--- /dev/null
+COMMENT(-*-text-*-)
+
+redef(var)(1)(whenlatex(latexcommand({\normalfont\scshape )ARG1+latexcommand(}))\
+ whenhtml(sc(ARG1)))
+
+
+redef(code)(1)(tt(ARG1))
+
+COMMENT(
+
+TODO:
+ the use of semicolons needs to be documented once it settles down
+ \times needs documentation with examples somewhere once it works (?)
+ paper size?
+ the explanation of how lyrics mode parses words seems ridiculous.
+ Is there a simple way to explain this, or is the behavior
+ too complicated for a reasonable explanation?
+ \relative and \tranpose and \times make it necessary to specify
+ an explicit \type staff, or bizarre things happen.
+ catalan.ly
+ accordion symbols
+ extender* (see extender.ly)
+ \repeat & \alternative -> probably should have an example
+)
+
+
+COMMENT( This document contains Mudela fragments. You need at least
+Yodl-1.30.18 to convert this to tex or html.
+
+TODO
+
+in stead <-> instead
+)
+
+htmlbodyopt(bgcolor)(white)
+htmlcommand(<font color=black>)
+
+latexlayoutcmds(
+\setlength{\topmargin}{-0.25in}
+\setlength{\textheight}{9in}
+\setlength{\textwidth}{5.875in}
+\setlength{\oddsidemargin}{0.25in}
+\setlength{\evensidemargin}{0.25in}
+\input mudela-book
+)
+
+whentexinfo(notableofcontents())
+
+article(Mudela 1.0.7 / LilyPond 1.1.8 Reference Manual)
+ (Adrian Mariano, Han-Wen Nienhuys and Jan Nieuwenhuizen)
+ (nop()PIPETHROUGH(date "+%B %d, %Y")()()nop())
+
+COMMENT(
+
+* The [ ] look weird
+
+* paragraphs have too much space.
+
+)
+
+
+latexcommand(\def\interexample{})
+latexcommand(\def\preexample{\par})
+latexcommand(\def\postexample{\par\medskip})
+latexcommand(\def\file#1{{code(#1)}})
+COMMENT(
+latexcommand(\def\texttt#1{\tt #1})
+latexcommand(\def\textbf#1{\bf #1})
+)
+
+COMMENT(urg, texinfo include breaks)
+whenhtml(
+includefile(html-disclaimer.yo-urg)
+)
+
+bf(This document is not up to date). All rendered examples of course
+are current, but the rest probably isn't. Adjusting the tutorial was
+considered more important than writing the reference manual. We
+apologize for the inconvenience. For a complete and up-to-date
+definition, see file(lily/parser.yy), file(lily/lexer.ll), and the
+init files.
+
+This document describes the the GNU LilyPond input format, which is an
+effective language for defining music. We call this language (rather
+arrogantly) The Musical Definition Language or Mudela, for
+short.footnote(If anybody comes up with a better name, we'd gladly
+ take this. Gourlay already uses Musical Description Language,
+ G-Sharp Score Definition Language. ISO standard 10743 defines a
+ Standard Music Description Language. We're not being original here.)
+
+The first aim of Mudela is to define a piece of music, being complete
+from both from a musical typesetting, as from a musical performing
+point of view.
+
+The Musical Definition Language (Mudela), has a logical structure,
+making use of identifiers, that allows for flexible input, and
+definition reuse. See the documentation file file(MANIFESTO), included
+with the LilyPond sources for reasons and design considerations.
+
+
+sect(Running LilyPond)
+
+When invoked with a filename that has no extension, LilyPond will try adding
+a file(.fly) extension first, and a file(.ly) extension second.
+If the filename ends with
+file(.fly), LilyPond processes the file as music using
+file(init.fly). In this case, LilyPond does something
+like:
+verb(\score {
+ \notes\relative c {
+ \input "yourfile.fly"
+ }
+ \paper{}
+ \midi{}
+})
+If you invoke LilyPond with a file file(foo.)var(ext) that doesn't
+have the file(.ly) extension then LilyPond will look for a file called
+file(init.)var(ext) and process this file. The file
+file(init.)var(ext) must contain the code(\maininput) keyword or LilyPond
+will not read the user specified file.
+
+When LilyPond processes file(filename.ly) it will produce file(filename.tex) as
+output. If file(filename.ly) contains a second code(\paper) keyword, then
+LilyPond will produce file(filename-1.tex) as well. Subsequent code(\paper)
+keywords will produces sequentially numbered file names. Several files can be
+specified; they will each be processed independently.
+
+sect(Syntax)
+
+subsect(Basic Mudela)
+
+A Mudela file consists of keywords with arguments and identifier
+assignments separated by spaces, tabs or newlines. Semicolons are
+used by some keywords but are not generally required. A one line
+comment is introduced by a code(%) character. Block comments are
+started by code(%{) and ended by code(%}). They cannot be nested.
+
+Mudela supports several types:
+
+description(
+
+dit(integer)
+Formed from an optional minus sign followed by digits. Arithmetic
+operations cannot be done with integers, and integers cannot be mixed
+with reals.
+
+dit(real)
+Formed from an optional minus sign and a sequence of digits followed
+by a emph(required) decimal point and an optional exponent such as
+code(-1.2e3). Reals can be built up using the usual operations:
+code(+), code(-), code(*), and code(/), with parentheses for grouping.
+
+dit(string)
+Begins and ends with the code(") character. To include a code(")
+character in a string write code(\"). Various other backslash
+sequences have special interpretations as in the C language. A string
+that contains no spaces can be written without the quotes. See
+Section ref(modes) for details on unquoted strings; their
+interpretation varies depending on the situation. On the right side
+of identifier assignments and within the code(\header) keyword,
+strings can be concatenated using the code(+) character.
+
+dit(dimension) Consists of a real followed by one of the dimension
+keywords: code(\mm), code(\pt), code(\in), or code(\cm). Dimensions
+are converted immediately to a real which gives the dimension in
+points, so they can be mixed with reals, but the result is no longer
+of type dimension. The keywords that require a dimension
+(code(\shape) and code(\symboltables)) will not accept this.
+
+dit(pitch)
+A pitch is a string which is the name of a pitch. Example: code(a).
+The pitch names can be redefined with the code(\notenames) keyword.
+See Section(notelang) for pitch names in different languages. Pitches
+can only be specified inside note mode which is specified with
+code(\notes). Therefore, keywords which require pitch arguments must
+appear inside code(\notes).
+
+dit(music)
+Music is a compound type: arbitrarily complicated expressions with a
+hierarchical structure can be formed from simple building blocks. The
+simplest expression of type music is a single note. A note is formed
+from a pitch and an optional duration and must be specified within
+code(\notes). See Section ref(notedesc) for details. More
+complicated expressions of type music are formed by surrounding a
+sequence of expressions of type music with braces code({) and code(})
+or with angle brackets code(<) and code(>). Items appearing in braces
+will be treated as serial. Items in angle brackets will be
+simultaneous. So for example code({ c e g }) represents an arpeggio
+and code(< c e g >) represents a chord. These items can be nested any
+way you like. This simple example shows how three chords can be
+expressed in two different ways:
+mudela(fragment,verbatim,center)(
+\notes<{a b c'}{c' d' e'}{e' f' g'}>
+\notes{<a c' e'><b d' f'><c' e' g'>}
+)
+
+)
+
+
+COMMENT(
+Compound types are built up from the simple types. The compound types
+are: arglist, assignlist and musiclist. An arglist is a
+white space separated list of integers, reals and or strings surrounded
+by braces code({) and code(}). An assignlist is a list of
+identifier assignments, which have the form var(key)code(=)var(value).
+A statement in Mudela has one of three forms:
+verb(\keyword argument
+\keyword argument1 argument2 ... ;
+string=value)
+)
+
+subsect(Identifiers)
+
+Identifiers allow names to be assigned to constants, music, or other
+Mudela structures. To assign an identifier you use
+var(name)=var(value) and to refer to an identifier, you preceed its
+name with a backslash: code(\)var(name). It is legal to redefine an
+identifier in terms of its old value: code(foo = \foo * 2.0).
+Identifier assignments must appear at the top level in the Mudela
+file.
+
+An identifier can be created with any string for its name, but you
+will only be able to refer to identifiers whose names begin with a
+letter and are entirely alphanumeric. It is also impossible to refer
+to an identifier whose name is the same as the name of a keyword. The
+following words are keywords:
+verb(absdynamic grouping mm relative symboltables
+accepts header musicalpitch remove table
+alternative in name repeat tempo
+bar include notenames scm time
+cadenza key notes scmfile times
+clef keysignature paper score translator
+cm lyrics partial script transpose
+consists maininput penalty shape type
+duration mark property skip version
+font midi pt spandynamic)
+
+The right hand side of an identifier assignment is parsed completely
+when the assignment is made. It therefore must have any context
+specified in the definition. For example, you must write
+code(foo=\notes{a8 b c}) rather than code(foo={a8 b c}). Even though
+the context is specified in the definition, you must refer to the
+identifier inside the correct context:
+verb(foo = \paper{ linewidth = 6.0\in; }
+\score{
+ \notes{ ... }
+ \paper{ \foo }
+})
+If code(\foo) is used here without the surrounding code(\paper) then
+an error will result. Note however that the following is acceptible
+verb(foo = \notes { ... }
+\score{ \foo })
+It is not necessary to specify code(\notes).
+
+Identifiers can be set equal to integers, reals, strings, music,
+durations (specified with code(\duration)), note ornaments (specified
+with code(\script), dynamics commands, or code(:)), note name tables
+(specified with code(\notenames), translator definitions, the
+code(\paper) block, the code(\midi) block or the code(\score) block.
+When identifiers are used for translators, the code(\paper),
+code(\midi), and code(\score) blocks, they may only be referred to as
+the first item in a block. So code(\paper{\one \two}) is illegal
+because the identifier code(\two) is not the first thing in the block.
+Unlike other identifier definitions, translator identifier definitions
+can only appear within code(\midi) or code(\paper) blocks. See
+Section ref(translators) for more information.
+
+
+COMMENT(
+subsect(Hierarchical structures)
+
+The general structure consists of declarations:
+verb(IDENTIFIER = \TYPE{
+ <type specific data>
+})
+and instantiations:
+
+verb(\TYPE{ <type specific data> })
+
+(Currently, code(\score) is the only type that can be instantiated
+at top level.)
+
+Most instantiations that use an IDENTIFIER are specified as follows:
+
+verb(\TYPE{ \IDENTIFIER [...] })
+
+Some exceptions on this rule have been made to prevent inputting
+Mudela becoming tedious
+)
+
+
+subsect(Modes)
+label(modes)
+
+To simplify different aspects of music definition (entering the notes
+and manipulating them) Mudela has three different input modes which
+affect how unquoted strings are interpreted.
+In each mode, words are identified on the input. If code("word") is
+encountered, it is treated as a string. If code(\word) is
+encountered it is treated as a keyword or as an identifier. The
+behavior of the modes differs in two ways: different modes treat
+unquoted words different, and different modes have different rules for
+deciding what is a word.
+
+description(
+
+dit(Normal mode)
+At the start of parsing, Mudela is in normal mode.
+In normal mode, a word is an alphabetic character followed by
+alphanumeric characters. If code(word) is encountered on the input it
+is treated as a string.
+
+dit(Note mode) Note mode is introduced by the keyword
+code(\notes). In Note mode, words can only contain alphabetic
+characters. If code(word) is encountered, LilyPond first checks for a
+notename of code(word). If no notename is found, then code(word) is
+treated as a string. If you mistype a notename, the parser will most
+likely complain that you should be in code(\lyrics) mode to do lyrics.
+
+dit(Lyric mode) Lyrics mode is introduced by the keyword
+code(\lyrics). This mode is has rules that make it easy to include
+punctuation and diacritical marks in words. A word in Lyrics mode
+begins with: an alphabetic character, code(_),
+code(?), code(!), code(:), code('),
+the control characters code(^A) through code(^F), code(^Q) through
+code(^W), code(^Y), code(^^), any 8-bit character with ASCII code over
+127, or a two character combination of a backslash followed by one
+of code(`), code('), code(") or code(^).
+Subsequent characters of a word can be any character that is not a
+digit and not white space. One important consequence of this is that
+a word can end with code(}), which may be confusing if you thought the
+code(}) was going to terminate lyrics mode. Any code(_) characters
+which appear in an unquoted word are converted to spaces, providing a
+mechanism for introducing spaces into words without using quotes.
+Quoted words can also be used in lyrics mode to specify words that
+cannot be specified with the above rules. Here are some examples.
+Not all of these words are printable by TeX().
+verb(a&@&@&TSI|{[ % a word
+\'afoo} % a word
+1THtrhortho % not a word because it starts with a digit
+``Hello'' % not a word because it starts with `
+Leise DOEXPAND(Fl\)DOEXPAND("u\)ss{}teren meine Sapfe % 4 words
+_ _ _ _ % 4 words, each one a space
+))
+
+It is possible to create words that break the rules by prefixing them with the
+dollar sign code($). Regardless of the context, a word beginning with code($)
+extends until the next white space character. Such words can contain numbers
+(even in Note mode), or other forbidden characters. The dollar sign can be
+used to create and access identifiers that could not otherwise be used.
