2005-08-18 Han-Wen Nienhuys <hanwen@xs4all.nl>
+ * input/regression/*.ly: remove superfluous \score blocks. Reindent.
+
* input/regression/slur-script.ly: remove padding tweaks. Add
comment strings.
}
-\score { \transpose c c'
- \context Staff <<
- \key g \major
- \context Voice = "va" { \stemUp c' fis! }
- \context Voice = "vb" { \stemDown c fis! }
- >>
+\transpose c c'
+\context Staff <<
+ \key g \major
+ \context Voice = "va" { \stemUp c' fis! }
+ \context Voice = "vb" { \stemDown c fis! }
+>>
+
+\layout { raggedright= ##t }
- \layout { raggedright= ##t }
-
-}
\header {
- texidoc = "Ledger lines are shortened when there are accidentals.
+ texidoc = "Ledger lines are shortened when there are accidentals.
This happens only for the single ledger line close to the note head,
and only if the accidental is horizontally close to the head. "
-
+
}
-\score {
-
- \relative c {
- disis
- dis
- d
- des
- deses
- eses
- es
- e
- eis
- eisis
- eses'''
- es
- e
- eis
- eisis
- feses
- fes
- f
- fis
- fisis
- <cis,, gis'>
-
- }
+\relative c {
+ disis
+ dis
+ d
+ des
+ deses
+ eses
+ es
+ e
+ eis
+ eisis
+ eses'''
+ es
+ e
+ eis
+ eisis
+ feses
+ fes
+ f
+ fis
+ fisis
+ <cis,, gis'>
+
+}
-}
\version "2.6.0"
\header {
-texidoc="
+ texidoc="
This shows how accidentals in different octaves are handled. The note names
are also automatically printed but the octavation has been dropped out.
"
\bar "|." \break
}
-\score {
- << \context Staff \mel
- \context NoteNames{
- \set printOctaveNames= ##f
- \mel
- }
- >>
-}
-
+<< \context Staff \mel
+ \context NoteNames{
+ \set printOctaveNames= ##f
+ \mel
+ }
+ >>
\header {
- texidoc ="Accidentals are placed as closely as possible.
+ texidoc ="Accidentals are placed as closely as possible.
Accidentals in corresponding octaves are aligned.
The top accidental should be nearest to the chord. The
flats in a sixth should be staggered. "
-
+
}
-\score {
- \context Voice \relative c'
- {
- <d e! bes'!>4
- cis4
- c4
- \transpose c c' {
- <ges es'>
- <bis es gis>4
- <es! as!>
- <gis! cis!>
- <g! des'>
- <ges! es'!>
- }
- <cis d es fis gis ases bes ces d e! >4
- <bes'! fis!>
- <bes! cis!>
- <c! es ges beses>
- <bes! c d f >
- <bes,! c d f >
-
- }
- \layout {
- raggedright = ##t
- }
+\context Voice \relative c'
+{
+ <d e! bes'!>4
+ cis4
+ c4
+ \transpose c c' {
+ <ges es'>
+ <bis es gis>4
+ <es! as!>
+ <gis! cis!>
+ <g! des'>
+ <ges! es'!>
+ }
+ <cis d es fis gis ases bes ces d e! >4
+ <bes'! fis!>
+ <bes! cis!>
+ <c! es ges beses>
+ <bes! c d f >
+ <bes,! c d f >
}
+\layout {
+ raggedright = ##t
+}
\header {
- texidoc = "Quarter tone notation is supported, including
+ texidoc = "Quarter tone notation is supported, including
threequarters flat."
- }
+}
\version "2.6.0"
-\score {
- \relative c'' {
- \time 12/4
- ceses4
- ceseh
- ces
- ceh
- c
- c
- cih
- cis
- cisih
- cisis
- }
- \layout { raggedright = ##t }
+\relative c'' {
+ \time 12/4
+ ceses4
+ ceseh
+ ces
+ ceh
+ c
+ c
+ cih
+ cis
+ cisih
+ cisis
}
+\layout { raggedright = ##t }
\version "2.6.0"
\header{
-texidoc="
+ texidoc="
A sharp sign after a double sharp sign, as well as a flat sign
after a double flat sign is automatically prepended with a
natural sign.
-thenotes = \relative cis' { \time 4/4
-gisis'4 gis gisis ges |
+thenotes = \relative cis' {
+ \time 4/4
+ gisis'4 gis gisis ges |
}
-\score { << \context Staff \thenotes
- \context NoteNames {
- \override NoteNames.NoteName #'no-spacing-rods = ##f
- \thenotes
- }
- >>
+<<
+ \context Staff \thenotes
+ \context NoteNames {
+ \override NoteNames.NoteName #'no-spacing-rods = ##f
+ \thenotes
+ }
+>>
+
\layout { raggedright = ##t }
-}
\header {
texidoc = "The second and third notes should not get accidentals,
- because they are tied to a note. However, an accidental is
+6 because they are tied to a note. However, an accidental is
present if the line is broken at the tie, which happens for the G
sharp."
