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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::
29 @section Input structure
31 The main format of input for LilyPond are text files. By convention,
32 these files end with @code{.ly}.
35 * Structure of a score::
36 * Multiple scores in a book::
37 * Multiple output files from one input file::
43 @node Structure of a score
44 @subsection Structure of a score
48 A @code{\score} block must contain a single music expression
49 delimited by curly brackets:
57 @warning{There must be @strong{only one} outer music expression in
58 a @code{\score} block, and it @strong{must} be surrounded by
61 This single music expression may be of any size, and may contain
62 other music expressions to any complexity. All of these examples
63 are music expressions:
69 @lilypond[verbatim,quote]
76 @lilypond[verbatim,quote]
78 \new Staff { c'4 c' c' c' }
79 \new Staff { d'4 d' d' d' }
87 \new Staff @{ \flute @}
88 \new Staff @{ \oboe @}
91 \new Staff @{ \violinI @}
92 \new Staff @{ \violinII @}
98 Comments are one exception to this general rule. (For others see
99 @ref{File structure}.) Both single-line comments and comments
100 delimited by @code{%@{ .. %@}} may be placed anywhere within an
101 input file. They may be placed inside or outside a @code{\score}
102 block, and inside or outside the single music expression within a
105 Remember that even in a file containing only a @code{\score} block, it
106 is implicitly enclosed in a \book block. A \book block in a source
107 file produces at least one output file, and by default the name of the
108 output file produced is derived from the name of the input file, so
109 @file{fandangoforelephants.ly} will produce
110 @file{fandangoforelephants.pdf}.
112 (For more details about @code{\book} blocks, see
113 @ref{Multiple scores in a book},
114 @ref{Multiple output files from one input file} @ref{File structure}.)
118 @rlearning{Working on input files},
119 @rlearning{Music expressions explained},
120 @rlearning{Score is a (single) compound musical expression}.
123 @node Multiple scores in a book
124 @subsection Multiple scores in a book
127 @cindex movements, multiple
129 A document may contain multiple pieces of music and text. Examples
130 of these are an etude book, or an orchestral part with multiple
131 movements. Each movement is entered with a @code{\score} block,
139 and texts are entered with a @code{\markup} block,
149 All the movements and texts which appear in the same @code{.ly} file
150 will normally be typeset in the form of a single output file.
164 One important exception is within lilypond-book documents,
165 where you explicitly have to add a @code{\book} block, otherwise only
166 the first @code{\score} or @code{\markup} will appear in the output.
168 The header for each piece of music can be put inside the @code{\score}
169 block. The @code{piece} name from the header will be printed before
170 each movement. The title for the entire book can be put inside the
171 @code{\book}, but if it is not present, the @code{\header} which is at
172 the top of the file is inserted.
176 title = "Eight miniatures"
177 composer = "Igor Stravinsky"
181 \header @{ piece = "Romanze" @}
184 ..text of second verse..
187 ..text of third verse..
191 \header @{ piece = "Menuetto" @}
197 Pieces of music may be grouped into book parts using @code{\bookpart}
198 blocks. Book parts are separated by a page break, and can start with a
199 title, like the book itself, by specifying a @code{\header} block.
205 subtitle = "First part"
212 subtitle = "Second part"
219 @node Multiple output files from one input file
220 @subsection Multiple output files from one input file
222 If you want multiple output files from the same .ly file, then you can
223 add multiple @code{\book} blocks, where each such \book block will
224 result in a separate output file. If you do not specify any
225 @code{\book} block in the input file, LilyPond will implicitly treat
226 the whole file as a single \book block, see @ref{File structure}.
228 When producing multiple files from a single source file, Lilypond
229 ensures that none of the output files from any @code{\book} block
230 overwrites the output file produced by a preceding @code{\book} from
233 It does this by adding a suffix to the output name for each
234 @code{\book} which uses the default output file name derived from the
237 The default behaviour is to append a version-number suffix for each
238 name which may clash, so
243 \layout @{ @dots{} @}
247 \layout @{ @dots{} @}
251 \layout @{ @dots{} @}
255 in source file @file{eightminiatures.ly}
260 @file{eightminiatures.pdf},
262 @file{eightminiatures-1.pdf} and
264 @file{eightminiatures-2.pdf}.
267 @node Output file names
268 @subsection Output file names
270 @funindex \bookOutputSuffix
271 @funindex \bookOutputName
273 Lilypond provides facilities to allow you to control what file names
274 are used by the various back-ends when producing output files.
276 In the previous section, we saw how Lilypond prevents name-clashes when
277 producing several ouputs from a single source file. You also have the
278 ability to specify your own suffixes for each @code{\book} block, so
279 for example you can produce files called
280 @file{eightminiatures-Romanze.pdf}, @file{eightminiatures-Menuetto.pdf}
281 and @file{eightminiatures-Nocturne.pdf} by adding a
282 @code{\bookOutputSuffix} declaration inside each @code{\book} block.
286 \bookOutputSuffix "Romanze"
288 \layout @{ @dots{} @}
291 \bookOutputSuffix "Menuetto"
293 \layout @{ @dots{} @}
296 \bookOutputSuffix "Nocturne"
298 \layout @{ @dots{} @}
302 You can also specify a different output filename for @code{book} block,
303 by using @code{\bookOutputName} declarations
307 \bookOutputName "Romanze"
309 \layout @{ @dots{} @}
312 \bookOutputName "Menuetto"
314 \layout @{ @dots{} @}
317 \bookOutputName "Nocturne"
319 \layout @{ @dots{} @}
323 The file above will produce these output files:
329 @file{Menuetto.pdf} and
336 @subsection File structure
346 A @code{.ly} file may contain any number of toplevel expressions, where a
347 toplevel expression is one of the following:
351 An output definition, such as @code{\paper}, @code{\midi}, and
352 @code{\layout}. Such a definition at the toplevel changes the default
353 book-wide settings. If more than one such definition of
354 the same type is entered at the top level any definitions in the later
355 expressions have precedence.
358 A direct scheme expression, such as
359 @code{#(set-default-paper-size "a7" 'landscape)} or
360 @code{#(ly:set-option 'point-and-click #f)}.
363 A @code{\header} block. This sets the global header block. This
364 is the block containing the definitions for book-wide settings, like
365 composer, title, etc.
368 A @code{\score} block. This score will be collected with other
369 toplevel scores, and combined as a single @code{\book}.
370 This behavior can be changed by setting the variable
371 @code{toplevel-score-handler} at toplevel. The default handler is
372 defined in the init file @file{../@/scm/@/lily@/.scm}.
