A note is printed by specifying its pitch and then its duration,
-@lilypond[quote,verbatim]
+@lilypond[quote,verbatim,raggedright]
{ cis'4 d'8 e'16 c'16 }
@end lilypond
@code{as}, but both forms are accepted. Similarly, both
@code{es} and @code{ees} are accepted
-@lilypond[fragment,quote,verbatim,relative=2]
+@lilypond[fragment,quote,raggedright,verbatim,relative=2]
ceses4
ces
c
(`@code{,}') characters. Each @code{'} raises the pitch by one
octave; each @code{,} lowers the pitch by an octave
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
c' c'' es' g' as' gisis' ais'
@end lilypond
(i.e. an accidental within parentheses) can be obtained by adding the
question mark `@code{?}' after the pitch.
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
cis' cis' cis'! cis'?
@end lilypond
@cindex quarter tones
@cindex semi-flats, semi-sharps
-@lilypond[verbatim,quote,relative=2,fragment]
+@lilypond[verbatim,raggedright,quote,relative=2,fragment]
{ ceseh ceh cih cisih }
@end lilypond
@code{>}. A chord may be followed by a duration, and a set of
articulations, just like simple notes
-@lilypond[verbatim,fragment,quote,relative=1]
+@lilypond[verbatim,raggedright,fragment,quote,relative=1]
<c e g>4 <c>8
@end lilypond
To obtain dotted note lenghts, simply add a dot (`@code{.}') to
the number. Double-dotted notes are produced in a similar way.
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
a'4 b' c''4. b'8 a'4. b'4.. c''8.
@end lilypond
In the following example, the first three notes take up exactly two
beats, but no triplet bracket is printed.
-@lilypond[quote,fragment,relative=2,verbatim]
+@lilypond[quote,raggedright,fragment,relative=2,verbatim]
\time 2/4
a4*2/3 gis4*2/3 a4*2/3
a4 a4 a4*2
slurs, which indicate articulation, or phrasing slurs, which indicate
musical phrasing. A tie is entered using the tilde symbol `@code{~}'
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
e' ~ e' <c' e' g'> ~ <c' e' g'>
@end lilypond
cannot be used to denote the rhythm. When using ties, larger note
values should be aligned to subdivisions of the measure, eg.
-@lilypond[fragment]
+@lilypond[fragment,quote,raggedright]
\relative {
r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
}
notes have the length of 2, so the notes are 2/3 of their written
length
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
g'4 \times 2/3 {c'4 c' c'} d'4 d'4
@end lilypond
@end lilypond
Octave changing marks are used for intervals greater than a fourth
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\relative c'' {
c g c f, c' a, e''
}
If the preceding item is a chord, the first note of the chord is used
to determine the first note of the next chord
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\relative c' {
c <c e g>
<c' e g>
check passes successfully, so the check could be deleted without changing
the output of the piece.
-@lilypond[quote,verbatim,fragment]
+@lilypond[quote,raggedright,verbatim,fragment]
\relative c' {
e
\octave b
The clef can be set with the @code{\clef} command
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
{ c''2 \clef alto g'2 }
@end lilypond
@cindex choral tenor clef
-@lilypond[quote,verbatim,fragment,relative=1]
+@lilypond[quote,raggedright,verbatim,fragment,relative=1]
\clef "G_8" c4
@end lilypond
when any of these properties are changed. The following example shows
possibilities when setting properties manually.
-@lilypond[verbatim]
+@lilypond[raggedright,verbatim]
{
\set Staff.clefGlyph = #"clefs-F"
\set Staff.clefPosition = #2
@cindex 15ma
@cindex octavation
-@lilypond[quote,verbatim,fragment]
+@lilypond[quote,raggedright,verbatim,fragment]
\relative c''' {
a2 b
#(set-octavation 1)
@code{centralCPosition}. For overriding the text of the bracket, set
@code{ottavation} after invoking @code{set-octavation}, i.e.,
-@lilypond[verbatim]
+@lilypond[quote,raggedright,verbatim]
{
#(set-octavation 1)
\set Staff.ottavation = #"8"
The time signature is set or changed by the @code{\time}
command
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\time 2/4 c'2 \time 3/4 c'2.
