f }
2246 If you want to use both @code{\transpose} and @code{\relative}, then
2247 you must use @code{\transpose} first. @code{\relative} will have no
2248 effect music that appears inside a @code{\transpose}.
2251 @c . {Multi measure rests}
2252 @node Multi measure rests
2253 @subsection Multi measure rests
2254 @cindex Multi measure rests
2258 Multi measure rests are entered using `@code{R}'. It is specifically
2259 meant for entering parts: the rest can expand to fill a score with
2260 rests, or it can be printed as a single multimeasure rest This expansion
2261 is controlled by the property @code{Score.skipBars}. If this is set to true,
2262 Lily will not expand empty measures, and the appropriate number is added
2265 @lilypond[fragment,verbatim]
2266 \time 3/4; R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
2269 Currently, there is no way to condense multiple rests into a single
2272 @cindex condensing rests
2277 @section Page layout
2291 @subsection Paper block
2294 The most important output definition is the @code{\paper} block, for
2295 music notation. The syntax is
2298 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
2301 where each of the items is one of
2304 @item An assignment. The assignment must be terminated by a
2307 @item A context definition. See section @ref{Context definitions} for
2308 more information on context definitions.
2310 @item \stylesheet declaration. Its syntax is
2312 \stylesheet @var{alist}
2315 See @file{font.scm} for details of @var{alist}.
2318 @c . {Paper variables}
2319 @node Paper variables
2320 @subsection Paper variables
2321 @cindex Paper variables
2323 The paper block has some variables you may want to use or change:
2326 @cindex @code{indent}
2328 The indentation of the first line of music.
2329 @cindex @code{staffspace}
2331 @item @code{staffspace}
2332 The distance between two staff lines, calculated from the center
2333 of the lines. You should use either this or @code{stafflinethickness}
2334 as a unit for distances you modify.
2336 @cindex @code{linewidth}
2337 @item @code{linewidth}
2338 Sets the width of the lines.
2340 If set to a negative value, a single
2341 unjustified line is produced.
2343 @cindex @code{textheight}
2345 @item @code{textheight}
2346 Sets the total height of the music on each page. Only used by
2348 @cindex @code{interscoreline}
2350 @item @code{interscoreline}
2351 Sets the spacing between the score lines. Defaults to 16 pt.
2352 @cindex @code{interscorelinefill}
2354 @item @code{interscorelinefill}
2355 If set to a positive number, the distance between the score
2356 lines will stretch in order to fill the full page. In that
2357 case @code{interscoreline} specifies the minimum spacing.
2359 @cindex @code{stafflinethickness}
2361 @item @code{stafflinethickness}
2362 Determines the thickness of staff lines, and also acts as a scaling
2363 parameter for other line thicknesses.
2370 @subsection Font size
2373 The Feta font provides musical symbols at six different sizes. These
2374 fonts are 11 point, 13 point, 16 point, 20 point,
2375 23 point, and 26 point. The point size of a font is the
2376 height of the five lines in a staff when displayed in the font.
2378 Definitions for these sizes are the files @file{paperSZ.ly}, where
2379 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
2380 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
2381 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
2382 @code{paperTwentysix} are defined respectively. The default
2383 @code{\paper} block is also set.
2385 The font definitions are generated using a Scheme function. For more
2386 details, see the file @file{font.scm}.
2392 @subsection Paper size
2397 @cindex @code{papersize}
2399 To change the paper size, you must first set the
2400 @code{papersize} variable at top level. Set it to
2401 the strings @code{a4}, @code{letter}, or @code{legal}. After this
2402 specification, you must set the font as described above. If you want
2403 the default font, then use the 20 point font. The new paper size will
2404 not take effect if the font is not loaded and selected afterwards.
2408 \include "paper16.ly"
2412 \paper @{ \paperSixteen @}
2416 The file "paper16.ly" will now include a file named @file{a4.ly}, which
2417 will set the paper variables @code{hsize} and @code{vsize} (used by
2428 @subsection Line break
2431 @cindex breaking lines
2433 Line breaks are normally computed automatically. They are chosen such
2434 that the resulting spacing has low variation, and looks neither cramped
2437 Occasionally you might want to override the automatic breaks; you can do
2438 this by specifying @code{\break}. This will force a line break at this
2439 point. Do remember that line breaks can only occur at places where there
2440 are barlines. If you want to have a line break where there is no
2441 barline, you can force a barline by entering @code{\bar "";}.
