* Note entry::
* Easier music entry::
* Staff notation::
-* More than notes::
+* Connecting notes::
* Expressive marks::
* Polyphony::
* Repeats::
@end menu
+
@node Note entry
@section Note entry
@cindex Note entry
@seealso
-Program reference: @internalsref{NoteEvent},
-@internalsref{LedgerLineSpanner}, and @internalsref{NoteHead}.
+Program reference: @internalsref{LedgerLineSpanner}, @internalsref{NoteHead}.
@node Cautionary accidentals
@seealso
-Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
+Program reference: @internalsref{Rest}.
@node Skips
@seealso
-Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
+Program reference: @internalsref{SkipMusic}.
@node Durations
Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
-@c FIXME: will be deleted or moved; not suitable for basic-notation.
-@ignore
-Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
-User manual: @ref{Changing context properties on the fly} for the
-@code{\set} command.
-@end ignore
-
@refbugs
\relative c'' @{ c='' b=' d,='' @}
@end example
-@c take care with @code, adds confusing quotes.
@noindent
the @code{d} will generate a warning, because a @code{d''} is expected
(because @code{b'} to @code{d''} is only a third), but a @code{d'} is
Program reference: @internalsref{Completion_heads_engraver}.
+
@node Staff notation
@section Staff notation
@seealso
-Program reference: @internalsref{KeyChangeEvent},
-@internalsref{KeyCancellation} and @internalsref{KeySignature}.
+Program reference: @internalsref{KeyCancellation}, @internalsref{KeySignature}.
@node Time signature
@seealso
-Program reference: @internalsref{StaffSymbol}, @internalsref{StaffSpanEvent}.
+Program reference: @internalsref{StaffSymbol}.
Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
@inputfileref{input/@/test@/,ossia.ly},
@inputfileref{input/@/test,staff@/-size@/.ly}.
-@node More than notes
-@section More than notes
-@c silly title; should change.
-This section deals with notation that affects more than one note.
+@node Connecting notes
+@section Connecting notes
+
+This section deals with notation that affects groups of notes.
@menu
* Ties::
+* Slurs::
+* Phrasing slurs::
* Automatic beams::
* Manual beams::
* Grace notes::
-* Fingering instructions::
@end menu
+
@node Ties
@subsection Ties
-@cindex Tie
-@cindex ties
+@cindex tie
@cindex @code{~}
A tie connects two adjacent note heads of the same pitch. The tie in
A tie is just a way of extending a note duration, similar to the
augmentation dot. The following example shows two ways of notating
exactly the same concept
-@c
+
@lilypond[quote,fragment,raggedright]
\time 3/4 c'2. c'2 ~ c'4
@end lilypond
mechanism automatically splits long notes, and ties them across bar
lines.
+
+@commonprop
+
Ties are sometimes used to write out arpeggios. In this case, two tied
notes need not be consecutive. This can be achieved by setting the
@code{tieWaitForNote} property to true. For example,
@cindex @code{\tieSolid}
@code{\tieSolid}.
+
@seealso
In this manual: @ref{Automatic note splitting}.
-Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
+Program reference: @internalsref{Tie}.
-@refbugs
+@refbugs
Switching staves when a tie is active will not produce a slanted tie.
optimal.
+@node Slurs
+@subsection Slurs
+
+@cindex Slurs
+
+A slur indicates that notes are to be played bound or
+@emph{legato}. They are entered using parentheses
+
+@lilypond[quote,raggedright,relative=2,fragment,verbatim]
+f( g a) a8 b( a4 g2 f4)
+<c e>2( <b d>2)
+@end lilypond
+
+The direction of a slur can be specified with
+@code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
+either @code{Up}, @code{Down}, or @code{Neutral} (automatically
+selected).
+
+However, there is a convenient shorthand for forcing slur
+directions. By adding @code{_} or @code{^} before the opening
+parentheses, the direction is also set. For example,
+
+@lilypond[relative=2,raggedright,quote,verbatim,fragment]
+c4_( c) c^( c)
+@end lilypond
+
+Only one slur can be printed at once. If you need to print a long
+slur over a few small slurs, please see @ref{Phrasing slurs}.