375 A @code{\book} block logically combines multiple movements
376 (i.e., multiple @code{\score} blocks) in one document. If there
377 are a number of @code{\score}s, one output file will be created
378 for each @code{\book} block, in which all corresponding movements
379 are concatenated. The only reason to explicitly specify
380 @code{\book} blocks in a @code{.ly} file is if you wish to create
381 multiple output files from a single input file. One exception is
382 within lilypond-book documents, where you explicitly have to add
383 a @code{\book} block if you want more than a single @code{\score}
384 or @code{\markup} in the same example. This behavior can be
385 changed by setting the variable @code{toplevel-book-handler} at
386 toplevel. The default handler is defined in the init file
387 @file{../@/scm/@/lily@/.scm}.
390 A @code{\bookpart} block. A book may be divided into several parts,
391 using @code{\bookpart} blocks, in order to ease the page breaking,
392 or to use different @code{\paper} settings in different parts.
395 A compound music expression, such as
400 This will add the piece in a @code{\score} and format it in a
401 single book together with all other toplevel @code{\score}s and music
402 expressions. In other words, a file containing only the above
403 music expression will be translated into
419 This behavior can be changed by setting the variable
420 @code{toplevel-music-handler} at toplevel. The default handler is
421 defined in the init file @file{../@/scm/@/lily@/.scm}.
424 A markup text, a verse for example
427 2. The first line verse two.
431 Markup texts are rendered above, between or below the scores or music
432 expressions, wherever they appear.
442 This can be used later on in the file by entering @code{\foo}. The
443 name of a variable should have alphabetic characters only; no
444 numbers, underscores or dashes.
448 The following example shows three things that may be entered at
453 % Don't justify the output
465 At any point in a file, any of the following lexical instructions can
469 @item @code{\version}
470 @item @code{\include}
471 @item @code{\sourcefilename}
472 @item @code{\sourcefileline}
474 A single-line comment, introduced by a leading @code{%} sign.
477 A multi-line comment delimited by @code{%@{ .. %@}}.
483 Whitespace between items in the input stream is generally ignored,
484 and may be freely omitted or extended to enhance readability.
485 However, whitespace should always be used in the following
486 circumstances to avoid errors:
489 @item Around every opening and closing curly bracket.
490 @item After every command or variable, i.e. every item that
491 begins with a @code{\} sign.
492 @item After every item that is to be interpreted as a Scheme
493 expression, i.e. every item that begins with a @code{#} sign.
494 @item To separate all elements of a Scheme expression.
495 @item In @code{lyricmode} to separate all the terms in both
496 @code{\override} and @code{\set} commands. In particular, spaces
497 must be used around the dot and the equals sign in commands like
498 @code{\override Score . LyricText #'font-size = #5} and before and
499 after the entire command.
506 @rlearning{How LilyPond input files work}.
509 @node Titles and headers
510 @section Titles and headers
512 Almost all printed music includes a title and the composer's name;
513 some pieces include a lot more information.
518 * Reference to page numbers::
519 * Table of contents::
523 @node Creating titles
524 @subsection Creating titles
526 Titles are created for each @code{\score} block, as well as for the full
527 input file (or @code{\book} block) and book parts (created by
528 @code{\bookpart} blocks).
530 The contents of the titles are taken from the @code{\header} blocks.
531 The header block for a book supports the following
537 The dedicatee of the music, centered at the top of the first page.
541 The title of the music, centered just below the dedication.
545 Subtitle, centered below the title.
547 @funindex subsubtitle
549 Subsubtitle, centered below the subtitle.
553 Name of the poet, flush-left below the subsubtitle.
557 Name of the instrument, centered below the subsubtitle. Also
558 centered at the top of pages (other than the first page).
562 Name of the composer, flush-right below the subsubtitle.
566 Meter string, flush-left below the poet.
570 Name of the arranger, flush-right below the composer.
574 Name of the piece, flush-left below the meter.
578 Name of the opus, flush-right below the arranger.
580 @cindex page breaks, forcing
581 @funindex breakbefore
583 This forces the title to start on a new page (set to ##t or ##f).
587 Copyright notice, centered at the bottom of the first page. To
588 insert the copyright symbol, see @ref{Text encoding}.
592 Centered at the bottom of the last page.
596 Here is a demonstration of the fields available. Note that you
597 may use any @ref{Formatting text}, commands in the header.
599 @lilypond[quote,verbatim,line-width=11.0\cm]
602 paper-height = 10.0\cm
607 dedication = "dedicated to me"
608 title = \markup \center-column { "Title first line" "Title second line,
610 subtitle = "the subtitle,"
611 subsubtitle = #(string-append "subsubtitle LilyPond version "
614 composer = \markup \center-column { "composer" \small "(1847-1973)" }
615 texttranslator = "Text Translator"
616 meter = \markup { \teeny "m" \tiny "e" \normalsize "t" \large "e" \huge
618 arranger = \markup { \fontsize #8.5 "a" \fontsize #2.5 "r" \fontsize
619 #-2.5 "r" \fontsize #-5.3 "a" \fontsize #7.5 "nger" }
620 instrument = \markup \bold \italic "instrument"
644 As demonstrated before, you can use multiple @code{\header} blocks.
645 When same fields appear in different blocks, the latter is used.
646 Here is a short example.
650 composer = "Composer"
658 piece = "New piece" % overwrite previous one
663 If you define the @code{\header} inside the @code{\score} block, then
664 normally only the @code{piece} and @code{opus} headers will be printed.
665 Note that the music expression must come before the @code{\header}.
667 @lilypond[quote,verbatim,line-width=11.0\cm]
671 title = "title" % not printed
678 @funindex print-all-headers
680 You may change this behavior (and print all the headers when defining
681 @code{\header} inside @code{\score}) by using
685 print-all-headers = ##t
692 The default footer is empty, except for the first page, where the
693 @code{copyright} field from @code{\header} is inserted, and the last
694 page, where @code{tagline} from @code{\header} is added. The default
695 tagline is @qq{Music engraving by LilyPond (@var{version})}.@footnote{Nicely
696 printed parts are good PR for us, so please leave the tagline if you
699 Headers may be completely removed by setting them to false.
710 @subsection Custom titles
712 A more advanced option is to change the definitions of the following
713 variables in the @code{\paper} block. The init file
714 @file{../@/ly/@/titling@/-init@/.ly} lists the default layout.
717 @funindex bookTitleMarkup
718 @item bookTitleMarkup
719 This is the title added at the top of the entire output document.
720 Typically, it has the composer and the title of the piece
722 @funindex scoreTitleMarkup
723 @item scoreTitleMarkup
724 This is the title put over a @code{\score} block. Typically, it has
725 the name of the movement (@code{piece} field).