2443 Similarly, @code{\noBreak} forbids a line break at a certain point.
2445 @cindex @code{\penalty}
2447 The @code{\break} and @code{\noBreak} commands are defined in terms of
2448 the penalty command:
2450 \penalty @var{int} @code{;}
2453 This imposes encourages or discourages LilyPond to make a line break
2456 @strong{Warning} do not use @code{\penalty} directly. It is rather
2457 kludgy, and slated for rewriting.
2461 @subsection Page break
2464 @cindex breaking pages
2467 Page breaks are normally computed by @TeX{}, so they are not under direct
2468 control. However, you can insert a commands into the @file{.tex} output to
2469 instruct @TeX{} where to break pages. For more details, see the
2470 example file @file{input/test/between-systems.ly}
2485 * MIDI instrument names::
2491 @subsection MIDI block
2495 The MIDI block is analogous to the paper block, but it is somewhat
2496 simpler. The @code{\midi} block can contain:
2500 @item a @code{\tempo} definition
2501 @item context definitions
2504 Assignments in the @code{\midi} block are not allowed.
2508 @cindex context definition
2510 Context definitions follow precisely the same syntax as within the
2511 \paper block. Translation modules for sound are called performers.
2512 The contexts for MIDI output are defined in @file{ly/performer.ly}.
2515 @c . {MIDI instrument names}
2516 @node MIDI instrument names
2517 @subsection MIDI instrument names
2518 @cindex instrument names
2519 @cindex @code{Staff.midiInstrument}
2520 @cindex @code{Staff.instrument}
2522 The MIDI instrument name is set by the @code{Staff.midiInstrument}
2523 property or, if that property is not set, the @code{Staff.instrument}
2524 property. The instrument name should be chosen from the following list.
2525 If the selected string does not exactly match, then LilyPond uses the
2528 [FIXME: to appendix ]
2532 "acoustic grand" "contrabass" "lead 7 (fifths)"
2533 "bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
2534 "electric grand" "pizzicato strings" "pad 1 (new age)"
2535 "honky-tonk" "orchestral strings" "pad 2 (warm)"
2536 "electric piano 1" "timpani" "pad 3 (polysynth)"
2537 "electric piano 2" "string ensemble 1" "pad 4 (choir)"
2538 "harpsichord" "string ensemble 2" "pad 5 (bowed)"
2539 "clav" "synthstrings 1" "pad 6 (metallic)"
2540 "celesta" "synthstrings 2" "pad 7 (halo)"
2541 "glockenspiel" "choir aahs" "pad 8 (sweep)"
2542 "music box" "voice oohs" "fx 1 (rain)"
2543 "vibraphone" "synth voice" "fx 2 (soundtrack)"
2544 "marimba" "orchestra hit" "fx 3 (crystal)"
2545 "xylophone" "trumpet" "fx 4 (atmosphere)"
2546 "tubular bells" "trombone" "fx 5 (brightness)"
2547 "dulcimer" "tuba" "fx 6 (goblins)"
2548 "drawbar organ" "muted trumpet" "fx 7 (echoes)"
2549 "percussive organ" "french horn" "fx 8 (sci-fi)"
2550 "rock organ" "brass section" "sitar"
2551 "church organ" "synthbrass 1" "banjo"
2552 "reed organ" "synthbrass 2" "shamisen"
2553 "accordion" "soprano sax" "koto"
2554 "harmonica" "alto sax" "kalimba"
2555 "concertina" "tenor sax" "bagpipe"
2556 "acoustic guitar (nylon)" "baritone sax" "fiddle"
2557 "acoustic guitar (steel)" "oboe" "shanai"
2558 "electric guitar (jazz)" "english horn" "tinkle bell"
2559 "electric guitar (clean)" "bassoon" "agogo"
2560 "electric guitar (muted)" "clarinet" "steel drums"
2561 "overdriven guitar" "piccolo" "woodblock"
2562 "distorted guitar" "flute" "taiko drum"
2563 "guitar harmonics" "recorder" "melodic tom"
2564 "acoustic bass" "pan flute" "synth drum"
2565 "electric bass (finger)" "blown bottle" "reverse cymbal"
2566 "electric bass (pick)" "skakuhachi" "guitar fret noise"
2567 "fretless bass" "whistle" "breath noise"
2568 "slap bass 1" "ocarina" "seashore"
2569 "slap bass 2" "lead 1 (square)" "bird tweet"
2570 "synth bass 1" "lead 2 (sawtooth)" "telephone ring"
2571 "synth bass 2" "lead 3 (calliope)" "helicopter"
2572 "violin" "lead 4 (chiff)" "applause"
2573 "viola" "lead 5 (charang)" "gunshot"
2574 "cello" "lead 6 (voice)"
2585 @cindex beats per minute
2586 @cindex metronome marking
2588 @cindex @code{\tempo}
2590 \tempo @var{duration} = @var{perminute} @code{;}
2593 Used to specify the tempo. For example, @code{\tempo 4 = 76;} requests
2594 output with 76 quarter notes per minute.