@end lilypond
property. Setting it to @code{#'()} uses fraction style for 4/4 and
2/2 time,
-@lilypond[fragment,verbatim]
+@lilypond[fragment,quote,raggedright,verbatim]
\time 4/4 c'1
\time 2/2 c'1
\override Staff.TimeSignature #'style = #'()
Partial measures, for example in upsteps, are entered using the
@code{\partial} command
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\partial 16*5 c16 cis d dis e | a2. c,4 | b2
@end lilypond
the music. When a piece starts with graces notes in the pickup, then
the @code{\partial} should follow the grace notes
-@lilypond[verbatim,relative,fragment]
+@lilypond[verbatim,quote,raggedright,relative,fragment]
{
\grace f16
\partial 4
Special types of bar lines can be forced with the @code{\bar} command
@c
-@lilypond[quote,relative=2,fragment,verbatim]
+@lilypond[quote,raggedright,relative=2,fragment,verbatim]
c4 \bar "|:" c4
@end lilypond
The following bar types are available
-@lilypondfile[]{bar-lines.ly}
+@lilypondfile[raggedright,quote]{bar-lines.ly}
For allowing line breaks, there is a special command,
@example
automatically applied to all staves. The resulting bar lines are
connected between different staves of a @internalsref{StaffGroup}
@c
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
<<
\context StaffGroup <<
\new Staff {
shortened by 1/8, by setting @code{measurePosition} to -3/8 at 2/4 in
the measure, so the next bar line will fall at 2/4 + 3/8.
-@lilypond[verbatim]
-\relative {
+@lilypond[raggedright,verbatim,relative,fragment]
\set Score.measureLength = #(ly:make-moment 5 4)
c1 c4
c1 c4
\set Score.measurePosition = #(ly:make-moment -3 8)
b8 b b
c4 c1
-}
@end lilypond
@cindex @code{\\}
-@lilypond[quote,verbatim,fragment]
+@lilypond[quote,raggedright,verbatim,fragment]
\context Staff \relative c'' {
c4 << { f d e } \\ { b c2 } >>
c4 << g' \\ b, \\ f' \\ d >>
Similarly, you can merge half note heads with eighth notes, by setting
@code{merge-differently-headed}
-@lilypond[quote,fragment,relative=2,verbatim]
+@lilypond[quote,raggedright,fragment,relative=2,verbatim]
\context Voice << {
c8 c4.
\override Staff.NoteCollision
LilyPond inserts beams automatically
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
@end lilypond
Individual notes may be marked with @code{\noBeam}, to prevent them
from being beamed
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\time 2/4 c8 c\noBeam c c
@end lilypond
or bar lines. Such beams are specified manually by marking the begin
and end point with @code{[} and @code{]}
-@lilypond[quote,fragment,relative=1,verbatim]
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
{
r4 r8[ g' a r8] r8 g[ | a] r8
}
either property is set, its value will be used only once, and then it
is erased
-@lilypond[quote,fragment,relative=1,verbatim]
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
{
f8[ r16
f g a]
@code{beatLength} property.
-@lilypond[fragment,quote,relative=2,verbatim,noindent]
+@lilypond[fragment,raggedright,quote,relative=2,verbatim,noindent]
c16[ c c c c c c c]
\set subdivideBeams = ##t
c16[ c c c c c c c]
A slur indicates that notes are to be played bound or @emph{legato}.
They are entered using parentheses
-@lilypond[quote,relative=2,fragment,verbatim]
+@lilypond[quote,raggedright,relative=2,fragment,verbatim]
f( g a) a8 b( a4 g2 f4)
<c e>2( <b d>2)
@end lilypond
directions. By adding @code{_} or @code{^} before the opening
parentheses, the direction is also set. For example,
-@lilypond[relative=2,verbatim,fragment]
+@lilypond[relative=2,raggedright,quote,verbatim,fragment]
c4_( c) c^( c)
@end lilypond
Some composers write two slurs when they want legato chords. This can
be achieved in LilyPond by setting @code{doubleSlurs},
-@lilypond[verbatim,raggedright]
-\relative {
+@lilypond[verbatim,raggedright,relative,fragment,quote]
\set doubleSlurs = ##t
<c e>4 ( <d f> <c e> <d f> )
-}
@end lilypond
indicate a musical sentence. It is written using @code{\(} and @code{\)}
respectively
-@lilypond[quote,fragment,verbatim,relative=1]
+@lilypond[quote,raggedright,fragment,verbatim,relative=1]
\time 6/4 c'\( d( e) f( e) d\)
@end lilypond
Breath marks are entered using @code{\breathe}
-@lilypond[quote,fragment,relative=1,verbatim]
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
c'4 \breathe d4
@end lilypond
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,
-@lilypond[quote,fragment,verbatim,relative=1]
+@lilypond[quote,raggedright,fragment,verbatim,relative=1]
c'4
\override BreathingSign #'text
= #(make-musicglyph-markup "scripts-rvarcomma")
In the MIDI output, they are interpreted as a tempo change. In the
paper output, a metronome marking is printed
@cindex @code{\tempo}
-@lilypond[quote,verbatim,fragment]
+@lilypond[quote,raggedright,verbatim,fragment]
\tempo 8.=120 c''1
@end lilypond
More complex formatting may also be added to a note by using the
markup command,
-@lilypond[fragment,raggedright,verbatim]
+@lilypond[fragment,raggedright,verbatim,quote]
c'4^\markup { bla \bold bla }
@end lilypond
The string to be printed, as well as the style, is set through object
properties
-@lilypond[quote,fragment,relative=1,verbatim]
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
c1
\override TextSpanner #'direction = #-1
\override TextSpanner #'edge-text = #'("rall " . "")
below the staff, and @code{^} will place them above.