<g b des f>8
}
-\score {
\rechts
- \layout {
- raggedright = ##t
- }
+\layout {
+ raggedright = ##t
}
\version "2.6.0"
\header{
-texidoc="
+ texidoc="
This shows how modern cross voice auto cautionary accidentals are handled.
The first two fisses get accidentals because they belong to different voices.
The first f gets cautionary natural because of previous measure.
voicea = \transpose c c' {
- \stemUp
- fis2 a2 f4 fis a2
+ \stemUp
+ fis2 a2 f4 fis a2
}
voiceb = \transpose c c' {
- \stemDown
- c2 fis2 f4 c f2
+ \stemDown
+ c2 fis2 f4 c f2
}
-\score {
- <<
-
- \new NoteNames {
- \set printOctaveNames = ##f
- \voicea
- }
- \context Staff <<
- #(set-accidental-style 'modern-voice-cautionary)
- \new Voice \voicea
- \new Voice \voiceb
- >>
- \new NoteNames {
- \set printOctaveNames = ##f
- \voiceb
+<<
+
+ \new NoteNames {
+ \set printOctaveNames = ##f
+ \voicea
+ }
+ \context Staff <<
+ #(set-accidental-style 'modern-voice-cautionary)
+ \new Voice \voicea
+ \new Voice \voiceb
+ >>
+ \new NoteNames {
+ \set printOctaveNames = ##f
+ \voiceb
- }
- >>
-\layout { raggedright = ##t }
-}
+ }
+>>
+ \layout { raggedright = ##t }
\version "2.6.0"
\header{
-texidoc="
+ texidoc="
Accidentals work: the second note does not get a sharp. The third and
fourth show forced and courtesy accidentals.
"
}
+\layout { raggedright = ##t }
+
foo = \relative c'' { \key as \major dis4 dis dis!^"force" dis? }
-\score {
- << \foo
+<< \foo
\context NoteNames \foo
- >>
-\layout { raggedright = ##t }
-}
+ >>
\layout { raggedright= ##t }
-\score { \relative c'' {
- c1 c1
-
- %% todo: should put something interesting in the .tex output.
-
- \applycontext
- #(lambda (tr)
- (format #t "\nWe were called in barnumber ~a.\n"
- (ly:context-property tr 'currentBarNumber)))
- c1 c1
-}}
+\relative c'' {
+ c1 c1
+
+ %% todo: should put something interesting in the .tex output.
+
+ \applycontext
+ #(lambda (tr)
+ (format #t "\nWe were called in barnumber ~a.\n"
+ (ly:context-property tr 'currentBarNumber)))
+ c1 c1
+}
\version "2.6.0"
\header {
-texidoc = "The @code{\applyoutput} expression is the most flexible way to
+ texidoc = "The @code{\applyoutput} expression is the most flexible way to
tune properties for individual grobs.
Here, the layout of a note head is changed depending on its vertical
#(define (mc-squared gr org cur)
(let*
- (
- (ifs (ly:grob-property gr 'interfaces))
- (sp (ly:grob-property gr 'staff-position))
- )
- (if (and (memq 'note-head-interface ifs)
- (memq sp '(-2 -3 -5)))
- (begin
- (ly:grob-set-property! gr 'print-function Text_interface::print)
- (ly:grob-set-property! gr 'font-family 'roman)
- (ly:grob-set-property!
- gr 'text
- (make-raise-markup -0.5
- (case sp
- ((-5) (make-simple-markup "m"))
- ((-3) (make-simple-markup "c "))
- ((-2) (make-smaller-markup (make-bold-markup "2")))
- (else (make-simple-markup "bla"))
- ))))
- )))
-
-\score {
-
- \context Voice \relative c' {
- \stemUp
- \set autoBeaming = ##f
- { <d f g b>8
- \context Voice \applyoutput #mc-squared
-
- <d f g b>
- }
-
- }
-\layout { raggedright = ##t
-% outputscale = 5
- }
+ (
+ (ifs (ly:grob-property gr 'interfaces))
+ (sp (ly:grob-property gr 'staff-position))
+ )
+ (if (and (memq 'note-head-interface ifs)
+ (memq sp '(-2 -3 -5)))
+ (begin
+ (ly:grob-set-property! gr 'print-function Text_interface::print)
+ (ly:grob-set-property! gr 'font-family 'roman)
+ (ly:grob-set-property!