727 @funindex oddHeaderMarkup
728 @item oddHeaderMarkup
729 This is the page header for odd-numbered pages.
731 @funindex evenHeaderMarkup
732 @item evenHeaderMarkup
733 This is the page header for even-numbered pages. If unspecified,
734 the odd header is used instead.
736 By default, headers are defined such that the page number is on the
737 outside edge, and the instrument is centered.
739 @funindex oddFooterMarkup
740 @item oddFooterMarkup
741 This is the page footer for odd-numbered pages.
743 @funindex evenFooterMarkup
744 @item evenFooterMarkup
745 This is the page footer for even-numbered pages. If unspecified,
746 the odd header is used instead.
748 By default, the footer has the copyright notice on the first, and
749 the tagline on the last page.
759 The following definition will put the title flush left, and the
760 composer flush right on a single line.
764 bookTitleMarkup = \markup {
766 \fromproperty #'header:title
767 \fromproperty #'header:composer
773 @node Reference to page numbers
774 @subsection Reference to page numbers
776 A particular place of a score can be marked using the @code{\label}
777 command, either at top-level or inside music. This label can then be
778 referred to in a markup, to get the number of the page where the marked
779 point is placed, using the @code{\page-ref} markup command.
781 @lilypond[verbatim,line-width=11.0\cm]
782 \header { tagline = ##f }
788 \pageBreak \mark A \label #'markA
793 \markup { The first score begins on page \page-ref #'firstScore "0" "?" }
794 \markup { Mark A is on page \page-ref #'markA "0" "?" }
798 The @code{\page-ref} markup command takes three arguments:
800 @item the label, a scheme symbol, eg. @code{#'firstScore};
801 @item a markup that will be used as a gauge to estimate the dimensions
803 @item a markup that will be used in place of the page number if the label
807 The reason why a gauge is needed is that, at the time markups are
808 interpreted, the page breaking has not yet occurred, so the page numbers
809 are not yet known. To work around this issue, the actual markup
810 interpretation is delayed to a later time; however, the dimensions of
811 the markup have to be known before, so a gauge is used to decide these
812 dimensions. If the book has between 10 and 99 pages, it may be "00",
813 ie. a two digit number.
824 @node Table of contents
825 @subsection Table of contents
826 A table of contents is included using the @code{\markuplines \table-of-contents}
827 command. The elements which should appear in the table of contents are
828 entered with the @code{\tocItem} command, which may be used either at
829 top-level, or inside a music expression.
832 \markuplines \table-of-contents
835 \tocItem \markup "First score"
839 \tocItem \markup "Some particular point in the first score"
844 \tocItem \markup "Second score"
852 The markups which are used to format the table of contents are defined
853 in the @code{\paper} block. The default ones are @code{tocTitleMarkup},
854 for formatting the title of the table, and @code{tocItemMarkup}, for
855 formatting the toc elements, composed of the element title and page
856 number. These variables may be changed by the user:
860 %% Translate the toc title into French:
861 tocTitleMarkup = \markup \huge \column {
862 \fill-line { \null "Table des matières" \null }
865 %% use larger font size
866 tocItemMarkup = \markup \large \fill-line {
867 \fromproperty #'toc:text \fromproperty #'toc:page
872 Note how the toc element text and page number are referred to in
873 the @code{tocItemMarkup} definition.
875 New commands and markups may also be defined to build more elaborated
878 @item first, define a new markup variable in the @code{\paper} block
879 @item then, define a music function which aims at adding a toc element
880 using this markup paper variable.
883 In the following example, a new style is defined for entering act names
884 in the table of contents of an opera:
888 tocActMarkup = \markup \large \column {
890 \fill-line { \null \italic \fromproperty #'toc:text \null }
896 #(define-music-function (parser location text) (markup?)
897 (add-toc-item! 'tocActMarkup text))
900 @lilypond[line-width=11.0\cm]
901 \header { tagline = ##f }
903 tocActMarkup = \markup \large \column {
905 \fill-line { \null \italic \fromproperty #'toc:text \null }
911 #(define-music-function (parser location text) (markup?)
912 (add-toc-item! 'tocActMarkup text))
915 \markuplines \table-of-contents
916 \tocAct \markup { Atto Primo }
917 \tocItem \markup { Coro. Viva il nostro Alcide }
918 \tocItem \markup { Cesare. Presti omai l'Egizzia terra }
919 \tocAct \markup { Atto Secondo }
920 \tocItem \markup { Sinfonia }
921 \tocItem \markup { Cleopatra. V'adoro, pupille, saette d'Amore }
928 Init files: @file{../@/ly/@/toc@/-init@/.ly}.
932 @funindex \table-of-contents
933 @code{\table-of-contents},
939 @node Working with input files
940 @section Working with input files
943 * Including LilyPond files::
944 * Different editions from one source::
946 * Displaying LilyPond notation::
950 @node Including LilyPond files
951 @subsection Including LilyPond files
954 @cindex including files
956 A large project may be split up into separate files. To refer to
960 \include "otherfile.ly"
963 The line @code{\include "otherfile.ly"} is equivalent to pasting the
964 contents of @file{otherfile.ly} into the current file at the place
965 where the @code{\include} appears. For example, in a large
966 project you might write separate files for each instrument part
967 and create a @qq{full score} file which brings together the
968 individual instrument files. Normally the included file will
969 define a number of variables which then become available
970 for use in the full score file. Tagged sections can be
971 marked in included files to assist in making them usable in
972 different places in a score, see @ref{Different editions from
975 Files in the current working directory may be referenced by
976 specifying just the file name after the @code{\include} command.
977 Files in other locations may be included by giving either a full
978 path reference or a relative path reference (but use the UNIX
979 forward slash, /, rather than the DOS/Windows back slash, \, as the
980 directory separator.) For example, if @file{stuff.ly} is located
981 one directory higher than the current working directory, use
984 \include "../stuff.ly"
988 or if the included orchestral parts files are all located in a
989 subdirectory called @file{parts} within the current directory, use
992 \include "parts/VI.ly"
993 \include "parts/VII.ly"
997 Files which are to be included can also contain @code{\include}
998 statements of their own. By default, these second-level
999 @code{\include} statements are not interpreted until they have
1000 been brought into the main file, so the file names they specify
1001 must all be relative to the directory containing the main file,
1002 not the directory containing the included file. However,
1003 this behavior can be changed by passing the option
1004 @code{-drelative-includes} option at the command line
1005 (or by adding @code{#(ly:set-option 'relative-includes #t)}
1006 at the top of the main input file). With @code{relative-includes}
1007 set, the path for each @code{\include} command will be taken
1008 relative to the file containing that command. This behavior is
1009 recommended and it will become the default behavior in a future
1010 version of lilypond.