2602 @section Music entry
2613 @subsection Relative
2615 @cindex relative octave specification
2617 Octaves are specified by adding @code{'} and @code{,} to pitch names.
2618 When you copy existing music, it is easy to accidentally put a pitch in
2619 the wrong octave and hard to find such an error. To prevent these
2620 errors, LilyPond features octave entry.
2622 @cindex @code{\relative}
2624 \relative @var{startpitch} @var{musicexpr}
2627 The octave of notes that appear in @var{musicexpr} are calculated as
2628 follows: If no octave changing marks are used, the basic interval
2629 between this and the last note is always taken to be a fourth or less.
2630 The octave changing marks @code{'} and @code{,} can then
2631 be added to raise or lower the pitch by an extra octave. Upon entering
2632 relative mode, an absolute starting pitch must be specified that will
2633 act as the predecessor of the first note of @var{musicexpr}.
2635 This distance is determined without regarding accidentals: a
2636 @code{fisis} following a @code{ceses} will be put above the
2639 Entering scales is straightforward in relative mode.
2641 @lilypond[fragment,verbatim,center]
2643 g a b c d e f g g, g
2647 And octave changing marks are used for intervals greater than a fourth.
2649 @lilypond[fragment,verbatim,center]
2651 c g c f, c' a, e'' }
2654 If the preceding item is a chord, the first note of the chord is used
2655 to determine the first note of the next chord. But other notes
2656 within the second chord are determined by looking at the immediately
2659 @lilypond[fragment,verbatim,center]
2666 @cindex @code{\notes}
2668 The pitch after the @code{\relative} contains a notename. To parse
2669 the pitch as a notename, you have to be in note mode, so there must
2670 be a surrounding @code{\notes} keyword (which is not
2673 The relative conversion will not affect @code{\transpose} or
2674 @code{\relative} sections in its argument. If you want to use
2675 relative within transposed music, you must place an additional
2676 @code{\relative} inside the @code{\transpose}.
2679 @c . {Point and click}
2680 @node Point and click
2681 @subsection Point and click
2690 * Selecting contexts::
2691 * Context definitions::
2692 * Notation Contexts::
2695 @c . {Music expressions}
2696 @node Selecting contexts
2697 @subsection Selecting contexts
2699 @cindex @code{\context}
2700 @cindex context selection
2703 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
2706 Interpret @var{musicexpr} within a context of type @var{contexttype}.
2707 If the context does not exist, it will be created. The new context
2708 can optionally be given a name.
2712 @c . {Context definitions}
2713 @node Context definitions
2714 @subsection Context definitions
2716 @cindex context definition
2717 @cindex translator definition
2718 @cindex engraver hacking
2721 A notation contexts is defined by the following information
2726 @item The LilyPond modules that do the actual conversion of music to
2727 notation. Each module is a so-called
2732 @item How these modules should cooperate, i.e. which ``cooperation
2733 module'' should be used. This cooperation module is a special
2736 @item What other contexts the context can contain,
2738 @item What properties are defined.