+
+
+@commonprop
+
+Some composers write two slurs when they want legato chords. This can
+be achieved in LilyPond by setting @code{doubleSlurs},
+
+@lilypond[verbatim,raggedright,relative,fragment,quote]
+\set doubleSlurs = ##t
+<c e>4 ( <d f> <c e> <d f> )
+@end lilypond
+
+
+@refcommands
+
+@cindex @code{\slurUp}
+@code{\slurUp},
+@cindex @code{\slurDown}
+@code{\slurDown},
+@cindex @code{\slurNeutral}
+@code{\slurNeutral},
+@cindex @code{\slurDashed}
+@code{\slurDashed},
+@cindex @code{\slurDotted}
+@code{\slurDotted},
+@cindex @code{\slurSolid}
+@code{\slurSolid}.
+
+@seealso
+
+Program reference: @seeinternals{Slur}.
+
+
+@node Phrasing slurs
+@subsection Phrasing slurs
+
+@cindex phrasing slurs
+@cindex phrasing marks
+
+A phrasing slur (or phrasing mark) connects notes and is used to
+indicate a musical sentence. It is written using @code{\(} and @code{\)}
+respectively
+
+@lilypond[quote,raggedright,fragment,verbatim,relative=1]
+\time 6/4 c'\( d( e) f( e) d\)
+@end lilypond
+
+Typographically, the phrasing slur behaves almost exactly like a
+normal slur. However, they are treated as different objects. A
+@code{\slurUp} will have no effect on a phrasing slur; instead, use
+@code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
+@code{\phrasingSlurNeutral}.
+
+You cannot have simultaneous phrasing slurs.
+
+
+@refcommands
+
+@cindex @code{\phrasingSlurUp}
+@code{\phrasingSlurUp},
+@cindex @code{\phrasingSlurDown}
+@code{\phrasingSlurDown},
+@cindex @code{\phrasingSlurNeutral}
+@code{\phrasingSlurNeutral}.
+
+
+@seealso
+
+Program reference: @internalsref{PhrasingSlur}.
+
+
@node Automatic beams
@subsection Automatic beams
that differ from the defaults. See @ref{Setting automatic beam behavior}
for details.
-Individual notes may be marked with @code{\noBeam}, to prevent them
+Individual notes may be marked with @code{\noBeam} to prevent them
from being beamed
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
@node Manual beams
@subsection Manual beams
+
@cindex beams, manual
@cindex @code{]}
@cindex @code{[}
}
@end lilypond
+
+@commonprop
+
@cindex @code{stemLeftBeamCount}
+@cindex @code{stemRightBeamCount}
Normally, beaming patterns within a beam are determined automatically.
If necessary, the properties @code{stemLeftBeamCount} and
f g a]
}
@end lilypond
-@cindex @code{stemRightBeamCount}
-
The property @code{subdivideBeams} can be set in order to subdivide
all 16th or shorter beams at beat positions, as defined by the
@code{beatLength} property.
-
@lilypond[fragment,quote,relative=2,verbatim]
c16[ c c c c c c c]
\set subdivideBeams = ##t
@end lilypond
@cindex @code{subdivideBeams}
-Normally, line breaks are forbidden when beams cross bar lines. This
+Line breaks are normally forbidden when beams cross bar lines. This
behavior can be changed by setting @code{allowBeamBreak}.
@cindex @code{allowBeamBreak}
@cindex beams and line breaks
-
@cindex beams, kneed
@cindex kneed beams
@cindex auto-knee-gap
-@seealso
-
-User manual: @ref{Changing context properties on the fly} for the
-@code{\set} command
-
-
@refbugs
-@cindex Frenched staves
-Kneed beams are inserted automatically, when a large gap is detected
+Kneed beams are inserted automatically when a large gap is detected
between the note heads. This behavior can be tuned through the object.
-
Automatically kneed cross-staff beams cannot be used together with
hidden staves. See @ref{Hiding staves}.
Beams do not avoid collisions with symbols around the notes, such as
texts and accidentals.
-@c FIXME.