1012 Files can also be included from a directory in a search path
1013 specified as an option when invoking LilyPond from the command
1014 line. The included files are then specified using just their
1015 file name. For example, to compile @file{main.ly} which includes
1016 files located in a subdirectory called @file{parts} by this method,
1017 cd to the directory containing @file{main.ly} and enter
1020 lilypond --include=parts main.ly
1023 and in main.ly write
1031 Files which are to be included in many scores may be placed in
1032 the LilyPond directory @file{../ly}. (The location of this
1033 directory is installation-dependent - see
1034 @rlearning{Other sources of information}). These files can then
1035 be included simply by naming them on an @code{\include} statement.
1036 This is how the language-dependent files like @file{english.ly} are
1039 LilyPond includes a number of files by default when you start
1040 the program. These includes are not apparent to the user, but the
1041 files may be identified by running @code{lilypond --verbose} from
1042 the command line. This will display a list of paths and files that
1043 LilyPond uses, along with much other information. Alternatively,
1044 the more important of these files are discussed in
1045 @rlearning{Other sources of information}. These files may be
1046 edited, but changes to them will be lost on installing a new
1047 version of LilyPond.
1049 Some simple examples of using @code{\include} are shown in
1050 @rlearning{Scores and parts}.
1055 @rlearning{Other sources of information},
1056 @rlearning{Scores and parts}.
1061 If an included file is given a name which is the same as one in
1062 LilyPond's installation files, LilyPond's file from the
1063 installation files takes precedence.
1067 @node Different editions from one source
1068 @subsection Different editions from one source
1070 Several mechanisms are available to facilitate the generation
1071 of different versions of a score from the same music source.
1072 Variables are perhaps most useful for combining lengthy sections
1073 of music and/or annotation in various ways, while tags are more
1074 useful for selecting one from several alternative shorter sections
1075 of music. Whichever method is used, separating the notation from
1076 the structure of the score will make it easier to change the
1077 structure while leaving the notation untouched.
1084 @node Using variables
1085 @unnumberedsubsubsec Using variables
1087 @cindex variables, use of
1089 If sections of the music are defined in variables they can be
1090 reused in different parts of the score, see @rlearning{Organizing
1091 pieces with variables}. For example, an @notation{a cappella}
1092 vocal score frequently includes a piano reduction of the parts
1093 for rehearsal purposes which is identical to the vocal music, so
1094 the music need be entered only once. Music from two variables
1095 may be combined on one staff, see @ref{Automatic part combining}.
1098 @lilypond[verbatim,quote]
1099 sopranoMusic = \relative c'' { a4 b c b8( a) }
1100 altoMusic = \relative g' { e4 e e f }
1101 tenorMusic = \relative c' { c4 b e d8( c) }
1102 bassMusic = \relative c' { a4 gis a d, }
1103 allLyrics = \lyricmode {King of glo -- ry }
1105 \new Staff = "Soprano" \sopranoMusic
1106 \new Lyrics \allLyrics
1107 \new Staff = "Alto" \altoMusic
1108 \new Lyrics \allLyrics
1109 \new Staff = "Tenor" {
1113 \new Lyrics \allLyrics
1114 \new Staff = "Bass" {
1118 \new Lyrics \allLyrics
1121 \set Staff.printPartCombineTexts = ##f
1127 \set Staff.printPartCombineTexts = ##f
1137 Separate scores showing just the vocal parts or just the piano
1138 part can be produced by changing just the structural statements,
1139 leaving the musical notation unchanged.
1141 For lengthy scores, the variable definitions may be placed in
1142 separate files which are then included, see @ref{Including
1146 @unnumberedsubsubsec Using tags
1149 @funindex \keepWithTag
1150 @funindex \removeWithTag
1152 @cindex keep tagged music
1153 @cindex remove tagged music
1155 The @code{\tag #'@var{partA}} command marks a music expression
1156 with the name @var{partA}.
1157 Expressions tagged in this way can be selected or filtered out by
1158 name later, using either @code{\keepWithTag #'@var{name}} or
1159 @code{\removeWithTag #'@var{name}}. The result of applying these filters
1160 to tagged music is as follows:
1161 @multitable @columnfractions .5 .5
1165 Tagged music preceded by @code{\keepWithTag #'@var{name}}
1166 @tab Untagged music and music tagged with @var{name} is included;
1167 music tagged with any other tag name is excluded.
1169 Tagged music preceded by @code{\removeWithTag #'@var{name}}
1170 @tab Untagged music and music tagged with any tag name other than
1171 @var{name} is included; music tagged with @var{name} is
1174 Tagged music not preceded by either @code{\keepWithTag} or
1175 @code{\removeWithTag}
1176 @tab All tagged and untagged music is included.
1179 The arguments of the @code{\tag}, @code{\keepWithTag} and
1180 @code{\removeWithTag} commands should be a symbol
1181 (such as @code{#'score} or @code{#'part}), followed
1182 by a music expression.
1184 In the following example, we see two versions of a piece of music,
1185 one showing trills with the usual notation, and one with trills
1186 explicitly expanded:
1188 @lilypond[verbatim,quote]
1189 music = \relative g' {
1191 \tag #'trills { d8.\trill }
1192 \tag #'expand { \repeat unfold 3 { e32 d } }
1197 \keepWithTag #'trills \music
1200 \keepWithTag #'expand \music
1205 Alternatively, it is sometimes easier to exclude sections of music:
1207 @lilypond[verbatim,quote]
1208 music = \relative g' {
1210 \tag #'trills { d8.\trill }
1211 \tag #'expand {\repeat unfold 3 { e32 d } }
1216 \removeWithTag #'expand
1220 \removeWithTag #'trills
1225 Tagged filtering can be applied to articulations, texts, etc. by
1229 -\tag #'@var{your-tag}
1232 to an articulation. For example, this would define a note with a
1233 conditional fingering indication and a note with a conditional
1238 c1-\tag #'warn ^"Watch!"