+
+COMMENT(
+These modes are of a lexical nature. Normal and Note mode largely
+resemble each other, save the possibility of entering Reals,
+meaning of code(_) and the resolution of words
+
+What's this about reals? When can you enter them or not enter them?)
+
+
+sect(Note Description)
+label(notedesc)
+
+subsect(Basic Note Specification)
+
+A note specification has the form
+var(pitch)[var(octavespec)][code(!)][code(?)][var(duration)].
+The pitch of the note is specified by the note's name.
+
+LilyPond has predefined note names for various languages. The default
+names are the Dutch note names. The notes are specified by the
+letters code(c) through code(b), where code(c) is an octave below
+middle C and the letters span the ocatave above that C.
+In Dutch, a sharp is formed by adding
+code(-is) to the end of a pitch name. A flat is formed by adding code(-es).
+Double sharps and double flats are obtained by adding code(-isis) or
+code(-eses).
+Lily has predefined sets of notenames
+for various nop(languages). See Section ref(notelang) for details.
+Rests are specified with the note name code(r) or code(R).
+There is also a note name code(s) which produces a nonprinting note of the
+specified duration.
+
+The optional octave specification takes the form of a series of single
+quote
+code(') characters or a series of comma code(,) characters. Each
+code(') raises the pitch by one octave; each code(,) lowers the pitch
+by an octave.
+
+mudela(fragment,verbatim,center)(
+c' d' e' f' g' a' b' c''
+)
+
+mudela(fragment,verbatim,center)(
+cis' dis' eis' fis' gis' ais' bis'
+)
+
+mudela(fragment,verbatim,center)(
+ces' des' es' fes' ges' as' bes'
+)
+
+mudela(fragment,verbatim,center)(
+cisis' eisis' gisis' aisis' beses'
+)
+
+mudela(fragment,verbatim,center)(
+ceses' eses' geses' ases' beses'
+)
+
+Whenever a C-sharp is desired, you must specify a C-sharp. LilyPond
+will determine what accidentals to typeset depending on the key and
+context.
+A reminder accidental can be forced by
+using the optional exclamation mark `code(!)'
+on the pitch.
+A cautionary accidental, i.e., an accidental within paranthesis
+can be obtained using the optional question mark `code(?)' on the pitch.
+mudela(fragment,verbatim,center)(
+cis' d' e' cis' c'? d' e' c'!
+)
+
+
+Durations are entered as their reciprocal values
+mudela(fragment,verbatim,center)(
+a'1 a'2 a'4 a a'8 a a'16 a'32 a'64
+)
+mudela(fragment,verbatim,center)(
+r1 r2 r4 r8 r16 r32
+)
+
+If the duration is omitted then it is set equal to the previous
+duration. If there is no previous duration, then a quarter note is
+assumed.
+The duration can be followed by a dot code(.) to obtain dotted note
+lengths.
+mudela(fragment,verbatim,center)(
+a'4. b'4.
+)
+
+In addition, the duration can be followed by a multiplier which is
+introduced with the asterisk code(*) and can be an integer or a
+fraction. The multiplier changes the duration that LilyPond uses
+internally for the note, but for notes it
+does not change the symbol that is printed.
+mudela(fragment,verbatim,center)(
+c'4*2 c'4*2 d'8*2/3 d'8*2/3
+)
+For long rests with durations equal to an integer number of whole notes,
+LilyPond produces output that indicates the duration of the rest. If you use
+code(r) then one rest symbol will be printed and several measures left blank.
+If you use code(R) then all of the measure will be filled with whole rests.
+If you set the code(Score.SkipBars) property, then only one measure will be
+printed; with code(R), a number indicating the length of the rest will be
+displayed.
+mudela(fragment,verbatim,center)(
+r1*3 R1*3
+\property Score.SkipBars=1
+r1*3 R1*3)
+
+Extra long notes can be obtained using the code(\breve) and
+code(longa) durations:
+mudela(fragment,verbatim,center)(
+c'\breve gis'\longa
+)
+
+
+subsect(Note Spanners: Beams, Tuplets, Slurs and Ties)
+
+A beam is specified by surrounding the beamed notes with brackets
+code([) and code(]).
+mudela(fragment,verbatim,center)(
+[a'8 a'] [a'16 a' a' a']
+)
+
+[EXPLAIN TUPLETS HERE]
+
+Another type of spanner is the slur. Slurs connects chords and try to
+avoid crossing stems. A slur is started with code(CHAR(40)) and stopped with
+code(CHAR(41)). The starting code(CHAR(40)) appears to the right of the first note
+in the slur. The terminal code(CHAR(41)) apppears to the left of the first
+note in the slur. This makes it possible to put a note in slurs from
+both sides:
+mudela(fragment,verbatim,center)(
+f'()g'()a' [a'8 b'(] a'4 g' )f'
+)
+
+A tie connects two adjacent note heads. When used with chords, it
+connects all of the note heads. Ties are indicated using the tilde symbol
+code(~) by analogy with TeX()'s tie which connects words.
+
+mudela(fragment,verbatim,center)(
+e' ~ e' <c' e' g'> ~ <c' e' g'>
+)
+
+
+subsect(Note Ornaments)
+
+A variety of symbols can appear above and below notes to indicate
+different characteristics of the performance.
+These symbols can be
+added to a note with `var(note)code(-\)var(name)'. Numerous different
+symbols are defined in file(script.ly). Each symbol is defined using
+the code(\script) keyword which specifies where symbols appear.
+Symbols can be forced to appear above the note by writing
+`var(note)code(^\)var(name)', and they can be forced to appear below
+by writing `var(note)code(_\)var(name)'. Here is a chart showing
+symbols above notes, with the name of the corresponding symbol
+appearing underneath.
+
+mudela()(
+\score{
+ < \notes{ c''-\accent c''-\marcato c''-\staccatissimo f'-\fermata
+ c''-\stopped c''-\staccato c''-\tenuto c''-\upbow c''-\downbow
+ c''-\lheel c''-\rheel c''-\ltoe c''-\rtoe c''-\turn
+ c''-\open c''-\flageolet c''-\reverseturn
+ c''-\trill
+ c''-\prall c''-\mordent c''-\prallprall c''-\prallmordent
+ c''-\upprall c''-\downprall c''-\thumb}
+ \type Lyrics \lyrics{
+ accent marcato staccatissimo fermata stopped
+ staccato tenuto upbow downbow lheel rheel ltoe rtoe turn
+ open flageolet reverseturn
+ trill prall
+ mordent prallprall prallmordent uprall downprall thumb}>
+ \paper{linewidth = 5.875\in;
+ indent = 0.0;
+ }
+}
+)
+
+COMMENT( The following are defined in script.ly but do not work:
+
+portato lbheel rbheel lbtoe rbtoe lfheel rfheel lftoe rftoe )
+
+In addition, it is possible to place arbitrary strings of text or
+TeX() above or below notes by using a string instead of an identifier:
+`code(c^"text")'. Fingerings can be placed by simply using digits.
+All of these note ornaments appear in the printed output but have no
+effect on the MIDI rendering of the music.
+
+To save typing, a few common symbols can be abbreviated with
+single characters:
+mudela()(
+\score{ \notes {
+ \property Voice.textstyle = typewriter
+ c''4-._"c-." s4
+ c''4--_"c-{}-" s4
+ c''4-+_"c-+" s4
+ c''4-|_"c-|" s4
+ c''4->_"c->" s4
+ c''4-^_"c-\\^{ }" s4 }
+ \paper { linewidth = 12.\cm; }})
+
+Dynamic marks are specified by using an identifier after a note
+without a dash: code(c4 \ff). Note that this syntax is inconsistent
+with the syntax for other types of ornaments. The available dynamic
+marks are: code(\ppp), code(\pp), code(\p), code(\mp), code(\mf),
+code(\f), code(\ff), code(\fff), code(\fp), code(sf), and code(\sfz).
+
+A crescendo mark is started with code(\cr) and terminated with
+code(\rc). A decrescendo mark is started with code(\decr) and
+terminated with code(\rced). There are also shorthands for these
+marks. A crescendo can be started with code(\<) and a decrescendo can
+be started with code(\>). Either one can be terminated with code(\!).
+Note that code(\!) must go before the last note of the dynamic mark whereas
+code(\rc) and code(\rced) go after the last note. Because these marks are
+bound to notes, if you want to get several marks during one note, you must use
+spacer notes.
+mudela(fragment,verbatim,center)(
+c'' \< \! c'' d'' \decr e'' \rced
+< f''1 {s4 \< \! s4 \> \! s2 } >)
+
+Tremolo marks can be printed by a note by adding code(:)[var(length)]
+after the note. The length must be at least 8. A var(length) value
+of 8 gives one line across the note stem.
+If the length is omitted,
+then the last value is used, or the value of the code(Abbrev)
+property if there was no last value. To place tremolo marks in
+between two notes, begin with code([:)var(length) and end with code(]).
+The tremolo marks will appear instead of beams. Putting more than two
+notes in such a construction will produce odd effects.
+
+[TREMOLO BEAMS TEMPORARILY OUT OF ORDER]
+
+COMMENT(mudela (fragment,verbatim,center)(
+c'2:8 c':32 [:16 e'1 g'] [:8 e'4 f']
+))
+
+COMMENT(
+Is the last paragraph correct? Is it called "tremolo"? Why is
+"abbreviation" used? (What is the unabreviated form?)
+
+COMMENT(
+mudela (fragment,verbatim,center)(
+c'4:32 [:16 c'8 d'8]
+))
+
+)
+
+
+sect(Other Ways to Enter Pitches)
+
+subsect(Pitch Names in Other Languages)
+label(notelang)
+
+The pitch names can be easily redefined using the code(\notenames) command.
+Note name definitions have been provided in various languages.
+Simply include the language specific init file. For example:
+code(\include "english.ly"). The available language files and the names
+they define are:
+
+verb( Note Names sharp flat
+nederlands.ly c d e f g a bes b -is -es
+english.ly c d e f g a bf b -s/-sharp -f/-flat
+deutsch.ly c d e f g a b h -is -es
+norsk.ly c d e f g a b h -iss/-is -ess/-es
+svenska.ly c d e f g a b h -iss -ess
+italiano.ly do re mi fa sol la sid si -d -b)
+
+subsect(Relative Pitch Specification)
+label(relative)
+
+One very common error when entering music is to place notes in the wrong
+octave. One way to avoid being confused by large numbers of octave changing
+marks is to use
+the code(\relative) keyword.
+Music which appears within code(\relative) is
+interpreted differently. The octave of a note is determined by making it as
+close to the previous note as possible. The octave changing marks code(') and
+code(,) can then be added to raise or lower this note by octaves. You have to
+specify a starting pitch because the first note of a list has no predecessor.
+
+mudela(fragment,verbatim,center)(
+\relative c'' { c d b c, d b c' d
+ b c,, d b }
+)
+
+When the preceeding item is a chord, the first note of the chord is used to
+determine the first note of the next chord. But other notes within the second
+chord are determined by looking at the immediately preceeding note.
+
+mudela(fragment,verbatim,center)(
+\relative c' { <c e g>
+ <c' e g> <c, e' g> }
+)
+
+The code(\relative) keyword can only appear in music, so there must be a
+surrounding code(\notes) keyword which does not appear in the fragments shown
+above. Also note that if the music passed to a code(\relative) keyword
+contains a code(\transpose) keyword, the tranposed music will not be
+processed in relative mode. An additional code(\relative) must be placed
+inside the code(\transpose).
+
+
+subsect(Tranposition of Pitches)
+label(transpose)
+
+Another way to modify the meaning of the note names is to use the
+code(\transpose) keyword. This keyword allows you to transpose music.
+To use transposition, specify the pitch that middle C should be tranposed to.
+It is important to distinguish between enharmonic pitches as they can produce
+different transpositions. To transpose up half a step, for example, either
+code(\transpose cis') or code(\transpose des') will work. But the first
+version will print sharps and the second version will print flats.
+In this example, a scale in the key of E is transposed to F, or to E-sharp
+with odd results.
+mudela(fragment,verbatim,center)(
+\relative c' { \key e;
+ e fis gis a b cis dis e }
+)
+mudela(fragment,verbatim,center)(
+\transpose des' \relative c' { \key e;
+ e fis gis a b cis dis e }
+)
+mudela(fragment,verbatim,center)(
+\transpose cis' \relative c' { \key e;
+ e fis gis a b cis dis e }
+)
+If you want to use both code(\transpose) and code(\relative), then you must use
+code(\transpose) first. Any code(\relative) keywords that are outside the
+code(\transpose) have no effect on notes that appear inside the
+code(\transpose).
+
+sect(Lyrics)
+
+Lyrics are entered like notes, with pitches replaced
+by text. For example code(Twin-4 kle4 twin-4 kle4) enters four
+syllables, each with quarter note duration. Note that the hyphen has
+no special meaning for lyrics, and does not introduce special symbols.