-
@node Grace notes
@subsection Grace notes
@cindex @code{\grace}
@cindex ornaments
@cindex grace notes
+@cindex appoggiatura
+@cindex acciaccatura
Grace notes are ornaments that are written out. The most common ones
are acciaccatura, which should be played as very short. It is denoted
are entered with the commands @code{\acciaccatura} and
@code{\appoggiatura}, as demonstrated in the following example
-
-@cindex appoggiatura
-@cindex acciaccatura
-
@lilypond[quote,raggedright,relative=2,verbatim,fragment]
b4 \acciaccatura d8 c4 \appoggiatura e8 d4
\acciaccatura { g16[ f] } e4
>>
@end lilypond
-
The placement of grace notes is synchronized between different staves.
In the following example, there are two sixteenth grace notes for
every eighth grace note
\new Staff { c4 \grace { g8[ b] } c4 } >>
@end lilypond
-
-
If you want to end a note with a grace, use the @code{\afterGrace}
command. It takes two arguments: the main note, and the grace notes
following the main note.
@noindent
will put the grace note at 7/8 of the main note.
-
The same effect can be achieved manually by doing
-
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\context Voice {
<< { d1^\trill_( }
By adjusting the duration of the skip note (here it is a half-note),
the space between the main-note and the grace is adjusted.
-
-
-
A @code{\grace} section will introduce special typesetting settings,
for example, to produce smaller type, and set directions. Hence, when
introducing layout tweaks, they should be inside the grace section,
Program reference: @internalsref{GraceMusic}.
+
@refbugs
A score that starts with a @code{\grace} section needs an explicit
and might produce crashes or other errors.
-@node Fingering instructions
-@subsection Fingering instructions
-
-@cindex fingering
-
-Fingering instructions can be entered using
-@example
-@var{note}-@var{digit}
-@end example
-For finger changes, use markup texts
-
-@lilypond[quote,verbatim,raggedright,fragment,relative=1]
-c4-1 c-2 c-3 c-4
-c^\markup { \finger "2-3" }
-@end lilypond
-
-@cindex finger change
-@cindex scripts
-@cindex superscript
-@cindex subscript
-
-You can use the thumb-script to indicate that a note should be
-played with the thumb (e.g., in cello music)
-@lilypond[quote,verbatim,raggedright,fragment,relative=2]
-<a_\thumb a'-3>8 <b_\thumb b'-3>
-@end lilypond
-
-Fingerings for chords can also be added to individual notes
-of the chord by adding them after the pitches
-@lilypond[quote,verbatim,raggedright,fragment,relative=2]
-< c-1 e-2 g-3 b-5 >4
-@end lilypond
-
-@noindent
-In this case, setting @code{fingeringOrientations} will put fingerings next
-to note heads
-
-@lilypond[quote,verbatim,raggedright,fragment,relative=1]
-\set fingeringOrientations = #'(left down)
-<c-1 es-2 g-4 bes-5 > 4
-\set fingeringOrientations = #'(up right down)
-<c-1 es-2 g-4 bes-5 > 4
-@end lilypond
-
-Using this feature, it is also possible to put fingering instructions
-very close to note heads in monophonic music,
-
-@lilypond[verbatim,raggedright,quote,fragment]
-\set fingeringOrientations = #'(right)
-<es'-2>4
-@end lilypond
-
-
-@seealso
-
-Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
-
-Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
-
-
-
@node Expressive marks
@section Expressive marks
notes and rhythms.
@menu
-* Slurs::
-* Phrasing slurs::
* Articulations::
+* Fingering instructions::
* Dynamics::
* Breath marks::
* Running trills::
@end menu
-@node Slurs
-@subsection Slurs
-@cindex Slurs
-
-A slur indicates that notes are to be played bound or @emph{legato}.
-
-They are entered using parentheses
-@lilypond[quote,raggedright,relative=2,fragment,verbatim]
-f( g a) a8 b( a4 g2 f4)
-<c e>2( <b d>2)
-@end lilypond
-
-The direction of a slur can be set with the
-generic commands
-
-@example
-\override Slur #'direction = #UP
-\slurUp % shortcut for the previous line
-@end example
-
-@noindent
-However, there is a convenient shorthand for forcing slur
-directions. By adding @code{_} or @code{^} before the opening
-parentheses, the direction is also set. For example,
-
-@lilypond[relative=2,raggedright,quote,verbatim,fragment]
-c4_( c) c^( c)
-@end lilypond
-
-Some composers write two slurs when they want legato chords. This can
-be achieved in LilyPond by setting @code{doubleSlurs},
-
-@lilypond[verbatim,raggedright,relative,fragment,quote]
-\set doubleSlurs = ##t
-<c e>4 ( <d f> <c e> <d f> )
-@end lilypond
-
-Only one slur can be printed at once. If you need to print a long
-slur over a few small slurs, please see @ref{Phrasing slurs}.