+ gr 'text
+ (make-raise-markup -0.5
+ (case sp
+ ((-5) (make-simple-markup "m"))
+ ((-3) (make-simple-markup "c "))
+ ((-2) (make-smaller-markup (make-bold-markup "2")))
+ (else (make-simple-markup "bla"))
+ ))))
+ )))
+
+\context Voice \relative c' {
+ \stemUp
+ \set autoBeaming = ##f
+ { <d f g b>8
+ \context Voice \applyoutput #mc-squared
+
+ <d f g b>
+ }
+
}
+
+\layout { raggedright = ##t }
\version "2.6.0"
\header{
-texidoc="
+ texidoc="
A square bracket on the left indicates that the player should not
arpeggiate the chord.
"
}
-\score{
- \relative c''{
- \arpeggioBracket
-
- <fis, d a >\arpeggio
- }
-
- \layout { raggedright= ##t }
+\relative c''{
+ \arpeggioBracket
+
+ <fis, d a >\arpeggio
}
+\layout { raggedright= ##t }
+
texidoc = "Arpeggio stays clear of accidentals and flipped note heads."
}
-\score{
- \transpose c c' {
- <fis'' g d a>\arpeggio
- <fis, g d a>\arpeggio
- <fis'' g d a>\arpeggio
- }
- \layout {
- raggedright = ##t
- \context{
- \Staff
- connectArpeggios = ##t
- }
- }
+\transpose c c' {
+ <fis'' g d a>\arpeggio
+ <fis, g d a>\arpeggio
+ <fis'' g d a>\arpeggio
+}
+\layout {
+ raggedright = ##t
+ \context{
+ \Staff
+ connectArpeggios = ##t
+ }
}
\version "2.6.0"
\header{
-texidoc="
+ texidoc="
Arpeggios are supported, both cross-staff and broken single staff.
"
}
-\score{
- \context PianoStaff <<
- \new Staff \relative c''{
- <fis, d a>\arpeggio
- \override Staff.Arpeggio #'arpeggio-direction = #1
- <fis d a >\arpeggio
- %%\override PianoStaff.SpanArpeggio #'connect = ##t
- \set PianoStaff.connectArpeggios = ##t
- <fis d a>\arpeggio
- }
- \new Staff\relative c{
- \clef bass
- <g b d>\arpeggio
- \override Staff.Arpeggio #'arpeggio-direction = #-1
- <g b d>\arpeggio
- <g b d>\arpeggio
- }
- >>
- \layout { raggedright= ##t }
-}
+\context PianoStaff <<
+ \new Staff \relative c''{
+ <fis, d a>\arpeggio
+ \override Staff.Arpeggio #'arpeggio-direction = #1
+ <fis d a >\arpeggio
+ %%\override PianoStaff.SpanArpeggio #'connect = ##t
+ \set PianoStaff.connectArpeggios = ##t
+ <fis d a>\arpeggio
+ }
+ \new Staff\relative c{
+ \clef bass
+ <g b d>\arpeggio
+ \override Staff.Arpeggio #'arpeggio-direction = #-1
+ <g b d>\arpeggio
+ <g b d>\arpeggio
+ }
+>>
+\layout { raggedright= ##t }
texidoc="No auto beams will be put over (manual) repeat bars."
}
-\score {
- {
- \time 3/4
- a'4 b' c''8 \bar ":|:" d''8
- }
- \layout{
- raggedright = ##t
+{
+ \time 3/4
+ a'4 b' c''8 \bar ":|:" d''8
}
+\layout{
+ raggedright = ##t
}
\header
{
-texidoc = "Automatic beaming is also done on tuplets."
+ texidoc = "Automatic beaming is also done on tuplets."
}
\version "2.6.0"
-\score{
- \relative c''{
- c8 c c c
- \times 4/6 { c c c c c c}
- }
- \layout { raggedright= ##t }
+\relative c''{
+ c8 c c c
+ \times 4/6 { c c c c c c}
}
+\layout { raggedright= ##t }
\version "2.6.0"
\header {
-texidoc = "Tuplet-spanner should not put (visible) brackets on
+ texidoc = "Tuplet-spanner should not put (visible) brackets on
beams even if they're auto generated."
}
-\score { \relative c' {
+\relative c' {
\set tupletSpannerDuration = #(ly:make-moment 1 4)
\override TupletBracket #'bracket-visibility = #'if-no-beam
\times 2/3 {
- f8[ f f ] f8[ f f ] f f f f f f
- }
+ f8[ f f ] f8[ f f ] f f f f f f
+ }
}
- \layout { raggedright= ##t }
+\layout { raggedright= ##t }
- }
\header {
-texidoc="Beams are place automatically; the last measure should have a single
+ texidoc="Beams are place automatically; the last measure should have a single
beam."
