generally omit @code{\score} blocks and @code{\paper} declarations in
this manual.}
-@quotation
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
cis'4 d'8 e'16 c'16
@end lilypond
-@end quotation
@node Pitches
to @code{b}. The pitch @code{c} is an octave below middle C and the
letters span the octave above that C
-@quotation
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
\clef bass
a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
@end lilypond
-@end quotation
@cindex note names, Dutch
@cindex quarter tones
@cindex semi-flats, semi-sharps
-@quotation
-@lilypond[verbatim,relative=3]
+@lilypond[quote,verbatim,relative=3]
ceses4
ceseh
ces
cisih
cisis
@end lilypond
-@end quotation
There are predefined sets of note names for various other languages.
To use them, include the language specific init file. For
(`@code{,}') characters. Each @code{'} raises the pitch by one
octave; each @code{,} lowers the pitch by an octave
-@quotation
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
c' c'' es' g' as' gisis' ais'
@end lilypond
-@end quotation
@refcommands
(i.e. an accidental within parentheses) can be obtained by adding the
question mark `@code{?}' after the pitch
-@quotation
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
cis' cis' cis'! cis'?
@end lilypond
-@end quotation
@seealso
@code{>}. A chord may be followed by a duration, and a set of
articulations, just like simple notes.
-@quotation
-@lilypond[relative=1]
+@lilypond[quote,relative=1]
<c e g>4 <c>8 <>8
@end lilypond
-@end quotation
@node Rests
@subsection Rests
Rests are entered like notes, with the note name @code{r}
-@quotation
-@lilypond[raggedright,verbatim]
+@lilypond[quote,raggedright,verbatim]
r1 r2 r4 r8
@end lilypond
-@end quotation
Whole bar rests, centered in middle of the bar,
must be done with multi-measure rests. They are discussed in
formatting in polyphonic music easier. Rest collision testing will
leave these rests alone
-@quotation
-@lilypond[raggedright,verbatim]
+@lilypond[quote,raggedright,verbatim]
a'4\rest d'4\rest
@end lilypond
-@end quotation
@seealso
An invisible rest (also called a `skip') can be entered like a note
with note name `@code{s}' or with @code{\skip @var{duration}}
-@quotation
-@lilypond[raggedright,verbatim]
+@lilypond[quote,raggedright,verbatim]
a2 s4 a4 \skip 1 a4
@end lilypond
-@end quotation
The @code{s} syntax is only available in note mode and chord mode. In
other situations, you should use the @code{\skip} command
-@quotation
-@lilypond[raggedright,verbatim]
+@lilypond[quote,raggedright,verbatim]
\score {
\new Staff <<
{ \time 4/8 \skip 2 \time 4/4 }
>>
}
@end lilypond
-@end quotation
The skip command is merely an empty musical placeholder. It does not
produce any output, not even transparent output.
@internalsref{Voice} when necessary, similar to note and rest
commands. For example, the following results in an empty staff.
-@quotation
-@lilypond[raggedright,verbatim]
+@lilypond[quote,raggedright,verbatim]
\score { \notes { s4 } }
@end lilypond
-@end quotation
The same fragment using @code{\skip} results in an empty page.
r1 r2 r4 r8 r16 r32 r64 r64
@end example
-@quotation
-@lilypond[noindent]
+@lilypond[quote]
\score {
\notes \relative c'' {
a\breve*1/2 \autoBeamOff
}
}
@end lilypond
-@end quotation
If the duration is omitted then it is set to the previously entered
lengths
@cindex @code{.}
-@quotation
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
a' b' c''8 b' a'4 a'4. b'4.. c'8.
@end lilypond
-@end quotation
@cindex @code{r}
@cindex @code{s}
In the following example, the first three notes take up exactly two
beats, but no triplet bracket is printed.
-@quotation
-@lilypond[fragment,relative=3,verbatim]
+@lilypond[quote,fragment,relative=3,verbatim]
\time 2/4
a4*2/3 gis4*2/3 a4*2/3
a4
@end lilypond
-@end quotation
@refcommands
slurs, which indicate articulation, or phrasing slurs, which indicate
musical phrasing. A tie is entered using the tilde symbol `@code{~}'
-@quotation
-@lilypond[fragment,verbatim]
- e' ~ e' <c' e' g'> ~ <c' e' g'>
+@lilypond[quote,fragment,verbatim]
+e' ~ e' <c' e' g'> ~ <c' e' g'>
@end lilypond
-@end quotation
When a tie is applied to a chord, all note heads whose pitches match
are connected. When no note heads match, no ties will be created.
to the augmentation dot; in the following example there are two ways of
notating exactly the same concept
@c
-@quotation
-@lilypond[fragment,raggedright]
+@lilypond[quote,fragment,raggedright]
\time 3/4 c'2. c'2 ~ c'4
@end lilypond
-@end quotation
If you need to tie a lot of notes over bars, it may be easier to use automatic
note splitting (see @ref{Automatic note splitting}).
notes have the length of 2, so the notes are 2/3 of their written
length
-@quotation
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
g'4 \times 2/3 {c'4 c' c'} d'4 d'4
@end lilypond
-@end quotation
The property @code{tupletSpannerDuration} specifies how long each
bracket should last. With this, you can make lots of tuplets while
example, there are two triplets shown, while @code{\times} was only
used once
-@quotation
-@lilypond[fragment,relative=1,raggedright,verbatim]
+@lilypond[quote,fragment,relative=1,raggedright,verbatim]
\set tupletSpannerDuration = #(ly:make-moment 1 4)
\times 2/3 { c'8 c c c c c }
@end lilypond
-@end quotation
The format of the number is determined by the property
@code{tupletNumberFormatFunction}. The default prints only the
predecessor of the first note of @var{musicexpr}.
Here is the relative mode shown in action
-@quotation
-@lilypond[fragment,raggedright,verbatim]
+@lilypond[quote,fragment,raggedright,verbatim]
\relative c'' {
b c d c b c bes a
}
@end lilypond
-@end quotation
Octave changing marks are used for intervals greater than a fourth
-@quotation
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
\relative c'' {
c g c f, c' a, e''
}
@end lilypond
-@end quotation
If the preceding item is a chord, the first note of the chord is used
to determine the first note of the next chord
-@quotation
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
\relative c' {
c <c e g>
<c' e g>
<c, e' g>
}
@end lilypond
-@end quotation
@cindex @code{\notes}
The pitch after the @code{\relative} contains a note name. To parse
is a @code{a'}, above middle C. Hence, the @code{\octave} check may
be deleted without changing the meaning of the piece.
-@quotation
-@lilypond[verbatim,fragment]
+@lilypond[quote,verbatim,fragment]
\relative c' {
e
\octave b
a
}
@end lilypond
-@end quotation
@node Bar check
@subsection Bar check
This can be used to skip over the parts of a score that have already
been checked for errors
-@quotation
-@lilypond[fragment,raggedright,verbatim]
+@lilypond[quote,fragment,raggedright,verbatim]
\relative c'' { c8 d
\set Score.skipTypesetting = ##t
e f g a g c, f e d
\set Score.skipTypesetting = ##f
c d b bes a g c2 }
@end lilypond
-@end quotation
@node Automatic note splitting
@subsection Automatic note splitting
In the following examples, notes crossing the bar line are split and tied.
-@quotation
-@lilypond[noindent,verbatim,relative=2]
+@lilypond[quote,fragment,noindent,verbatim,relative=2,raggedright]
\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
}
@end lilypond
-@end quotation
This engraver splits all running notes at the bar line, and inserts
ties. One of its uses is to debug complex scores: if the measures are
The clef can be set or changed with the @code{\clef} command
-@quotation
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
\key f\major c''2 \clef alto g'2
@end lilypond
-@end quotation
Supported clef-names include
@c Moved standard clefs to the top /MB
@cindex choral tenor clef
-@quotation
-@lilypond[verbatim,fragment,relative=1]
+@lilypond[quote,verbatim,fragment,relative=1]
\clef "G_8" c4
@end lilypond
-@end quotation
This command is equivalent to setting @code{clefGlyph},
@code{clefPosition} (which controls the Y position of the clef),
@cindex 15ma
@cindex octavation
-@quotation
-@lilypond[verbatim,fragment]
+@lilypond[quote,verbatim,fragment]
\relative c''' {
a2 b
#(set-octavation 1)
a b
}
@end lilypond
-@end quotation
The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
(for 15ma) as arguments. Internally the function sets the properties
The time signature is set or changed by the @code{\time}
command
-@quotation
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
\time 2/4 c'2 \time 3/4 c'2.
@end lilypond
-@end quotation
The symbol that is printed can be customized with the @code{style}
property. Setting it to @code{#'()} uses fraction style for 4/4 and
measure is subdivided in 2, 2, 2 and 3. This is passed to
@code{set-time-signature} as the third argument @code{(2 2 2 3)}
-@quotation
-@lilypond[raggedright,verbatim]
+@lilypond[quote,raggedright,verbatim]
\score {
\notes \relative c'' {
#(set-time-signature 9 8 '(2 2 2 3))
}
}
@end lilypond
-@end quotation
@seealso
Partial measures, for example in upsteps, are entered using the
@code{\partial} command
-@quotation
-@lilypond[fragment,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim,relative=2]
\partial 16*5 c16 cis d dis e | a2. c,4 | b2
@end lilypond
-@end quotation
The syntax for this command is
@example
Normally, they are inserted automatically. Line breaks may only
happen on bar lines.
-
- Special types
-of bar lines can be forced with the @code{\bar} command
+Special types of bar lines can be forced with the @code{\bar} command
@c
-@quotation
-@lilypond[relative=2,fragment,verbatim]
+@lilypond[quote,relative=2,fragment,verbatim]
c4 \bar "|:" c4
@end lilypond
-@end quotation
The following bar types are available
-@quotation
-@lilypond[fragment,relative=1,raggedright,verbatim]
+@lilypond[quote,fragment,relative=1,raggedright,verbatim]
c4
\bar "|" c
\bar "" c
\bar "|." c
\bar ":" c
@end lilypond
-@end quotation
For allowing line breaks, there is a special command,
@example
\bar "empty"
automatically applied to all staves. The resulting bar lines are
connected between different staves of a @internalsref{StaffGroup}
@c
-@quotation
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
<<
\context StaffGroup <<
\new Staff {
\new Staff { \clef bass c2 c2 }
>>
@end lilypond
-@end quotation
A bar line is created whenever the @code{whichBar} property is set.
At the start of a measure it is set to the contents of
is to split chords using the separator @code{\\}. You can use it for
small, short-lived voices or for single chords
-@quotation
-@lilypond[verbatim,fragment]
+@lilypond[quote,verbatim,fragment]
\context Staff \relative c'' {
c4 << { f d e } \\ { b c2 } >>
c4 << g' \\ b, \\ f' \\ d >>
}
@end lilypond
-@end quotation
The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
voices are sometimes called "layers" other notation packages}
a stem directions and horizontal shift for each part
@c
-@quotation
-@lilypond[raggedright,verbatim]
+@lilypond[quote,raggedright,verbatim]
\relative c''
\context Staff <<
\new Voice { \voiceOne cis2 b }
\new Voice { \voiceThree b4 ais ~ ais4 gis4 }
\new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
@end lilypond
-@end quotation
@noindent
The command @code{\oneVoice} will revert back to the normal setting.