1241 Multiple tags may be placed on expressions with multiple
1242 @code{\tag} entries:
1244 @lilypond[quote,verbatim]
1245 music = \relative c'' {
1246 \tag #'a \tag #'both { a4 a a a }
1247 \tag #'b \tag #'both { b4 b b b }
1250 \keepWithTag #'a \music
1251 \keepWithTag #'b \music
1252 \keepWithTag #'both \music
1256 Multiple @code{\removeWithTag} filters may be applied to a single
1257 music expression to remove several differently named tagged sections:
1259 @lilypond[verbatim,quote]
1260 music = \relative c'' {
1261 \tag #'A { a4 a a a }
1262 \tag #'B { b4 b b b }
1263 \tag #'C { c4 c c c }
1264 \tag #'D { d4 d d d }
1273 Two or more @code{\keepWithTag} filters applied to a single music
1274 expression will cause @emph{all} tagged sections to be removed, as
1275 the first filter will remove all tagged sections except the one
1276 named, and the second filter will remove even that tagged section.
1281 @rlearning{Organizing pieces with variables}.
1284 @ref{Automatic part combining},
1285 @ref{Including LilyPond files}.
1289 @c This warning is more general than this placement implies.
1290 @c Rests are not merged whether or not they come from tagged sections.
1291 @c Should be deleted? -td
1295 Multiple rests are not merged if you create a score with more
1296 than one tagged section at the same place.
1301 @subsection Text encoding
1305 @cindex non-ASCII characters
1307 LilyPond uses the character repertoire defined by the Unicode
1308 consortium and ISO/IEC 10646. This defines a unique name and
1309 code point for the character sets used in virtually all modern
1310 languages and many others too. Unicode can be implemented using
1311 several different encodings. LilyPond uses the UTF-8 encoding
1312 (UTF stands for Unicode Transformation Format) which represents
1313 all common Latin characters in one byte, and represents other
1314 characters using a variable length format of up to four bytes.
1316 The actual appearance of the characters is determined by the
1317 glyphs defined in the particular fonts available - a font defines
1318 the mapping of a subset of the Unicode code points to glyphs.
1319 LilyPond uses the Pango library to layout and render multi-lingual
1322 LilyPond does not perform any input-encoding conversions. This
1323 means that any text, be it title, lyric text, or musical
1324 instruction containing non-ASCII characters, must be encoded in
1325 UTF-8. The easiest way to enter such text is by using a
1326 Unicode-aware editor and saving the file with UTF-8 encoding. Most
1327 popular modern editors have UTF-8 support, for example, vim, Emacs,
1328 jEdit, and GEdit do. All MS Windows systems later than NT use
1329 Unicode as their native character encoding, so even Notepad can
1330 edit and save a file in UTF-8 format. A more functional
1331 alternative for Windows is BabelPad.
1333 If a LilyPond input file containing a non-ASCII character is not
1334 saved in UTF-8 format the error message
1337 FT_Get_Glyph_Name () error: invalid argument
1342 Here is an example showing Cyrillic, Hebrew and Portuguese
1346 %c No verbatim here as the code does not display correctly in PDF
1348 bulgarian = \lyricmode {
1349 Жълтата дюля беше щастлива, че пухът, който цъфна, замръзна като гьон.
1353 hebrew = \lyricmode {
1354 זה כיף סתם לשמוע איך תנצח קרפד עץ טוב בגן.
1358 portuguese = \lyricmode {
1359 à vo -- cê uma can -- ção legal
1365 \addlyrics { \bulgarian }
1366 \addlyrics { \hebrew }
1367 \addlyrics { \portuguese }
1370 To enter a single character for which the Unicode code point is
1371 known but which is not available in the editor being used, use
1372 either @code{\char ##xhhhh} or @code{\char #dddd} within a
1373 @code{\markup} block, where @code{hhhh} is the hexadecimal code for
1374 the character required and @code{dddd} is the corresponding decimal
1375 value. Leading zeroes may be omitted, but it is usual to specify
1376 all four characters in the hexadecimal representation. (Note that
1377 the UTF-8 encoding of the code point should @emph{not} be used
1378 after @code{\char}, as UTF-8 encodings contain extra bits indicating
1379 the number of octets.) Unicode code charts and a character name
1380 index giving the code point in hexadecimal for any character can be
1381 found on the Unicode Consortium website,
1382 @uref{http://www.unicode.org/}.
1384 For example, @code{\char ##x03BE} and @code{\char #958} would both
1385 enter the Unicode U+03BE character, which has the Unicode name
1386 @qq{Greek Small Letter Xi}.
1388 Any Unicode code point may be entered in this way and if all special
1389 characters are entered in this format it is not necessary to save
1390 the input file in UTF-8 format. Of course, a font containing all
1391 such encoded characters must be installed and available to LilyPond.
1393 The following example shows Unicode hexadecimal values being entered
1394 in four places -- in a rehearsal mark, as articulation text, in
1395 lyrics and as stand-alone text below the score:
1397 @lilypond[quote,verbatim]
1400 c1 \mark \markup { \char ##x03EE }
1401 c1_\markup { \tiny { \char ##x03B1 " to " \char ##x03C9 } }
1403 \addlyrics { O \markup { \concat { Ph \char ##x0153 be! } } }
1405 \markup { "Copyright 2008--2010" \char ##x00A9 }
1408 @cindex copyright sign
1410 To enter the copyright sign in the copyright notice use:
1414 copyright = \markup @{ \char ##x00A9 "2008" @}
1418 @node Displaying LilyPond notation
1419 @subsection Displaying LilyPond notation
1421 @funindex \displayLilyMusic
1422 Displaying a music expression in LilyPond notation can be
1423 done with the music function @code{\displayLilyMusic} but only when
1424 using the command line. For example,
1428 \displayLilyMusic \transpose c a, @{ c4 e g a bes @}
1435 @{ a,4 cis e fis g @}
1438 By default, LilyPond will print these messages to the console
1439 along with all the other LilyPond compilation messages. To split
1440 up these messages and save the results of @code{\display@{STUFF@}},
1441 redirect the output to a file.
1444 lilypond file.ly >display.txt
1449 @node Controlling output
1450 @section Controlling output
1453 * Extracting fragments of music::
1454 * Skipping corrected music::
1455 * Alternative output formats::
1456 * Replacing the notation font::
1459 @node Extracting fragments of music
1460 @subsection Extracting fragments of music
1462 It is possible to quote small fragments of a large score directly from
1463 the output. This can be compared to clipping a piece of a paper score
1466 This is done by defining the measures that need to be cut out
1467 separately. For example, including the following definition
1475 (make-rhythmic-location 5 1 2)
1476 (make-rhythmic-location 7 3 4)))
1481 will extract a fragment starting halfway the fifth measure, ending in
1482 the seventh measure. The meaning of @code{5 1 2} is: after a 1/2 note
1483 in measure 5, and @code{7 3 4} after 3 quarter notes in measure 7.