}
\layout { raggedright = ##t }
-\score {
- \relative c'' {
- a\longa a\breve
- a1 a2 a4 a8 a16 a32 a64 a64
- }
- \layout {
- \context {
- \Staff
- \remove "Clef_engraver"
- }
+\relative c'' {
+ a\longa a\breve
+ a1 a2 a4 a8 a16 a32 a64 a64
+}
+\layout {
+ \context {
+ \Staff
+ \remove "Clef_engraver"
}
}
}
\layout { raggedright= ##t }
-\score {
- \context PianoStaff <<
- \context Staff = "up" {
- \autochange \context Voice = VA << \relative c' { g4 c e d c r4 a g } >>
- }
- \context Staff = "down" {
- \clef bass
- s1*2
- }
+\context PianoStaff <<
+ \context Staff = "up" {
+ \autochange \context Voice = VA << \relative c' { g4 c e d c r4 a g } >>
+ }
+ \context Staff = "down" {
+ \clef bass
+ s1*2
+ }
- >>
-
-}
+>>
\header {
- texidoc = "With balloon texts, objects in the output can be marked,
+ texidoc = "With balloon texts, objects in the output can be marked,
with lines and explanatory text added."
- }
+}
\version "2.6.0"
-\score {
- {
-
- \relative c' {
+{
+
+ \relative c' {
- %% by hand:
- \once\override Stem #'print-function = #Balloon_interface::print
- \once\override Stem #'balloon-original-callback = #Stem::print
- \once\override Stem #'balloon-text = #"I'm a stem"
- \once\override Stem #'balloon-text-offset = #'(3 . 4)
- \once\override Stem #'balloon-text-props
- = #'((font-family . roman))
+ %% by hand:
+ \once\override Stem #'print-function = #Balloon_interface::print
+ \once\override Stem #'balloon-original-callback = #Stem::print
+ \once\override Stem #'balloon-text = #"I'm a stem"
+ \once\override Stem #'balloon-text-offset = #'(3 . 4)
+ \once\override Stem #'balloon-text-props
+ = #'((font-family . roman))
- %% use predefd function.
- \context Voice \applyoutput #(add-balloon-text
- 'NoteHead "heads, or tails?"
- '(0 . -3))
+ %% use predefd function.
+ \context Voice \applyoutput #(add-balloon-text
+ 'NoteHead "heads, or tails?"
+ '(0 . -3))
-
- c8
- }
+
+ c8
}
- \layout{ raggedright = ##t }
}
+\layout{ raggedright = ##t }
\version "2.6.0"
-\header{ texidoc="A knee is made automatically when a horizontal
+\header
+{
+ texidoc="A knee is made automatically when a horizontal
beam fits in a gap between note heads that is larger than a predefined
threshold.
"
}
-\score {
- \context Staff \relative c''{
- c'8[ c,,] c8[ e']
- c,16[ e g c e g c c,,]
- }
- \layout{
- raggedright = ##t
- }
+\context Staff \relative c''{
+ c'8[ c,,] c8[ e']
+ c,16[ e g c e g c c,,]
+}
+\layout{
+ raggedright = ##t
}
\header {
- texidoc = "Beams can be printed across line breaks, if forced.
+ texidoc = "Beams can be printed across line breaks, if forced.
"
}
\version "2.6.0"
\layout { raggedright= ##t }
-\score { \relative c'' {
- \set Score.allowBeamBreak = ##t
- \time 3/16 c16-[ d e \break f-]
-}}
+\relative c'' {
+ \set Score.allowBeamBreak = ##t
+ \time 3/16 c16-[ d e \break f-]
+}
\version "2.6.0"
\header{
- texidoc="Simple beams on middle staffline are allowed to be
+ texidoc="Simple beams on middle staffline are allowed to be
slightly sloped, even if the notes have ledgers. Beams reaching
beyond middle line can have bigger slope."
}
-\score{
- \relative c'{
- %%\override Staff.Stem #'beamed-lengths = #'(3.50)
- %% c8[ d]
- %% d[ c]
- %% r2
- %% \override Staff.Stem #'beamed-lengths = #'(3.26)
-
- a8[^"small slope" b]
- b[ a]
-
- c''[ b]
- b[ c]
-
- % baerenreiter test
- b,,[ c]
- c[ b]
-
- b''[ a]
- a[ b]
-
- c,,[ d]
- d[ c]
-
- a''[ g]
- g[ a]
-
- c,,[^"bigger slope" e]
- e[ c]
-
- a''[ f]
- f[ a]
- }
- \layout{
- raggedright = ##t
- indent = 0
- }
+\relative c'{
+ %%\override Staff.Stem #'beamed-lengths = #'(3.50)
+ %% c8[ d]
+ %% d[ c]
+ %% r2
+ %% \override Staff.Stem #'beamed-lengths = #'(3.26)
+
+ a8[^"small slope" b]
+ b[ a]
+
+ c''[ b]
+ b[ c]
+
+ % baerenreiter test
+ b,,[ c]
+ c[ b]
+
+ b''[ a]
+ a[ b]
+
+ c,,[ d]
+ d[ c]
+
+ a''[ g]
+ g[ a]
+
+ c,,[^"bigger slope" e]
+ e[ c]
+
+ a''[ f]
+ f[ a]
+}
+\layout{
+ raggedright = ##t
+ indent = 0
}
#(define (<> x y) (not (= x y)))
-\score{
\new Voice {
\override Beam #'position-callbacks = #(check-slope-callbacks =)
\rossBeams
raggedright = ##t
#(define debug-beam-quanting #t)
}
-}
\header{
- texidoc="Automatic cross-staff knees work also (here they were
+ texidoc="Automatic cross-staff knees work also (here they were
produced with explicit staff switches)."