Normally, note heads with a different number of dots are not merged, but
when the object property @code{merge-differently-dotted} is set in
the @internalsref{NoteCollision} object, they are merged
-@quotation
-@lilypond[verbatim,fragment,raggedright]
+@lilypond[quote,verbatim,fragment,raggedright]
\relative c'' \context Voice << {
g8 g8
\override Staff.NoteCollision
g8 g8
} \\ { g8.[ f16] g8.[ f16] } >>
@end lilypond
-@end quotation
Similarly, you can merge half note heads with eighth notes, by setting
@code{merge-differently-headed}
-@quotation
-@lilypond[fragment,relative=3,verbatim]
+@lilypond[quote,fragment,relative=3,verbatim]
\context Voice << {
c8 c4.
\override Staff.NoteCollision
#'merge-differently-headed = ##t
c8 c4. } \\ { c2 c2 } >>
@end lilypond
-@end quotation
LilyPond also vertically shifts rests that are opposite of a stem
-@quotation
-@lilypond[raggedright,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\context Voice << c''4 \\ r4 >>
@end lilypond
-@end quotation
@refcommands
Beams are used to group short notes into chunks that are aligned with
the metrum. They are inserted automatically
-@quotation
-@lilypond[fragment,verbatim,relative=3]
+@lilypond[quote,fragment,verbatim,relative=3]
\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
@end lilypond
-@end quotation
When these automatic decisions are not good enough, beaming can be
entered explicitly. It is also possible to define beaming patterns
Individual notes may be marked with @code{\noBeam}, to prevent them
from being beamed
-@quotation
-@lilypond[fragment,verbatim,relative=3]
- \time 2/4 c8 c\noBeam c c
+@lilypond[quote,fragment,verbatim,relative=3]
+\time 2/4 c8 c\noBeam c c
@end lilypond
-@end quotation
@seealso
or bar lines. Such beams are specified by manually: the begin and end
point are marked with @code{[} and @code{]}
-@quotation
-@lilypond[fragment,relative=1,verbatim]
+@lilypond[quote,fragment,relative=1,verbatim]
\context Staff {
r4 r8[ g' a r8] r8 g[ | a] r8
}
@end lilypond
-@end quotation
@cindex @code{stemLeftBeamCount}
either property is set, its value will be used only once, and then it
is erased
-@quotation
-@lilypond[fragment,relative=1,verbatim]
+@lilypond[quote,fragment,relative=1,verbatim]
\context Staff {
f8[ r16 f g a]
f8[ r16 \set stemLeftBeamCount = #1 f g a]
}
@end lilypond
-@end quotation
@cindex @code{stemRightBeamCount}
@code{beatLength} property.
-@quotation
-@lilypond[relative=2,verbatim,noindent]
+@lilypond[quote,relative=2,verbatim,noindent]
c16[ c c c c c c c]
\set subdivideBeams = ##t
c16[ c c c c c c c]
\set Score.beatLength = #(ly:make-moment 1 8)
c16[ c c c c c c c]
@end lilypond
-@end quotation
@cindex subdivideBeams
Kneed beams are inserted automatically, when a large gap is detected
end at 3 eights; the third beam can only be corrected by specifying
manual beaming.
-@quotation
-@lilypond[raggedright,fragment,relative=1]
+@lilypond[quote,raggedright,fragment,relative=1]
#(override-auto-beam-setting '(end * * * *) 3 8)
% rather show case where it goes wrong
%\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
\time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
@end lilypond
-@end quotation
It is not possible to specify beaming parameters that act differently in
different parts of a measure. This means that it is not possible to use
automatic beaming in irregular meters such as @code{5/8}.
This leads to some weird and often unwanted results
because accidentals from one voice do not get canceled in other
voices
-@quotation
-@lilypond[raggedright,relative=1,fragment,verbatim]
+@lilypond[quote,raggedright,relative=1,fragment,verbatim]
\context Staff <<
#(set-accidental-style 'voice)
<<
{ c, e }
>> >>
@end lilypond
-@end quotation
Hence you should only use @code{voice} if the voices
are to be read solely by individual musicians. If the staff is to be
used by one musician (e.g. a conductor) then you use
in the same octave, they also get canceled in the following
measure
-@quotation
-@lilypond[raggedright,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
#(set-accidental-style 'modern)
cis' c'' cis'2 | c'' c'
@end lilypond
-@end quotation
@item @code{modern-cautionary}
@cindex @code{modern-cautionary}
``extra'' accidentals (the ones not typeset by
@code{default}) are typeset as cautionary accidentals.
They are printed in reduced size or with parentheses
-@quotation
-@lilypond[raggedright,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
#(set-accidental-style 'modern-cautionary)
cis' c'' cis'2 | c'' c'
@end lilypond
-@end quotation
@cindex @code{modern-voice}
@item modern-voice
@c
This is the same as @code{default} but with accidentals lasting
``forever'' and not only until the next measure
-@quotation
-@lilypond[raggedright,fragment,verbatim,relative=1]
- #(set-accidental-style 'no-reset)
- c1 cis cis c
+@lilypond[quote,raggedright,fragment,verbatim,relative=1]
+#(set-accidental-style 'no-reset)
+c1 cis cis c
@end lilypond
-@end quotation
@item forget
This is sort of the opposite of @code{no-reset}: Accidentals
typeset relative to the key signature, regardless of what was
before in the music
-@quotation
-@lilypond[raggedright,fragment,verbatim,relative=1]
+@lilypond[quote,raggedright,fragment,verbatim,relative=1]
#(set-accidental-style 'forget)
\key d\major c4 c cis cis d d dis dis
@end lilypond
-@end quotation
@end table
They are entered using parentheses
-@quotation
-@lilypond[relative=2,fragment,verbatim]
+@lilypond[quote,relative=2,fragment,verbatim]
f( g)( a) a8 b( a4 g2 f4)
<c e>2( <b d>2)
@end lilypond
-@end quotation
@c TODO: should explain that ^( and _( set directions
is a pair of symbols, specifying the attachment type of the left and
right end points
-@quotation
-@lilypond[fragment,relative=1,verbatim]
+@lilypond[quote,fragment,relative=1,verbatim]
\slurUp
\override Stem #'length = #5.5
g'8(g g4)
\override Slur #'attachment = #'(stem . stem)
g8( g g4)
@end lilypond
-@end quotation
If a slur would strike through a stem or beam, the slur will be moved
away upward or downward. If this happens, attaching the slur to the
stems might look better
-@quotation
-@lilypond[fragment,relative=1,verbatim]
+@lilypond[quote,fragment,relative=1,verbatim]
\stemUp \slurUp
d32( d'4 d8..)
\override Slur #'attachment = #'(stem . stem)
d,32( d'4 d8..)
@end lilypond
-@end quotation
@refcommands
indicate a musical sentence. It is started using @code{\(} and @code{\)}
respectively
-@quotation
-@lilypond[fragment,verbatim,relative=1]
+@lilypond[quote,fragment,verbatim,relative=1]
\time 6/4 c'\( d( e) f( e) d\)
@end lilypond
-@end quotation
Typographically, the phrasing slur behaves almost exactly like a
normal slur. However, they are treated as different objects. A
Breath marks are entered using @code{\breathe}
-@quotation
-@lilypond[fragment,relative=1,verbatim]
+@lilypond[quote,fragment,relative=1,verbatim]
c'4 \breathe d4
@end lilypond
-@end quotation
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,
-@quotation
-@lilypond[fragment,verbatim,relative=1]
+@lilypond[quote,fragment,verbatim,relative=1]
c'4
\override BreathingSign #'text
- = #(make-musicglyph-markup "scripts-rvarcomma")
+ = #(make-musicglyph-markup "scripts-rvarcomma")
\breathe
d4
@end lilypond
-@end quotation
@seealso
In the MIDI output, they are interpreted as a tempo change, and in the
paper output, a metronome marking is printed
@cindex @code{\tempo}
-@quotation
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
\tempo 8.=120 c''1
@end lilypond
-@end quotation
@seealso
The string to be printed, as well as the style, is set through object
properties
-@quotation
-@lilypond[fragment,relative=1,verbatim]
+@lilypond[quote,fragment,relative=1,verbatim]
\relative c' {
c1
\override TextSpanner #'direction = #-1
c2\startTextSpan b c\stopTextSpan a
}
@end lilypond
-@end quotation
@seealso
@internalsref{Staff} context. A bracket is started with
@code{\startGroup} and closed with @code{\stopGroup}
-@quotation
-@lilypond[raggedright,verbatim]
+@lilypond[quote,raggedright,verbatim]
\score {
\notes \relative c'' {
c4\startGroup\startGroup
\StaffContext \consists "Horizontal_bracket_engraver"
}}}
@end lilypond
-@end quotation
@seealso
by adding a dash and the character signifying the
articulation. They are demonstrated here
-@quotation
-@lilypondfile[]{script-abbreviations.ly}
-@end quotation
+@lilypondfile[quote,raggedright]{script-abbreviations.ly}
The meanings of these shorthands can be changed. See
@file{ly/script-init.ly} for examples.
The script is automatically placed, but if you need to force
directions, you can use @code{_} to force them down, or @code{^} to
put them up
-@quotation
-@lilypond[fragment,verbatim]
- c''4^^ c''4_^
+@lilypond[quote,fragment,verbatim]
+c''4^^ c''4_^
@end lilypond
-@end quotation
Other symbols can be added using the syntax
@var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
can be forced up or down using @code{^} and @code{_},
e.g.
-@quotation
-@lilypond[verbatim,fragment,relative=3]
- c\fermata c^\fermata c_\fermata
+@lilypond[quote,verbatim,fragment,relative=3]
+c\fermata c^\fermata c_\fermata
@end lilypond
-@end quotation
@cindex coda
@cindex varcoda
-@quotation
-@lilypondfile[]{script-chart.ly}
-@end quotation
+@lilypondfile[quote,raggedright]{script-chart.ly}
@refcommands
@end example
For finger changes, use markup texts
@c
-@quotation
-@lilypond[verbatim,raggedright,fragment]
+@lilypond[quote,verbatim,raggedright,fragment]
c'4-1 c'4-2 c'4-3 c'4-4
c'^\markup { \finger "2-3" }
@end lilypond
-@end quotation
@cindex finger change
@cindex scripts
You can use the thumb-script to indicate that a note should be
played with the thumb (e.g. in cello music)
-@quotation
-@lilypond[verbatim,raggedright,fragment]
+@lilypond[quote,verbatim,raggedright,fragment]
<a' a''-3>8_\thumb <b' b''-3>_\thumb
@end lilypond
-@end quotation
Fingerings for chords can also be added to individual notes
of the chord by adding them after the pitches
-@quotation
-@lilypond[verbatim,raggedright,fragment,relative=2]
+@lilypond[quote,verbatim,raggedright,fragment,relative=2]
< c-1 e-2 g-3 b-5 >4
@end lilypond
-@end quotation
@noindent
In this case, setting @code{fingeringOrientations} will put fingerings next
to note heads
-@quotation
-@lilypond[verbatim,raggedright,fragment,relative=2]
+@lilypond[quote,verbatim,raggedright,fragment,relative=2]
\set fingeringOrientations = #'(left down)
<c-1 es-2 g-4 bes-5 > 4
\set fingeringOrientations = #'(up right down)
\set fingeringOrientations = #'(right)
<es-2>4
@end lilypond
-@end quotation
The last note demonstrates how fingering instructions can be put close
to note heads in monophonic music, using this feature.
note spacing, but by using the command @code{\fatText}, the widths
will be taken into account
@c
-@quotation
-@lilypond[fragment,raggedright,verbatim]
+@lilypond[quote,fragment,raggedright,verbatim]
\relative c' {
c4^"longtext" \fatText c4_"longlongtext" c4
}
@end lilypond
-@end quotation
It is possible to use @TeX{} commands in the strings, but this should
be avoided because the exact dimensions of the string can then no
@cindex appoggiatura
@cindex acciaccatura
-@quotation
-@lilypond[relative=3,verbatim,fragment]
+@lilypond[quote,relative=3,verbatim,fragment]
b4 \acciaccatura d8 c4 \appoggiatura e8 d4
\acciaccatura { g16[ f] } e4
@end lilypond
-@end quotation
Both are special forms of the @code{\grace} command. By prefixing this
keyword to a music expression, a new one is formed, which will be
printed in a smaller font and takes up no logical time in a measure.