1485 More clip regions can be defined by adding more pairs of
1486 rhythmic-locations to the list.
1488 In order to use this feature, LilyPond must be invoked with
1489 @code{-dclip-systems}. The clips are output as EPS files, and are
1490 converted to PDF and PNG if these formats are switched on as well.
1492 For more information on output formats, see @rprogram{Invoking lilypond}.
1494 @node Skipping corrected music
1495 @subsection Skipping corrected music
1498 @funindex skipTypesetting
1499 @funindex showFirstLength
1500 @funindex showLastLength
1502 When entering or copying music, usually only the music near the end (where
1504 are adding notes) is interesting to view and correct. To speed up
1505 this correction process, it is possible to skip typesetting of all but
1506 the last few measures. This is achieved by putting
1509 showLastLength = R1*5
1514 in your source file. This will render only the last 5 measures
1515 (assuming 4/4 time signature) of every @code{\score} in the input
1516 file. For longer pieces, rendering only a small part is often an order
1517 of magnitude quicker than rendering it completely. When working on the
1518 beginning of a score you have already typeset (e.g. to add a new part),
1519 the @code{showFirstLength} property may be useful as well.
1521 Skipping parts of a score can be controlled in a more fine-grained
1522 fashion with the property @code{Score.skipTypesetting}. When it is
1523 set, no typesetting is performed at all.
1525 This property is also used to control output to the MIDI file. Note that
1526 it skips all events, including tempo and instrument changes. You have
1529 @lilypond[quote,fragment,ragged-right,verbatim]
1532 \set Score.skipTypesetting = ##t
1534 \set Score.skipTypesetting = ##f
1539 In polyphonic music, @code{Score.skipTypesetting} will affect all
1540 voices and staves, saving even more time.
1542 @node Alternative output formats
1543 @subsection Alternative output formats
1545 @cindex scalable vector graphics output
1547 @cindex encapsulated postscript output
1550 The default output formats for the printed score are Portable
1551 Document Format (PDF) and PostScript (PS). Scalable Vector
1552 Graphics (SVG), Encapsulated PostScript (EPS) and Portable
1553 Network Graphics (PNG) output formats are also available through
1554 command line options, see @rprogram{Command line options for
1558 @node Replacing the notation font
1559 @subsection Replacing the notation font
1561 Gonville is an alternative to the Feta font used in LilyPond and can
1564 @uref{http://www.chiark.greenend.org.uk/~sgtatham/gonville/ ,http://www.chiark.greenend.org.uk/~sgtatham/gonville/}
1567 Here are a few sample bars of music set in Gonville:
1569 @c NOTE: these images are a bit big, but that's important
1570 @c for the font comparison. -gp
1571 @sourceimage{Gonville_after,,,}
1573 Here are a few sample bars of music set in LilyPond's Feta font:
1575 @sourceimage{Gonville_before,,,}
1577 @subsubheading Installation Instructions for MacOS
1579 Download and extract the zip file. Copy the @code{lilyfonts}
1580 directory to @file{@var{SHARE_DIR}/lilypond/current}; for more
1581 information, see @rlearning{Other sources of information}.
1582 Move the existing @code{fonts} directory to @code{fonts_orig} and
1583 move the @code{lilyfonts} directory to @code{fonts}. Simply move
1584 @code{fonts_orig} back to @code{fonts} to revert back to Feta.
1587 Learning Manual: @rlearning{Other sources of information}.
1591 Gonville cannot be used to typeset @q{Ancient Music} notation. Please
1592 refer to the author's website for more information on this and other
1593 specifics including licensing of Gonville.
1597 @section MIDI output
1602 MIDI (Musical Instrument Digital Interface) is a standard for
1603 connecting and controlling digital instruments. A MIDI file is a
1604 series of notes in a number of tracks. It is not an actual
1605 sound file; you need special software to translate between the
1606 series of notes and actual sounds.
1608 Pieces of music can be converted to MIDI files, so you can listen to
1609 what was entered. This is convenient for checking the music; octaves
1610 that are off or accidentals that were mistyped stand out very much
1611 when listening to the MIDI output.
1614 The midi output allocates a channel for each staff, and one for global
1615 settings. Therefore the midi file should not have more than 15 staves
1616 (or 14 if you do not use drums). Other staves will remain silent.
1619 * Creating MIDI files::
1621 * What goes into the MIDI output?::
1623 * Controlling MIDI dynamics::
1624 * Percussion in MIDI::
1627 @node Creating MIDI files
1628 @subsection Creating MIDI files
1630 To create a MIDI output file from a LilyPond input file, add a
1631 @code{\midi} block to a score, for example,
1640 If there is a @code{\midi} block in a @code{\score} with no
1641 @code{\layout} block, only MIDI output will be produced. When
1642 notation is needed too, a @code{\layout} block must also be
1653 Pitches, rhythms, ties, dynamics, and tempo changes are interpreted
1654 and translated correctly to the MIDI output. Dynamic marks,
1655 crescendi and decrescendi translate into MIDI volume levels.
1656 Dynamic marks translate to a fixed fraction of the available MIDI
1657 volume range. Crescendi and decrescendi make the volume vary
1658 linearly between their two extremes. The effect of dynamic markings
1659 on the MIDI output can be removed completely, see @ref{MIDI block}.
1661 The initial tempo and later tempo changes can be specified
1662 with the @code{\tempo} command within the music notation. These
1663 are reflected in tempo changes in the MIDI output. This command
1664 will normally result in the metronome mark being printed, but this
1665 can be suppressed, see @ref{Metronome marks}. An alternative way
1666 of specifying the initial or overall MIDI tempo is described below,
1667 see @ref{MIDI block}.
1669 Due to some limitations on Windows, the default extension for
1670 MIDI files on Windows is @code{.mid}. Other operating systems still
1671 use the extension @code{.midi}. If a different extension is preferred,
1672 insert the following line at the top-level of the input file,
1673 before the start of any @code{\book}, @code{\bookpart} or @code{\score} blocks:
1676 #(ly:set-option 'midi-extension "midi")
1679 The line above will set the default extension for MIDI files to
1682 Alternatively, this option can also be supplied on the command line:
1685 lilypond … -dmidi-extension=midi lilyFile.ly
1689 @unnumberedsubsubsec Instrument names
1691 @cindex instrument names
1692 @funindex Staff.midiInstrument
1694 The MIDI instrument to be used is specified by setting the
1695 @code{Staff.midiInstrument} property to the instrument name.