+See Section ref(modes) for a description of what is interpreted as a lyric.
+
+In order to instruct LilyPond to write lyrics underneath the
+staff, you must enter the lyrics context with code(\type Lyrics).
+Lyrics should be entered in lyrics mode which is entered with code(\lyrics).
+
+Spaces can be introduced into a lyric either by using quotes (code("))
+or by using an underscore without quotes: code(He_could4 not4). All
+unquoted underscores are converted to spaces. Here is a full example:
+mudela(verbatim)(\score{
+ < \notes \transpose c'' {c d e c | c d e c | e f g'2 |
+ e'4 f g'2 \bar "|."; }
+ \type Lyrics \lyrics {
+ DOEXPAND(Fr\)`e-4 re Ja- que DOEXPAND(Fr\)`e- re Ja- que
+ Dor- mez vous?2 Dor-4 mez vous?2 }
+ >
+})
+
+COMMENT(
+URG
+ Fr\`e-4 re Ja- que
+ Fr\`e- re Ja- que
+Why does this warrant an URG?
+)
+
+
+COMMENT(
+
+sect(Chords and Voices)
+
+Here's a simple chord
+mudela(fragment,verbatim,center)(
+<c e g>
+)
+
+here are a few
+mudela(fragment,verbatim,center)(
+<
+ { c'()d'()c' }
+ { e'()f'()e' }
+ { g'()a'()g' }
+>
+)
+
+and similarly voices
+mudela(fragment,verbatim)(
+<
+ { \voiceone c'4 g' c' g' }
+ { \voicetwo c2 g2 }
+>
+)
+
+)
+
+sect(Time)
+
+LilyPond aligns all musical objects according to the amount of time
+they occupy. All of these objects have a duration. When music is
+written sequentially using braces the duration is the sum of the
+durations of the elements. When music is stacked into simultaneous music
+using angle
+brackets, the duration is the maximum of the durations of the
+elements.
+
+Because LilyPond knows the durations of all musical elements, the time
+signature enables LilyPond to draw bar lines automatically. The time
+signature is specified with the code(\time) keyword: code(\time 3/4).
+If no time signature is given, LilyPond assumes 4/4. The automatic
+generation of bar lines can toggled with the code(\cadenza) keyword,
+and an incomplete measure at the start of the music can be created
+using the code(\partial) keyword: code(\partial 8*2;) creates a
+starting measure lasting two eighth notes.
+
+In order to help with error checking, you can insert bar markers in
+your music by typing code(|). Whenever LilyPond encounters a code(|)
+that doesn't fall at a measure boundary, she prints a warning message.
+
+Rhythmic grouping is a concept closely associated with this.
+A default grouping is selected for the chosen time signature.
+The default consists of combinations of 2 and 3 beats with as many
+groups of 3 as possible, and the groups of 3 coming first. For
+example, 4/4 is divided into 2+2 and 8/8 is divided into 3+3+2. This
+default grouping can be changed using the \grouping keyword which
+takes a list of durations to specify the grouping.
+
+
+COMMENT(
+sect(Composition: forming bigger structures)
+label(sec:grammar)
+
+The computer savy user may be interested in a more formal
+specification. We can capture what have learned about forming
+sentences in Mudela in a context-free grammar.
+
+latexcommand(\smallskip)
+
+table(2)(lll)(
+ row(cell(em(Music))cell(: em(Note)))
+ row(cell()cell(code(|) em(Rest)))
+ row(cell()cell(code(|) code({) em(MusicList) code(})))
+ row(cell()cell(code(|) code(<) em(MusicList) code(>)))
+ row(cell()cell(code(|) em(Command)))
+ row(cell()cell(code(|) code(\type) em(string) code(=) em(string) em(Music)))
+ row(cell()cell(;))
+ row(cell(em(MusicList))cell(: em(empty)))
+ row(cell()cell(code(|) em(MusicList) em(Music)))
+ row(cell()cell(;))
+)
+
+latexcommand(\smallskip)
+
+In mathematics you can form expressions by combining expressions,
+which are ultimately some kind of atom or terminal symbol. The same
+goes for Mudela: there are some basic building blocks, and by
+combining those you create complex music.
+
+You can combine music in three ways:
+itemize(
+it()If you enclose a sequence of music-elements in braces ( code({)
+ and code(}) ), then you form another kind of music called
+sequential music
+ with those pieces.
+ The duration of sequential composition is the sum of the durations of its elements
+ verb(
+ { c c g g a a g2 } % twinkle twinkle
+ { { c c g g} { a a g2 } }
+ )
+it()You can stack music by enclosing a sequence of music elements
+ with code(<) and code(>). This is called simultaneous music.
+ The duration of a simultaneous composition is the maximum of the durations
+ of its elements Example:
+ verb(
+ <a4 {cis8 cis8} e'4> % a-major chord
+ )
+it()You can form music by transposing music:
+ verb(
+ \transpose
+ d % from c to the d that's almost one octave down
+ { e4 f4 } % the horizontal music
+)
+it()verb(\type)
+it()verb(\property)
+it()verb(\translator)
+it()verb(\relative)
+)
+
+Of course you can also combine these three mechanisms.
+verb(
+{ c <c e> <c e g> <c e g \transpose d' dis > } % 4 increasing chords
+)
+
+)
+
+
+sect(Keywords)
+
+Keywords sometimes appear alone, but usually they require arguments.
+A keyword may have a single argument, a sequence of arguments in
+braces, or a sequence of arguments separated by spaces and terminated
+by a semicolon. The precise syntax of each keyword is shown below.
+Keywords must appear in the right context. If you use a keyword in
+the wrong place, even if the usage is syntactically correct, you will
+get the message ``parse error'' from LilyPond.
+
+
+description(
+
+dit(code(\absdynamic) code({) var(code) code(})) Internal keyword for
+printing dynamic marks such as $f$ under music. The parameter
+var(code) is unsigned and specifies the dynamic mark to print.
+Normally you should use the more user friendly abbreviations defined
+in the init file file(dynamic.ly).
+
+dit(code(\accepts) var(string)code(;)) This keyword can appear only within a
+code(\translator) block. It specifies what contexts are allowed with the
+context that is being defined. See Section ref(translators).
+
+dit(code(\alternative) code({) var(music1) var(music2) ... code(}))
+Specifies alternative endings. Must come after a code(\repeat) keyword.
+
+dit(code(\bar) var(bartype)code(;)) Prints a special bar symbol, or at
+measure boundaries, replaces the regular bar symbol with a special
+symbol. The argument var(bartype) is a string which specifies the
+kind of bar to print. Options are code(":|"), code("|:"),
+code(":|:"), code("||"), code("|."), code(".|"), or code(".|.").
+These produce respectively a right repeat, a left repeat, a double
+repeat, a double bar, a start bar, an end bar, or a thick double bar.
+If var(bartype) is set to code("empty") then nothing is printed, but a
+line break is allowed at that spot. Note that the printing of special bars
+has no effect on the MIDI output.
+
+dit(code(\cadenza) var(togglevalue)code(;)) Toggles the automatic generation
+of bar lines. If var(togglevalue) is 0 then bar line generation is
+turne off. If var(togglevalue) is 1 then a bar is immediately
+printed and bar generation is turned on.
+
+dit(code(\clef) var(clefname)code(;)) Allowed only in music.
+Sets the current clef. The argument is
+a string which specifies the name of the clef. Several clef names are
+supported. If code(_8) or code(^8) is added to the end of a clef
+name then the clef lowered or raised an octave will be generated.
+Here are the supported clef names with middle C shown in each clef:
+mudela(center)(
+\score{
+ \notes{ \cadenza 1;
+ %\property Voice.textstyle = typewriter
+ \clef subbass; c'4-"\kern-10mm subbass"
+ \clef bass; c'4^"\kern -8mm bass"
+ \clef baritone; c'4_"\kern -10mm baritone"
+ \clef varbaritone; c'4^"\kern -10mm varbaritone"
+ \clef tenor; c'4_"\kern -10mm tenor"
+ \clef "G_8"; c'4^"\kern -6mm G\_8" }
+ \paper{ linewidth= 4.5 \in; }
+}
+)
+mudela(center)(
+\score{
+ \notes{\cadenza 1; \clef alto; c'4_"\kern -10mm alto"
+ \clef scarlatti; c'4_"\kern -4mm scarlatti"
+ \clef mezzosoprano; c'4^"\kern -10mm mezzosoprano"
+ \clef soprano; c'4_"\kern -10mm soprano"
+ \clef treble; c'4^"\kern -6mm treble"
+ \clef french; c'4_"\kern -10mm french" }
+ \paper{ linewidth= 4.5 \in; }
+}
+)
+The treble clef can also be obtained using the names code(G) or
+code(violin). The bass clef is also available by code(\clef F).
+
+dit(code(\cm)) Specify a dimension in centimeters.
+
+dit(code(\consists) var(string)code(;)) This keyword can appear only within a
+code(\translator) block. It specifies that an engraver or performer named
+var(string) should be added to the translator. See Section
+ref(translators).
+
+dit(code(\duration) code({) var(length) var(dotcount) code(})) Specify note
+duration. The parameter var(length) is the negative logarithm (base
+2) of duration: 1 is a half note, 2 is a quarter note, 3 is an eighth
+note, etc. The number of dots after the note is given by
+var(dotcount).
+
+dit(code(\font) var(string)) Internal keyword. Used within
+code(\symboltables) to specify the font.
+
+dit(code(\grouping) var(durationseq)code(;)) Sets the metric structure of
+the measure. Each argument specifies the duration of one metric unit.
+For example, code(\duration 16*5;) specifies a grouping of five beats
+together in 5/16 time. The default grouping is to have as many groups
+of 3 as possible followed by groups of two.
+
+dit(code(\header) code({) var(key1) = var(val1); var(key2) = var(val2); ... code(}))
+Specifies information about the music. A header should appear at the
+top of the file describing the file's contents. If a file has
+multiple code(\score) blocks, then a header should appear in
+each score block describing its contents. Tools like code(ly2dvi) can
+use this information for generating titles. Key values that are used
+by ly2dvi are: title, subtitle, composer, opus, poet, instrument,
+metre, arranger, and piece.
+
+dit(code(\in)) Specify a dimension in inches.
+
+dit(code(\include) var(file)) Include the specified file. The
+argument var(file) is a string. The full filename including the
+file(.ly) extension must be given, and the filename must be quoted.
+(An unquoted string will not work here.)
+
+dit(code(\key) var(pitch) var(type) code(;)) Change the key signature.
+var(type) should be code(\major) or code(\minor) to get
+var(pitch)-major or var(pitch)-minor, respectively. The second
+argument is optional, the default is major keys.
+The var(\type) argument can also be given as an integer, which tells
+the number of semitones that should be added to the pitch given in the
+subsequent code(\key) commands to get the corresponding major key,
+e.g. code(\minor) is defined as 3.
+
+dit(code(\keysignature) var(pitchseq)code(;))
+Specify an arbitrary key signature. The pitches from var(pitch) will
+be printed in the key signature in the order that they appear on the list.
+
+dit(code(\lyrics) var(lyriclist)) Parse var(lyriclist) in lyrics mode.
+
+dit(code(\maininput)) Internal command. This command is used for creating init
+files like file(init.fly) that read the user file into the middle of another
+file. Using it in a user file will lead to an infinite loop.
+
+dit(code(\mark) var(unsigned)code(;) or code(\mark) var(string)code(;))
+Allowed in music only. Prints a mark over or under (depending on the
+code(markDirection) property) the staff.
+You must add code(Mark_engraver) to the Score context.
+
+dit(code(\midi) var(statementlist)) Appears in a score block to
+indicate that musical output should be produced and to set output
+parameters. Can also appear at the top level to set default output
+parameters. See code(\tempo).
+
+dit(code(\mm)) Specify a dimension in millimeters.
+
+dit(code(\musicalpitch) code({) var(octave) var(note) var(shift) code(}))
+Specify note pitch. The octave is specified by an integer,
+zero for the octave containing middle C. The note is a number from 0
+to 7, with 0 corresponding to C and 7 corresponding to B. The shift
+is zero for a natural, negative to add flats, or positive to add
+sharps.
+
+dit(code(\name) var(context)code(;)) Appears within code(\translator) to
+specify the name of the context that the translator handles. See Section
+ref(translators).
+
+dit(code(\notenames) var(assignmentlist)) Define new note names. This
+keyword can appear only at the top level.
+The argument is a list of definitions of the form
+var(name) = var(pitch), where var(pitch) is specified with the
+code(\musicalpitch) keyword.
+
+dit(code(\notes) var(music)) Enter note mode and process the
+specified music.
+
+dit(code(\)code(output) var(string)code(;)) Generate a parse error.
+
+dit(code(\paper) var(statmentlist))
+Appears in a score block to indicate that the music should be printed
+or to set output parameters. Can also appear at the top level to set
+default output parameters for all of the score blocks.