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
c''4^^ c''4_^
@end lilypond
can be forced up or down using @code{^} and @code{_},
e.g.
-@lilypond[quote,verbatim,fragment,relative=2]
+@lilypond[quote,raggedright,verbatim,fragment,relative=2]
c\fermata c^\fermata c_\fermata
@end lilypond
Here is a chart showing all scripts available,
-@lilypondfile[quote]{script-chart.ly}
+@lilypondfile[raggedright,quote]{script-chart.ly}
The vertical ordering of scripts is controlled with the
Using this feature, it is also possible to put fingering instructions
very close to note heads in monophonic music,
-@lilypond[verbatim,raggedright]
-{
+@lilypond[verbatim,raggedright,quote,fragment]
\set fingeringOrientations = #'(right)
<es'-2>4
-}
@end lilypond
@cindex appoggiatura
@cindex acciaccatura
-@lilypond[quote,relative=2,verbatim,fragment]
+@lilypond[quote,raggedright,relative=2,verbatim,fragment]
b4 \acciaccatura d8 c4 \appoggiatura e8 d4
\acciaccatura { g16[ f] } e4
@end lilypond
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.
-@lilypond[quote,relative=2,verbatim,fragment]
+@lilypond[quote,raggedright,relative=2,verbatim,fragment]
c4 \grace c16 c4
\grace { c16[ d16] } c2 c4
@end lilypond
In the following example, there are two sixteenth graces notes for
every eighth grace note
-@lilypond[quote,relative=2,verbatim,fragment]
+@lilypond[quote,raggedright,relative=2,verbatim,fragment]
<< \new Staff { e4 \grace { c16[ d e f] } e4 }
\new Staff { c4 \grace { g8[ b] } c4 } >>
@end lilypond
If you want to end a note with a grace, the standard trick is to put
the grace notes after a ``space note''
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\context Voice {
<< { d1^\trill_( }
{ s2 \grace { c16[ d] } } >>
for example, to produce smaller type, and set directions. Hence, when
introducing layout tweaks, they should be inside the grace section,
for example,
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\new Voice {
\acciaccatura {
\stemDown
such as key signatures, bar lines, etc. are also synchronized. Take
care when you mix staves with grace notes and staves without, for example,
-@lilypond[quote,relative=2,verbatim,fragment]
+@lilypond[quote,raggedright,relative=2,verbatim,fragment]
<< \new Staff { e4 \bar "|:" \grace c16 d4 }
\new Staff { c4 \bar "|:" d4 } >>
@end lilypond
wavy line between two notes. It is requested by attaching
@code{\glissando} to a note
-@lilypond[quote,fragment,relative=2,verbatim]
+@lilypond[quote,raggedright,fragment,relative=2,verbatim]
c\glissando c'
@end lilypond
with @code{\!}. Because these marks are bound to notes, if you must
use spacer notes if multiple marks are needed during one note
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
c\< c\! d\> e\!
<< f1 { s4 s4\< s4\! \> s4\! } >>
@end lilypond
You can also use a text saying @emph{cresc.} instead of hairpins. Here
is an example how to do it
-@lilypond[quote,fragment,relative=2,verbatim]
+@lilypond[quote,raggedright,fragment,relative=2,verbatim]
\setTextCresc
c \< d e f\!