-
-
-@refcommands
-
-
-@cindex @code{\slurUp}
-@code{\slurUp},
-@cindex @code{\slurDown}
-@code{\slurDown},
-@cindex @code{\slurNeutral}
-@code{\slurNeutral},
-@cindex @code{\slurDashed}
-@code{\slurDashed},
-@cindex @code{\slurDotted}
-@code{\slurDotted},
-@cindex @code{\slurSolid}
-@code{\slurSolid}.
-
-@seealso
-
-Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
-
-
-@node Phrasing slurs
-@subsection Phrasing slurs
-
-@cindex phrasing slurs
-@cindex phrasing marks
-
-A phrasing slur (or phrasing mark) connects chords and is used to
-indicate a musical sentence. It is written using @code{\(} and @code{\)}
-respectively
-
-@lilypond[quote,raggedright,fragment,verbatim,relative=1]
-\time 6/4 c'\( d( e) f( e) d\)
-@end lilypond
-
-Typographically, the phrasing slur behaves almost exactly like a
-normal slur. However, they are treated as different objects. A
-@code{\slurUp} will have no effect on a phrasing slur; instead, use
-@code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
-@code{\phrasingSlurNeutral}.
-
-The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurNeutral}
-will only affect normal slurs and not phrasing slurs.
-
-You cannot have simultaneous phrasing slurs.
-
-@refcommands
-
-@cindex @code{\phrasingSlurUp}
-@code{\phrasingSlurUp},
-@cindex @code{\phrasingSlurDown}
-@code{\phrasingSlurDown},
-@cindex @code{\phrasingSlurNeutral}
-@code{\phrasingSlurNeutral}.
-
-@seealso
-
-Program reference: see also @internalsref{PhrasingSlur}, and
-@internalsref{PhrasingSlurEvent}.
-
-@refbugs
-
-Putting phrasing slurs over rests leads to spurious warnings.
-
-
@node Articulations
@subsection Articulations
-@cindex Articulations
-@cindex articulations
+@cindex Articulations
@cindex scripts
@cindex ornaments
The meanings of these shorthands can be changed. See
@file{ly/@/script@/-init@/.ly} for examples.
-
The script is automatically placed, but the direction can be forced as
well. Like other pieces of LilyPond code, @code{_} will place them
below the staff, and @code{^} will place them above.
-
@lilypond[quote,raggedright,fragment,verbatim]
c''4^^ c''4_^
@end lilypond
c\fermata c^\fermata c_\fermata
@end lilypond
-
-
@cindex accent
@cindex marcato
@cindex staccatissimo
@lilypondfile[raggedright,quote]{script-chart.ly}
+@commonprop
+
The vertical ordering of scripts is controlled with the
@code{script-priority} property. The lower this number, the closer it
will be put to the note. In this example, the
inside. When two objects have the same priority, the order in which
they are entered decides which one comes first.
-
@lilypond[verbatim,relative=3,raggedright,fragment,quote]
\once \override TextScript #'script-priority = #-100
a4^\prall^\markup { \sharp }
@end lilypond
-
-
@seealso
-Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
+Program reference: @internalsref{Script}.
+
@refbugs
MIDI rendering of the music.