+The var(statmentlist) contains statements that change features of the
+output. See Section ref(paper).
+
+dit(code(\partial) var(duration)code(;)) Specify that the first measure of
+the music lasts only for the specified duration.
+
+dit(code(\penalty) code(=) var(int)code(;)) Allowed only in music.
+Discourage or encourage line breaks. See identifiers code(\break) and
+code(\nobreak) in Section ref(ident).
+
+dit(code(\property) var(contextname)code(.)var(propname) code(=) var(value))
+Sets the var(propname) property of the context var(contextname) to the
+specified var(value). All three arguments are strings. Depending on
+the context it may be necessary to quote the strings or to leave space
+on both sides of the dot.
+
+dit(code(\pt)) Specify a dimension in points.
+
+dit(code(\relative) var(pitch) var(music)) Processes the specified
+var(music) in relative pitch
+mode. In this mode, the octave of a pitch is chosen so that the
+pitch is closest to the preceeding pitch.
+The argument var(pitch) is
+the starting pitch for this comparision. In the case of chords, the
+first note of a chord is used as the base for the first pitches in the next
+chord. See Section ref(relative).
+
+dit(code(\remove) var(string)code(;)) Can appear only in a
+code(\translator) block. Specifies that a performer or engraver named
+var(string) should be removed. See Section ref(translators).
+
+dit(code(\repeat) var(count) code({) var(music) code(}))
+Repeats the specified
+music var(count) times. Alternative endings can be specified by adding a
+code(\alternative) keyword after the code(\repeat).
+
+dit(code(\scm) var(scheme)code(;)) Embeds specified Scheme code.
+
+dit(code(\scmfile) var(filename)code(;)) Reads Scheme code from the specified
+file.
+
+dit(code(\score) var(statementlist)) Create a Score context. This
+is the top level notation context.
+COMMENT(this still needs work)
+
+dit(code(\script) code({) var(name) var(instaff) var(withstem)
+var(location) var(invertible) var(priority) code(})) This keyword is
+used the initialization file(script.ly) to define the various symbols
+that can appear above and below notes. The first argument is the name
+of the symbol. The second argument var(instaff) is 1 if the symbol
+follows the notehead into the staff and 0 if the symbol stays above or
+below the staff lines. The third parameter var(withstem) is 0 if the
+symbol's placement does not depend on the stem direction; it is 1 if
+the symbol should be at the stem end of the note and it is -1 if the
+symbol should be at the note head end of the note. The argument
+var(location) is set to 1 for symbols that always appear above the
+staff; it is -1 for symbols that appear below the staff. If
+var(invertible) is set to 1 then the symbol can be inverted; otherwise
+it cannot. The last argument var(priority) sets a priority for the
+order of placement of several symbols on a single note.
+
+dit(code(\shape) code(=) var(indent1) var(width1) var(indent2)
+var(width2) ... code(;)) Allowed only within code(\paper). Each pair
+of var(indent) and var(width) values is a dimension specifying how far
+to indent and how wide to make the line. The indentation and width of
+successive lines are specified by the successive pairs of dimensions.
+The last pair of dimensions will define the characeristics of all
+lines beyond those explicitly specified.
+
+COMMENT(First pair of dimensions seems to be skipped. At least it is
+in the example file denneboom.ly.)
+
+dit(code(\skip) var(duration)code(;)) Skips the amount of time specified by
+var(duration). A gap will be left for the skipped time with no notes
+printed. It works in Note Mode or Lyrics Mode (but generates a
+mysterious error in lyrics).
+
+dit(code(\spandynamic) code({) var(kind) var(toggle) code(})) Internal
+keyword for crescendo and decrescendo symbols. The first parameter
+var(kind) is set to 1 for a crescendo and -1 for a decrescendo. The
+second parameter is set to 1 to start the mark and 2 to stop it.
+Users should use the abbreviations which are defined in the
+initialization file file(dynamic.ly).
+
+dit(code(\symboltables)) Internal keyword. Used to create symbol
+tables. See initialization files file(paper*.ly), file(feta*.ly), and
+file(table*.ly).
+
+dit(code(\table)) Internal keyword. Used within code(\symboltables)
+to specify the tables. See initialization files.
+
+dit(code(\tempo) var(duration) = var(perminute)code(;)) Used within
+code(\midi) or within music to specify the tempo. For example,
+`code(\midi { \tempo 4 = 76;})' requests output with 76 quarter notes
+per minute. Note that if the music contains several tempo commands,
+only the last one is used to set the tempo for the entire MIDI output.
+COMMENT(Is this true?)
+
+dit(code(\time) var(numerator)code(/)var(denominator)code(;)) Change the time
+signature. The default time signature is 4/4.
+
+dit(code(\times) var(numerator)code(/)var(denominator) var(music))
+Multiply the duration of var(music) by the specified fraction.
+
+dit(code(\translator) var(statements) or code(\translator)
+var(context) = var(name)) The first variant appears only within
+code(\paper) and specifies a translator for
+converting music to notation. The translator is specified with a
+single code(\type) statement and a series of code(\accepts), and
+code(\consists) statements. See Section ref(translators).
+The second variant appears in
+music. It specifies that the current the contexts
+contained within the specified context should be shifted to the
+context with the specified name.
+
+COMMENT( \translator seems like a strange name for the second
+operation, and is the overloading desireable? )
+
+dit(code(\transpose) var(pitch) var(music)) Transposes the specified
+music. Middle C is tranposed to var(pitch). This is allowed in music only,
+and if it appears inside code(\relative), then any notes specified for
+transposition should be specified inside another code(\relative). See Section
+ref(transpose).
+
+dit(code(\type) var(contexttype) [code(=) var(contextname)]
+var(music) or code(\type) var(translatortype)code(;)) The first
+variant is used only within music to create an instance of a
+context. The new context can optionally be given a name. The
+specified var(music) is processed in the new context. The second
+variant appears within a code(\translator) block and specifies the
+type of translator being created.
+
+dit(code(\version) var(string)) Specify the version of Mudela that a
+file was written for. The argument is the version number, for example
+code("1.0.1"). Note that the Mudela version is different from the
+LilyPond version.
+
+)
+
+
+sect(Notation Contexts)
+
+Notation contexts provide information that appears in printed music
+but not in the music itself. A new musical context is created using
+the code(\type) keyword: `code(\type) var(contexttype) [code(=)
+var(contextname)] var(music)'. The following context types are
+allowed.
+
+description(
+
+dit(code(LyricVoice)) Corresponds to a voice with lyrics. Handles the printing
+of a single line of lyrics.
+
+dit(code(Voice)) Corresponds to a voice on a staff.
+ This context handles the conversion of noteheads,
+ dynamic signs, stems, beams, super- and subscripts, slurs, ties and rests.
+
+dit(code(Lyrics)) Typesets lyrics. It can contain code(LyricVoice) contexts.
+
+dit(code(Staff)) Handles clefs, bar lines, keys,
+ accidentals. It can contain code(Voice) contexts.
+
+dit(code(RhythmicStaff)) A context like code(Staff) but for printing
+rhythms. Pitches are ignored; the notes are printed on one line.
+It can contain code(Voice) contexts.
+
+dit(code(GrandStaff)) Contains code(Staff) or code(RhythmicStaff)
+contexts. It adds a brace on the left side grouping the staffs
+together. The bar lines of the contained staffs are connected vertically.
+It can contain code(Staff) contexts.
+
+dit(code(StaffGroup)) Contains code(Staff) or code(RhythmicStaff)
+contexsts. Adds a bracket on the left side, grouping the staffs
+together. The bar lines of the contained staffs are connected vertically.
+It can contain code(Staff), code(RhythmicStaff), code(GrandStaff) or code(Lyrics) contexts.
+
+dit(code(ChoirStaff)) Identical to code(StaffGroup) except that the
+contained staffs are not connected vertically.
+
+dit(code(Score)) This is the top level notation context. It is specified with
+the code(\score) keyword rather than the code(\type) command. No
+other context can contain a code(Score) context. This context handles
+the administration of time signatures. It also makes sure that items
+such as clefs, time signatures, and key-signatures are aligned across
+staffs. It can contain code(Lyrics), code(Staff),
+code(RhythmicStaff), code(GrandStaff), code(StaffGroup), and
+code(ChoirStaff) contexts.
+
+)
+
+The various contexts have properties associated with them. These
+properties can be changed using the code(\property) command:
+`code(\property) var(context)code(.)var(propname) code(=) var(value)'.
+Properties can also be set within the code(\translator) block
+corresponding to the appropriate context. In this case, they are
+assigned by `var(propname) code(=) var(value)'. The settings made with
+code(\property) are processed after settings made in the code(\translator)
+block, so the code(\property) settings will override code(\translator)
+settings.
+
+The code(\property) keyword will create any property you specify.
+There is no guarantee that a property will actually be used. If you
+spell a property name wrong, there will be no error message. In order to find
+out what properties are used, you must search the source code
+for code(get_property).
+Properties that are set in one context are inherited by all of the
+contained contexts. This means that a property valid for the Voice
+context can be set in the Score context (for example) and thus take
+effect in all Voice contexts.
+
+subsubsubsect(Lyrics properties)
+
+description(
+
+dit(code(textstyle)) Set the font for lyrics. The available font
+choices are code(roman), code(italic), code(bold), code(large),
+code(Large), code(typewriter), and code(finger). The code(finger)
+font can only display numbers. Note also that you must be careful
+when using code(\property) in Lyrics mode. Because of the way strings
+are parsed, either put quotes around the arguments to code(\property)
+or be sure to leave a space on both sides of the dot.
+
+dit(code(textalignment)) Controls alignment of lyrics. Set to code(\left)
+to align the left end of the lyric with the note; set to code(\right) to
+align the right end of the lyric with the note. Set to code(\center) to
+align the center of the lyric with the note.
+
+)
+
+subsubsubsect(Voice properties)
+
+description(
+
+dit(code("midi_instrument")) Sets the instrument for MIDI output. This
+property name must be quoted because of the embedded underscore. If
+this property is not set then LilyPond will use the code(instrument)
+property. This must be set to one of the strings on the list of MIDI
+instruments that appears in Section ref(midilist). If you use a
+string which is not listed, LilyPond will silently substitute piano.
+
+dit(code(transposing)) Tranpose the MIDI output. Set this property to
+the number of half-steps to transpose by.
+
+dit(code(ydirection)) Determines the direction of stems, subscripts,
+beams, slurs, and ties. Set to code(\down) to force them down,
+code(\up) to force them up, or code(\free) to let LilyPond decide.
+This can be used to distinguish between voices on the same staff. The
+code(\stemdown), code(\stemup), and code(\stemboth) identifiers set
+this property. See also the identifiers code(\voiceone),
+code(\voicetwo), code(\voicethree) and code(\voicefour).
+
+dit(code(slurydirection)) Set to code(\free) for free choice of slur
+direction, set to code(\up) to force slurs up, set to code(\down) to
+force slurs down. The shorthands code(\slurup), code(\slurdown), and
+code(\slurboth) are available.
+
+dit(code(tieYDirection)) Set to code(\free) for free choice of tie
+direction, set to code(\up) to force ties up, set to code(\down) to
+force ties down.
+
+dit(code(slurdash)) Set to 0 for normal slurs, 1 for dotted slurs, and
+a larger value for dashed slurs. Identifiers code(\slurnormal) and
+code(\slurdotted) are predefined to set the first two settings.
+
+dit(code(hshift)) Set to 1 to enable LilyPond to shift notes
+horizontally if they collide with other notes. This is useful when
+typesetting many voices on one staff. The identifier code(\shift) is
+defined to enable this.
+
+dit(code(dynamicdir)) Determines location of dynamic marks. Set to
+code(\up) to print marks above the staff; set to code(\down) to print
+marks below the staff.
+
+dit(code(textalignment)) Controls alignment of superscripted and
+subscripted text. Set to \left to align the left end of the text with
+the note; set to \right to align the right end of the text with the
+note. Set to \center to align the center of the text with the note.
+
+dit(code(textstyle)) Set the text style for superscripts and
+subscripts. See above for list of text styles.
+
+dit(code(fontsize)) Can be used to select smaller font sizes for
+music. The normal font size is 0, and the two smaller sizes are -1
+and -2.
+
+dit(code(pletvisibility)) Determines whether tuplets of notes are
+labelled. Setting to 0 shows nothing; setting to 1 shows a number;
+setting to 2 shows a number and a bracket if there is no beam; setting
+to 3 shows a number, and if there is no beam it adds a bracket;
+setting to 4 shows both a number and a bracket unconditionally.
+
+dit(code(markScriptPadding)) Determines the extra space added between
+the mark and the closest staff line or note.
+
+dit(code(markDirection)) Determines if marks should be printed above
+or below the staff. Set to code(\up) to print marks above the staff;
+set to code(\down) to print marks below the staff.
+
+)
+
+subsubsubsect(Staff properties)
+
+description(
+
+dit(code(defaultClef)) Determines the default clef. See code(\clef)
+keyword.