1696 The name should be chosen from the list in @ref{MIDI instruments}.
1700 \set Staff.midiInstrument = #"glockenspiel"
1706 \new Staff \with @{midiInstrument = #"cello"@} @{
1711 If the selected instrument does not exactly match an instrument from
1712 the list of MIDI instruments, the Grand Piano (@code{"acoustic grand"})
1718 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1719 {changing-midi-output-to-one-channel-per-voice.ly}
1723 @c In 2.11 the following no longer seems to be a problem -td
1725 Unterminated (de)crescendos will not render properly in the midi file,
1726 resulting in silent passages of music. The workaround is to explicitly
1727 terminate the (de)crescendo. For example,
1734 will not work properly but
1737 @{ a4\< b c d\!\f @}
1744 Changes in the MIDI volume take place only on starting a note, so
1745 crescendi and decrescendi cannot affect the volume of a
1748 Not all midi players correctly handle tempo changes in the midi
1749 output. Players that are known to work include MS Windows Media
1750 Player and @uref{http://@/timidity@/.sourceforge@/.net/,timidity}.
1753 @subsection MIDI block
1756 A @code{\midi} block must appear within a score block if MIDI output
1757 is required. It is analogous to the layout block, but somewhat
1758 simpler. Often, the @code{\midi} block is left empty, but it
1759 can contain context rearrangements, new context definitions or code
1760 to set the values of properties. For example, the following will
1761 set the initial tempo exported to a MIDI file without causing a tempo
1762 indication to be printed:
1770 tempoWholesPerMinute = #(ly:make-moment 72 4)
1776 In this example the tempo is set to 72 quarter note
1777 beats per minute. This kind of tempo specification cannot take
1778 a dotted note length as an argument. If one is required, break
1779 the dotted note into smaller units. For example, a tempo of 90
1780 dotted quarter notes per minute can be specified as 270 eighth
1784 tempoWholesPerMinute = #(ly:make-moment 270 8)
1787 @cindex MIDI context definitions
1789 Context definitions follow precisely the same syntax as those
1790 within a @code{\layout} block. Translation modules for sound are
1791 called performers. The contexts for MIDI output are defined in
1792 @file{../@/ly/@/performer@/-init@/.ly},
1793 see @rlearning{Other sources of information}.
1794 For example, to remove the effect of dynamics
1795 from the MIDI output, insert the following lines in the
1796 @code{\midi@{ @}} block.
1803 \remove "Dynamic_performer"
1808 MIDI output is created only when a @code{\midi} block is included
1809 within a score block defined with a @code{\score} command. If it
1810 is placed within an explicitly instantiated score context (i.e.
1811 within a @code{\new Score} block) the file will fail. To solve
1812 this, enclose the @code{\new Score} and the @code{\midi} commands
1813 in a @code{\score} block.
1817 \new Score @{ @dots{}notes@dots{} @}
1822 @node What goes into the MIDI output?
1823 @subsection What goes into the MIDI output?
1825 @c TODO Check grace notes - timing is suspect?
1827 @unnumberedsubsubsec Supported in MIDI
1829 @cindex Pitches in MIDI
1830 @cindex MIDI, Pitches
1831 @cindex Quarter tones in MIDI
1832 @cindex MIDI, quarter tones
1833 @cindex Microtones in MIDI
1834 @cindex MIDI, microtones
1835 @cindex Chord names in MIDI
1836 @cindex MIDI, chord names
1837 @cindex Rhythms in MIDI
1838 @cindex MIDI, Rhythms
1841 The following items of notation are reflected in the MIDI output:
1845 @item Microtones (See @ref{Accidentals}. Rendering needs a
1846 player that supports pitch bend.)
1847 @item Chords entered as chord names
1848 @item Rhythms entered as note durations, including tuplets
1849 @item Tremolos entered without @q{@code{:}[@var{number}]}
1852 @item Crescendi, decrescendi over multiple notes
1853 @item Tempo changes entered with a tempo marking
1857 @unnumberedsubsubsec Unsupported in MIDI
1859 @c TODO index as above
1861 The following items of notation have no effect on the MIDI output:
1864 @item Rhythms entered as annotations, e.g. swing
1865 @item Tempo changes entered as annotations with no tempo marking
1866 @item Staccato and other articulations and ornamentations
1867 @item Slurs and Phrasing slurs
1868 @item Crescendi, decrescendi over a single note
1869 @item Tremolos entered with @q{@code{:}[@var{number}]}
1871 @item Microtonal chords
1875 @node Repeats in MIDI
1876 @subsection Repeats in MIDI
1878 @cindex repeats in MIDI
1879 @funindex \unfoldRepeats
1881 With a few minor additions, all types of repeats can be represented
1882 in the MIDI output. This is achieved by applying the
1883 @code{\unfoldRepeats} music function. This function changes all
1884 repeats to unfold repeats.
1886 @lilypond[quote,verbatim]
1888 \repeat tremolo 8 { c'32 e' }
1889 \repeat percent 2 { c''8 d'' }
1890 \repeat volta 2 { c'4 d' e' f' }
1899 When creating a score file using @code{\unfoldRepeats} for MIDI,
1900 it is necessary to make two @code{\score} blocks: one for MIDI
1901 (with unfolded repeats) and one for notation (with volta, tremolo,
1902 and percent repeats). For example,
1910 \unfoldRepeats @var{..music..}
1915 @node Controlling MIDI dynamics
1916 @subsection Controlling MIDI dynamics
1918 MIDI dynamics are implemented by the Dynamic_performer which lives
1919 by default in the Voice context. It is possible to control the
1920 overall MIDI volume, the relative volume of dynamic markings and
1921 the relative volume of different instruments.
1923 @unnumberedsubsubsec Dynamic marks
1925 Dynamic marks are translated to a fixed fraction of the available
1926 MIDI volume range. The default fractions range from 0.25 for
1927 @notation{ppppp} to 0.95 for @notation{fffff}. The set of dynamic
1928 marks and the associated fractions can be seen in
1929 @file{../@/scm/@/midi.scm}, see @rlearning{Other sources of information}.
1930 This set of fractions may be changed or extended by providing a
1931 function which takes a dynamic mark as its argument and returns the
1932 required fraction, and setting
1933 @code{Score.dynamicAbsoluteVolumeFunction} to this function.
1935 For example, if a @notation{rinforzando} dynamic marking,
1936 @code{\rfz}, is required, this will not by default
1937 have any effect on the MIDI volume, as this dynamic marking is not
1938 included in the default set. Similarly, if a new dynamic marking
1939 has been defined with @code{make-dynamic-script} that too will not
1940 be included in the default set. The following example shows how the
1941 MIDI volume for such dynamic markings might be added. The Scheme
1942 function sets the fraction to 0.9 if a dynamic mark of rfz is
1943 found, or calls the default function otherwise.