2741 A context definition has this syntax:
2745 \translator @code{@{}
2746 @var{translatorinit} @var{translatormodifierlist}
2750 @var{translatorinit} can be an identifier or
2752 \type @var{typename} @code{;}
2754 where @var{typename} is one of
2757 @cindex @code{Engraver_group_engraver}
2758 @item @code{Engraver_group_engraver}
2759 The standard cooperation engraver.
2760 @cindex @code{Score_engraver}
2762 @item @code{Score_engraver}
2763 This is cooperation module that should be in the top level context.
2764 @cindex @code{Grace_engraver_group}
2766 @item @code{Grace_engraver_group}
2767 This is a special cooperation module (resembling
2768 @code{Score_engraver}) that is used to created an embedded
2772 @var{translatormodifierlist} is a list of items where each item is
2776 @item @code{\consists} @var{engravername} @code{;}
2777 Add @var{engravername} to the list of modules in this context.
2778 The order of engravers added with @code{\consists} is
2781 @item @code{\consistsend} @var{engravername} @code{;}
2782 Analogous to @code{\consists}, but makes sure that
2783 @var{engravername} is always added to the end of the list of
2786 Some engraver types need to be at the end of the list; this
2787 insures they are put there, and stay there, if a user adds or
2788 removes engravers. This command is usually not needed for
2791 @item @code{\accepts} @var{contextname} @code{;}
2792 Add @var{contextname} to the list of context this context can
2793 contain. The first listed context is the context to create by
2796 @item @code{\denies}. The opposite of @code{\accepts}. Added for
2797 completeness, but is never used in practice.
2800 @item @code{\remove} @var{engravername} @code{;}
2801 Remove a previously added (with @code{\consists}) engraver.
2803 @item @code{\name} @var{contextname} @code{;}
2804 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
2805 the name is not specified, the translator won't do anything.
2807 @item @var{propname} @code{=} @var{value} @code{;}
2808 A property assignment.
2811 In the @code{\paper} block, it is also possible to define translator
2812 identifiers. Like other block identifiers, the identifier can only
2813 be used as the very first item of a translator. In order to define
2814 such an identifier outside of @code{\score}, you must do
2820 foo = \translator @{ @dots{} @}
2827 \translator @{ \foo @dots{} @}
2835 @cindex paper types, engravers, and pre-defined translators
2837 Some pre-defined identifiers can simplify modification of
2838 translators. The pre-defined identifiers are:
2841 @cindex @code{StaffContext}
2842 @item @code{StaffContext}
2843 Default Staff context.
2844 @cindex @code{RhythmicStaffContext}
2846 @item @code{RhythmicStaffContext}
2847 Default RhythmicStaff context.
2848 @cindex @code{VoiceContext}
2850 @item @code{VoiceContext}
2851 Default Voice context.
2852 @cindex @code{ScoreContext}
2854 @item @code{ScoreContext}
2855 Default Score context.
2857 @cindex @code{HaraKiriStaffContext}
2859 @item @code{HaraKiriStaffContext}
2860 Staff context that does not print if it only contains rests.
2861 Useful for orchestral scores.@footnote{Harakiri, also called
2862 Seppuku, is the ritual suicide of the Japanese Samourai warriors.}
2866 Using these pre-defined values, you can remove or add items to the
2875 \remove Some_engraver;
2876 \consists Different_engraver;
2886 @c . {Notation Contexts}
2887 @node Notation Contexts
2888 @subsection Notation Contexts
2890 @cindex notation contexts
2892 Notation contexts are objects that only exist during a run of
2893 LilyPond. During the interpretation phase of LilyPond, the Music
2894 expression contained in a @code{\score} block is interpreted in time
2895 order. This is the order in which humans read, play, and write
2898 A context is an object that holds the reading state of the
2899 expression; it contains information like
2902 @item What notes are playing at this point?
2903 @item What symbols will be printed at this point?
2904 @item In what style will they printed?
2905 @item What is the current key signature, time signature, point within
2909 Contexts are grouped hierarchically: A @code{Voice} context is
2910 contained in a @code{Staff} context (because a staff can contain
2911 multiple voices at any point), a @code{Staff} context is contained in
2912 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
2913 these can all contain multiple staffs).
2915 Contexts associated with sheet music output are called @emph{notation
2916 contexts}, those for sound output are called performance contexts.