+
+dit(code(nolines)) Sets the number of lines that the staff has.
+
+dit(code(barAlways)) If set to 1 a bar line is drawn after each note.
+
+dit(code(defaultBarType)) Sets the default type of bar line. See
+code(\bar) keyword.
+
+dit(code(keyoctaviation)) If set to 1, then keys are the same in all
+octaves. If set to 0 then the key signature for different octaves can
+be different and is specified independently: code(\keysignature bes
+fis'). The default value is 1. Can be set to zero with
+code(\specialkey) or reset to 1 with code(\normalkey).
+
+dit(code(instrument) and code(instr)) If code(Staff_margin_engraver)
+is added to the Staff translator, then the code(instrument) property
+is used to label the first line of the staff and the code(instr)
+property is used to label subsequent lines. If the
+code(midi_instrument) property is not set then code(instrument) is
+used to determine the instrument for MIDI output.
+COMMENT(This prints the instrument name on top of the staff lines.)
+
+dit(code(abbrev)) Set length for tremolo to be used if no length is
+explicitly specified.
+
+dit(code(createKeyOnClefChange)) Set to a nonempty string if you want key
+signatures to be printed when the clef changes. Set to the empty string (the
+default) if you do not want key signatures printed.
+
+
+dit(code(timeSignatureStyle)) Changes the default two-digit layout
+ for time signatures. The following values are recognized:
+ description(
+ dit(code(C)) 4/4 and 2/2 are typeset as C and struck C,
+ respectively. All other time signatures are written with two digits.
+ dit(code(old)) 2/2, 3/2, 3/4, 4/4, 6/4 and 9/4 are typeset with
+ old-style mensuration marks. All other time signatures are
+ written with two digits.
+ dit(code(1)) All time signatures are typeset with a single
+ digit, e.g. 3/2 is written as 3.
+ dit(code(C2/2), code(C4/4), code(old2/2), code(old3/2),
+ code(old3/4), code(old4/4), code(old6/4) or
+ code(old9/4)) Tells Lilypond to use a specific symbol as time
+ signature.
+ )
+The different time signature characters are shown below with
+their names:
+mudela(fragment,center)(
+\relative c'' {
+\property Voice.textstyle = typewriter
+\property Staff.timeSignatureStyle = "C2/2"
+\time 2/2; a2^"C2/2" a2
+\property Staff.timeSignatureStyle = "C4/4"
+\time 2/2; a2^"C4/4" a2
+\property Staff.timeSignatureStyle = "old2/2"
+\time 2/2; a2^"old2/2" a2
+\property Staff.timeSignatureStyle = "old3/2"
+\time 2/2; a2^"old3/2" a2
+\property Staff.timeSignatureStyle = "old4/4"
+\time 2/2; a2^"old4/4" a2
+\property Staff.timeSignatureStyle = "old6/4"
+\time 2/2; a2^"old6/4" a2
+\property Staff.timeSignatureStyle = "old9/4"
+\time 2/2; a2^"old9/4" a2
+}
+)
+
+
+)
+
+
+
+subsubsubsect(GrandStaff properties)
+
+description(
+
+dit(code(maxVerticalAlign)) Set the maximum vertical distance between
+staffs.
+
+dit(code(minVerticalAlign)) Set the minimum vertical distance between
+staffs.
+
+)
+
+subsubsubsect(Score properties)
+
+description(
+
+dit(code(SkipBars)) Set to 1 to skip the empty bars that are produced
+by multimeasure notes and rests. These bars will not appear on the
+printed output. Set to zero (the default) to expand multimeasure
+notes and rests into their full length, printing the appropriate
+number of empty bars so that synrchonization with other voices is
+preserved. COMMENT(meaning of "skip" here seems to be different from
+the meaning used for the keyword \skip.)
+
+dit(code(beamquantisation)) Set to code(\none) for no quantization.
+Set to code(\normal) to quantize position and slope. Set to
+code(\traditional) to avoid wedges. These three settings are
+available via code(\beamposfree), code(\beamposnormal), and
+code(\beampostraditional).
+
+dit(code(beamslopedamping)) Set to code(\none) for undamped beams.
+Set to code(\normal) for damped beams. Set to code(\infinity) for
+beams with zero slope. The identifiers code(\beamslopeproportional),
+code(\beamslopedamped), and code(\beamslopezero) each set the
+corresponding value.
+
+)
+
+
+COMMENT(
+
+Mystery properties:
+
+bar-number-engraver.cc: "barScriptPadding" vertical space for numbers
+mark-engraver.cc: "markScriptPadding" vertical space for marks
+span-bar-engraver.cc: "singleStaffBracket" do single staffs get a bracket?
+bar-column-engraver.cc: "barColumnPriority"
+bar-number-engraver.cc: "barNumberBreakPriority" Control horizontal ordering
+mark-engraver.cc: "markBreakPriority" of bars, clefs, keysig
+staff-margin-engraver.cc:"marginBreakPriority" etc. Slated for revision
+)
+
+sect(Pre-defined Identifiers)
+label(ident)
+
+Various identifiers are defined in the initialization files to
+provide shorthands for some settings.
+
+description(
+dit(code(\break)) Force a line break in music by using a large
+argument for the keyword code(\penalty).
+dit(code(\center)) Used for setting textalignment property. Is set to 0.
+dit(code(\cr)) Start a crescendo.
+dit(code(\decr)) Start a decrescendo.
+dit(code(\down)) Used for setting direction setting properties. Is
+equal to -1.
+dit(code(\f)) Print forte symbol on the preceeding note.
+dit(code(\ff)) Print fortissimo symbol on the preceeding note.
+dit(code(\fff)) Print fortississimo symbol on preceeding note.
+dit(code(\fp)) Print fortepiano symbol on preceeding note.
+dit(code(\free)) Used for setting direction setting properties. Is
+equal to 0.
+dit(code(\Gourlay)) Used for setting the paper variable
+code(castingalgorithm). Is equal to 1.0.
+dit(code(\infinity)) Used for setting the Score.beamslopedamping
+property. Is actually equal to 10000.
+dit(code(\left)) Used for setting textalignment property. Is equal to -1.
+dit(code(\major)) Used as the second argument of the code(\key)
+command to get a major key.
+dit(code(\minor)) Used as the second argument of the code(\key)
+command to get a minor key.
+dit(code(\mf)) Print mezzoforte symbol on preceeding note.
+dit(code(\mp)) Print mezzopiano symbol on preceeding note.
+dit(code(\nobreak)) Prevent a line break in music by using a large
+negative argument for the keyword code(\penalty).
+dit(code(\none)) Used for setting Score.beamslopedamping and
+Score.beamquantisation properties. Is equal to 0.
+dit(code(\normal)) Used for setting Score.beamslopedamping and
+Score.beamquantisation properties. Is equal to 1.
+dit(code(\normalkey)) Select normal key signatures where each octave
+has the same key signature. This sets the Staff.keyoctaviation property.
+dit(code(\p)) Print a piano symbol on preceeding note.
+dit(code(\pp)) Print pianissimo symbol on preceeding note.
+dit(code(\ppp)) Print pianississimo symbol on preceeding note.
+dit(code(\rc)) Terminate a crescendo.
+dit(code(\rced)) Terminate a decrescendo
+dit(code(\right)) Used for setting textalignment property. Is set to 1.
+dit(code(\sf)) Print a ?? symbol on preceeding note.
+dit(code(\sfz)) Print a ?? symbol on preceeding note.
+dit(code(\shiftoff)) Disable horizontal shifting of note heads that collide.
+Sets the Voice.hshift property.
+dit(code(\shifton)) Enable note heads that collide with other note heads
+to be shifted horiztonally. Sets the Voice.hshift property.
+dit(code(\slurboth)) Allow slurs to be above or below notes. This
+sets the Voice.slurydirection property.
+dit(code(\slurdown)) Force slurs to be below notes. This sets the
+Voice.slurydirection property.
+dit(code(\slurup)) Force slurs to be above notes. This sets the
+Voice.slurydirection property.
+dit(code(\specialkey)) Allow keys signatures do differ in different
+octaves. This sets the Staff.keyoctaviation property.
+dit(code(\stemboth)) Allow stems, beams, and slurs to point either
+direction. This sets the Voice.ydirection property.
+dit(code(\stemdown)) Force stems, beams, and slurs to point down.
+This sets the Voice.ydirection property.
+dit(code(\stemup)) Force stems, beams and slurs to point up. This
+sets the Voice.ydirection property.
+dit(code(\traditional)) Used for setting the
+Score.beamquantisation property. Is equal to 2.
+dit(code(\up)) Used for setting various direction properties. Is
+equal to 1.
+dit(code(\voiceone)) Enter Voice context called code(one) and force stems down.
+(See code(\stemdown).)
+dit(code(\voicetwo)) Enter Voice context called code(two) and force stems
+up. (See code(\stemup).)
+dit(code(\voicethree)) Enter Voice context called code(three) and force stems
+up.
+dit(code(\voicefour)) Enter Voice context called code(four), force stems down
+and turn on horizontal shifting. (See code(\stemdown) and code(\shifton).)
+dit(code(\Wordwrap)) Used for setting the paper variable
+code(castingalgorithm). Equal to 0.0.
+)
+
+
+sect(Output)
+label(output)
+label(paper)
+
+The output produced by LilyPond is controlled by the code(\paper) and
+code(\midi) keywords. These keywords appear in the code(\score) block
+to indicate that printed or musical output should be produced. If
+neither keyword appears in a code(\score) block, then paper output is
+produced but MIDI output is not produced.
+
+The contents of the code(\paper) and code(\midi) blocks can change the
+output in various ways. These blocks can appear at the top level of a
+Mudela file to set default parameters for each type of output. It is
+still necessary to explicitly specify the output type in the
+code(\score) blocks if you don't want the default behavior of
+producing only paper output.
+
+The code(\paper) and code(\midi) blocks
+may begin with an optional identifier reference. No
+identifier references are allowed anywhere else in the block.
+The code(\paper) block can contain the code(\shape) keyword; the
+code(\midi) block can contain the code(\tempo) keyword. Both of them
+can contain code(\translator) keywords. The code(\paper) block can
+also contain identifier assignments and parameter assignments. Unlike
+at the top level, these assignments must be terminated by a semicolon.
+
+
+subsect(Paper variables)
+
+There are a large number of paper variables that are used to control
+details of the layout. Usually you will not want to change these
+variables; they are set by default to vaules that depend on the font
+size in use. The only way to find out what variables are supported is
+to search the source code for code(get_var). Two variables that you
+may want to change are code(linewidth) and code(indent).
+
+In order to change the font size used for the output, many variables
+need to be changed. Some identifiers and initialization files can
+simplify this process. The default size is 20pt. In order to select
+a different size, you must do two things. At the top level, do
+code(\include "paper)var(SZ)code(.ly") where var(SZ) is the height of
+the staff in points. Values presently allowed are 11, 13, 16, 20, and
+26. This loads some definitions, but does not cause them to take
+effect. In order to actually change the size, you must use one of the
+identifiers: code(\paper_eleven), code(\paper_thirteen),
+code(\paper_sixteen), code(\paper_twenty) or code(\paper_twentysix)
+inside a code(\paper) block.
+
+
+description(
+ dit(var(integer)) If an integer appears on the left side of an
+assignment then a code(\symboltables) keyword must appear on the right
+side. This defines a music font at a particular size. See Voice
+property code(\fontsize).
+
+dit(code(arithmetic_basicspace) and code(arithmetic_multiplier))
+The space taken by a note is determined by the formula
+COMMENT(
+
+)verb(arithmetic_multiplier * ( c + log2 (time) ))COMMENT(
+
+) where code(time) is the amount of time a note occupies. The value
+of code(c) is chosen such that the smallest space within a measure is
+arithmetic_basicspace. The smallest space is the one following the
+shortest note in the measure. Typically arithmetic_basicspace is set
+to the width of a quarter note head.
+
+dit(code(barsize)) Specify height of bars. This value may need to be
+adjusted if you change the number of lines in the staff.
+dit(code(beam_dir_algorithm)) Specify algorithm for determining
+whether beams go up or down. It is real valued. If set to 2.0 then
+majority selection is used. If set to 3.0, then mean selection is
+used based on the mean center distance. If set to 4.0 then median
+selection is used, based on the median center distance.
+dit(code(beam_ideal_stem1))
+dit(code(beam_ideal_stem2))
+dit(code(beam_minimum_stem1))
+dit(code(beam_minimum_stem2))
+dit(code(beam_multiple_break))
+dit(code(beam_slope_damp_correct_factor))
+dit(code(beam_thickness)) Specify the thickness of beams.
+dit(code(castingalgorithm))
+dit(code(forced_stem_shorten)) Stems that have been forced to go the
+unnatural direction are shortened by this amount. Equal to
+code(\interline) by default.
+dit(code(gourlay_energybound))
+dit(code(gourlay_maxmeasures)) Maximum number of measures per line
+when using Gourlay method.
+Decreasing this greatly reduces computation time. Default value: 10.