-@node Dynamics
-@subsection Dynamics
-@cindex Dynamics
+@node Fingering instructions
+@subsection Fingering instructions
+@cindex fingering
+@cindex finger change
+
+Fingering instructions can be entered using
+@example
+@var{note}-@var{digit}
+@end example
+For finger changes, use markup texts
+@lilypond[quote,verbatim,raggedright,fragment,relative=1]
+c4-1 c-2 c-3 c-4
+c^\markup { \finger "2 - 3" }
+@end lilypond
+You can use the thumb-script to indicate that a note should be
+played with the thumb (e.g., in cello music)
+@lilypond[quote,verbatim,raggedright,fragment,relative=2]
+<a_\thumb a'-3>8 <b_\thumb b'-3>
+@end lilypond
+
+Fingerings for chords can also be added to individual notes
+of the chord by adding them after the pitches
+@lilypond[quote,verbatim,raggedright,fragment,relative=2]
+< c-1 e-2 g-3 b-5 >4
+@end lilypond
+
+
+@commonprop
+
+You may exercise greater control over fingering chords by
+setting @code{fingeringOrientations}
+
+@lilypond[quote,verbatim,raggedright,fragment,relative=1]
+\set fingeringOrientations = #'(left down)
+<c-1 es-2 g-4 bes-5 > 4
+\set fingeringOrientations = #'(up right down)
+<c-1 es-2 g-4 bes-5 > 4
+@end lilypond
+
+Using this feature, it is also possible to put fingering instructions
+very close to note heads in monophonic music,
+
+@lilypond[verbatim,raggedright,quote,fragment]
+\set fingeringOrientations = #'(right)
+<es'-2>4
+@end lilypond
+
+
+@seealso
+
+Program reference: @internalsref{Fingering}.
+
+Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
+
+
+@node Dynamics
+@subsection Dynamics
+
+@cindex Dynamics
@cindex @code{\ppp}
@cindex @code{\pp}
@cindex @code{\p}
@cindex @code{\sfz}
@cindex @code{\rfz}
-
Absolute dynamic marks are specified using a command after a note
@code{c4\ff}. The available dynamic marks are @code{\ppp},
@code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
@code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
-@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
+@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
@lilypond[quote,verbatim,raggedright,fragment,relative=2]
c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
@cindex @code{\<}
@cindex @code{\>}
-@cindex @code{\"!}
-
-
+@cindex @code{\!}
A crescendo mark is started with @code{\<} and terminated with
@code{\!} or an absolute dynamic. A decrescendo is started with
\override Staff.Hairpin #'minimum-length = #5
@end example
-You can also use a text saying @emph{cresc.} instead of hairpins. Here
-is an example how to do it
+@cindex crescendo
+@cindex decrescendo
+@cindex diminuendo
+
+You can also use a text saying @emph{cresc.} instead of hairpins
@lilypond[quote,raggedright,fragment,relative=2,verbatim]
\setTextCresc
e\> d c b\!
@end lilypond
-@cindex crescendo
-@cindex decrescendo
-
You can also supply your own texts
@lilypond[quote,raggedright,fragment,relative=1,verbatim]
\set crescendoText = \markup { \italic "cresc. poco" }
a'2\< a a a\!\mf
@end lilypond
-@cindex diminuendo
-
To create new dynamic marks or text that should be aligned
with dynamics, see @ref{New dynamic marks}.
@cindex @code{\dynamicNeutral}
@code{\dynamicNeutral}.
-@cindex direction, of dynamics
@seealso
-Program reference: @internalsref{CrescendoEvent},
-@internalsref{DecrescendoEvent}, and
-@internalsref{AbsoluteDynamicEvent}.
+Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
+Vertical positioning of these symbols is handled by
+@internalsref{DynamicLineSpanner}.
-Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
-objects. Vertical positioning of these symbols is handled by the
-@internalsref{DynamicLineSpanner} object.
@node Breath marks
@subsection Breath marks
Breath marks are entered using @code{\breathe}
-
@lilypond[quote,raggedright,fragment,relative=1,verbatim]
c'4 \breathe d4
@end lilypond
+
+@commonprop
+
The glyph of the breath mark can be tuned by overriding the
@code{text} property of the @code{BreathingSign} layout object with
any markup text. For example,
@seealso
-Program reference: @internalsref{BreathingSign},
-@internalsref{BreathingSignEvent}.
+Program reference: @internalsref{BreathingSign}.
Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
Long running trills are made with @code{\startTrillSpan} and
@code{\stopTrillSpan},
-
@lilypond[verbatim,raggedright,relative=2,quote,fragment]
\new Voice {
<< { c1 \startTrillSpan }
c4 }
@end lilypond
+
@refcommands
@code{\startTrillSpan},
@code{\stopTrillSpan}.