2918 Contexts are created either manually or automatically. Initially, the
2919 top level music expression is interpreted by the top level context (the
2920 @code{Score} context). When a atomic music expression (i.e. a note, a
2921 rest, etc.), a nested set of contexts is created that can process these
2922 atomic expressions, as in this example:
2925 \score @{ \notes @{ c4 @} @}
2928 The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
2929 context. When the note @code{c4} itself is interpreted, a set of
2930 contexts is needed that will accept notes. The default for this is a
2931 @code{Voice} context, contained in a @code{Staff} context. Creation of
2932 these contexts results in the staff being printed.
2936 You can also create contexts manually, and you probably have to do so
2937 if you want to typeset complicated multiple part material. If a
2938 `@code{\context} @var{name} @var{musicexpr}' expression is encountered
2939 during the interpretation phase, the @var{musicexpr} argument will be
2940 interpreted with a context of type @var{name}. If you specify a name,
2941 the specific context with that name is searched.
2945 If a context of the specified type and name can not be found, a new
2946 one is created. For example,
2952 \notes \relative c'' {
2953 c4 <d4 \context Staff = "another" e4> f
2960 In this example, the @code{c} and @code{d} are printed on the
2961 default staff. For the @code{e}, a context Staff called
2962 @code{another} is specified; since that does not exist, a new
2963 context is created. Within @code{another}, a (default) Voice context
2964 is created for the @code{e4}. When all music referring to a
2965 context is finished, the context is ended as well. So after the
2966 third quarter, @code{another} is removed.
2968 Almost all music expressions inherit their interpretation context
2969 from their parent. In other words, suppose that the syntax for a
2974 \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
2977 When the interpretation of this music expression starts, the context
2978 for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
2981 Lastly, you may wonder, why this:
2987 \notes \relative c'' @{
2995 doesn't result in this:
3000 \notes \relative c'' {
3007 For the @code{c4}, a default @code{Staff} (with a contained
3008 @code{Voice}) context is created. After the @code{c4} ends, no
3009 music refers to this default staff, so it would be ended, with the
3010 result shown. To prevent this inconvenient behavior, the context to
3011 which the sequential music refers is adjusted during the
3012 interpretation. So after the @code{c4} ends, the context of the
3013 sequential music is also the default @code{Voice} context.
3014 The @code{d4} gets interpreted in the same context
3017 Properties that are set in one context are inherited by all of the
3018 contained contexts. This means that a property valid for the
3019 @code{Voice} context can be set in the @code{Score} context (for
3020 example) and thus take effect in all @code{Voice} contexts.
3022 Properties can be preset within the @code{\translator} block
3023 corresponding to the appropriate context. In this case, the syntax
3027 @var{propname} @code{=} @var{value}
3030 This assignment happens before interpretation starts, so a
3031 @code{\property} expression will override any predefined settings.
3033 The property settings are used during the interpretation phase. They
3034 are read by the LilyPond modules where interpretation contexts are
3035 built of. These modules are called @emph{translators}. Translators for
3036 notation are called @emph{engravers}, and translators for sound are
3037 called @emph{performers}.
3041 @c . {Syntactic details}
3042 @node Syntactic details
3043 @section Syntactic details
3044 @cindex Syntactic details
3048 * Music expressions::
3057 @subsection Top level
3060 This section describes what you may enter at top level.
3063 @unnumberedsubsec Score definition
3064 @cindex score definition
3066 The output is generated combining a music expression with an output
3067 definition. A score block has the following syntax:
3070 \score @{ @var{musicexpr} @var{outputdefs} @}
3073 @var{outputdefs} are zero or more output definitions. If no output
3074 definition is supplied, the default @code{\paper} block will be added.
3078 @subsubsection Score
3082 @subsubsection Paper
3090 @subsubsection Header
3092 @cindex @code{\header}
3097 \header @{ @var{key1} = @var{val1};
3098 @cindex @code{ly2dvi}
3099 @var{key2} = @var{val2}; @dots{} @}
3103 A header describes the file's contents. It can also appear in a
3104 @code{\score} block. Tools like @code{ly2dvi} can use this
3105 information for generating titles. Key values that are used by
3106 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
3107 metre, arranger, piece and tagline.
3109 It is customary to put the @code{\header} at the top of the file.
3111 @subsubsection Default output
3113 A @code{\midi} or @code{\paper} block at top-level sets the default
3115 paper block for all scores that lack an explicit paper block.