+dit(code(indent)) Sets the indentation of the first line of music.
+dit(code(interbeam))
+dit(code(interbeam4))
+dit(code(interline)) The distance between two staff
+lines, calculated from the center of the lines.
+dit(code(linewidth)) Sets the width of the lines. If it is set to
+-1.0, then a single unjustified line is produced.
+dit(code(notewidth)) Width of an average note head.
+dit(code(output)) Specifies an alternate
+name for the TeX() output. A file(.tex) extension will be added to
+the string you specify.
+dit(code(rulethickness)) Determines thickness of staff lines and bars.
+dit(code(slur_clip_angle))
+dit(code(slur_clip_height))
+dit(code(slur_clip_ratio))
+dit(code(slur_height_limit)) Specifies the maximum height of slurs.
+Normally equal to staff_height.
+dit(code(slur_ratio)) Specifes the ratio of slur hight to slur width
+to aim for. Default value is 0.3.
+dit(code(slur_rc_factor))
+dit(code(slur_slope_damping)) Allows slurs to start and end at
+different heights ???? Default value is 0.5.
+dit(code(slur_thickness)) Specify slur thickness. Equal to code(1.4 *
+\staffline) by default.
+dit(code(slur_x_gap)) Horizontal space between note and slur. Set to
+code(\interline / 5) by default.
+dit(code(slur_x_minimum))
+dit(code(staffheight)) The height of the staff from the center of the
+bottom line to the center of the top line. Equal to to code(4 * \interline).
+dit(code(stem_length)) Specify length of stems for notes in the staff
+that don't have beams.
+dit(code(stemthickness)) Specifies the thickness of the stem lines.
+dit(code(tie_slope_damping))
+dit(code(tie_x_minimum))
+)
+
+
+subsect(MIDI Instrument Names)
+label(midilist)
+
+The MIDI instrument name is set by the code(Staff."midi_instrument")
+property or, if that property is not set, the code(Staff.instrument)
+property. The instrument name should be chosen from this list. If
+string does not exactly match one from this list then LilyPond uses
+the default piano.
+
+COMMENT( acordina = accordion, tango accordian = concertina
+ distortion guitar = distorted guitar
+ orchestral strings = harp
+ pan flute = wood flute? )
+
+verb("acoustic grand" "contrabass" "lead 7 (fifths)"
+"bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
+"electric grand" "pizzicato strings" "pad 1 (new age)"
+"honky-tonk" "orchestral strings" "pad 2 (warm)"
+"electric piano 1" "timpani" "pad 3 (polysynth)"
+"electric piano 2" "string ensemble 1" "pad 4 (choir)"
+"harpsichord" "string ensemble 2" "pad 5 (bowed)"
+"clav" "synthstrings 1" "pad 6 (metallic)"
+"celesta" "synthstrings 2" "pad 7 (halo)"
+"glockenspiel" "choir aahs" "pad 8 (sweep)"
+"music box" "voice oohs" "fx 1 (rain)"
+"vibraphone" "synth voice" "fx 2 (soundtrack)"
+"marimba" "orchestra hit" "fx 3 (crystal)"
+"xylophone" "trumpet" "fx 4 (atmosphere)"
+"tubular bells" "trombone" "fx 5 (brightness)"
+"dulcimer" "tuba" "fx 6 (goblins)"
+"drawbar organ" "muted trumpet" "fx 7 (echoes)"
+"percussive organ" "french horn" "fx 8 (sci-fi)"
+"rock organ" "brass section" "sitar"
+"church organ" "synthbrass 1" "banjo"
+"reed organ" "synthbrass 2" "shamisen"
+"accordion" "soprano sax" "koto"
+"harmonica" "alto sax" "kalimba"
+"concertina" "tenor sax" "bagpipe"
+"acoustic guitar (nylon)" "baritone sax" "fiddle"
+"acoustic guitar (steel)" "oboe" "shanai"
+"electric guitar (jazz)" "english horn" "tinkle bell"
+"electric guitar (clean)" "bassoon" "agogo"
+"electric guitar (muted)" "clarinet" "steel drums"
+"overdriven guitar" "piccolo" "woodblock"
+"distorted guitar" "flute" "taiko drum"
+"guitar harmonics" "recorder" "melodic tom"
+"acoustic bass" "pan flute" "synth drum"
+"electric bass (finger)" "blown bottle" "reverse cymbal"
+"electric bass (pick)" "skakuhachi" "guitar fret noise"
+"fretless bass" "whistle" "breath noise"
+"slap bass 1" "ocarina" "seashore"
+"slap bass 2" "lead 1 (square)" "bird tweet"
+"synth bass 1" "lead 2 (sawtooth)" "telephone ring"
+"synth bass 2" "lead 3 (calliope)" "helicopter"
+"violin" "lead 4 (chiff)" "applause"
+"viola" "lead 5 (charang)" "gunshot"
+"cello" "lead 6 (voice)")
+
+
+
+subsect(Translators)
+label(translators)
+
+The behavior of notation contexts is defined by the translators for
+those contexts. The translator for a context specifies what notations
+are handled by the context, it specifies what other contexts the
+context can contain, and it sets property values for the context.
+There are different translators for each type of output. The
+translators for paper output are defined in file(engraver.ly). The
+translators for MIDI output are defined in file(performer.ly).
+
+The first thing that appears inside a code(\translator) definition is
+the type of the context being created. This is specified with the
+code(\type) keyword: code(\type) var(typename)code(;). After the type
+of the context is specified, property assignments, the code(\name)
+keyword and code(\consists), code(\accepts), and code(\remove)
+keywords can appear in any order. The code(\name) keyword specifies
+the name of the context that is handled by the translator. If the
+name is not specified, the translator won't do anything. Each
+code(\accepts) keyword specifies what contexts can be contained inside
+this one. The code(\consists) keywords specify which notations are
+handled by the context. Each code(\consists) keyword specifies the
+name of an engraver (for paper ouput) or performer (for MIDI output)
+which handles a certain notation. The code(\remove) keyword can be
+used to remove a performer or engraver from the translator.
+
+In the code(\paper) block, it is also possible to define translator
+identifiers. Like other block identifiers, the identifier can only
+be used as the very first item of a translator. In order to define
+such an identifier outside of code(\score), you must do
+verb(\paper{ foo=\translator{ ... }
+\score{
+ \notes{ ... }
+ \paper{ \translator{ \foo ... } }
+})
+
+Some All of the standard translators have predefined identifiers, making
+it easy to redefine these contexts by adding or removing items.
+The predefined identifiers are: code(StaffContext),
+code(RhythmicStaffContext), code(VoiceContext), code(ScoreContext), code(ScoreWithNumbers)
+
+
+subsubsect(Paper Types and Engravers and Pre-defined Translators)
+
+Some pre-defined identifiers can simplify modification of translators.
+The pre-defined identifiers are:
+description(
+dit(code(StaffContext)) Default Staff context.
+dit(code(RhythmicStaffContext)) Default RhythmicStaff context.
+dit(code(VoiceContext)) Default Voice context.
+dit(code(ScoreContext)) Default Score context.
+dit(code(ScoreWithNumbers)) Score context with numbering at the
+Score level.
+dit(code(BarNumberingStaffContext)) Staff context with numbering at
+the Staff level.
+dit(code(HaraKiriStaffContext))
+dit(code(OrchestralPartStaffContext))
+dit(code(OrchestralScoreContext))
+)
+Using these pre-defined values, you can remove or add items to the
+translator verb(\paper{ \translator{ \StaffContext
+ \remove Some_engraver;
+ \consists Different_engraver; }})
+
+
+
+There are four types for paper translators:
+description(
+ dit(code(Engraver_group_engraver))
+ dit(code(Hara_kiri_line_group_engraver))
+ dit(code(Line_group_engraver_group))
+ dit(code(Score_engraver))
+)
+COMMENT( The names of these types seem somewhat confusing. )
+
+The engravers for paper output are:
+
+description(
+dit(code(Abbreviation_beam_engraver))
+dit(code(Bar_column_engraver))
+dit(code(Bar_engraver)) Engraves bar lines. Normally in code(Staff) and
+code(RhythmicStaff).
+dit(code(Bar_number_engraver)) Engrave bar numbers. These numbers
+appear at the start of each line. Not normally in any translator. Can
+be added to code(Score) for Score-wide numbering or to code(Staff) for
+numbering on each staff.
+
+dit(code(Beam_engraver)) Handles beam requests by engraving beams. Normally
+appears in the code(Voice) translator. If omitted, then notes will be printed
+with flags instead of beams.
+
+dit(code(Beam_req_swallow_translator)) Swallows beam requests. In
+code(LyricVoice).
+dit(code(Clef_engraver)) Engraves the clef symbol. Normally in code(Staff).
+dit(code(Collision_engraver))
+dit(code(Dot_column_engraver)) Engraves dots on dotted notes shifted to the
+right of the note. Normally in code(Voice). If omitted, then dots appear on
+top of the notes.
+dit(code(Dynamic_engraver)) Engraves dynamics symbols. Normally in code(Voice).
+dit(code(Font_size_engraver))
+dit(code(Key_engraver)) Engraves the key signature. Normally in code(Staff).
+dit(code(Local_key_engraver))
+dit(code(Lyric_engraver)) Engraves lyrics. Normally in code(LyricVoice).
+dit(code(Multi_measure_rest_engraver)) Engraves multi-measure rests that are
+produced with code(R). Normally in code(Voice).
+dit(code(Piano_bar_engraver))
+dit(code(Pitch_squash_engraver)) Treat all pitches as middle C. Used in
+code(RhythmicStaff). Note that the notes move, but the locations of
+accidentals stay the same.
+dit(code(Plet_engraver)) Engraves brackets and the number over tuplets. In
+code(Voice).
+dit(code(Plet_swallow_engraver)) Swallows tuplet requests without any output.
+In code(LyricVoice).
+COMMENT( Should this be named Plet_req_swallow_translator? )
+dit(code(Priority_horizontal_align_engraver))
+dit(code(Repeat_engraver)) Handles repeats? In code(Staff) and
+ code(RhythmicStaff).
+dit(code(Rest_collision_engraver)) Handles collisions of rests. In code(Staff).
+dit(code(Rest_engraver)) Engraves rests. Normally in code(Voice).
+dit(code(Rhythmic_column_engraver))
+dit(code(Score_priority_engraver))
+dit(code(Script_engraver)) Handles note ornaments generated by code(\script).
+Normally in code(Voice).
+dit(code(Separating_line_group_engraver))
+dit(code(Skip_req_swallow_translator))
+dit(code(Slur_engraver)) Engraves slurs. Normally in code(Voice).
+dit(code(Span_bar_engraver)) Engraves lines across multiple staffs. Normally
+in code(Staffgroup) and code(GrandStaff). Removing this from code(StaffGroup)
+gives the definition of code(ChoirStaff).
+dit(code(Span_score_bar_engraver))
+dit(code(Staff_group_bar_engraver))
+dit(code(Staff_margin_engraver)) Prints the name of the instrument
+(specified by code(Staff.instrument) and code(Staff.instr)) at the
+left of the staff.
+dit(code(Staff_sym_engraver))
+dit(code(Stem_engraver)) Engraves stems. Normally in code(Voice).
+dit(code(Ties_engraver)) Engraves ties. Normally in code(Voice).
+dit(code(Time_signature_engraver)) Engraves the time signature. Normally in
+code(Staff) and code(RhythmicStaff).
+dit(code(Timing_engraver)) Responsible for synchronizing timing information
+from staffs. Normally in code(Score). In order to create polyrhythmic music,
+this engraver should be removed from code(Score) and placed in code(Staff).
+dit(code(Tuplet_engraver)) Engraves tuplet brackets? In code(Staff).
+dit(code(Vertical_align_engraver))
+)
+
+
+subsubsect(MIDI Types and Performers)
+
+The types available for MIDI translators are:
+description(
+dit(code(Performer_group_performer))
+dit(code(Score_performer))
+dit(code(Staff_performer))
+)
+
+The performers for MIDI translators are:
+description(
+dit(code(Key_performer))
+dit(code(Time_signature_performer))
+dit(code(Note_performer))
+dit(code(Lyric_performer))
+dit(code(Swallow_performer))
+)
+
- %{
-Dit is de fout:
-
-GNU LilyPond 1.1.19.