\setHairpinCresc
@cindex decrescendo
You can also supply your own texts
-@lilypond[quote,fragment,relative=1,verbatim]
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
\set crescendoText = \markup { \italic "cresc. poco" }
\set crescendoSpanner = #'dashed-line
a'2\< a a a\!\mf
is assumed to be played more than once.
Standard repeats are used like this
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
c1
\repeat volta 2 { c4 d e f }
\repeat volta 2 { f e d c }
@end lilypond
With alternative endings
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
c1
\repeat volta 2 {c4 d e f}
\alternative { {d2 d} {f f,} }
@end lilypond
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\context Staff {
\partial 4
\repeat volta 4 { e | c2 d2 | e2 f2 | }
-@lilypond[verbatim,raggedright]
+@lilypond[verbatim,raggedright,quote]
\relative c''{
\time 3/4
c c c
stops a running volta bracket.
@end table
-@lilypond[quote,verbatim,fragment,relative=2]
+@lilypond[quote,raggedright,verbatim,fragment,relative=2]
c4
\set Score.repeatCommands = #'((volta "93") end-repeat)
c4 c4
length is omitted, the last value (stored in @code{tremoloFlags}) is
used
-@lilypond[quote,verbatim,fragment]
+@lilypond[quote,raggedright,verbatim,fragment]
c'2:8 c':32 | c': c': |
@end lilypond
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
-@lilypond[quote,fragment,relative=1,verbatim]
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
\context RhythmicStaff {
\time 4/4
c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
polyphonic notation, described in @ref{Polyphony}, can also be used if
the @internalsref{DrumVoices} are instantiated by hand first. For example,
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\new DrumStaff <<
\context DrumVoice = "1" { s1 *2 }
\context DrumVoice = "2" { s1 *2 }
@item drums-style
This is the default. It typesets a typical drum kit on a five-line staff
-@lilypond[quote,noindent]
+@lilypond[quote,raggedright,noindent]
nam = \lyricmode { cymc cyms cymr hh hhc hho hhho hhp cb hc
bd sn ss tomh tommh tomml toml tomfh tomfl }
mus = \drummode { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
note or chord
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
c'4\sustainDown c'4\sustainUp
@end lilypond
Pedals can also be indicated by a sequence of brackets, by setting the
@code{pedalSustainStyle} property to bracket objects
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\set Staff.pedalSustainStyle = #'bracket
c\sustainDown d e
b\sustainUp\sustainDown
obtained by setting the @code{pedalSustainStyle} style property to
@code{mixed}
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\set Staff.pedalSustainStyle = #'mixed
c\sustainDown d e
b\sustainUp\sustainDown
style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
default.
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
c\sostenutoDown d e c, f g a\sostenutoUp
@end lilypond
@internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
bracket may be extended to the right edge of the note head
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
c\sostenutoDown d e c, f g a\sostenutoUp
@end lilypond
@code{\arpeggio} to a chord
-@lilypond[quote,fragment,relative=1,verbatim]
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
<c e g c>\arpeggio
@end lilypond
in both staves, and set
@internalsref{PianoStaff}.@code{connectArpeggios}
-@lilypond[quote,fragment,relative=1,verbatim]
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
\context PianoStaff <<
\set PianoStaff.connectArpeggios = ##t
\new Staff { <c' e g c>\arpeggio }
The direction of the arpeggio is sometimes denoted by adding an
arrowhead to the wiggly line
-@lilypond[quote,fragment,relative=1,verbatim]
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
\context Voice {
\arpeggioUp
<c e g c>\arpeggio
@c todo: ugh, lousy typography. Look for real example. --hwn
-@lilypond[quote,fragment,relative=1,verbatim]
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
\arpeggioBracket
<c' e g c>\arpeggio
@end lilypond
can be printed automatically. This is switched on by setting
@code{PianoStaff.followVoice} to true
-@lilypond[quote,fragment,relative=1,verbatim]
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
\context PianoStaff <<
\set PianoStaff.followVoice = ##t
\context Staff \context Voice {
Here is an example demonstrating manual lyric durations,
-@lilypond[relative=1,verbatim,fragment,quote]
+@lilypond[relative=1,raggedright,verbatim,fragment,quote]
<< \context Voice = melody {
\time 3/4
c2 e4 g2.
Stanza numbers can be added by setting @code{stanza}, e.g.