-@quotation
-@lilypond[relative=3,verbatim,fragment]
+@lilypond[quote,relative=3,verbatim,fragment]
c4 \grace c16 c4
\grace { c16[ d16] } c2 c4
@end lilypond
-@end quotation
@noindent
Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
denotes the logical time, one denotes the grace timing. The above
example is shown here with timing tuples
-@quotation
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
<<
\relative c''{
c4 \grace c16 c4 \grace {
}
>>
@end lilypond
-@end quotation
The placement of grace notes is synchronized between different staves.
In the following example, there are two sixteenth graces notes for
every eighth grace note
-@quotation
-@lilypond[relative=3,verbatim,fragment]
+@lilypond[quote,relative=3,verbatim,fragment]
<< \new Staff { e4 \grace { c16[ d e f] } e4 }
\new Staff { c'4 \grace { g8[ b] } c4 } >>
@end lilypond
-@end quotation
If you want to end a note with a grace, the standard trick is to put
the grace notes after a ``space note''
-@quotation
-@lilypond[fragment,verbatim,relative=3]
+@lilypond[quote,fragment,verbatim,relative=3]
\context Voice {
<< { d1^\trill ( }
{ s2 \grace { c16[ d] } } >>
c4)
}
@end lilypond
-@end quotation
@noindent
By adjusting the duration of the skip note (here it is a half-note),
for example, to produce smaller type, and set directions. Hence, when
introducing layout tweaks, they should be inside the grace section,
for example,
-@quotation
-@lilypond[fragment,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim,relative=2]
\new Voice {
\acciaccatura {
\override Stem #'direction = #-1
g4
}
@end lilypond
-@end quotation
@noindent
The overrides should also be reverted inside the grace section.
such as key signatures, bar lines, etc. are also synchronized. Take
care when you mix staves with grace notes and staves without, for example,
-@quotation
-@lilypond[relative=3,verbatim,fragment]
+@lilypond[quote,relative=3,verbatim,fragment]
<< \new Staff { e4 \bar "|:" \grace c16 d4 }
\new Staff { c4 \bar "|:" d4 } >>
@end lilypond
-@end quotation
@noindent
This can be remedied by inserting grace skips, for the above example
A glissando line can be requested by attaching a @code{\glissando} to
a note
-@quotation
-@lilypond[fragment,relative=1,verbatim]
+@lilypond[quote,fragment,relative=1,verbatim]
c'\glissando c'
@end lilypond
-@end quotation
@seealso
@code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
-@quotation
-@lilypond[verbatim,raggedright,fragment,relative=1]
+@lilypond[quote,verbatim,raggedright,fragment,relative=1]
c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
c2\sf c\rfz
@end lilypond
-@end quotation
@cindex @code{\<}
@cindex @code{\>}
with @code{\!}. Because these marks are bound to notes, if you must
use spacer notes if multiple marks during one note are needed
-@quotation
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
c''\< c''\! d''\> e''\!
<< f''1 { s4 s4\< s4\! \> s4\! } >>
@end lilypond
-@end quotation
This may give rise to very short hairpins. Use @code{minimum-length}
in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
example
You can also use a text saying @emph{cresc.} instead of hairpins. Here
is an example how to do it
-@quotation
-@lilypond[fragment,relative=3,verbatim]
+@lilypond[quote,fragment,relative=3,verbatim]
\setTextCresc
c \< d e f\!
\setHairpinCresc
e\> d c b\!
@end lilypond
-@end quotation
@cindex crescendo
@cindex decrescendo
You can also supply your own texts
-@quotation
-@lilypond[fragment,relative=1,verbatim]
+@lilypond[quote,fragment,relative=1,verbatim]
\context Voice {
\set crescendoText = \markup { \italic "cresc. poco" }
\set crescendoSpanner = #'dashed-line
a'2\< a a a\!\mf
}
@end lilypond
-@end quotation
@cindex diminuendo
is assumed to be played more than once.
Normal notation repeats are used like this
-@quotation
-@lilypond[fragment,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim,relative=2]
c1
\repeat volta 2 { c4 d e f }
\repeat volta 2 { f e d c }
@end lilypond
-@end quotation
With alternative endings
-@quotation
-@lilypond[fragment,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim,relative=2]
c1
\repeat volta 2 {c4 d e f}
\alternative { {d2 d} {f f,} }
@end lilypond
-@end quotation
-@quotation
-@lilypond[fragment,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim,relative=2]
\context Staff {
\partial 4
\repeat volta 4 { e | c2 d2 | e2 f2 | }
\alternative { { g4 g g } { a | a a a a | b2. } }
}
@end lilypond
-@end quotation
@refbugs
stops a running volta bracket
@end table
-@quotation
-@lilypond[verbatim,fragment,relative=3]
- c4
- \set Score.repeatCommands = #'((volta "93") end-repeat)
- c4 c4
- \set Score.repeatCommands = #'((volta #f))
- c4 c4
+@lilypond[quote,verbatim,fragment,relative=3]
+c4
+ \set Score.repeatCommands = #'((volta "93") end-repeat)
+c4 c4
+ \set Score.repeatCommands = #'((volta #f))
+c4 c4
@end lilypond
-@end quotation
@seealso
To place tremolo marks between notes, use @code{\repeat} with tremolo
style
-@quotation
-@lilypond[verbatim,raggedright]
+@lilypond[quote,verbatim,raggedright]
\score {
\context Voice \notes\relative c' {
\repeat "tremolo" 8 { c16 d16 }
}
}
@end lilypond
-@end quotation
Tremolo marks can also be put on a single note. In this case, the
note should not be surrounded by braces.
-@quotation
-@lilypond[verbatim,raggedright]
- \repeat "tremolo" 4 c'16
+@lilypond[quote,verbatim,raggedright]
+\repeat "tremolo" 4 c'16
@end lilypond
-@end quotation
A similar mechanism is the tremolo subdivision, described in
@ref{Tremolo subdivisions}.
the length is omitted, the last value (stored in @code{tremoloFlags})
is used
-@quotation
-@lilypond[verbatim,fragment]
- c'2:8 c':32 | c': c': |
+@lilypond[quote,verbatim,fragment]
+c'2:8 c':32 | c': c': |
@end lilypond
-@end quotation
@c [TODO : stok is te kort bij 32en]
Patterns of a one and two measures are replaced by percent-like signs,
patterns that divide the measure length are replaced by slashes
-@quotation
-@lilypond[verbatim,raggedright]
- \context Voice { \repeat "percent" 4 { c'4 }
- \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
+@lilypond[quote,verbatim,raggedright]
+\context Voice { \repeat "percent" 4 { c'4 }
+ \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
}
@end lilypond
-@end quotation
@seealso
can be done with the rhythmic staff. All pitches of notes on such a
staff are squashed, and the staff itself has a single line
-@quotation
-@lilypond[fragment,relative=1,verbatim]
- \context RhythmicStaff {
- \time 4/4
- c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
- }
+@lilypond[quote,fragment,relative=1,verbatim]
+\context RhythmicStaff {
+ \time 4/4
+ c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
+}
@end lilypond
-@end quotation
@seealso
@example
hihat hh bassdrum bd
@end example
-@quotation
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
\new DrumStaff \drums { hihat hh bassdrum bd
}
@end lilypond
-@end quotation
The complete list of drum names is in the init file
@file{ly/drumpitch-init.ly}.
@internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
@c
-@quotation
-@lilypond[raggedright,verbatim]
+@lilypond[quote,raggedright,verbatim]
up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
down = \drums { bassdrum4 snare8 bd r bd sn4 }
\score {
- \new DrumStaff
- << \new DrumVoice { \voiceOne \up }
- \new DrumVoice { \voiceTwo \down }
->> }
+ \new DrumStaff <<
+ \new DrumVoice { \voiceOne \up }
+ \new DrumVoice { \voiceTwo \down }
+ >>
+}
@end lilypond
-@end quotation
The above example shows verbose polyphonic notation. The short
polyphonic notation, described in @ref{Polyphony}, can also be used if
the @internalsref{DrumVoices} are instantiated by hand first. For example,
-@quotation
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
\drums \new DrumStaff <<
\context DrumVoice = "1" { s1 *2 }
\context DrumVoice = "2" { s1 *2 }
}
>>
@end lilypond
-@end quotation
There are also other layout possibilities. To use these, set the
@item drums-style
is the default. It typesets a typical drum kit on a five-line staff
-@quotation
-@lilypond[noindent]
+@lilypond[quote,noindent]
nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
bd sn ss tomh tommh tomml toml tomfh tomfl }
mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
\override BarNumber #'transparent =##T
}}}
@end lilypond
-@end quotation
The drum scheme supports six different toms. When there fewer toms, simply
select the toms that produce the desired result, i.e. to get toms on
@item timbales-style
to typeset timbales on a two line staff
-@quotation
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
nam = \lyrics { timh ssh timl ssl cb }
mus = \drums { timh ssh timl ssl cb s16 }
\score {
>>
}
@end lilypond
-@end quotation
@item congas-style
to typeset congas on a two line staff
-@quotation
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
\score {
>>
}
@end lilypond
-@end quotation
@item bongos-style
to typeset bongos on a two line staff
-@quotation
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
\score {
>>
}
@end lilypond
-@end quotation
@item percussion-style
to typeset all kinds of simple percussion on one line staves
-@quotation
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
\score {
>>
}
@end lilypond
-@end quotation
@end table
If you do not like any of the predefined lists you can define your own
list at the top of your file
-@quotation
-@lilypond[raggedright,verbatim]
+@lilypond[quote,raggedright,verbatim]
#(define mydrums '(
(bassdrum default #f -1)
(snare default #f 0)
(hihat cross #f 1)
(pedalhihat xcircle "stopped" 2)
- (lowtom diamond #f 3)
-))
+ (lowtom diamond #f 3)))
up = \drums { hh8 hh hh hh hhp4 hhp }
down = \drums { bd4 sn bd toml8 toml }
\score {
- \new DrumStaff <<
- \set DrumStaff.drumStyleTable
- = #(alist->hash-table mydrums)
- \new DrumVoice { \voiceOne \up }
- \new DrumVoice { \voiceTwo \down }
- >>
+ \new DrumStaff <<
+ \set DrumStaff.drumStyleTable
+ = #(alist->hash-table mydrums)
+ \new DrumVoice { \voiceOne \up }
+ \new DrumVoice { \voiceTwo \down }
+ >>
}
@end lilypond
-@end quotation
@seealso
point), and it looks ahead skipping over rests to switch in
advance. Here is a practical example
-@quotation
-@lilypond[verbatim,raggedright]
+@lilypond[quote,verbatim,raggedright]
\score { \notes \context PianoStaff <<
\context Staff = "up" {
\autochange \new Voice \relative c' {
s1*2
} >> }
@end lilypond
-@end quotation
@noindent
In this example, spacer rests are used to prevent the bottom staff from
Voices can be switched between staves manually, using the following command
@example
- \change Staff = @var{staffname} @var{music}
+\change Staff = @var{staffname} @var{music}
@end example
@noindent
@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
note or chord
-@quotation
-@lilypond[fragment,verbatim]
- c'4\sustainDown c'4\sustainUp
+@lilypond[quote,fragment,verbatim]
+c'4\sustainDown c'4\sustainUp
@end lilypond
-@end quotation
What is printed can be modified by setting @code{pedal@var{X}Strings},
where @var{X} is one of the pedal types: @code{Sustain},
Pedals can also be indicated by a sequence of brackets, by setting the
@code{pedalSustainStyle} property to @code{bracket} objects
-@quotation
-@lilypond[fragment,verbatim,relative=3]
- \set Staff.pedalSustainStyle = #'bracket
- c\sustainDown d e
- b\sustainUp\sustainDown
- b g \sustainUp a \sustainDown \bar "|."