-Parsing...[/home/lily/usr/share/lilypond/ly/init.ly[/home/lily/usr/share/lilypond/ly/declarations.ly[/home/lily/usr/share/lilypond/ly/dynamic.ly][/home/lily/usr/share/lilypond/ly/nederlands.ly][/home/lily/usr/share/lilypond/ly/chord-modifiers.ly][/home/lily/usr/share/lilypond/ly/script.ly][/home/lily/usr/share/lilypond/ly/paper20.ly[/home/lily/usr/share/lilypond/ly/table20.ly][/home/lily/usr/share/lilypond/ly/table13.ly][/home/lily/usr/share/lilypond/ly/table16.ly][/home/lily/usr/share/lilypond/ly/params.ly[/home/lily/usr/share/lilypond/ly/a4.ly][/home/lily/usr/share/lilypond/ly/paper.ly][/home/lily/usr/share/lilypond/ly/engraver.ly]]][/home/lily/usr/share/lilypond/ly/midi.ly[/home/lily/usr/share/lilypond/ly/performer.ly]][/home/lily/usr/share/lilypond/ly/property.ly][/home/lily/usr/share/lilypond/scm/lily.scm]][Sinfonia.ly]]
-Interpreting music...[8][16][24][32][40]
-Sinfonia.ly:239:24: warning: barcheck failed by: 1/4:
- \times 2/3 {[e g fis] |
- [e fis g]} | fis4 r |
-
-Sinfonia.ly:87:34: warning: barcheck failed by: 1/4:
- \times 2/3 {[g'8 b a] [g fis e] |
- [a d, cis] [d cis d] |
-
-Sinfonia.ly:240:25: warning: barcheck failed by: 1/4:
- \times 2/3 {[e8 g fis] |
- [e fis g]} | fis4 r |
-
-Sinfonia.ly:88:21: warning: barcheck failed by: 1/4:
- [g, b a] [g fis e] |
- [a d, cis] [d cis d]} |
-[48][56][64][72][80][88][96][104][112][120][123]
-time: 24.16 seconds
-Preprocessing elements... lilypond: score-element.cc:134: class
-Paper_def * Score_element::paper() const: Assertion `pscore_l_' failed.
-
-%}
-
\header{
filename="Sinfonia.ly";
title="Sinfonia";
arranger="(1719-1787)";
copyright="public domain";
enteredby="Maarten Storm";
+
}
s2*5 \break
s2*5 \break
s2*5 \break
- s2*5 \break
s2*5 \break
s2*5 \break
s2*4 \break
s2*5 \bar ":|";
+
%fine
}
}
dynamics = \notes{
-% \type Voice=i
+ \type Voice=i
+ s16\f s8. s4 | s2*17
+ s8\p s4. | s8\f s4. | s2*4
+ s8\p s4. | s8\f s4. | s2*29
+ s8\p s4. | s2 |
+ s8\f s4. | s2 | s8\p s4. | s2 | s8\f s4. | s2*47
+ s16 s16\p s4. | s2 |
+ s16 s16\f s4. |
+ s16 s16\p s4. |
+ s16 s16\f s4. |
}
violinoi = \notes \relative c'{
\type Voice=i
\clef "violin";
- [<g8 d' b' g'> g'' g g] | [g16 a b a] [g a b a] |
- [<g,,8 d' b' g'> g'' g g] | [g16 a b a] [g a b a] |
+ \stemup
+ [<g8 d' b' g'> g'' g g] \stemboth | [g16 a b a] [g a b a] |
+ \stemup [<g,,8 d' b' g'> g'' g g] \stemboth | [g16 a b a] [g a b a] |
%5
- [<g,,8 d' b' g'> g'' g g] | [g16 d c b] [a g fis g] |
+ \stemup [<g,,8 d' b' g'> g'' g g] \stemboth | [g16 d c b] [a g fis g] |
[e' fis g fis] [g e d c] | [b c d c] [d b a g] |
[e' fis g fis] [g e d c] | [b c d c] [d b a g] |
%11
[a b c d] [e c b a] | [b c d c] [d b a g] |
%15
[fis g a g] [fis e d c] | [b a g8] r4 |
- [<g8 d' b' g'> g'' g g] | \times 2/3 {[g8 d c] [b a g] |
- [g'8\p d c] [b a g] |
+ \stemup [<g8 d' b' g'> g'' g g] \stemboth |
+ \times 2/3 {[g8 d c]} \times 2/3 {[b a g]} |
+ \times 2/3 {[g'8 d c]} \times 2/3 {[b a g]} |
%20
- [f'\f d c] [b a g]} |
- [<c,8 e c' e> e' e e] | <c,2 e c' e> |
- [<a8 e' cis' a'> a'' a a] |
- \times 2/3 {[a8 e d] [cis b a] | [a'\p e d] [cis b a] |
+ \times 2/3 {[f' d c]} \times 2/3 {[b a g]} |
+ \stemup [<c,8 e c' e> e' e e] | <c,2 e c' e> |
+ [<a8 e' cis' a'> a'' a a] \stemboth |
+ \times 2/3 {[a8 e d]} \times 2/3 {[cis b a]} |
+ \times 2/3 {[a' e d]} \times 2/3 {[cis b a]} |
%26
- [g'\f e d] [cis b a]} | [<d,8 a' fis'> fis' fis fis] |
- <d,2 a' fis'> | \times 2/3 {[b'8 c d] [e fis g] |
- [g fis g] [b, a g] | [a b cis] [d e fis] |
+ \times 2/3 {[g' e d] [cis b a]} |
+ \stemup [<d,8 a' fis'> fis' fis fis] \stemboth|
+ <d,2 a' fis'> | \times 2/3 {[b'8 c d]} \times 2/3 {[e fis g]} |
+ \times 2/3 {[g fis g]} \times 2/3 {[b, a g]} |
+ \times 2/3 {[a b cis]} \times 2/3 {[d e fis]} |
%32
- [fis e fis] [a, g fis] | [g a b] [cis d e] |
- [e d e] [g, fis e]}
+ \times 2/3 {[fis e fis]} \times 2/3 {[a, g fis]} |
+ \times 2/3 {[g a b]} \times 2/3 {[cis d e]} |
+ \times 2/3 {[e d e]} \times 2/3 {[g, fis e]} |
%35
[fis16 d e d] [e d e d] | [g d e d] [e d e d] |
[a' d, e d] [e d e d] | [b' d, e d] [e d e d] |
[cis' a b a] [b a b a] | [d a b a] [b a b a] |
[e' a, b a] [a b a b] | [fis' a, b a] [a b a b] |
%43
- \times 2/3 {[g'8 b a] [g fis e] | [a d, cis] [d cis d] |
- [g, b a] [g fis e] | [a d, cis] [d cis d]} |
+ \times 2/3 {[g'8 b a]} \times 2/3 {[g fis e]} |
+ \times 2/3 {[a d, cis]} \times 2/3 {[d cis d]} |
+ \times 2/3 {[g, b a]} \times 2/3 {[g fis e]} |
+ \times 2/3 {[a d, cis]} \times 2/3 {[d cis d]} |
%47
[b''16 g fis e] [a fis e d] | [g e d cis] [fis d cis b] | gis,2 |
%50
a4 g'! | [fis16 fis e d] e4 | d d' | r8 r16 gis,16 a4 |
r8 [fis g! a] | d,2
- [d'8\p e f a,] | [gis a] r4 |
- \times 2/3 {[f8\f e d] [c b a]} | [gis a] r4 |
+ [d'8 e f a,] | [gis a] r4 |
+ \times 2/3 {[f8 e d]} \times 2/3 {[c b a]} | [gis a] r4 |
%60
- [c'8\p d e g,?] | [fis g] r4 |
- \times 2/3 {[d8\f a' c] [b a b]} | [b a] r4 |
+ [c'8 d e g,?] | [fis g] r4 |
+ \times 2/3 {[d8 a' c]} \times 2/3 {[b a b]} | [b a] r4 |
%64 : reprise
- [<g,8 d' b' g'> g'' g g] | [g16 a b a] [g a b a] |
- [<g,,8 d' b' g'> g'' g g] | [g16 a b a] [g a b a] |
- [<g,,8 d' b' g'> g'' g g] | [g16 d c b] [a g fis g] |
+ \stemup [<g,8 d' b' g'> g'' g g] | \stemdown [g16 a b a] [g a b a] |
+ \stemup [<g,,8 d' b' g'> g'' g g] | \stemdown [g16 a b a] [g a b a] |
+ \stemup [<g,,8 d' b' g'> g'' g g] | \stemboth [g16 d c b] [a g fis g] |
%70
[e' fis g fis] [g e d c] | [b c d c] [d b a g] |
[fis g a g] [fis e d c] | [b a g8] r4 |
- [<g8 d' b' g'> g'' g g] | \times 2/3 {[g8 d c] [b a g] |
- [f\f d c] [b a g]} | [e' c] r4 |
+ \stemup [<g8 d' b' g'> g'' g g] \stemboth |
+ \times 2/3 {[g8 d c]} \times 2/3 {[b a g]} |
+ \times 2/3 {[f d c]} \times 2/3 {[b a g]} | [e' c] r4 |
%78
- [<a8 e' cis' a'> a'' a a] |
- \times 2/3 {[a8 e d] [cis b a] |
- [g e d] [cis b a]} | [fis' d] r4 |
- \times 2/3 {[e'8 fis g] [a b c] | [c b c] [e, d c] |
- [d e fis] [g a b] | [b a b] [d, c b] | [c d e] [fis g a] |
- [a g a] [c, b a]} |
+ \stemup [<a8 e' cis' a'> a'' a a] \stemboth |
+ \times 2/3 {[a8 e d]} \times 2/3 {[cis b a]} |
+ \times 2/3 {[g e d]} \times 2/3 {[cis b a]} | [fis' d] r4 |
+ \times 2/3 {[e'8 fis g]} \times 2/3 {[a b c]} |
+ \times 2/3 {[c b c]} \times 2/3 {[e, d c]} |
+ \times 2/3 {[d e fis]} \times 2/3 {[g a b]} |
+ \times 2/3 {[b a b]} \times 2/3 {[d, c b]} |
+ \times 2/3 {[c d e]} \times 2/3 {[fis g a]} |
+ \times 2/3 {[a g a]} \times 2/3 {[c, b a]} |
%88
[b16 g a g] [a g a g] | [c g a g] [a g a g] | [d' g, a g] [a g a g] |
[e' g, a g] [a g a g] | [fis' d e d] [e d e d] | [g d e d] [e d e d] |
[a' d, e d] [e d e d] | [b' d, e d] [e d e d] |
%96
- \times 2/3 {[c'8 e, d] [c b a] | [d g, fis] [g fis g] |
- [d c' c] [c b a] | [d g, fis] [g fis g]} |
+ \times 2/3 {[c'8 e, d]} \times 2/3 {[c b a]} |
+ \times 2/3 {[d g, fis]} \times 2/3 {[g fis g]} |
+ \stemup \times 2/3 {[d c' c]} \times 2/3 {[c b a]} \stemboth |
+ \times 2/3 {[d g, fis]} \times 2/3 {[g fis g]} |
%100
[e'16 c b a] [d b a g] | [c a g fis] [b g fis e] | cis2 | d4 c'! |
- [b16 b a g] a4 | g g' |
+ [b16 b a g] a4^\trill | g g' |
%106
r8 r16 cis,, d4 | r8 [b c? d] | [g,16 g'' g g] g4:16 |
[fis16 g a g] [fis e d c] | [b g' g g] g4:16 |
- [fis16 g a g] [fis e d c] | [b g' g, a] a4 |
- [b16 g' g, a] a4 | [b16 g' g, a] a4 | [g8 d] g,4
+ [fis16 g a g] [fis e d c] | [b g' g, a] a4^\trill |
+ [b16 g' g, a] a4^\trill | [b16 g' g, a] a4^\trill | [g8 d] g,4
%fine
}
violinoii = \notes \relative c'{
\type Voice=i
\clef "violin";
- [<g8 d' b' g'> g'' g g] | [b,16 c d c] [b c d c] |
- [<g,8 d' b' g'> g'' g g] | [b,16 c d c] [b c d c] |
+ \stemup [<g8 d' b' g'> g'' g g] \stemboth | [b,16 c d c] [b c d c] |
+ \stemup [<g,8 d' b' g'> g'' g g] \stemboth | [b,16 c d c] [b c d c] |
%5
- [<g,8 d' b' g'> g'' g g] | [g16 d c b] [a g fis g] |
+ \stemup [<g,8 d' b' g'> g'' g g] \stemboth | [g16 d c b] [a g fis g] |
[e' fis g fis] [g e d c] | [b c d c] [d b a g] |
[e' fis g fis] [g e d c] | [b c d c] [d b a g] |
%11
[a b c d] [e c b a] | [b c d c] [d b a g] |
%15
[fis g a g] [fis e d c] | [b a g8] r4 |
- [<g8 d' b' g'> g'' g g] | \times 2/3 {[g8 d c] [b a g] |
- [g'8\p d c] [b a g] | [f'\f d c] [b a g]} |
+ \stemup [<g8 d' b' g'> g'' g g] \stemboth |
+ \times 2/3 {[g8 d c]} \times 2/3 {[b a g]} |