-@lilypond[quote,verbatim,relative=2,fragment]
+@lilypond[quote,raggedright,verbatim,relative=2,fragment]
\new Voice {
\time 3/4 g2 e4 a2 f4 g2.
} \addlyrics {
@code{vocalName}. A short version may be entered as @code{vocNam}.
-@lilypond[fragment,quote,verbatim,relative=2]
+@lilypond[fragment,raggedright,quote,verbatim,relative=2]
\new Voice {
\time 3/4 g2 e4 a2 f4 g2.
} \addlyrics {
are printed as tablature, by using @internalsref{TabStaff} and
@internalsref{TabVoice} contexts
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\context TabStaff {
a,4\5 c'\2 a\3 e'\1
e\4 c'\2 a\3 e'\1
by default middle C, in string order. In the next example,
@code{stringTunings} is set for the pitches e, a, d, and g
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\context TabStaff <<
\set TabStaff.stringTunings = #'(-5 -10 -15 -20)
set of pitches, so they can be transposed
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,raggedright,verbatim,raggedright]
twoWays = \transpose c c' {
\chordmode {
c1 f:sus4 bes/f
names. A chord is entered by the root, which is entered like a
normal pitch
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\chordmode { es4. d8 c2 }
@end lilypond
unaltered 3, the 11 is removed in this case (unless it is added
explicitly)
@c
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\chordmode { c:13 c:13.11 c:m13 }
@end lilypond
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
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\chordmode { c1 c/g c/f }
@end lilypond
@cindex @code{/+}
A bass note can be added instead of transposed out of the chord,
by using @code{/+}@var{pitch}.
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\chordmode { c1 c/+g c/+f }
@end lilypond
simply produces the augmented chord, since @code{5+} is interpreted
last
@cindex clusters
-@lilypond[quote,verbatim,fragment]
+@lilypond[quote,raggedright,verbatim,fragment]
\chordmode { c:5.5-.5+ }
@end lilypond
display chord names when there is a change in the chords scheme and at
the start of a new line
-@lilypond[quote,verbatim,linewidth=9\cm]
+@c originally this had linewidth=9\cm, but I though that raggedright would be better
+@lilypond[quote,verbatim,raggedright]
harmonies = \chordmode {
c1:m c:m \break c:m c:m d
}
Different parts of a chord name are normally separated by a
slash. By setting @code{chordNameSeparator}, you can specify other
separators, e.g.
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\context ChordNames \chordmode {
c:7sus4
\set chordNameSeparator
@code{\semiGermanChords} set these variables. The effect is
demonstrated here,
-@lilypondfile[]{chord-names-german.ly}
+@lilypondfile[raggedright,]{chord-names-german.ly}
There are also two other chord name schemes implemented: an alternate
Jazz chord notation, and a systematic scheme called Banter chords. The
@item The group is started with a brace at the left, and bar lines are
connected. This is done with the @internalsref{GrandStaff} context.
-@lilypond[verbatim,quote]
+@lilypond[verbatim,raggedright,quote]
\new GrandStaff
\relative <<
\new Staff { c1 c }
@item The group is started with a bracket, and bar lines are connected. This is done with the
@internalsref{StaffGroup} context
-@lilypond[verbatim,quote]
+@lilypond[verbatim,raggedright,quote]
\new StaffGroup
\relative <<
\new Staff { c1 c }
@item The group is started with a vertical line. Bar lines are not
connected. This is the default for the score.
-@lilypond[verbatim,quote]
+@lilypond[verbatim,raggedright,quote]
\relative <<
\new Staff { c1 c }
\new Staff { c c }
To print a rehearsal mark, use the @code{\mark} command
-@lilypond[quote,fragment,verbatim,relative=1]
+@lilypond[quote,raggedright,fragment,verbatim,relative=1]
c1 \mark \default
c1 \mark \default
c1 \mark #8
few measures, it is set to function that produces a boxed number.