3119 @subsection Identifiers
3122 All of the information in a LilyPond input file, is represented as a
3123 Scheme value. In addition to normal Scheme data types (such as pair,
3124 number, boolean, etc.), LilyPond has a number of specialized data types,
3131 @item Translator_def
3135 @item Music_output_def
3136 @item Moment (rational number)
3139 LilyPond also includes some transient object types. Objects of these
3140 types are built during a LilyPond run, and do not `exist' per se within
3141 your input file. These objects are created as a result of your input
3142 file, so you can include commands in the input to manipulate them,
3143 during a lilypond run.
3146 @item Grob: short for Graphical object. See @ref{Grobs}.
3147 @item Molecule: device-independent page output object,
3148 including dimensions. Produced by some Grob functions
3150 @item Translator: object that produces audio objects or Grobs. This is
3151 not yet user accessible.
3152 @item Font_metric: object representing a font. (See @ref{Font metrics})
3157 @node Music expressions
3158 @subsection Music expressions
3160 @cindex music expressions
3162 Music in LilyPond is entered as a music expression. Notes, rests, lyric
3163 syllables are music expressions, and you can combine music expressions
3164 to form new ones, for example by enclosing a list of expressions in
3165 @code{\sequential @{ @}} or @code{< >}. In this example, a compound
3166 expression is formed out of the quarter note @code{c} and a quarter note
3170 \sequential @{ c4 d4 @}
3173 @cindex Sequential music
3174 @cindex @code{\sequential}
3175 @cindex sequential music
3178 @cindex Simultaneous music
3179 @cindex @code{\simultaneous}
3181 The two basic compound music expressions are simultaneous and
3185 \sequential @code{@{} @var{musicexprlist} @code{@}}
3186 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
3188 For both, there is a shorthand:
3190 @code{@{} @var{musicexprlist} @code{@}}
3194 @code{<} @var{musicexprlist} @code{>}
3196 for simultaneous music.
3197 Other compound music expressions include
3200 \transpose @var{pitch} @var{expr}
3201 \apply @var{func} @var{expr}
3202 \context @var{type} = @var{id} @var{expr}
3203 \times @var{fraction} @var{expr}
3206 In principle, the way in which you nest sequential and simultaneous to
3207 produce music is not relevant. In the following example, three chords
3208 are expressed in two different ways:
3210 @lilypond[fragment,verbatim,center]
3211 \notes \context Voice {
3212 <a c'> <b d' > <c' e'>
3213 < { a b c' } { c' d' e' } >
3217 However, in some cases, LilyPond will also try to choose contexts, and
3218 use the structure of the music expression to do so. This can have
3219 undesired effects: for example, LilyPond will create a separate staff
3220 for each note if you start a @code{\score} with a chord:
3221 @lilypond[verbatim,center]
3229 The solution is to explicitly instantiate the context you desire.
3230 In this case this is typically a Voice context
3231 @lilypond[verbatim,center]
3233 \notes\context Voice <c''4 e''>
3239 If you use @code{\context Staff} you will get separate stems for each
3240 note head, leading to collisions, so don't use that.
3246 @subsection Assignments
3249 Identifiers allow objects to be assigned to names during the parse
3250 stage. To assign an identifier, you use @var{name}@code{=}@var{value}
3251 and to refer to an identifier, you preceed its name with a backslash:
3252 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
3253 the input-types listed above. Identifier assignments can appear at top
3254 level in the LilyPond file, but also in @code{\paper} blocks.
3256 Semicolons are forbidden after top level assignments, but mandatory in
3257 other places. The rules about semicolons and assignments are very
3258 confusing, but when LilyPond input evolves more towards Scheme, we hope
3259 that this problem will grow smaller.
3261 An identifier can be created with any string for its name, but you will
3262 only be able to refer to identifiers whose names begin with a letter,
3263 being entirely alphabetical. It is impossible to refer to an identifier
3264 whose name is the same as the name of a keyword.
3266 The right hand side of an identifier assignment is parsed completely
3267 before the assignment is done, so it is allowed to redefine an
3268 identifier in terms of its old value, e.g.
3274 When an identifier is referenced, the information it points to is
3275 copied. For this reason, an identifier reference must always be the
3276 first item in a block.