+@lilypond[quote,fragment,verbatim,relative=3]
+\set Staff.pedalSustainStyle = #'bracket
+c\sustainDown d e
+b\sustainUp\sustainDown
+b g \sustainUp a \sustainDown \bar "|."
@end lilypond
-@end quotation
A third style of pedal notation is a mixture of text and brackets,
obtained by setting the @code{pedalSustainStyle} style property to
@code{mixed}
-@quotation
-@lilypond[fragment,verbatim,relative=3]
- \set Staff.pedalSustainStyle = #'mixed
- c\sustainDown d e
- b\sustainUp\sustainDown
- b g \sustainUp a \sustainDown \bar "|."
+@lilypond[quote,fragment,verbatim,relative=3]
+\set Staff.pedalSustainStyle = #'mixed
+c\sustainDown d e
+b\sustainUp\sustainDown
+b g \sustainUp a \sustainDown \bar "|."
@end lilypond
-@end quotation
The default `*Ped.' style for sustain and damper pedals corresponds to
style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
default.
-@quotation
-@lilypond[fragment,verbatim,relative=3]
- c\sostenutoDown d e c, f g a\sostenutoUp
+@lilypond[quote,fragment,verbatim,relative=3]
+c\sostenutoDown d e c, f g a\sostenutoUp
@end lilypond
-@end quotation
For fine-tuning of the appearance of a pedal bracket, the properties
@code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
@internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
bracket may be extended to the end of the note head
-@quotation
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
\override Staff.PianoPedalBracket
#'shorten-pair = #'(0 . -1.0)
- c\sostenutoDown d e c, f g a\sostenutoUp
+c\sostenutoDown d e c, f g a\sostenutoUp
@end lilypond
-@end quotation
@node Arpeggio
@subsection Arpeggio
@code{\arpeggio} to a chord
-@quotation
-@lilypond[fragment,relative=1,verbatim]
- <c e g c>\arpeggio
+@lilypond[quote,fragment,relative=1,verbatim]
+<c e g c>\arpeggio
@end lilypond
-@end quotation
When an arpeggio crosses staves, you attach an arpeggio to the chords
in both staves, and set
@internalsref{PianoStaff}.@code{connectArpeggios}
-@quotation
-@lilypond[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 }
- >>
+@lilypond[quote,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 }
+>>
@end lilypond
-@end quotation
The direction of the arpeggio is sometimes denoted by adding an
arrowhead to the wiggly line
-@quotation
-@lilypond[fragment,relative=1,verbatim]
- \context Voice {
- \arpeggioUp
- <c e g c>\arpeggio
- \arpeggioDown
- <c e g c>\arpeggio
- }
+@lilypond[quote,fragment,relative=1,verbatim]
+\context Voice {
+ \arpeggioUp
+ <c e g c>\arpeggio
+ \arpeggioDown
+ <c e g c>\arpeggio
+}
@end lilypond
-@end quotation
A square bracket on the left indicates that the player should not
arpeggiate the chord
-@quotation
-@lilypond[fragment,relative=1,verbatim]
- \arpeggioBracket
- <c' e g c>\arpeggio
+@lilypond[quote,fragment,relative=1,verbatim]
+\arpeggioBracket
+<c' e g c>\arpeggio
@end lilypond
-@end quotation
@refcommands
can be printed automatically. This is enabled if the property
@code{PianoStaff.followVoice} is set to true
-@quotation
-@lilypond[fragment,relative=1,verbatim]
- \context PianoStaff <<
- \set PianoStaff.followVoice = ##t
- \context Staff \context Voice {
- c1
- \change Staff=two
- b2 a
- }
- \context Staff=two { \clef bass \skip 1*2 }
- >>
+@lilypond[quote,fragment,relative=1,verbatim]
+\context PianoStaff <<
+ \set PianoStaff.followVoice = ##t
+ \context Staff \context Voice {
+ c1
+ \change Staff=two
+ b2 a
+ }
+ \context Staff=two { \clef bass \skip 1*2 }
+>>
@end lilypond
-@end quotation
@seealso
after the first note of the group, and @code{\melismaEnd} after the
last one, e.g.
-@quotation
-@lilypond[relative=2,raggedright,fragment,verbatim]
-<< \context Voice = "lala" { \time 3/4
+@lilypond[quote,relative=2,raggedright,fragment,verbatim]
+<<
+ \context Voice = "lala" {
+ \time 3/4
f4 g8
\melisma
f e f
\melismaEnd
- e2 }
+ e2
+ }
\lyricsto "lala" \new Lyrics \lyrics {
la di __ daah
- } >>
+ }
+>>
@end lilypond
-@end quotation
In addition, notes are considered a melisma if they are manually
beamed, and automatic beaming (see @ref{Setting automatic beam
@end example
The complete example is shown here
-@quotation
-@lilypond[raggedright,verbatim]
+@lilypond[quote,raggedright,verbatim]
\score {
- << \notes \relative c'' \context Voice = duet { \time 3/4
- g2 e4 a2 f4 g2. }
- \lyrics << \lyricsto "duet" \new Lyrics {
- \set vocalName = "Bert"
- Hi, my name is Bert. }
- \lyricsto "duet" \new Lyrics {
- \set vocalName = "Ernie"
- Ooooo, ch\'e -- ri, je t'aime.
- }
- >> >>
+ <<
+ \notes \relative c'' \context Voice = duet {
+ \time 3/4
+ g2 e4 a2 f4 g2. }
+ \lyrics <<
+ \lyricsto "duet" \new Lyrics {
+ \set vocalName = "Bert"
+ Hi, my name is Bert. }
+ \lyricsto "duet" \new Lyrics {
+ \set vocalName = "Ernie"
+ Ooooo, ch\'e -- ri, je t'aime. }
+ >>
+ >>
}
@end lilypond
-@end quotation
@cindex stanza number
@cindex singer's names
Stanza numbers can be added by setting @code{stanza}, e.g.
-@quotation
-@lilypond[verbatim,relative=3]
-<< \context Voice = duet { \time 3/4
- g2 e4 a2 f4 g2. }
+@lilypond[quote,verbatim,relative=3]
+<<
+ \context Voice = duet {
+ \time 3/4 g2 e4 a2 f4 g2. }
\lyrics \lyricsto "duet" \new Lyrics {
- \set stanza = "1. "
- Hi, my name is Bert.
- }
+ \set stanza = "1. "
+ Hi, my name is Bert. }
>>
@end lilypond
-@end quotation
This example also demonstrates how names of the singers can be added
using @code{vocalName} analogous to instrument annotations for staves.
making or a music identifier @code{\foo} containing the syllable
`bar'. The force the latter interpretation, use
@example
- foo = \lyrics bar4
+foo = \lyrics bar4
@end example
This results in the following output
-@quotation
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
\score {
\context ChoirStaff
\notes \relative c' <<
}
}
@end lilypond
-@end quotation
If you have multiple voices in a single staff, and you want a single
ambitus per staff rather than per each voice, add the
are printed as tablature, by using @internalsref{TabStaff} and
@internalsref{TabVoice} contexts
-@quotation
-@lilypond[fragment,verbatim]
-\notes \context TabStaff {
- a,4\5 c'\2 a\3 e'\1
- e\4 c'\2 a\3 e'\1
+@lilypond[quote,fragment,verbatim]
+\notes \context TabStaff {
+ a,4\5 c'\2 a\3 e'\1
+ e\4 c'\2 a\3 e'\1
}
@end lilypond
-@end quotation
@cindex minimumFret
\set TabStaff.minimumFret = #8
e16 fis gis a b4
@end example
-@quotation
-@lilypond[noindent,raggedright]
+@lilypond[quote,noindent,raggedright]
frag = \notes {
- \key e \major
- e16 fis gis a b4
- \set TabStaff.minimumFret = #8
- e16 fis gis a b4
+ \key e \major
+ e16 fis gis a b4
+ \set TabStaff.minimumFret = #8
+ e16 fis gis a b4
}
\score {
\context StaffGroup <<
>>
}
@end lilypond
-@end quotation
@seealso
by default middle C, in string order. Thus, the notes are e, a, d, and
g
-@quotation
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
\context TabStaff <<
\set TabStaff.stringTunings = #'(-5 -10 -15 -20)
}
>>
@end lilypond
-@end quotation
@refbugs
set of pitches, so they can be transposed
-@quotation
-@lilypond[verbatim,raggedright]
+@lilypond[quote,verbatim,raggedright]
twoWays = \notes \transpose c c' {
\chords {
c1 f:sus4 bes/f
<c e g>
<f bes c'>
<f bes d'>
- }
+}
\score {
- << \context ChordNames \twoWays
+ << \context ChordNames \twoWays
\context Voice \twoWays >> }
@end lilypond
-@end quotation
This example also shows that the chord printing routines do not try to
be intelligent. The last chord (@code{f bes d}) is not interpreted as
names. It is introduced by the keyword @code{\chords}.
In chords mode, a chord is entered by the root, which is entered
like a common pitch
-@quotation
-@lilypond[fragment,verbatim,relative=2]
-\chords { es4. d8 c2 }
+@lilypond[quote,fragment,verbatim,relative=2]
+\chords { es4. d8 c2 }
@end lilypond
-@end quotation
@cindex chord entry
@cindex chord mode
Other chords may be entered by suffixing a colon, and introducing a
modifier, and optionally, a number
@c
-@quotation
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
\chords { e1:m e1:7 e1:m7 }
@end lilypond
-@end quotation
The first number following the root is taken to be the `type' of the
chord, thirds are added to the root until it reaches the specified
number
-@quotation
-@lilypond[fragment,verbatim]
- \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
+@lilypond[quote,fragment,verbatim]
+\chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
@end lilypond
-@end quotation
@cindex root of chord
@cindex additions, in chords
to a chord. Additions are added after the number following
the colon, and are separated by dots
@c
-@quotation
-@lilypond[verbatim,fragment]
- \chords { c:5.6 c:3.7.8 c:3.6.13 }
+@lilypond[quote,verbatim,fragment]
+\chords { c:5.6 c:3.7.8 c:3.6.13 }
@end lilypond
-@end quotation
Chord steps can be altered by suffixing a @code{-} or @code{+} sign
to the number
-@quotation
-@lilypond[verbatim,fragment]
- \chords { c:7+ c:5+.3- c:3-.5-.7- }
+@lilypond[quote,verbatim,fragment]
+\chords { c:7+ c:5+.3- c:3-.5-.7- }
@end lilypond
-@end quotation
Removals are specified similarly, and are introduced by a caret. They
must come after the additions
-@quotation
-@lilypond[verbatim,fragment]
- \chords { c^3 c:7^5 c:9^3.5 }
+@lilypond[quote,verbatim,fragment]
+\chords { c^3 c:7^5 c:9^3.5 }
@end lilypond
-@end quotation
Modifiers can be used to change pitches. The following modifiers are
supported
the chord.