- }
+}
-\score {
- \context PianoStaff <<
- \context Staff = "up" \relative c''{
- b8[ \change Staff="down" d,, ]
- c[ \change Staff="up" c'' ]
- b,[ \change Staff="down" d^"no knee" ]
- }
- \context Staff = "down" {
- \clef bass
- s2.
- }
- >>
- \layout{
- raggedright = ##t
+\context PianoStaff <<
+ \context Staff = "up" \relative c''{
+ b8[ \change Staff="down" d,, ]
+ c[ \change Staff="up" c'' ]
+ b,[ \change Staff="down" d^"no knee" ]
+ }
+ \context Staff = "down" {
+ \clef bass
+ s2.
}
+>>
+\layout{
+ raggedright = ##t
}
texidoc = "Cross staff (kneed) beams do not cause extreme slopes."
}
-\score {
- \context PianoStaff <<
- \context Staff = "up"
- \relative c'' <<
- {
- \stemDown
- f16( \> d b\! \change Staff = down \stemUp
- \clef treble g ~ < g e>8)
-
- e[ \change Staff = up
- \stemDown
- e e]
- \change Staff = down
- \stemUp
- e8.[
- \change Staff = up
- \stemDown
- e8.]
-
- } \\
- >>
- \context Staff = "down" {
- \time 3/8 \clef bass s4.*3 }
- >>
- \layout { raggedright = ##t}
-}
+\layout { raggedright = ##t}
+
+\context PianoStaff <<
+ \context Staff = "up"
+ \relative c'' <<
+ {
+ \stemDown
+ f16( \> d b\! \change Staff = down \stemUp
+ \clef treble g ~ < g e>8)
+
+ e[ \change Staff = up
+ \stemDown
+ e e]
+ \change Staff = down
+ \stemUp
+ e8.[
+ \change Staff = up
+ \stemDown
+ e8.]
+
+ } \\
+ >>
+ \context Staff = "down" {
+ \time 3/8 \clef bass s4.*3 }
+>>
behave well, wherever the switching point is.
"
}
-\score{
- \context PianoStaff <<
- \context Staff = "one" \relative c'{
- \stemUp c8[ c \change Staff=two \stemUp c c]
- c[ c c c]
- \change Staff=one
- \stemDown c8[ c \change Staff=two \stemUp c c]
- r2
- \stemDown c8[ c \change Staff=one \stemDown c c]
- r2
- \change Staff=two
- \stemUp c8[ c \change Staff=one \stemDown c c]
- r2
- }
- \context Staff = "two" \relative c'{
- \clef bass
- s1
- s1
- s1
- s1
- }
- >>
-}
+
+\context PianoStaff <<
+ \context Staff = "one" \relative c'{
+ \stemUp c8[ c \change Staff=two \stemUp c c]
+ c[ c c c]
+ \change Staff=one
+ \stemDown c8[ c \change Staff=two \stemUp c c]
+ r2
+ \stemDown c8[ c \change Staff=one \stemDown c c]
+ r2
+ \change Staff=two
+ \stemUp c8[ c \change Staff=one \stemDown c c]
+ r2
+ }
+ \context Staff = "two" \relative c'{
+ \clef bass
+ s1
+ s1
+ s1
+ s1
+ }
+>>
\header { texidoc = "@cindex Beam Damp
Beams are less steep than the notes they encompass. " }
-\score{
- \relative c''{
-% \stemUp
-% a16[ b b c]
-% c[ b b a]
-% \stemDown
-% c[ b b a]
-% a[ b b c]
- \stemUp
- g16[ a b c]
- c[ b a g]
- \stemDown
- d'[ c b a]
- a[ b c d]
- }
- \layout{
- raggedright = ##t
- }
+\relative c''{
+ %% \stemUp
+ %% a16[ b b c]
+ %% c[ b b a]
+ %% \stemDown
+ %% c[ b b a]
+ %% a[ b b c]
+ \stemUp
+ g16[ a b c]
+ c[ b a g]
+ \stemDown
+ d'[ c b a]
+ a[ b c d]
+}
+\layout{
+ raggedright = ##t
}
texidoc="Beamed stems have standard lengths if possible. Quantization is switched off in this example."