3280 \paperIdent % wrong and invalid
3284 \paperIdent % correct
3288 @c . {Lexical details}
3289 @node Lexical details
3290 @subsection Lexical details
3291 @cindex Lexical details
3296 @subsubsection Comments
3302 A one line comment is introduced by a @code{%} character.
3303 Block comments are started by @code{%@{} and ended by @code{%@}}.
3304 They cannot be nested.
3306 @c . {Direct Scheme}
3307 @subsubsection Direct Scheme
3310 @cindex Scheme, in-line code
3313 LilyPond contains a Scheme interpreter (the GUILE library) for
3314 internal use. In some places Scheme expressions also form valid syntax:
3315 whereever it is allowed,
3319 evaluates the specified Scheme code. If this is used at toplevel, then
3320 the result is discarded. Example:
3322 \property Staff.TestObject \override #'foobar = #(+ 1 2)
3325 @code{\override} expects two Scheme expressions, so there are two Scheme
3326 expressions. The first one is a symbol (@code{foobar}), the second one
3327 an integer (namely, 3).
3329 Scheme is a full-blown programming language, and a full discussion is
3330 outside the scope of this document. Interested readers are referred to
3331 the website @uref{http://www.schemers.org/} for more information on
3336 @subsubsection Keywords
3340 Keywords start with a backslash, followed by a number of lower case
3341 alphabetic characters. These are all the keywords.
3344 apply arpeggio autochange spanrequest commandspanrequest
3345 simultaneous sequential accepts alternative bar breathe
3346 char chordmodifiers chords clef cm consists consistsend
3347 context denies duration dynamicscript elementdescriptions
3348 font grace header in lyrics key mark pitch
3349 time times midi mm name pitchnames notes outputproperty
3350 override set revert partial paper penalty property pt
3351 relative remove repeat addlyrics partcombine score
3352 script stylesheet skip textscript tempo translator
3357 @subsubsection Integers
3365 Formed from an optional minus sign followed by digits. Arithmetic
3366 operations cannot be done with integers, and integers cannot be mixed
3370 @subsubsection Reals
3371 @cindex real numbers
3377 Formed from an optional minus sign and a sequence of digits followed
3378 by a @emph{required} decimal point and an optional exponent such as
3379 @code{-1.2e3}. Reals can be built up using the usual operations:
3380 `@code{+}', `@code{-}', `@code{*}', and
3381 `@code{/}', with parentheses for grouping.
3389 A real constant can be followed by one of the dimension keywords:
3390 @code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
3391 points, inches and centimeters, respectively. This converts the number
3392 to a real that is the internal representation of dimensions.
3396 @subsubsection Strings
3400 Begins and ends with the @code{"} character. To include a @code{"}
3401 character in a string write @code{\"}. Various other backslash
3402 sequences have special interpretations as in the C language. A string
3403 that contains no spaces can be written without the quotes. See
3404 @ref{Lexical modes} for details on unquoted strings; their
3405 interpretation varies depending on the situation. Strings can be
3406 concatenated with the @code{+} operator.
3408 The tokenizer accepts the following commands. They have no grammatical
3409 function, hence they can appear anywhere in the input.
3413 @subsubsection Main input
3416 @cindex @code{\maininput}
3418 The @code{\maininput} command is used in init files to signal that the
3419 user file must be read. This command cannot be used in a user file.
3421 @c . {File inclusion}
3422 @subsubsection Main input
3425 @subsubsection File inclusion
3426 @cindex @code{\include}
3428 \include @var{filename}
3431 Include @var{filename}. The argument @var{filename} may be a quoted string (an
3432 unquoted string will not work here!) or a string identifier. The full
3433 filename including the @file{.ly} extension must be given,
3435 @subsubsection Version information
3436 @cindex @code{\version}
3438 \version @var{string} ;
3441 Specify the version of LilyPond that a file was written for. The
3442 argument is a version string in quotes, for example @code{"1.2.0"}.
3443 This is used to detect invalid input, and to aid
3444 @code{convert-ly} a tool that automatically upgrades input files. See
3445 See @ref{convert-ly} for more information on @code{convert-ly}.
3451 @subsubsection Defining pitch names
3452 @cindex Lexical modes
3453 @cindex definining pitch names
3454 @cindex pitch names, definining
3456 @cindex chord modifier names
3458 A @code{\paper} block at top level sets the default paper block. A
3459 @code{\midi} block at top level works similarly.