@cindex @code{\stopTrillSpan}
-@seealso
-
-Program reference: @internalsref{TrillSpanner},
-@internalsref{TrillSpanEvent}.
+@seealso
+Program reference: @internalsref{TrillSpanner}.
@node Glissando
@subsection Glissando
-@cindex Glissando
+@cindex Glissando
@cindex @code{\glissando}
A glissando is a smooth change in pitch. It is denoted by a line or a
@code{\glissando} to a note
@lilypond[quote,raggedright,fragment,relative=2,verbatim]
-c\glissando c'
+c2\glissando c'
+\override Glissando #'style = #'zigzag
+c2\glissando c,
@end lilypond
+
@seealso
-Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
+Program reference: @internalsref{Glissando}.
Example files: @file{input/@/regression/@/glissando@/.ly}.
-
@refbugs
Printing text over the line (such as @emph{gliss.}) is not supported.
@node Arpeggio
@subsection Arpeggio
-@cindex Arpeggio
+@cindex Arpeggio
@cindex broken chord
@cindex @code{\arpeggio}
You can specify an arpeggio sign (also known as broken chord) on a
chord by attaching an @code{\arpeggio} to a chord
-
@lilypond[quote,raggedright,fragment,relative=1,verbatim]
<c e g c>\arpeggio
@end lilypond
-When an arpeggio crosses staves, you attach an arpeggio to the chords
-in both staves, and set
-@internalsref{PianoStaff}.@code{connectArpeggios}
+A square bracket on the left indicates that the player should not
+arpeggiate the chord
@lilypond[quote,raggedright,fragment,relative=1,verbatim]
-\context PianoStaff <<
- \set PianoStaff.connectArpeggios = ##t
- \new Staff { <c' e g c>\arpeggio }
- \new Staff { \clef bass <c,, e g>\arpeggio }
->>
+\arpeggioBracket
+<c' e g c>\arpeggio
@end lilypond
The direction of the arpeggio is sometimes denoted by adding an
}
@end lilypond
-A square bracket on the left indicates that the player should not
-arpeggiate the chord
-@c todo: ugh, lousy typography. Look for real example. --hwn
+@commonprop
+
+When an arpeggio crosses staves, you may attach an arpeggio to the chords
+in both staves and set
+@internalsref{PianoStaff}.@code{connectArpeggios}
@lilypond[quote,raggedright,fragment,relative=1,verbatim]
-\arpeggioBracket
-<c' e g c>\arpeggio
+\context PianoStaff <<
+ \set PianoStaff.connectArpeggios = ##t
+ \new Staff { <c' e g c>\arpeggio }
+ \new Staff { \clef bass <c,, e g>\arpeggio }
+>>
@end lilypond
+
@refcommands
@code{\arpeggio},
@cindex @code{\arpeggioBracket}
@code{\arpeggioBracket}.
+
@seealso
Notation manual: @ref{Ties}, for writing out arpeggios.
-Program reference: @internalsref{ArpeggioEvent},
-@internalsref{Arpeggio}.
-
+Program reference: @internalsref{Arpeggio}.
@refbugs
* Collision Resolution::
@end menu
+
@node Basic polyphony
@subsection Basic polyphony
+
@cindex polyphony
The easiest way to enter fragments with more than one voice on a staff
@lilypond[quote,verbatim,fragment]
\new Staff \relative c' {
- c16 d e f
- << { g4 f e | d2 e2 } \\
- { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
- { s2. | s4 b4 c2 }
- >>
+ c16 d e f
+ <<
+ { g4 f e | d2 e2 } \\
+ { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
+ { s2. | s4 b4 c2 }
+ >>
}
@end lilypond
These voices are all seperate from the voice that contains the notes just
outside the @code{<< \\ >>} construct. This should be noted when making
changes at the voice level. This also means that slurs and ties cannot go
-into or out of a @code{<< \\ >>} construct.
-Conversely, parallel voices from separate @code{<< \\ >>} constructs on the
-same staff are the the same voice.
-Here is the same example, with different noteheads for each voice.