@end table
Modifiers can be mixed with additions
-@quotation
-@lilypond[verbatim,fragment]
- \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
+@lilypond[quote,verbatim,fragment]
+\chords { c:sus4 c:7sus4 c:dim7 c:m6 }
@end lilypond
-@end quotation
@cindex modifiers, in chords.
@cindex @code{aug}
unaltered 13, the 11 is removed in this case (unless it is added
explicitly)
@c
-@quotation
-@lilypond[fragment,verbatim]
- \chords { c:13 c:13.11 c:m13 }
+@lilypond[quote,fragment,verbatim]
+\chords { c:13 c:13.11 c:m13 }
@end lilypond
-@end quotation
@cindex @code{/}
An inversion (putting one pitch of the chord on the bottom), as well
as bass notes, can be specified by appending
@code{/}@var{pitch} to the chord
-@quotation
-@lilypond[fragment,verbatim]
- \chords { c1 c/g c/f }
+@lilypond[quote,fragment,verbatim]
+\chords { c1 c/g c/f }
@end lilypond
-@end quotation
@cindex @code{/+}
A bass note can be added instead of transposed out of the chord,
by using @code{/+}@var{pitch}.
-@quotation
-@lilypond[fragment,verbatim]
- \chords { c1 c/+g c/+f }
+@lilypond[quote,fragment,verbatim]
+\chords { c1 c/+g c/+f }
@end lilypond
-@end quotation
Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
of the commands continue to work, for example, @code{r} and
simply produces the augmented chord, since @code{5+} is interpreted
last
@cindex clusters
-@quotation
-@lilypond[verbatim,fragment]
- \chords { c:5.5-.5+ }
+@lilypond[quote,verbatim,fragment]
+\chords { c:5.5-.5+ }
@end lilypond
-@end quotation
@node Printing chord names
The chords may be entered either using the notation
described above, or directly using @code{<} and @code{>}
-@quotation
-@lilypond[verbatim,raggedright]
+@lilypond[quote,verbatim,raggedright]
scheme = \notes {
\chords {a1 b c} <d' f' a'> <e' g' b'>
}
\score {
- \notes<<
+ \notes <<
\context ChordNames \scheme
\context Staff \scheme
>>
}
@end lilypond
-@end quotation
You can make the chord changes stand out by setting
@internalsref{ChordNames}.@code{chordChanges} to true. This will only
display chord names when there is a change in the chords scheme and at
the start of a new line
-@quotation
-@lilypond[verbatim,linewidth=9\cm]
+@lilypond[quote,verbatim,linewidth=9\cm]
scheme = \chords {
c1:m c:m \break c:m c:m d
}
\score {
\notes <<
\context ChordNames {
- \set chordChanges = ##t
- \scheme }
+ \set chordChanges = ##t
+ \scheme }
\context Staff \transpose c c' \scheme
>>
}
@end lilypond
-@end quotation
The default chord name layout is a system for Jazz music, proposed by
Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
Different parts of a chord name are normally separated by a
slash. By setting @code{chordNameSeparator}, you can specify other
separators, e.g.
-@quotation
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
\context ChordNames \chords {
c:7sus4
\set chordNameSeparator
c:7sus4
}
@end lilypond
-@end quotation
@cindex chordRootNamer
@item chordRootNamer
@cindex @code{\mark}
To print a rehearsal mark, use the @code{\mark} command
-@quotation
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
\relative c'' {
c1 \mark \default
c1 \mark \default
c1 \mark \default
}
@end lilypond
-@end quotation
@noindent
(The letter I is skipped in accordance with engraving traditions.)
example, @code{markFormatter} is set to a canned procedure. After a
few measures, it is set to function that produces a boxed number.
-@quotation
-@lilypond[verbatim,fragment,relative=2]
- \set Score.markFormatter = #format-mark-numbers
- c1 \mark \default
- c1 \mark \default
- \set Score.markFormatter
- = #(lambda (mark context)
- (make-bold-markup (make-box-markup (number->string mark))))
- c1 \mark \default
- c1 \mark \default
+@lilypond[quote,verbatim,fragment,relative=2]
+\set Score.markFormatter = #format-mark-numbers
+c1 \mark \default
+c1 \mark \default
+\set Score.markFormatter
+ = #(lambda (mark context)
+ (make-bold-markup (make-box-markup (number->string mark))))
+c1 \mark \default
+c1 \mark \default
@end lilypond
-@end quotation
The file @file{scm/translation-functions.scm} contains the definitions
of @code{format-mark-numbers} (the default format) and
segno and fermatas on a bar line. Use @code{\markup} to
to access the appropriate symbol
-@quotation
-@lilypond[fragment,verbatim,relative=2]
- c1 \mark \markup { \musicglyph #"scripts-ufermata" }
- c1
+@lilypond[quote,fragment,verbatim,relative=2]
+c1 \mark \markup { \musicglyph #"scripts-ufermata" }
+c1
@end lilypond
-@end quotation
In the case of a line break, marks must also be printed at the end of
the line, and not at the beginning. Use the following to force that
whose source is available as
@inputfileref{input/test,bar-number-regular-interval.ly}
-@quotation
-@lilypondfile[]{bar-number-regular-interval.ly}
-@end quotation
+@lilypondfile[quote]{bar-number-regular-interval.ly}
@seealso
the start of the staff. For the first start, @code{instrument} is
used, for the next ones @code{instr} is used.
-@quotation
-@lilypond[verbatim,raggedright,relative=3]
+@lilypond[quote,verbatim,raggedright,relative=3]
\set Staff.instrument = "Ploink "
\set Staff.instr = "Plk "
c1
\break
c''
@end lilypond
-@end quotation
You can also use markup texts to construct more complicated instrument
names, for example
-@quotation
-@lilypond[fragment,verbatim,raggedright]
+@lilypond[quote,fragment,verbatim,raggedright]
\notes {
\set Staff.instrument = \markup {
- \column < "Clarinetti"
- { "in B"
- \smaller \flat
- }
- >
- }
+ \column < "Clarinetti" { "in B"
+ \smaller \flat } > }
{ c''1 }
}
@end lilypond
-@end quotation
@seealso
A music expression can be transposed with @code{\transpose}. The syntax
is
@example
- \transpose @var{from} @var{to} @var{musicexpr}
+\transpose @var{from} @var{to} @var{musicexpr}
@end example
This means that @var{musicexpr} is transposed by the interval between
this piece is a little too low for its performer, it can be
transposed up to E major with
@example
- \transpose d e @dots{}
+\transpose d e @dots{}
@end example
Consider a part written for violin (a C instrument). If
transposition will produce the appropriate part
@example
- \transpose a c @dots{}
+\transpose a c @dots{}
@end example
Since @var{from} and @var{to} are pitches, so @code{\transpose} must be
@code{\transpose c des} will transpose up half a tone. The first
version will print sharps and the second version will print flats
-@quotation
-@lilypond[raggedright,verbatim]
+@lilypond[quote,raggedright,verbatim]
mus =\notes { \key d \major cis d fis g }
\score { \notes \context Staff {
\clef "F" \mus
\transpose c f' \mus
}}
@end lilypond
-@end quotation
@seealso
@code{Score.skipBars}. If this is set to true, empty measures will not
be expanded, and the appropriate number is added automatically
-@quotation
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
\time 4/4 r1 | R1 | R1*2
\set Score.skipBars = ##t R1*17 R1*4
@end lilypond
-@end quotation
The @code{1} in @code{R1} is similar to the duration notation used for
notes. Hence, for time signatures other than 4/4, you must enter other
durations. This can be done with augmentation dots or fractions
-@quotation
-@lilypond[fragment,verbatim]
- \set Score.skipBars = ##t
- \time 3/4
- R2. | R2.*2
- \time 13/8
- R1*13/8
- R1*13/8*12
+@lilypond[quote,fragment,verbatim]
+\set Score.skipBars = ##t
+\time 3/4
+R2. | R2.*2
+\time 13/8
+R1*13/8
+R1*13/8*12
@end lilypond
-@end quotation
An @code{R} spanning a single measure is printed as either a whole rest
or a breve, centered in the measure regardless of the time signature.
adding fermatas
-@quotation
-@lilypond[verbatim,fragment]
+@lilypond[quote,verbatim,fragment]
\time 3/4
R2._\markup { "Ad lib" }
R2.^\fermataMarkup
@end lilypond
-@end quotation
If you want to have a text on the left end of a multi-measure rest,
attach the text to a zero-length skip note, i.e.
combiner: putting parts on one staff, and setting stem directions and
polyphony
-@quotation
-@lilypond[verbatim,raggedright,fragment,relative=2]
- \new Staff \partcombine
- {
- g g a( b) c c r r
- }
- {
- g g r4 r e e g g
- }
+@lilypond[quote,verbatim,raggedright,fragment,relative=2]
+\new Staff \partcombine
+ { g g a( b) c c r r }
+ { g g r4 r e e g g }
@end lilypond
-@end quotation
The first @code{g} appears only once, although it was
specified twice (once in each part). Stem, slur and tie directions are
If you just want the merging parts, and not the textual markings, you
may set the property @var{soloADue} to false
-@quotation
-@lilypond[verbatim,raggedright,fragment,relative=2]
- \new Staff <<
- \set Staff.soloADue = ##f
- \partcombine
- {
- g a( b) r
- }
- {
- g r4 r f
- } >>
+@lilypond[quote,verbatim,raggedright,fragment,relative=2]
+\new Staff <<
+ \set Staff.soloADue = ##f
+ \partcombine
+ { g a( b) r }
+ { g r4 r f }
+>>
@end lilypond
-@end quotation
@seealso
in this example disappears in the second line
-@quotation
-@lilypond[verbatim]
+@lilypond[quote,verbatim]
\score {
\notes \relative c' <<
\new Staff { e4 f g a \break c1 }
}
}
@end lilypond
-@end quotation
The first page shows all staves in full. If empty staves should be
removed from the first page too, set @code{remove-first} to false in
for the full score, and one with cue notes for the instrumental part
@example
- c1
- \relative c' <<
- \tag #'part <<
- R1 \\
- @{
- \set fontSize = #-1
- c4_"cue" f2 g4 @}
- >>
- \tag #'score R1
- >>
- c1
+ c1
+ \relative c' <<
+ \tag #'part <<
+ R1 \\
+ @{
+ \set fontSize = #-1
+ c4_"cue" f2 g4 @}
+ >>
+ \tag #'score R1
+ >>
+ c1
@end example
The same can be applied to articulations, texts, etc.: they are
filtered. For example,
@example
\simultaneous @{
- @var{the music}
- \apply #(remove-tag 'score) @var{the music}
- \apply #(remove-tag 'part) @var{the music}
+ @var{the music}
+ \apply #(remove-tag 'score) @var{the music}
+ \apply #(remove-tag 'part) @var{the music}
@}
@end example
would yield
-@quotation
-@lilypondfile[]{tag-filter.ly}
-@end quotation
+@lilypondfile[quote]{tag-filter.ly}
The argument of the @code{\tag} command should be a symbol, or a list
of symbols, for example,
quotation may then be done with @code{\quote}
@example
- \addquote @var{name} @var{music}
- \quote @var{name} @var{duration}
+\addquote @var{name} @var{music}
+\quote @var{name} @var{duration}
@end example
@noindent
During a part, a piece of music can be quoted with the @code{\quote}
command.