}
-\score{
- \relative c'{
- \override Beam #'position-callbacks =
- #`(,Beam::least_squares
- ,Beam::check_concave
- ,Beam::slope_damping)
+\relative c'{
+ \override Beam #'position-callbacks =
+ #`(,Beam::least_squares
+ ,Beam::check_concave
+ ,Beam::slope_damping)
- f4 f8[ f] f16[ f] f32[ f] f64[ f] f128[ f]
- }
- \layout{ raggedright = ##t}
-}
+ f4 f8[ f] f16[ f] f32[ f] f64[ f] f128[ f]
+}
+\layout{ raggedright = ##t}
}
}
-\score {
- {
- % If we want to test extreme beams,
- % we should not have them auto-kneed
- \override Beam #'auto-knee-gap = ##f
- \extreme
-
+{
+ % If we want to test extreme beams,
+ % we should not have them auto-kneed
+ \override Beam #'auto-knee-gap = ##f
+ \extreme
+}
- %% what does this test? --hwn
-%{
- \override Beam #'slope-limit = #1000
- \extreme
- %}
- }
- \layout{
-% raggedright = ##t
- raggedright = ##t
- }
+\layout{
+ %% raggedright = ##t
+ raggedright = ##t
}
\version "2.6.0"
\header {
-texidoc=" Funky kneed beams with beamlets also work. The beamlets
+ texidoc=" Funky kneed beams with beamlets also work. The beamlets
should be pointing to the note head.
"
}
-\score {
- \relative c' {
- c16 c''8 c,,16
- c16 c''8 c16
- c16 c,,8 c16
-
- }
- \layout { raggedright = ##t}
+\relative c' {
+ c16 c''8 c,,16
+ c16 c''8 c16
+ c16 c,,8 c16
+
}
+\layout { raggedright = ##t}
\version "2.6.0"
\header {
-
- texidoc = "In complex configurations of knee beaming, according to
+
+ texidoc = "In complex configurations of knee beaming, according to
Paul Roberts, the first stem of a beam determines the direction of the
beam, and as such the way that following (kneed) stems attach to the
beam. This is in disagreement with the current algorithm."
-
+
}
-\score {
\relative c'
- {
- \override Beam #'auto-knee-gap = #7
- \set subdivideBeams = ##t
- \time 8/8
- c,16[ g'''16
- c,,,16 g'''16
- c,,,16 g'''16
- c,,,16 g'''16 ]
+{
+ \override Beam #'auto-knee-gap = #7
+ \set subdivideBeams = ##t
+ \time 8/8
+ c,16[ g'''16
+ c,,,16 g'''16
+ c,,,16 g'''16
+ c,,,16 g'''16 ]
- c,,,16[ c c c
- b''' b b b]
+ c,,,16[ c c c
+ b''' b b b]
- \transpose c' a, { \relative b'' { g,16[ g'''16
- g,,,16 g'''16
- g,,,16 g'''16
- g,,,16 g'''16
- g g,,,
- g''' g,,,
- g''' g,,,
- g''' g,,,] } }
-
- }
+ \transpose c' a, {
+ \relative b'' { g,16[ g'''16
+ g,,,16 g'''16
+ g,,,16 g'''16
+ g,,,16 g'''16
+ g g,,,
+ g''' g,,,
+ g''' g,,,
+ g''' g,,,]
+ }
+ }
+}
\layout { raggedright = ##t}
- }
-
"
}
-\score{
- \context PianoStaff <<
- \context Staff = "one" \relative c'{
- s1
- }
- \context Staff = "two" \relative c'{
- \clef bass
-% no knee
- \stemUp c8[ \change Staff=one \stemDown g'16 f]
- s8
- s2
- }
- >>
- \layout{
- raggedright = ##t
- }
+\context PianoStaff <<
+ \context Staff = "one" \relative c'{
+ s1
+ }
+ \context Staff = "two" \relative c'{
+ \clef bass
+ % no knee
+ \stemUp c8[ \change Staff=one \stemDown g'16 f]
+ s8
+ s2
+ }
+>>
+\layout{
+ raggedright = ##t
}
}
-\score{
\relative c'{
a8[ b'' a,, b'']
b8[ a,, b'' a,,]
\layout{
raggedright = ##t
}
-}
\version "2.6.0"
\header{
-texidoc="
+ texidoc="
Beams should look the same.
"
}
- \layout { raggedright= ##t }
+\layout { raggedright= ##t }
-
-\score {
- \context Voice \relative c {
- d''8[ d d] d[ g d]
- c c
- }
+
+\context Voice \relative c {
+ d''8[ d d] d[ g d]
+ c c
}
\header {
- texidoc =
- "Beaming can be overidden for individual stems."