+ \times 2/3 {[g'8 d c]} \times 2/3 {[b a g]} |
+ \times 2/3 {[f' d c]} \times 2/3 {[b a g]} |
%21
- [<c,8 e c' e> e' e e] | <c,2 e c' e> |
- [<a8 e' cis' a'> a'' a a] |
- \times 2/3 {[a8 e d] [cis b a] | [a'\p e d] [cis b a] |
+ \stemup [<c,8 e c' e> e' e e] | <c,2 e c' e> |
+ [<a8 e' cis' a'> a'' a a] \stemboth |
+ \times 2/3 {[a8 e d]} \times 2/3 {[cis b a]} |
+ \times 2/3 {[a' e d]} \times 2/3 {[cis b a]} |
%26
- [g'\f e d] [cis b a]} | [<d, a' fis'> fis' fis fis] |
- <d,2 a' fis'> | \times 2/3 {[b'8 c d] [e fis g] |
- [g fis g] [b, a g] | [a b cis] [d e fis] |
+ \times 2/3 {[g' e d]} \times 2/3 {[cis b a]} |
+ \stemup [<d, a' fis'> fis' fis fis] \stemboth |
+ <d,2 a' fis'> | \times 2/3 {[b'8 c d]} \times 2/3 {[e fis g]} |
+ \times 2/3 {[g fis g]} \times 2/3 {[b, a g]} |
+ \times 2/3 {[a b cis]} \times 2/3 {[d e fis]} |
%32
- [fis e fis] [a, g fis] | [g a b] [cis d e] |
- [e d e] [g, fis e]}
+ \times 2/3 {[fis e fis]} \times 2/3 {[a, g fis]} |
+ \times 2/3 {[g a b]} \times 2/3 {[cis d e]} |
+ \times 2/3 {[e d e]} \times 2/3 {[g, fis e]}
%35
[fis16 d e d] [e d e d] | [g d e d] [e d e d] |
[a' d, e d] [e d e d] | [b' d, e d] [e d e d] |
[cis' a b a] [b a b a] | [d a b a] [b a b a] |
[e' a, b a] [a b a b] | [fis' a, b a] [a b a b] |
%43
- \times 2/3 {[g'8 b a] [g fis e] | [a d, cis] [d cis d] |
- [g, b a] [g fis e] | [a d, cis] [d cis d]} |
+ \times 2/3 {[g'8 b a]} \times 2/3 {[g fis e]} |
+ \times 2/3 {[a d, cis]} \times 2/3 {[d cis d]} |
+ \times 2/3 {[g, b a]} \times 2/3 {[g fis e]} |
+ \times 2/3 {[a d, cis]} \times 2/3 {[d cis d]} |
%47
[b''16 g fis e] [a fis e d] | [g e d cis] [fis d cis b] | gis,2 |
%50
a4 g'! | [fis16 fis e d] e4 | d d' | r8 r16 g,16 a4 |
r8 [fis g! a] | d,2
- f4\p r8 f | [e-. ~ e-.] r4 |
- \times 2/3 {[f8\f e d] [c b a]} | [gis a] r4 |
+ f4 r8 f | [e-. ~ e-.] r4 |
+ \times 2/3 {[f8 e d]} \times 2/3 {[c b a]} | [gis a] r4 |
%60
- e'4\p r8 e | [d-. ~ d-.] r4 |
- \times 2/3 {[d8\f a' c] [b a b]} | [b a] r4 |
+ e'4 r8 e | [d-. ~ d-.] r4 |
+ \times 2/3 {[d8 a' c]} \times 2/3 {[b a b]} | [b a] r4 |
%64 : reprise
- [<g,8 d' b' g'> g'' g g] | [b,16 c d c] [b c d c] |
- [<g,8 d' b' g'> g'' g g] | [b,16 c d c] [b c d c] |
- [<g,8 d' b' g'> g'' g g] | [g16 d c b] [a g fis g] |
+ \stemup [<g,8 d' b' g'> g'' g g] \stemboth | [b,16 c d c] [b c d c] |
+ \stemup [<g,8 d' b' g'> g'' g g] \stemboth | [b,16 c d c] [b c d c] |
+ \stemup [<g,8 d' b' g'> g'' g g] \stemboth | [g16 d c b] [a g fis g] |
%70
[e' fis g fis] [g e d c] | [b c d c] [d b a g] |
[fis g a g] [fis e d c] | [b a g8] r4 |
- [<g8 d' b' g'> g'' g g] | \times 2/3 {[g8 d c] [b a g] |
- [f\f d c] [b a g]} | [e' c] r4 |
+ \stemup [<g8 d' b' g'> g'' g g] \stemboth |
+ \times 2/3 {[g8 d c]} \times 2/3 {[b a g]} |
+ \times 2/3 {[f d c]} \times 2/3 {[b a g]} | [e' c] r4 |
%78
- [<a8 e' cis' a'> a'' a a] |
- \times 2/3 {[a8 e d] [cis b a] |
- [g e d] [cis b a]} | [fis' d] r4 |
- \times 2/3 {[e'8 fis g] [a b c] | [c b c] [e, d c] |
- [d e fis] [g a b] | [b a b] [d, c b] | [c d e] [fis g a] |
- [a g a] [c, b a]} |
+ \stemup [<a8 e' cis' a'> a'' a a] \stemboth |
+ \times 2/3 {[a8 e d]} \times 2/3 {[cis b a]} |
+ \times 2/3 {[g e d]} \times 2/3 {[cis b a]} | [fis' d] r4 |
+ \times 2/3 {[e'8 fis g]} \times 2/3 {[a b c]} |
+ \times 2/3 {[c b c]} \times 2/3 {[e, d c]} |
+ \times 2/3 {[d e fis]} \times 2/3 {[g a b]} |
+ \times 2/3 {[b a b]} \times 2/3 {[d, c b]} |
+ \times 2/3 {[c d e]} \times 2/3 {[fis g a]} |
+ \times 2/3 {[a g a]} \times 2/3 {[c, b a]} |
%88
[b16 g a g] [a g a g] | [c g a g] [a g a g] | [d' g, a g] [a g a g] |
[e' g, a g] [a g a g] | [fis' d e d] [e d e d] | [g d e d] [e d e d] |
[a' d, e d] [e d e d] | [b' d, e d] [e d e d] |
%96
- \times 2/3 {[c'8 e, d] [c b a] | [d g, fis] [g fis g] |
- [d c' c] [c b a] | [d g, fis] [g fis g]} |
+ \times 2/3 {[c'8 e, d]} \times 2/3 {[c b a]} |
+ \times 2/3 {[d g, fis]} \times 2/3 {[g fis g]} |
+ \stemup \times 2/3 {[d c' c]} \times 2/3 {[c b a]} \stemboth |
+ \times 2/3 {[d g, fis]} \times 2/3 {[g fis g]} |
%100
[e'16 c b a] [d b a g] | [c a g fis] [b g fis e] | cis2 | d4 c'! |
- [b16 b a g] a4 | g g' |
+ [b16 b a g] a4^\trill | g g' |
%106
r8 r16 cis,, d4 | r8 [b c? d] | [g,16 g'' g g] g4:16 |
[fis16 g a g] [fis e d c] | [b g' g g] g4:16 |
- [fis16 g a g] [fis e d c] | [b g' g, a] a4 |
- [b16 g' g, a] a4 | [b16 g' g, a] a4 | [g8 d] g,4
+ [fis16 g a g] [fis e d c] | [b g' g, a] a4^\trill |
+ [b16 g' g, a] a4^\trill | [b16 g' g, a] a4^\trill | [g8 d] g,4
%fine
}
[e16 f? g f] [e f g f] | [g8 e e d] |
[cis16 d e d] [cis d e d] | cis4 r |
%25
- e\p e | e\f e | [fis16 g a g] [fis g a g] |
- [fis8 fis a a] | d4 b | b g' | cis,? a |
+ e e | e e | [fis16 g a g] [fis g a g] |
+ [fis8 fis a a] | d,4 b | b g' | cis,? a |
a fis' b, g' | a a, |
%35
[a8 fis' fis fis] | r [g g g] | r [a a a] |
r [b, b b] | r [cis cis cis] | r [d d d] | r [e e e] |
r [fis fis fis] |
%43
- \times 2/3 {[e g fis] | [e fis g]} | fis4 r |
- \times 2/3 {[e8 g fis] | [e fis g]} | fis4 r |
+ \times 2/3 {[e g fis]} \times 2/3 {[e fis g]} | fis4 r |
+ \times 2/3 {[e8 g fis]} \times 2/3 {[e fis g]} | fis4 r |
%47
[d8 g d fis] | r [e a, d] | r b [b cis16 d] |
[e8 d e cis] | [d d d cis] | d4 d' | r8 r16 gis, a4 |
r8 [fis8 g! a] | d,2
- [d8\p d d d] | [d c!] r4 |
- \times 2/3 {[f8\f e d] [c b a]} | [gis a] r4 |
+ [d8 d d d] | [d c!] r4 |
+ \times 2/3 {[f8 e d]} \times 2/3 {[c b a]} | [gis a] r4 |
%60
[c8\p c c c] | [c b] r4 | [a8 fis e g] | [g fis] r4 |
%64 : reprise
[d8 b b b] | r [c c c] | r [d d d] | r [e e e] | r [fis fis fis] |
r [g g g] | r [a a a] | r [b b b] |
%96
- \times 2/3 {[a c b] [a b c]} | b4 r | \times 2/3 {[a,8 a g] [a b c]} |
+ \times 2/3 {[a c b]} \times 2/3 {[a b c]} | b4 r |
+ \times 2/3 {[a,8 a g]} \times 2/3 {[a b c]} |
b4 r | [g8 c g b] | r [a' d, g] | r e [e fis16 g] | [a8 g a fis] |
%104
- g8 g4 fis8 | g4 g | r8 r16 cis, d4 | r8 [b c! d] | [g, b d e] |
+ g8 g4 fis8 | g4 g | r8 r16 cis, d4 | r8 [b c? d] | [g, b d e] |
[a, a a' a] | [d, b d e] | [a, a a' a] | [d, d e d] | [d d e d] |
[d g g fis] | [g d] g,4
%fine
[g16 a b a] [g a b a] | [g8 g, g g'] |
%5
[g16 a b a] [g a b a] | [g8 g,] r4 |
- [c'8 c,] [e_"6" fis_"6"_"5" | [g g g b,_"6"] |
- [c c] [e_"6" fis_"6"_"5" | [g g b_"6" c] |
+ [c'8 c,] [e fis] | [g g g b,] |
+ [c c] [e fis] | [g g b c] |
%11
- [d d d c_"2"] | [b_"6" b b b] | [fis_"6"_"5" fis fis fis] |
- [g g b_"6" c] | [d fis,_"6"_"5" fis fis] | [g16 g fis e] [d c b a] |
+ [d d d c] | [b b b b] | [fis fis fis fis] |
+ [g g b c] | [d fis, fis fis] | [g16 g fis e] [d c b a] |
%17
[g g' b a] [g a b a] | g4 r | b, b | b b |
%21
g8 r fis r | e r d r | r [e e d] | [cis b cis a] | [d fis g a] |
d,4 d' | r8 r16 gis, a4 | r8 [fis g! a] | d,2
r2 | r |
- \times 2/3 {[f8\f e d] [c b a]} | [gis a] r4 |
+ \times 2/3 {[f8 e d]} \times 2/3 {[c b a]} | [gis a] r4 |
%60
r2 | r |
[f'8 d g g,] | [d' d'] [d16 c b a] |
[g16 a b a] [g a b a] | [g8 g, g g'] |
%68
[g16 a b a] [g a b a] | g4 r |
- [c8 c,] [e fis] | [g g b c] | [e fis fis fis] |
+ [c8 c,] [e fis] | [g g b, c] | [e fis fis fis] |
%73
[g16 g, a b] [c d e fis] | [g a b a] [g a b a] | g4 r |
b, b | [c8 c'16 d] [e d cis b] | [a b cis b] [a b cis b] |
%79
a4 r | cis,4 cis | [d8 d'16 e] [d8 b] |
- c?4 c | a a | b b | g g | a a | fis fis | g2:8 | a2:8 |
+ c4 c | a a | b b | g g | a a | fis fis | g2:8 | a2:8 |
%90
[b8 b, b b] | c2:8 | d2:8 | e2:8 | fis2:8 | g2:8 |
fis4 fis | g r | fis fis | g r | c8 r b r | a r g r |
r [a a g] | [fis e fis d] | [g, b c d] | g,4 g' |
%106
- r8 r16 cis, d4 | r8 [b c! d] | [g, g' b c] | [d fis, fis fis] |
+ r8 r16 cis, d4 | r8 [b c? d] | [g, g' b c] | [d fis, fis fis] |
[g g, b c] | [d fis fis fis] | [g b, c d] | [g, b c d] |
[g, b c d] | [g d] g,4
%fine
\score{
\type StaffGroup <
- \type Staff = i < \tempi \global \dynamics \violinoi >
+ \type Staff = i < %\tempi
+ \global \dynamics \violinoi >
\type Staff = ii < \global \dynamics \violinoii >
\type Staff = iii < \global \dynamics \viola >
\type Staff = iv < \global \dynamics \bassocontinuo >
>
- \paper{
- % \translator { \OrchestralScoreContext }
- }
+ \header{
+ piece="I. Allegro";
+ }
+ \paper{
+ \translator { \OrchestralScoreContext }
+ }
\midi{ \tempo 4 = 100; }
}
-
-
-
projects / lilypond.git / commitdiff