-@verbatim
- \quote clarinet 2.
-@end verbatim
+@example
+\quote clarinet 2.
+@end example
This would cite 3 quarter notes (a dotted half note) of the previously
added clarinet voice.
Quotations take into account the transposition both source and target
instruments, if they are specified using the @code{\transposition} command.
-@quotation
-@lilypond[verbatim,fragment]
+@lilypond[quote,raggedright,verbatim]
\addquote clarinet \notes\relative c' {
\transposition bes
f4 fis g gis
e'8 f'8 \quote clarinet 2
} }
@end lilypond
-@end quotation
@refbugs
The following example demonstrates the @code{neo_mensural} style
-@quotation
-@lilypond[fragment,raggedright,verbatim]
- \override NoteHead #'style = #'neo_mensural
- a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
+@lilypond[quote,fragment,raggedright,verbatim]
+\override NoteHead #'style = #'neo_mensural
+a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
@end lilypond
-@end quotation
When typesetting a piece in Gregorian Chant notation, a Gregorian
ligature engraver will automatically select the proper note heads,
select ancient accidentals. Supported styles are
@code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
-@quotation
-@lilypond[raggedright,staffsize=26]
+@lilypond[quote,raggedright,staffsize=26]
\score {
\notes {
\fatText
}
}
@end lilypond
-@end quotation
As shown, not all accidentals are supported by each style. When
trying to access an unsupported accidental, LilyPond will switch to a
The following example demonstrates the @code{neo_mensural} style
-@quotation
-@lilypond[fragment,raggedright,verbatim]
- \override Rest #'style = #'neo_mensural
- r\longa r\breve r1 r2 r4 r8 r16
+@lilypond[quote,fragment,raggedright,verbatim]
+\override Rest #'style = #'neo_mensural
+r\longa r\breve r1 r2 r4 r8 r16
@end lilypond
-@end quotation
There are no 32th and 64th rests specifically for the mensural or
neo-mensural style. Instead, the rests from the default style will be
modern style mensural C clef @tab
@code{neo_mensural_c1}, @code{neo_mensural_c2},
@code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
-@quotation
-@lilypond[relative=1,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.TimeSignature #'transparent = ##t
\clef "neo_mensural_c2" c
@end lilypond
-@end quotation
@item
@code{clefs-petrucci_c1}
@code{petrucci_c5}
@tab
-@quotation
-@lilypond[relative=1,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.TimeSignature #'transparent = ##t
\clef "petrucci_c2" c
@end lilypond
-@end quotation
@item
@code{clefs-petrucci_f} @tab
petrucci style mensural F clef @tab
@code{petrucci_f} @tab
-@quotation
-@lilypond[relative=1,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.TimeSignature #'transparent = ##t
\clef "petrucci_f" c
@end lilypond
-@end quotation
@item
@code{clefs-petrucci_g} @tab
petrucci style mensural G clef @tab
@code{petrucci_g} @tab
-@quotation
-@lilypond[relative=1,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.TimeSignature #'transparent = ##t
\clef "petrucci_g" c
@end lilypond
-@end quotation
@item
@code{clefs-mensural_c} @tab
historic style mensural C clef @tab
@code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
@code{mensural_c4} @tab
-@quotation
-@lilypond[relative=1,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.TimeSignature #'transparent = ##t
\clef "mensural_c2" c
@end lilypond
-@end quotation
@item
@code{clefs-mensural_f} @tab
historic style mensural F clef @tab
@code{mensural_f} @tab
-@quotation
-@lilypond[relative=1,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.TimeSignature #'transparent = ##t
\clef "mensural_f" c
@end lilypond
-@end quotation
@item
@code{clefs-mensural_g} @tab
historic style mensural G clef @tab
@code{mensural_g} @tab
-@quotation
-@lilypond[relative=1,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.TimeSignature #'transparent = ##t
\clef "mensural_g" c
@end lilypond
-@end quotation
@item
@code{clefs-vaticana_do} @tab
Editio Vaticana style do clef @tab
@code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
-@quotation
-@lilypond[relative=1,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.StaffSymbol #'line-count = #4
\override Staff.TimeSignature #'transparent = ##t
\clef "vaticana_do2" c
@end lilypond
-@end quotation
@item
@code{clefs-vaticana_fa} @tab
Editio Vaticana style fa clef @tab
@code{vaticana_fa1}, @code{vaticana_fa2} @tab
-@quotation
-@lilypond[relative=1,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.StaffSymbol #'line-count = #4
\override Staff.TimeSignature #'transparent = ##t
\clef "vaticana_fa2" c
@end lilypond
-@end quotation
@item
@code{clefs-medicaea_do} @tab
Editio Medicaea style do clef @tab
@code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
-@quotation
-@lilypond[relative=1,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.StaffSymbol #'line-count = #4
\override Staff.TimeSignature #'transparent = ##t
\clef "medicaea_do2" c
@end lilypond
-@end quotation
@item
@code{clefs-medicaea_fa} @tab
Editio Medicaea style fa clef @tab
@code{medicaea_fa1}, @code{medicaea_fa2} @tab
-@quotation
-@lilypond[relative=1,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.StaffSymbol #'line-count = #4
\override Staff.TimeSignature #'transparent = ##t
\clef "medicaea_fa2" c
@end lilypond
-@end quotation
@item
@code{clefs-hufnagel_do} @tab
historic style hufnagel do clef @tab
@code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
-@quotation
-@lilypond[relative=1,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.StaffSymbol #'line-count = #4
\override Staff.TimeSignature #'transparent = ##t
\clef "hufnagel_do2" c
@end lilypond
-@end quotation
@item
@code{clefs-hufnagel_fa} @tab
historic style hufnagel fa clef @tab
@code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
-@quotation
-@lilypond[relative=1,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.StaffSymbol #'line-count = #4
\override Staff.TimeSignature #'transparent = ##t
\clef "hufnagel_fa2" c
@end lilypond
-@end quotation
@item
@code{clefs-hufnagel_do_fa} @tab
historic style hufnagel combined do/fa clef @tab
@code{hufnagel_do_fa} @tab
-@quotation
-@lilypond[relative=1,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.TimeSignature #'transparent = ##t
\clef "hufnagel_do_fa" c
@end lilypond
-@end quotation
@end multitable
select ancient flags. Besides the @code{default} flag style,
only @code{mensural} style is supported
-@quotation
-@lilypond[fragment,raggedright,verbatim]
- \override Stem #'flag-style = #'mensural
- \override Stem #'thickness = #1.0
- \override NoteHead #'style = #'mensural
- \autoBeamOff
- c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
- c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
+@lilypond[quote,fragment,raggedright,verbatim]
+\override Stem #'flag-style = #'mensural
+\override Stem #'thickness = #1.0
+\override NoteHead #'style = #'mensural
+\autoBeamOff
+c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
+c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
@end lilypond
-@end quotation
Note that the innermost flare of each mensural flag always is
vertically aligned with a staff line. If you do not like this
of the end of each flare is different between notes on staff lines and
notes between staff lines
-@quotation
-@lilypond[fragment,raggedright]
- \override Stem #'flag-style = #'mensural
- \override Stem #'thickness = #1.0
- \override Stem #'adjust-if-on-staffline = ##f
- \override NoteHead #'style = #'mensural
- \autoBeamOff
- c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
- c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
+@lilypond[quote,fragment,raggedright]
+\override Stem #'flag-style = #'mensural
+\override Stem #'thickness = #1.0
+\override Stem #'adjust-if-on-staffline = ##f
+\override NoteHead #'style = #'mensural
+\autoBeamOff
+c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
+c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
@end lilypond
-@end quotation
There is no particular flag style for neo-mensural notation. Hence,
when typesetting e.g. the incipit of a transcribed piece of mensural
command, @code{n} and @code{m} have to be chosen according to the
following table
-@quotation
-@lilypond
+@lilypond[quote]
\score {
\notes {
\set Score.timing = ##f
}
}
@end lilypond
-@end quotation
Use the @code{style} property of grob @internalsref{TimeSignature} to
select ancient time signatures. Supported styles are
The result looks like this
-@quotation
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
\score {
\notes {
a'1
}
}
@end lilypond
-@end quotation
The custos glyph is selected by the @code{style} property. The styles
supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
@code{mensural}. They are demonstrated in the following fragment
-@quotation
-@lilypond
+@lilypond[quote]
\score {
\new Lyrics \lyrics {
\markup {
}
}
@end lilypond
-@end quotation
@seealso
Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
@code{\caesura}
-@quotation
-@lilypondfile[]{divisiones.ly}
-@end quotation
+@lilypondfile[quote,raggedright]{divisiones.ly}
@refcommands
@internalsref{LigatureBracket} engraver just puts a square bracket
above the ligature
-@quotation
-@lilypond[raggedright,verbatim]
+@lilypond[quote,raggedright,verbatim]
\score {
- \notes \transpose c c' {
- \[ g c a f d' \]
- a g f
- \[ e f a g \]
- }
+ \notes \transpose c c' {
+ \[ g c a f d' \]
+ a g f
+ \[ e f a g \]
+ }
}
@end lilypond
-@end quotation
To select a specific style of ligatures, a proper ligature engraver
has to be added to the @internalsref{Voice} context, as explained in
s4
\[ e1 f1 a\breve g\longa \]
@end example
-@quotation
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
\score {
\notes \transpose c c' {
\set Score.timing = ##f
}
}
@end lilypond
-@end quotation
Without replacing @internalsref{Ligature_bracket_engraver} with
@internalsref{Mensural_ligature_engraver}, the same music transcribes
to the following
-@quotation
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
\score {
\notes \transpose c c' {
\set Score.timing = ##f
}
}
@end lilypond
-@end quotation
@refbugs
@item
@code{1. Punctum}
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@item
@code{2. Virga}
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
@tab
@item
@code{3. Apostropha vel Stropha}
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
@item
@code{4. Oriscus}
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
@tab
@item
@code{5. Clivis vel Flexa}
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@item
@code{6. Podatus vel Pes}
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@item
@code{7. Pes Quassus}
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
@item
@code{8. Quilisma Pes}
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
@item
@code{9. Podatus Initio Debilis}
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
@item
@code{10. Torculus}
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@item
@code{11. Torculus Initio Debilis}
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@item
@code{12. Porrectus}
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@item
@code{13. Climacus}
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@item
@code{14. Scandicus}
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@item
@code{15. Salicus}
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
@item
@code{16. Trigonus}
@tab
-@quotation
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
}
}
@end lilypond
-@end quotation
@tab
@tab
proper values. With these contexts, you can immediately go ahead
entering the chant, as the following short excerpt demonstrates
-@quotation
-@lilypond[raggedright,verbatim,noindent]
+@lilypond[quote,raggedright,verbatim,noindent]
\include "gregorian-init.ly"
\score {
<<
>>
}
@end lilypond
-@end quotation
@node Figured bass
@subsection Figured bass
LilyPond has limited support for figured bass
-@quotation
-@lilypond[verbatim,fragment]
+@lilypond[quote,verbatim,fragment]
<<
\context Voice \notes { \clef bass dis4 c d ais }
\context FiguredBass \figures {
}
>>
@end lilypond
-@end quotation
The support for figured bass consists of two parts: there is an input
mode, introduced by @code{\figures}, where you can enter bass figures
@example
<4 6>
@end example
-@quotation
-@lilypond[fragment]
+@lilypond[quote,fragment]
\context FiguredBass
\figures { <4 6> }
@end lilypond
-@end quotation
Accidentals are added when you append @code{-}, @code{!} and @code{+}
to the numbers
@example
<4- 6+ 7!>
@end example
-@quotation
-@lilypond[fragment]
+@lilypond[quote,fragment]
\context FiguredBass
\figures { <4- 6+ 7!> }
@end lilypond
-@end quotation
Spaces or dashes may be inserted by using @code{_}. Brackets are
introduced with @code{[} and @code{]}
@example
< [4 6] 8 [_! 12]>
@end example
-@quotation
-@lilypond[fragment]
+@lilypond[quote,fragment]
\context FiguredBass
\figures { < [4 6] 8 [_! 12]> }
@end lilypond
-@end quotation
Although the support for figured bass may superficially resemble chord
support, it works much simpler. The @code{\figures} mode simply
applying the function @code{notes-to-clusters} to a sequence of
chords, e.g.