3462 @subsubsection Assignments
3466 Identifier assignments may appear at top level. @ref{Assignments}
3470 @c . {Direct scheme}
3471 @subsubsection Direct scheme
3472 @cindex Direct scheme
3474 Scheme statements maybe issued to produce interesting side-effects.
3477 @c . {Lexical modes}
3479 @subsection Lexical modes
3480 @cindex Lexical modes
3483 @cindex @code{\notes}
3484 @cindex @code{\chords}
3485 @cindex @code{\lyrics}
3487 To simplify entering notes, lyrics, and chords, LilyPond has three
3488 special input modes on top of the default mode: note, lyrics and chords
3489 mode. These input modes change the way that normal, unquoted words are
3490 interpreted: for example, the word @code{cis} may be interpreted as a
3491 C-sharp, as a lyric syllable `cis' or as a C-sharp major triad
3494 A mode switch is entered as a compound music expressions
3496 @code{\notes} @var{musicexpr}
3497 @code{\chords} @var{musicexpr}
3498 @code{\lyrics} @var{musicexpr}.
3501 In each of these cases, these expressions do not add anything to the
3502 meaning of their arguments. They are just a way to indicate that the
3503 arguments should be parsed in indicated mode. The modes are treated in
3504 more detail in the sections @ref{Note entry}, @ref{Lyrics} and
3507 You may nest different input modes.
3511 @subsection Ambiguities
3516 The grammar contains a number of ambiguities. We hope to resolve them at
3520 @item The assignment
3526 can be interpreted as making a string identifier @code{\foo}
3527 containing @code{"bar"}, or a music identifier @code{\foo}
3528 containing the syllable `bar'.
3530 @item The assignment
3536 can be interpreted as making an integer identifier
3537 containing -6, or a Request identifier containing the
3538 fingering `6' (with neutral direction).
3540 @item If you do a nested repeat like
3552 then it is ambiguous to which @code{\repeat} the
3553 @code{\alternative} belongs. This is the classic if-then-else
3554 dilemma. It may be solved by using braces.
3556 @item (an as yet unidentified ambiguity :-)
3571 @unnumberedsubsec Translation property
3573 [todo: add \set/\override/\revert]
3576 @cindex @code{\property}
3578 \property @var{contextname}.@var{propname} = @var{value}
3581 Sets the @var{propname} property of the context @var{contextname} to
3582 the specified @var{value}. All three arguments are strings.
3583 Depending on the context, it may be necessary to quote the strings or
3584 to leave space on both sides of the dot.
3587 @cindex output properties
3588 @unnumberedsubsec Output properties
3590 These allow you to tweak what is happening in the back-end
3591 directly. If you want to control every detail of the output
3592 formatting, this is the feature to use. The downside to this is that
3593 you need to know exactly how the backend works. Example:
3596 @lilypond[fragment,verbatim]
3598 \context Staff \outputproperty
3599 #(make-type-checker 'note-head-interface)
3600 #'extra-offset = #'(0.5 . 0.75)
3604 This selects all note heads occurring at current staff level, and sets
3605 the @code{extra-offset} of those heads to @code{(0.5,0.75)}, shifting them
3608 Use of this feature is entirely on your own risk: if you use this, the
3609 result will depend very heavily on the implementation of the backend,
3610 which we change regularly and unscrupulously.
3613 Don't move the finger 2, only text "m.d." ...
3615 #(define (make-text-checker text)
3616 (lambda (grob) (equal? text (ly-get-elt-property grob 'text))))
3619 \notes\relative c''' {
3620 \property Voice.Stem \set #'direction = #1
3621 \outputproperty #(make-text-checker "m.d.")
3622 #'extra-offset = #'(-3.5 . -4.5)
3625 \paper { linewidth = -1.; }
3633 @c .{Local emacs vars}
3636 @c minor-mode: font-lock
3637 @c minor-mode: outline
3638 @c outline-layout: (-1 : 0)
3639 @c outline-use-mode-specific-leader: "@c \."
3640 @c outline-primary-bullet: "{"
3641 @c outline-stylish-prefixes: nil
3642 @c outline-override-protect: t