-Note that the change to the note-head style in the main voice does not affect
+into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
+from separate @code{<< \\ >>} constructs on the same staff are the the
+same voice. Here is the same example, with different noteheads for each
+voice. Note that the change to the note-head style in the main voice does not affect
the inside of the @code{<< \\ >>} constructs. Also, the change to the second
voice in the first @code{<< \\ >>} construct is effective in the second
@code{<< \\ >>}, and the voice is tied accross the two constructs.
@lilypond[quote,verbatim,fragment]
\new Staff \relative c' {
- \override NoteHead #'style = #'cross
- c16 d e f
- <<
- { g4 f e } \\
- { \override NoteHead #'style = #'triangle
- r8 e4 d c8 ~
- }
- >> |
- <<
- { d2 e2 } \\
- { c8 b16 a b8 g ~ g2 } \\
- { \override NoteHead #'style = #'slash s4 b4 c2 }
- >>
+ \override NoteHead #'style = #'cross
+ c16 d e f
+ <<
+ { g4 f e } \\
+ { \override NoteHead #'style = #'triangle
+ r8 e4 d c8 ~ }
+ >> |
+ <<
+ { d2 e2 } \\
+ { c8 b16 a b8 g ~ g2 } \\
+ { \override NoteHead #'style = #'slash s4 b4 c2 }
+ >>
}
@end lilypond
@lilypond[quote,raggedright,verbatim]
\new Staff \relative c' {
- \override NoteHead #'style = #'cross
- c16 d e f
- \voiceOne
- <<
- { g4 f e | d2 e2}
- \context Voice="1" { \voiceTwo
- r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
- \oneVoice
- }
- \new Voice { \voiceThree
- s2. | s4 b4 c2
- \oneVoice
- }
- >>
- \oneVoice
+ \override NoteHead #'style = #'cross
+ c16 d e f
+ \voiceOne
+ <<
+ { g4 f e | d2 e2 }
+ \context Voice="1" { \voiceTwo
+ r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
+ \oneVoice
+ }
+ \new Voice { \voiceThree
+ s2. | s4 b4 c2
+ \oneVoice
+ }
+ >>
+ \oneVoice
}
@end lilypond
The correct definition of the voices allows the melody to be slurred.
@lilypond[quote,raggedright,verbatim]
\new Staff \relative c' {
- c16^( d e f
- \voiceOne
- <<
- { g4 f e | d2 e2) }
- \context Voice="1" { \voiceTwo
- r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
- \oneVoice
- }
- \new Voice { \voiceThree
- s2. s4 b4 c2
- \oneVoice
- }
- >>
- \oneVoice
+ c16^( d e f
+ \voiceOne
+ <<
+ { g4 f e | d2 e2) }
+ \context Voice="1" { \voiceTwo
+ r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
+ \oneVoice
+ }
+ \new Voice { \voiceThree
+ s2. s4 b4 c2
+ \oneVoice
+ }
+ >>
+ \oneVoice
}
@end lilypond
@lilypond[quote,raggedright,verbatim]
\new Staff \relative c' {
- c16^( d e f
- \voiceOne
- <<
- { g4 f e | d2 e2) }
- \context Voice="1" { \voiceTwo
- r8 e4 d c8 ~ |
- <<
- {c8 b16 a b8 g ~ g2}
- \new Voice { \voiceThree
- s4 b4 c2
- \oneVoice
- }
- >>
- \oneVoice
- }
- >>
- \oneVoice
+ c16^( d e f
+ \voiceOne
+ <<
+ { g4 f e | d2 e2) }
+ \context Voice="1" { \voiceTwo
+ r8 e4 d c8 ~ |
+ <<
+ {c8 b16 a b8 g ~ g2}
+ \new Voice { \voiceThree
+ s4 b4 c2
+ \oneVoice
+ }
+ >>
+ \oneVoice
+ }
+ >>
+ \oneVoice
}
@end lilypond
+
@node Collision Resolution
@subsection Collision Resolution
@refcommands
-
-
@cindex @code{\oneVoice}
@code{\oneVoice},
@cindex @code{\voiceOne}
@cindex @code{\voiceFour}
@code{\voiceFour}.
-
-
@cindex @code{\shiftOn}
@code{\shiftOn},
@cindex @code{\shiftOnn}
have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
further shift levels.