@c
-@quotation
-@lilypond[relative=2,verbatim]
+@lilypond[quote,relative=2,verbatim]
\apply #notes-to-clusters { <c e > <b f'> }
@end lilypond
-@end quotation
The following example (from
@inputfileref{input/regression,cluster.ly}) shows what the result
looks like
-@quotation
-@lilypondfile[]{cluster.ly}
-@end quotation
+@lilypondfile[quote]{cluster.ly}
Ordinary notes and clusters can be put together in the same staff,
even simultaneously. In such a case no attempt is made to
indicate fermatas of differing lengths. The following fermatas are
supported
-@quotation
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
\score {
<<
\addlyrics \notes {
>>
}
@end lilypond
-@end quotation
See @ref{Articulations} for general instructions how to apply scripts
such as fermatas to a @code{\notes@{@}} block.
The following example demonstrates its use.
-@quotation
-@lilypond[verbatim,fragment,raggedright,relative=2]
+@lilypond[quote,verbatim,fragment,raggedright,relative=2]
\context Voice
\applyoutput
#(add-balloon-text 'NoteHead "heads, or tails?"
'(1 . -3))
c8
@end lilypond
-@end quotation
@noindent
The function @code{add-balloon-text} takes the name of a grob, the
The `easy play' note head includes a name inside the head. It is
used in music for beginners
-@quotation
-@lilypond[raggedright,verbatim,staffsize=26]
+@lilypond[quote,raggedright,verbatim,staffsize=26]
\setEasyHeads
c'2 e'4 f' | g'1
@end lilypond
-@end quotation
The command @code{\setEasyHeads} overrides settings for the
@internalsref{NoteHead} object. To make the letters readable, it has
picture in the HTML version of this manual, you will see the exact
LilyPond input that was used to generate that image.
Try it on this image
-@quotation
-@lilypond[raggedright,relative=2]
+@lilypond[quote,raggedright,relative=2]
c-\markup { \bold \huge { Click here. } }
@end lilypond
-@end quotation
@end ifhtml
By cutting and pasting the full input into a test file, you have a
@noindent
the result looks like this
-@quotation
-@lilypond[notime,relative=1]
+@lilypond[quote,notime,relative=1]
c d e f g a b
@end lilypond
-@end quotation
The duration of a note is specified by a number after the note name.
@samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
a1 a2 a4 a16 a32
@end example
-@quotation
-@lilypond[notime]
+@lilypond[quote,notime]
\set Score.timing = ##f
\set Staff.autoBeaming = ##f
\transpose c c' { a1 a2 a4 a16 a32 s16_" " }
@end lilypond
-@end quotation
If you do not specify a @rglos{duration}, the duration last entered is
used; the duration of the first note defaults to a quarter
a a8 a a2 a
@end example
-@quotation
-@lilypond[notime]
+@lilypond[quote,notime]
\set Score.timing = ##f
\transpose c c' { a a8 a a2 a s16_" " }
@end lilypond
-@end quotation
Rests are entered just like notes, but with the name ``@code{r}''
r2 r4 r8 r16
@end example
-@quotation
-@lilypond[fragment]
+@lilypond[quote,fragment]
\set Score.timing = ##f
\set Staff.Clef = \turnOff
\set Staff.TimeSignature = \turnOff
r2 r4 r8 r16
s16_" "
@end lilypond
-@end quotation
@separate
Add a dot @samp{.} after the duration to get a @rglos{dotted note}
a2. a4 a8. a16
@end example
-@quotation
-@lilypond[notime]
+@lilypond[quote,notime]
\set Score.timing = ##f
\transpose c c' { a2. a4 a8. a16 s16_" " }
@end lilypond
-@end quotation
The @rglos{meter} (or @rglos{time signature}) can be set with the
@code{\time} command
@end example
@c A clef here may lead to confusion, remove it.
-@quotation
-@lilypond
+@lilypond[quote]
\override Staff.Clef #'transparent = ##t
\time 3/4
s4_" "
\time 4/4
s16_" "
@end lilypond
-@end quotation
The @rglos{clef} can be set using the @code{\clef} command
\clef tenor
@end example
-@quotation
-@lilypond[notime]
+@lilypond[quote,notime]
\set Score.timing = ##f
\clef violin
s4_" "
\clef tenor
s16_" "
@end lilypond
-@end quotation
To recognize names like @code{c} and @code{d} as pitches, they have to
be entered inside a so-called @code{\notes} block. This block is
and the music will be converted to printable output.
-@quotation
-@lilypond[noindent]
+@lilypond[quote,noindent]
\score {
\notes {
\time 3/4
}
}
@end lilypond
-@end quotation
In many examples in this manual, both @code{\score} and @code{\notes}
and accompanying braces are left out for brevity. However, they must
cis1 ees fisis aeses
@end example
-@quotation
-@lilypond[notime]
+@lilypond[quote,notime]
\set Score.timing = ##f
\transpose c c' { cis1 ees fisis aeses s16_" " }
@end lilypond
-@end quotation
@cindex key signature, setting
The key signature is set with the command ``@code{\key}'', followed by
g
@end example
-@quotation
-@lilypond[fragment]
+@lilypond[quote,fragment]
\set Staff.TimeSignature = \turnOff
\key d \major
g'1
\key c \minor
g'
@end lilypond
-@end quotation
Key signatures together with the pitches (including alterations) are
In this example
-@quotation
-@lilypond[fragment]
+@lilypond[quote,fragment]
\set Staff.TimeSignature = \turnOff
\key d \major
d' cis' fis'
@end lilypond
-@end quotation
@noindent
no note gets an explicit accidental, but still you enter
staff.'' Rather, it means: ``a note with pitch D-natural.'' In the key
of A-flat, it does get an accidental
-@quotation
-@lilypond[fragment]
+@lilypond[quote,fragment]
\set Staff.TimeSignature = \turnOff
\key as \major
d'
@end lilypond
-@end quotation
@example
\key as \major
@cindex tie
A tie is created by adding a tilde ``@code{~}'' to the first note
being tied
-@quotation
-@lilypond[fragment,verbatim,relative=3]
+@lilypond[quote,fragment,verbatim,relative=3]
g4~ g a2~ a4
@end lilypond
-@end quotation
@separate
@cindex beams, by hand
Beams are drawn automatically
-@quotation
-@lilypond[fragment,relative=2,verbatim]
+@lilypond[quote,fragment,relative=2,verbatim]
a8 ais d es r d
@end lilypond
-@end quotation
@separate
If you do not like where beams are put, they can be entered by
hand. Mark the first note to be beamed with @code{[} and the last one
with @code{]}.
-@quotation
-@lilypond[fragment,relative=2,verbatim]
+@lilypond[quote,fragment,relative=2,verbatim]
a8[ ais] d[ es r d]
@end lilypond
-@end quotation
@separate
For more information on beams, see @ref{Beaming}.
@}
@}
@end example
-@quotation
-@lilypond
+@lilypond[quote]
\score {
\notes \transpose c c' {
\time 4/4
\paper { linewidth = #(* 50 staffspace) }
}
@end lilypond
-@end quotation
@cindex accidentals
There are some interesting points to note in this example. Bar lines
c'4 c'' c''' \clef bass c c,
@end example
-@quotation
-@lilypond[fragment]
+@lilypond[quote,fragment]
\set Score.timing = ##f
\set Staff.TimeSignature = \turnOff
c'4 c'' c''' \clef bass c c,
@end lilypond
-@end quotation
@separate
An example of the use of quotes is in the following Mozart fragment
-@quotation
-@lilypond[raggedright,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\key a \major
\time 6/8
cis''8. d''16 cis''8 e''4 e''8
b'8. cis''16 b'8 d''4 d''8
-@end lilypond
-@end quotation
+@end lilypond
This example shows that music in a high register needs lots of quotes.
This makes the input less readable, and it is a source of errors. The
@}
@end example
-@quotation
-@lilypond[fragment]
+@lilypond[quote,fragment]
\set Score.timing = ##f
\set Staff.TimeSignature = \turnOff
\relative c'' {
c f c g c
}
@end lilypond
-@end quotation
@separate
without octavation quotes in relative mode. The previous example is
entered as
@c
-@quotation
-@lilypond[raggedright,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\relative c'' {
\key a \major
\time 6/8
cis8. d16 cis8 e4 e8
b8. cis16 b8 d4 d8
}
-@end lilypond
-@end quotation
+@end lilypond
@c needed better, maybe even redundant explanation
@c added another example below.
@}
@end example
-@quotation
-@lilypond[fragment]
+@lilypond[quote,fragment]
\set Score.timing = ##f
\set Staff.TimeSignature = \turnOff
\relative c'' {
c f, f c' c g' c,
}
@end lilypond
-@end quotation
@separate
In @code{\relative} mode, quotes or commas no longer determine the
expression}. We have already seen in the previous examples;
a single note is a music expression
-@quotation
-@lilypond[verbatim,relative=3]
+@lilypond[quote,verbatim,relative=3]
a4
@end lilypond
-@end quotation
Enclosing group of notes in braces creates a new music
expression
-@quotation
-@lilypond[verbatim,relative=3]
+@lilypond[quote,verbatim,relative=3]
{ a4 g4 }
@end lilypond
-@end quotation
Putting a bunch of music expressions (notes) in braces, means that
they should be played in sequence. The result again is a music
Here, the expression from the previous example is combined with two
notes
-@quotation
-@lilypond[verbatim,relative=3]
+@lilypond[quote,verbatim,relative=3]
{ { a4 g } f g }
@end lilypond
-@end quotation
This technique is useful for non-monophonic music. To enter music
with more voices or more staves, we also combine expressions in
@code{>>}. In the following example, three sequences (all containing
two notes) are combined simultaneously
-@quotation
-@lilypond[verbatim,relative=3]
+@lilypond[quote,verbatim,relative=3]
<<
{ a4 g }
{ f e }
{ d b }
>>
@end lilypond
-@end quotation
This mechanism is similar to mathematical
formulas: a big formula is created by composing small formulas. Such
Like mathematical expressions, music expressions can be nested
arbitrarily deep, e.g.