1945 @lilypond[verbatim,quote]
1946 #(define (myDynamics dynamic)
1947 (if (equal? dynamic "rfz")
1949 (default-dynamic-absolute-volume dynamic)))
1953 \set Staff.midiInstrument = #"cello"
1954 \set Score.dynamicAbsoluteVolumeFunction = #myDynamics
1966 Alternatively, if the whole table of fractions needs to be
1967 redefined, it would be better to use the
1968 @notation{default-dynamic-absolute-volume} procedure in
1969 @file{../@/scm/@/midi.scm} and the associated table as a model.
1970 The final example in this section shows how this might be done.
1972 @unnumberedsubsubsec Overall MIDI volume
1974 The minimum and maximum overall volume of MIDI dynamic markings is
1975 controlled by setting the properties @code{midiMinimumVolume} and
1976 @code{midiMaximumVolume} at the @code{Score} level. These
1977 properties have an effect only on dynamic marks, so if they
1978 are to apply from the start of the score a dynamic mark must be
1979 placed there. The fraction corresponding to each dynamic mark is
1980 modified with this formula
1983 midiMinimumVolume + (midiMaximumVolume - midiMinimumVolume) * fraction
1986 In the following example the dynamic range of the overall MIDI
1987 volume is limited to the range 0.2 - 0.5.
1989 @lilypond[verbatim,quote]
1995 \set Staff.midiInstrument = #"flute"
1996 \new Voice \relative c''' {
2004 \set Staff.midiInstrument = #"clarinet"
2005 \new Voice \relative c'' {
2016 tempoWholesPerMinute = #(ly:make-moment 72 2)
2017 midiMinimumVolume = #0.2
2018 midiMaximumVolume = #0.5
2024 @unnumberedsubsubsec Equalizing different instruments (i)
2026 If the minimum and maximum MIDI volume properties are set in
2027 the @code{Staff} context the relative volumes of the MIDI
2028 instruments can be controlled. This gives a basic instrument
2029 equalizer, which can enhance the quality of the MIDI output
2032 In this example the volume of the clarinet is reduced relative
2033 to the volume of the flute. There must be a dynamic
2034 mark on the first note of each instrument for this to work
2037 @lilypond[verbatim,quote]
2043 \set Staff.midiInstrument = #"flute"
2044 \set Staff.midiMinimumVolume = #0.7
2045 \set Staff.midiMaximumVolume = #0.9
2046 \new Voice \relative c''' {
2054 \set Staff.midiInstrument = #"clarinet"
2055 \set Staff.midiMinimumVolume = #0.3
2056 \set Staff.midiMaximumVolume = #0.6
2057 \new Voice \relative c'' {
2068 tempoWholesPerMinute = #(ly:make-moment 72 2)
2074 @unnumberedsubsubsec Equalizing different instruments (ii)
2076 If the MIDI minimum and maximum volume properties are not set
2077 LilyPond will, by default, apply a small degree of equalization
2078 to a few instruments. The instruments and the equalization
2079 applied are shown in the table @notation{instrument-equalizer-alist}
2080 in @file{../@/scm/@/midi.scm}.
2082 This basic default equalizer can be replaced by setting
2083 @code{instrumentEqualizer} in the @code{Score} context to a new
2084 Scheme procedure which accepts a MIDI instrument name as its only
2085 argument and returns a pair of fractions giving the minimum and
2086 maximum volumes to be applied to that instrument. This replacement
2087 is done in the same way as shown for resetting the
2088 @code{dynamicAbsoluteVolumeFunction} at the start of this section.
2089 The default equalizer, @notation{default-instrument-equalizer}, in
2090 @file{../@/scm/@/midi.scm} shows how such a procedure might be written.
2092 The following example sets the relative flute and clarinet volumes
2093 to the same values as the previous example.
2095 @lilypond[verbatim,quote]
2096 #(define my-instrument-equalizer-alist '())
2098 #(set! my-instrument-equalizer-alist
2101 ("flute" . (0.7 . 0.9))
2102 ("clarinet" . (0.3 . 0.6)))
2103 my-instrument-equalizer-alist))
2105 #(define (my-instrument-equalizer s)
2106 (let ((entry (assoc s my-instrument-equalizer-alist)))
2115 \set Score.instrumentEqualizer = #my-instrument-equalizer
2116 \set Staff.midiInstrument = #"flute"
2117 \new Voice \relative c''' {
2125 \set Staff.midiInstrument = #"clarinet"
2126 \new Voice \relative c'' {
2137 tempoWholesPerMinute = #(ly:make-moment 72 2)
2144 @c Delete when satisfied this is adequately covered elsewhere -td
2146 @n ode Microtones in MIDI
2147 @s ubsection Microtones in MIDI
2149 @cindex microtones in MIDI
2151 Microtones consisting of half sharps and half flats are exported
2152 to the MIDI file and render correctly in MIDI players which support
2153 pitch bending. See @ref{Note names in other languages}. Here is
2154 an example showing all the half sharps and half flats. It can be
2155 copied out and compiled to test microtones in your MIDI player.
2157 @lilypond[verbatim,quote]
2174 @node Percussion in MIDI
2175 @subsection Percussion in MIDI
2177 Percussion instruments are generally notated in a @code{DrumStaff}
2178 context and when notated in this way they are outputted correctly
2179 to MIDI channel@tie{}10, but some pitched percussion instruments,
2180 like the xylophone, marimba, vibraphone, timpani, etc., are
2181 treated like @qq{normal} instruments and music for these instruments
2182 should be entered in a normal @code{Staff} context, not a
2183 @code{DrumStaff} context, to obtain the correct MIDI output.
2185 Some non-pitched percussion sounds included in the general MIDI
2186 standard, like melodic tom, taiko drum, synth drum, etc., cannot
2187 be reached via MIDI channel@tie{}10, so the notation for such
2188 instruments should also be entered in a normal @code{Staff}
2189 context, using suitable normal pitches.
2191 Many percussion instruments are not included in the general MIDI
2192 standard, e.g. castanets. The easiest, although unsatisfactory,
2193 method of producing some MIDI output when writing for such
2194 instruments is to substitute the nearest sound from the standard
2197 @c TODO Expand with examples, and any other issues
2201 Because the general MIDI standard does not contain rim shots, the
2202 sidestick is used for this purpose instead.