@c fragproblem? -gp
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,raggedright,verbatim,relative=2]
{
\set Score.markFormatter = #format-mark-numbers
c1 \mark \default
to access the appropriate symbol
@c fragproblem? -gp
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,raggedright,verbatim,relative=2]
{
c1 \mark \markup { \musicglyph #"scripts-ufermata" }
c1
whose source is available as
@inputfileref{input/test,bar-number-regular-interval.ly}
-@lilypondfile[quote]{bar-number-regular-interval.ly}
+@lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
@seealso
@code{Score.skipBars}. If this is set to true, empty measures will not
be expanded, and the appropriate number is added automatically
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\time 4/4 r1 | R1 | R1*2
\set Score.skipBars = ##t R1*17 R1*4
@end lilypond
notes. Hence, for time signatures other than 4/4, you must enter other
durations. This can be done with augmentation dots or fractions
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\set Score.skipBars = ##t
\time 3/4
R2. | R2.*2
(a series of rectangles) in the staff. To replace that with a simple
rest, use @code{MultiMeasureRest.expand-limit}.
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\set Score.skipBars = ##t
R1*2 | R1*5 | R1*9
\override MultiMeasureRest #'expand-limit = 1
adding fermatas
-@lilypond[quote,verbatim,fragment]
+@lilypond[quote,raggedright,verbatim,fragment]
\set Score.skipBars = ##t
\time 3/4
R2.*10^\markup { \number 10 }_\markup { "Ad lib" }
in this example disappears in the second line
-@lilypond[quote,verbatim]
+@lilypond[quote,raggedright,verbatim]
\paper {
\context { \RemoveEmptyStaffContext }
}
@end example
would yield
-@lilypondfile[quote]{tag-filter.ly}
+@lilypondfile[raggedright,quote]{tag-filter.ly}
The argument of the @code{\tag} command should be a symbol, or a list
@c TODO: This should be done with \quote stuff, not manually.
-@lilypond[verbatim]
+@lilypond[raggedright,verbatim]
smaller = {
\set fontSize = #-1
\override Stem #'length = #5.5
modern style mensural C clef @tab
@code{neomensural-c1}, @code{neomensural-c2},
@code{neomensural-c3}, @code{neomensural-c4} @tab
-@lilypond[fragment,quote,relative=1,notime]
+@lilypond[fragment,raggedright,quote,relative=1,notime]
\clef "neomensural-c2" c
@end lilypond
The following examples shows the differences in style,
-@c why isn't relative working?
-@lilypond[raggedright,relative=1,quote]
+@lilypond[raggedright,fragment,relative=1,quote]
{
\fatText
\time 2/2
LilyPond has limited support for figured bass
-@lilypond[quote,verbatim,fragment]
+@lilypond[quote,raggedright,verbatim,fragment]
<<
\context Voice { \clef bass dis4 c d ais }
\context FiguredBass \figuremode {
@example
<4 6>
@end example
-@lilypond[quote,fragment]
+@lilypond[quote,raggedright,fragment]
\context FiguredBass
\figuremode { <4 6> }
@end lilypond
@example
<4- 6+ 7!>
@end example
-@lilypond[quote,fragment]
+@lilypond[quote,raggedright,fragment]
\context FiguredBass
\figuremode { <4- 6+ 7!> }
@end lilypond
@example
< [4 6] 8 [_! 12]>
@end example
-@lilypond[quote,fragment]
+@lilypond[quote,raggedright,fragment]
\context FiguredBass
\figuremode { < [4 6] 8 [_! 12]> }
@end lilypond
>>
@end verbatim
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
\paper{
\context{ \Score \remove "Timing_engraver" }
\context{ \Staff \consists "Timing_engraver" }
applying the function @code{makeClusters} to a sequence of
chords, e.g.
@c
-@lilypond[quote,relative=2,fragment,verbatim]
+@lilypond[quote,raggedright,relative=2,fragment,verbatim]
\makeClusters { <c e > <b f'> }
@end lilypond
@inputfileref{input/regression,cluster.ly}) shows what the result
looks like
-@lilypondfile[quote]{cluster.ly}
+@lilypondfile[raggedright,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
removing @code{Bar_number_engraver}.
-@lilypond
+@lilypond[]
emptymusic = {
\repeat unfold 2 % Change this for more lines.
{ s1\break }
Hidden (or invisible or transparent) notes can be useful in preparing theory
or composition exercises.
-@lilypond[quote,verbatim,relative=2,fragment]
+@lilypond[quote,raggedright,verbatim,relative=2,fragment]
c4 d4
\hideNotes
e4 f4
when doing pizzicato to indicate that the note should ring for as long
as possible.
-@lilypond[quote,verbatim,relative=0,fragment]
+@lilypond[quote,raggedright,verbatim,relative=0,fragment]
\clef bass
<< {
c4^"pizz"( \hideNotes c)
projects / lilypond.git / blobdiff