-@quotation
-@lilypond[verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
{
c <<c e>>
<< { e f } { c <<b d>> } >>
}
-@end lilypond
-@end quotation
+@end lilypond
@cindex indent
@code{Staff}'s are then combined parallel with @code{<<} and
@code{>>}, as demonstrated here
-@quotation
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
<<
\new Staff { \clef violin c'' }
\new Staff { \clef bass c }
>>
@end lilypond
-@end quotation
The command @code{\new} introduces a ``notation context.'' A notation
@c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
-@quotation
-@lilypond[verbatim,raggedright]
+@lilypond[quote,verbatim,raggedright]
\score {
\notes <<
\new Staff {
>>
}
@end lilypond
-@end quotation
For more information on context see the description in
@ref{Interpretation contexts}.
Common accents can be added to a note using a dash (`@code{-}') and a
single character
-@quotation
-@lilypond[verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
c-. c-- c-> c-^ c-+ c-_
@end lilypond
-@end quotation
@separate
@cindex fingering
Similarly, fingering indications can be added to a note using a dash
(`@code{-}') and the digit to be printed
@c
-@quotation
-@lilypond[verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
c-3 e-5 b-2 a-1
@end lilypond
-@end quotation
Dynamic signs are made by adding the markings (with a backslash) to
the note
-@quotation
-@lilypond[verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
c\ff c\mf
@end lilypond
-@end quotation
@separate
@cindex dynamics
Crescendi and decrescendi are started with the commands @code{\<} and
@code{\>}. An ending dynamic, for example @code{\f}, will finish the
crescendo, or the command @code{\!} can be used
-@quotation
-@lilypond[verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
c2\< c2\ff\> c2 c2\!
@end lilypond
-@end quotation
@separate
articulation. The starting note and ending note are marked with a
``@code{(}'' and a ``@code{)}'' respectively
-@quotation
-@lilypond[fragment,relative=2,verbatim]
+@lilypond[quote,fragment,relative=2,verbatim]
d4( c16)( cis d e c cis d e)( d4)
@end lilypond
-@end quotation
@separate
@cindex slurs versus ties
A slur looks like a tie, but it has a different meaning. A tie simply
and can be used on larger groups of notes. Slurs and ties are also
nested in practice
-@quotation
-@lilypond[fragment,relative=2]
+@lilypond[quote,fragment,relative=2]
c2~( c8 fis fis4 ~ fis2 g2)
@end lilypond
-@end quotation
@cindex phrasing slurs
Slurs to indicate phrasing can be entered with @code{\(} and
@code{\)}, so you can have both legato slurs and phrasing slurs at the
same time.
-@quotation
-@lilypond[fragment,relative=2,verbatim]
+@lilypond[quote,fragment,relative=2,verbatim]
a8(\( ais b c) cis2 b'2 a4 cis, c\)
@end lilypond
-@end quotation
For more information on
Chords can be made by surrounding pitches with angled brackets.
Angled brackets are the symbols @code{<} and @code{>}.
-@quotation
-@lilypond[relative=1,fragment,verbatim]
+@lilypond[quote,relative=1,fragment,verbatim]
r4 <c e g>4 <c f a>8
@end lilypond
-@end quotation
@separate
You can combine markings like beams and ties with chords. They must
be placed outside the angled brackets
-@quotation
-@lilypond[relative=1,fragment,verbatim]
+@lilypond[quote,relative=1,fragment,verbatim]
r4 <c e g>8[ <c f a>]~ <c f a>
@end lilypond
-@end quotation
@example
r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
@end example
-@quotation
-@lilypond[relative=1,fragment]
+@lilypond[quote,relative=1,fragment]
\slurUp
r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
@end lilypond
-@end quotation
@separate
A pickup is entered with the keyword @code{\partial}. It
is followed by a duration: @code{\partial 4} is a quarter note upstep
and @code{\partial 8} an eighth note
-@quotation
-@lilypond[relative=2,verbatim,fragment]
+@lilypond[quote,relative=2,verbatim,fragment]
\partial 8
f8 c2 d e
@end lilypond
-@end quotation
@cindex tuplets
@cindex triplets
Tuplets are made with the @code{\times} keyword. It takes two
of music is multiplied by the fraction. Triplets make notes occupy
2/3 of their notated duration, so a triplet has 2/3 as its fraction
@c
-@quotation
-@lilypond[relative=1,verbatim,fragment]
+@lilypond[quote,relative=1,verbatim,fragment]
\times 2/3 { f8 g a }
\times 2/3 { c r c }
-@end lilypond
-@end quotation
+@end lilypond
@cindex grace notes
@cindex accacciatura
Grace notes are also made by prefixing a music expression with the
@cindex appoggiatura
@cindex acciaccatura
-@quotation
-@lilypond[relative=2,verbatim,fragment]
+@lilypond[quote,relative=2,verbatim,fragment]
c4 \appoggiatura b16 c4
c4 \acciaccatura b16 c4
@end lilypond
-@end quotation
@noindent
The melody for this song is as follows
-@quotation
-@lilypond[fragment,relative=2]
+@lilypond[quote,fragment,relative=2]
c4
\times 2/3 { f4 g g } \times 2/3 { g4( a2) }
@end lilypond
-@end quotation
The lyrics can be set to these notes, combining both with the
@code{\lyricsto} keyword
empty.
The final result is
-@quotation
-@lilypond[verbatim,fragment,raggedright]
+@lilypond[quote,verbatim,fragment,raggedright]
\score {
\notes <<
\partial 4
>>
}
@end lilypond
-@end quotation
@cindex melisma
@cindex extender line
@example
\lyrics @{ I want to break free __ @}
@end example
-@quotation
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
\score {
<<
\notes \relative c' \new Voice {
>>
}
@end lilypond
-@end quotation
Similarly, hyphens between words can be entered as two dashes,
resulting in a centered hyphen between two syllables
@example
Twin -- kle twin -- kle
@end example
-@quotation
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
\score {
<<
\notes \relative f' \context Voice = bla {
>>
}
@end lilypond
-@end quotation
More options, like putting multiple lines of lyrics below a melody are
discussed in @ref{Vocal music}.
but now, each pitch is read as the root of a chord instead of a note.
This mode is switched on with @code{\chords}
-@quotation
-@lilypond[verbatim,raggedright]
+@lilypond[quote,verbatim,raggedright]
\score {
\chords { c2 f4. g8 }
}
@end lilypond
-@end quotation
Other chords can be created by adding modifiers after a colon. The
following example shows a few common modifiers
@c
-@quotation
-@lilypond[verbatim]
- \chords { c2 f4:m g4:maj7 gis1:dim7 }
+@lilypond[quote,verbatim]
+\chords { c2 f4:m g4:maj7 gis1:dim7 }
@end lilypond
-@end quotation
For lead sheets, chords are not printed on staves, but as names on a
line of themselves. Hence, we have to override the context with
@code{\new}, rendering the music expression in a @code{ChordNames}
context
-@quotation
-@lilypond[verbatim]
+@lilypond[quote,verbatim]
\new ChordNames \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
@end lilypond
-@end quotation
@cindex lead sheet
@separate
>>
@}
@end example
-@quotation
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
\score {
<<
\partial 4
>>
}
@end lilypond
-@end quotation
A complete list of modifiers and other options for layout can be found
@code{@{ .. @}}), and combining those simultaneously, separating the
voices with @code{\\}
-@quotation
-@lilypond[verbatim,relative=3]
+@lilypond[quote,verbatim,relative=3]
<< { a4 g2 f4~ f4 } \\
{ r4 g4 f2 f4 } >>
@end lilypond
-@end quotation
For polyphonic music typesetting, spacer rests can also be convenient: these
are rests that do not print. It is useful for filling up voices that
temporarily do not play. Here is the same example with a spacer rest
instead of a normal rest
-@quotation
-@lilypond[relative=3]
+@lilypond[quote,relative=3]
<< { a4 g2 f4~ f4 } \\
{ s4 g4 f2 f4 } >>
@end lilypond
-@end quotation
Again, these expressions can be nested arbitrarily
-@quotation
-@lilypond[fragment,relative=3]
+@lilypond[quote,fragment,relative=3]
<<
\new Staff <<
{ a4 g2 f4~ f4 } \\
>>
>>
@end lilypond
-@end quotation
More features of polyphonic typesetting in the notation manual
in @ref{Polyphony}.
Here is a full-fledged example
-@quotation
-@lilypond[relative=1,fragment]
+@lilypond[quote,relative=1,fragment]
\new PianoStaff <<
\new Staff { \time 2/4 c4 c g' g }
\new Staff { \clef bass c,, c' e c }
>>
@end lilypond
-@end quotation
More information on formatting piano music is in @ref{Piano music}.
In the next example, a two note motive is repeated two times by using
variable substitution
-@quotation
-@lilypond[raggedright,verbatim]
+@lilypond[quote,raggedright,verbatim]
seufzer = \notes {
e'4( dis'4)
}
\new Staff { \seufzer \seufzer }
}
@end lilypond
-@end quotation
The name of an identifier should have alphabetic characters only;
no numbers, underscores or dashes. The assignment should be outside of
tuning of a normal French Horn in F. The transposition can be seen in
the following output
-@quotation
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
\score {
\notes \transpose f c' \notes \relative c {
\time 2/4
}
}
@end lilypond
-@end quotation
In ensemble pieces, one of the voices often does not play for many
measures. This is denoted by a special rest, the multi-measure
@code{Score} context to true (@code{##t}). Prepending the rest and
this option to the music above, leads to the following result
-@quotation
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
\score {
\notes \transpose f c' \relative c {
\time 2/4
}
}
@end lilypond
-@end quotation
The score is made by combining all of the music in a @code{\score}
leading to
-@quotation
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
\score {
\notes \relative c \simultaneous {
\new Staff {
}
}
}
-@end lilypond
-@end quotation
+@end lilypond
More in-depth information on preparing parts and scores in the
notation manual, in @ref{Orchestral music}.
Documents for lilypond-book may freely mix music and text. For
example
-@quotation
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
\score {
\notes \relative c' {
c2 g'2 \times 2/3 { f8 e d } c'2 g4
}
}
@end lilypond
-@end quotation
If you have no @code{\score} block in the fragment,
@code{lilypond-book} will supply one
-@quotation
-@lilypond
+@lilypond[quote]
c'4
@end lilypond
-@end quotation
In this example two things happened: a
@code{score} block was added, and the line width was set to natural
Options are put in brackets.
-@quotation
-@lilypond[staffsize=26,verbatim]
+@lilypond[quote,staffsize=26,verbatim]
c'4 f16
@end lilypond
-@end quotation
Larger examples can be put in a separate file, and introduced with
@code{\lilypondfile}.
-@quotation
-@lilypondfile{screech-boink.ly}
-@end quotation
+@lilypondfile[quote,noindent]{screech-boink.ly}
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