+ texidoc =
+ "Beaming can be overidden for individual stems."
}
-\score {
- \relative c'' {
- c32[ c
+\relative c'' {
+ c32[ c
- %% WARNING: #'beaming is written, so this
- %% property can not be shared between objects. Always use
- %% \once.
- %%
+ %% WARNING: #'beaming is written, so this
+ %% property can not be shared between objects. Always use
+ %% \once.
+ %%
- \once \override Stem
- #'beaming = #(cons (list 1 2) (list 0 2 4))
- c
- \once \override Stem
- #'beaming = #(cons (list 0 2 4) (list 0 1 4))
- c c c]
- }
- \layout{
- raggedright = ##t
- }
+ \once \override Stem
+ #'beaming = #(cons (list 1 2) (list 0 2 4))
+ c
+ \once \override Stem
+ #'beaming = #(cons (list 0 2 4) (list 0 1 4))
+ c c c]
+}
+\layout{
+ raggedright = ##t
}
\version "2.6.0"
\header {
- texidoc = "Kneed beams (often happens with cross-staff beams)
+ texidoc = "Kneed beams (often happens with cross-staff beams)
should look good when there are multiple beams: all the beams should
go on continuously at the staff change. Stems in both staves reach up
to the last beam.
"
}
-\score {
- \context PianoStaff \relative c' <<
- \context Staff = SA {
- \stemDown
- c8[ c16 \change Staff = SB \stemUp c16 ]
- \stemNeutral
- f[ g \change Staff = SA a c]
- }
- \context Staff = SB \relative c' {
-\clef bass
- b8[ b16 \stemUp b,,16 ]
+\context PianoStaff \relative c' <<
+ \context Staff = SA {
+ \stemDown
+ c8[ c16 \change Staff = SB \stemUp c16 ]
+ \stemNeutral
+ f[ g \change Staff = SA a c]
+ }
+ \context Staff = SB \relative c' {
+ \clef bass
+ b8[ b16 \stemUp b,,16 ]
- g'4\rest
- b,8[ b16 \stemDown b''16 b ]
- }
-
- >>
- \layout { raggedright= ##t }
+ g'4\rest
+ b,8[ b16 \stemDown b''16 b ]
+ }
+
+>>
+\layout { raggedright= ##t }
-}
\version "2.6.0"
\header {
-texidoc = "Explicit beams may cross barlines. "
+ texidoc = "Explicit beams may cross barlines. "
}
-\score {
- \relative c'' { c2. c8[ c8 c8 c8] }
+\relative c'' { c2. c8[ c8 c8 c8] }
- \layout { raggedright= ##t }
+\layout { raggedright= ##t }
-}
\version "2.6.0"
\header{
-texidoc=" Beams on ledgered notes should always reach the middle staff
+ texidoc=" Beams on ledgered notes should always reach the middle staff
line. The second beam counting from the note head side, should never
be lower than the second staff line. This does not hold for grace
note beams. Override with @code{no-stem-extend}. "
}
-\score {
- \context Voice \relative c {
- f8[ f] f64[ f]
- \grace {
- f8[ e8]
- \override Stem #'no-stem-extend = ##f
- f8[ e8]
- \revert Stem #'no-stem-extend
- }
- f8[ f]
-
+\context Voice \relative c {
+ f8[ f] f64[ f]
+ \grace {
+ f8[ e8]
+ \override Stem #'no-stem-extend = ##f
+ f8[ e8]
+ \revert Stem #'no-stem-extend
}
- \layout {
- raggedright = ##t
- }
- \midi { }
+ f8[ f]
+
}
+\layout {
+ raggedright = ##t
+}
\version "2.6.0"
-\score {
- \relative c''{
-\time 3/8
-a'16[ b] g[ b]
-a32[ b] g[ b]
-g16[ a] f[ a]
-g32[ a] f[ a]
-f16[ g] e[ g]
-f32[ g] e[ g]
-e16[ f] d[ f]
-e32[ f] d[ f]
-d16[ e] c[ e]
-d32[ e] c[ e]
-c16[ d] b[ d]
-c32[ d] b[ d]
-a'32[ a] g[ g] f[ f] e[ e] d[ d] c[ c]
-}
-\layout { }
+\relative c''{
+ \time 3/8
+ a'16[ b] g[ b]
+ a32[ b] g[ b]
+ g16[ a] f[ a]
+ g32[ a] f[ a]
+ f16[ g] e[ g]
+ f32[ g] e[ g]
+ e16[ f] d[ f]
+ e32[ f] d[ f]
+ d16[ e] c[ e]
+ d32[ e] c[ e]
+ c16[ d] b[ d]
+ c32[ d] b[ d]
+ a'32[ a] g[ g] f[ f] e[ e] d[ d] c[ c]
}
}
-\score{
- \relative c' {
- c8[ c] a''[ a]
- a,[ a] c[ c]
- d,8[ d] g'[ g]
- g,[ g] d'[ d]
- c,16[ c] a''[ a]
- a,[ a ] c[ c]
- \break
- c,32[ c] a''[ a]
- f,[ f] e'[ e]
- c,64[ c] a''[ a]
- f,[ f] e'[ e]
- \break
- }
+\relative c' {
+ c8[ c] a''[ a]
+ a,[ a] c[ c]
+ d,8[ d] g'[ g]
+ g,[ g] d'[ d]
+ c,16[ c] a''[ a]
+ a,[ a ] c[ c]
+ \break
+ c,32[ c] a''[ a]
+ f,[ f] e'[ e]
+ c,64[ c] a''[ a]
+ f,[ f] e'[ e]
+ \break
}
\header {
- texidoc = "The number of beams does not change on a rest."