-
When LilyPond cannot cope, the @code{force-hshift}
property of the @internalsref{NoteColumn} object and pitched rests can
be used to override typesetting decisions.
@end lilypond
-
@seealso
Program reference: the objects responsible for resolving collisions are
@refbugs
-
When using @code{merge-differently-headed} with an upstem eighth or a
shorter note, and a downstem half note, the eighth note gets the wrong
offset.
* Measure repeats::
@end menu
+
@node Repeat types
@subsection Repeat types
@inputfileref{input,star-spangled-banner@/.ly}.
@end ignore
-@c tremolo, beamed
@item tremolo
Make tremolo beams. These are not played in MIDI output by default.
@end table
+
@node Repeat syntax
@subsection Repeat syntax
-
LilyPond has one syntactic construct for specifying different types of
repeats. The syntax is
If you have alternative endings, you may add
@cindex @code{\alternative}
@example
-\alternative @{ @var{alternative1}
- @var{alternative2}
- @var{alternative3} @dots{} @}
+\alternative @{
+ @var{alternative1}
+ @var{alternative2}
+ @var{alternative3}
+ @dots{}
+@}
@end example
+
+@noindent
where each @var{alternative} is a music expression. If you do not
give enough alternatives for all of the repeats, the first alternative
is assumed to be played more than once.
\alternative { {d2 d} {f f,} }
@end lilypond
-
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\context Staff {
\partial 4
by setting @code{voltaSpannerDuration}. In the next example, the
bracket only lasts one measure, which is a duration of 3/4.
-
-
@lilypond[verbatim,raggedright,quote]
\relative c''{
\time 3/4
staff. This can be adjusted by setting the @code{voltaOnThisStaff}
property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
-@c not necessary
-@c @inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}.
-
@refbugs
+@cindex repeat, ambiguous
+
A nested repeat like
@example
@code{\alternative} belongs. This ambiguity is resolved by always
having the @code{\alternative} belong to the inner @code{\repeat}.
For clarity, it is advisable to use braces in such situations.
-@cindex ambiguity
-
-
Timing information is not remembered at the start of an alternative,
so after a repeat timing information must be reset by hand, for
@code{\partial}. Similarly, slurs or ties are also not repeated.
-
-
@node Repeats and MIDI
@subsection Repeats and MIDI
@cindex expanding repeats
+@cindex @code{\unfoldrepeats}
With a little bit of tweaking, all types of repeats can be present
in the MIDI output. This is achieved by applying the
@lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
\unfoldrepeats {
\repeat tremolo 8 {c'32 e' }
- \repeat percent 2 { c''8 d'' }
+ \repeat percent 4 { c''8 d'' }
\repeat volta 2 {c'4 d' e' f'}
\alternative {
{ g' a' a' g' }
@}
@end example
+
@node Manual repeat commands
@subsection Manual repeat commands
@end lilypond
-
@seealso
Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
@internalsref{UnfoldedRepeatedMusic}, and
@internalsref{FoldedRepeatedMusic}.
+
@node Tremolo repeats
@subsection Tremolo repeats
+
@cindex tremolo beams
To place tremolo marks between notes, use @code{\repeat} with tremolo
Similar output is obtained using the tremolo subdivision, described in
@ref{Tremolo subdivisions}.
+
@seealso
In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
-Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
-tremolos are @internalsref{StemTremolo} objects. The music expression is
-@internalsref{TremoloEvent}.
+Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
@inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
+
@node Tremolo subdivisions
@subsection Tremolo subdivisions
+
@cindex tremolo marks
@cindex @code{tremoloFlags}
c'2:8 c':32 | c': c': |
@end lilypond
-@c [TODO: stok is te kort bij 32en]
-@c somebody want to translate that into English?
-@c `Stem is too short for 32nds' (wl)
@refbugs
Tremolos entered in this way do not carry over into the MIDI output.
+
@seealso
In this manual: @ref{Tremolo repeats}.
-Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
+Elsewhere: @internalsref{StemTremolo}.
+
@node Measure repeats
@subsection Measure repeats
}
@end lilypond
+
@seealso
Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
@internalsref{PercentRepeatedMusic}, and
@internalsref{DoublePercentRepeat}.
-
-
projects / lilypond.git / commitdiff