+ texidoc = "The number of beams does not change on a rest."
}
\version "2.6.0"
-\score { \relative c, {
+\relative c, {
\clef bass
- e8[ r16 f d'8 e16 e16] c8[ c16 r16 bes8 r16 c16] |
- }
-\layout { raggedright = ##t}
+ e8[ r16 f d'8 e16 e16] c8[ c16 r16 bes8 r16 c16] |
}
+\layout { raggedright = ##t }
\version "2.6.0"
+
\header{
- texidoc="
-Engraving second intervals is tricky. We used to have problems with seconds
-being too steep, or getting too long stems. In a file like this, showing
-seconds, you'll spot something fishy very quickly.
-
-" }
-\score{
- \relative c''{
- \stemUp
- b8[ c]
- b16[ c]
- a'[ b]
- }
- \layout{
- raggedright = ##t
- }
+
+ texidoc="Engraving second intervals is tricky. We used to have
+problems with seconds being too steep, or getting too long stems. In
+a file like this, showing seconds, you'll spot something fishy very
+quickly."
+
+}
+
+
+\relative c''{
+ \stemUp
+ b8[ c]
+ b16[ c]
+ a'[ b]
+}
+\layout{
+ raggedright = ##t
}
texidoc="Beams in unnatural direction, have shortened stems, but do not look too short."
}
-\score{
- \relative c'{
- \override Beam #'position-callbacks =
- #`(,Beam::least_squares
- ,Beam::check_concave
- ,Beam::slope_damping)
- \stemUp
- f'4 f8[ f] f16[ f] f32[ f] f64[ f] f128[ f]
- }
- \layout{ raggedright = ##t}
-}
+\relative c'{
+ \override Beam #'position-callbacks =
+ #`(,Beam::least_squares
+ ,Beam::check_concave
+ ,Beam::slope_damping)
+ \stemUp
+ f'4 f8[ f] f16[ f] f32[ f] f64[ f] f128[ f]
+}
+\layout{ raggedright = ##t }
\version "2.6.0"
\header {
-texidoc = "Automatic beaming works also in ternary time sigs."
+ texidoc = "Automatic beaming works also in ternary time sigs."
}
-\score {
- \relative c'' {
-\time 6/8
- c8.[ c16 c16 c16]
+\relative c'' {
+ \time 6/8
+ c8.[ c16 c16 c16]
}
\layout { raggedright = ##t}
-}
"
}
-\score { \context Staff \relative c'' {
- c8.[ c16]
- c8.[ c16 c8. c16]
- c16[ c8.] |
- c8.[ c16 c16 c8.]
- c8.[ c32 c32]
- c8[ c8] |
- c16[ c16]
- c32[ c32]
- c64[ c64]
- c32
- c2
+\context Staff \relative c'' {
+ c8.[ c16]
+ c8.[ c16 c8. c16]
+ c16[ c8.] |
+ c8.[ c16 c16 c8.]
+ c8.[ c32 c32]
+ c8[ c8] |
+ c16[ c16]
+ c32[ c32]
+ c64[ c64]
+ c32
+ c2
- c8[ c c] c8 % over barline
- c16[ c8 c16]
- c32[ c16 c16 c16 c32]
- c32[ c16 c8 c32] % hmm ?
-
- }}
+ c8[ c c] c8 % over barline
+ c16[ c8 c16]
+ c32[ c16 c16 c16 c32]
+ c32[ c16 c8 c32] % hmm ?
+
+}
\layout { raggedright= ##t }
-\score {
\relative c'
- {
- c16[ c8.]
- c8.[ c16]
- c8[ c16 c16 c8]
- c8[ c16 e16 g8]
+{
+ c16[ c8.]
+ c8.[ c16]
+ c8[ c16 c16 c8]
+ c8[ c16 e16 g8]
- }}
+}
\version "2.6.0"
\header{
-texidoc="
+ texidoc="
Breaks can be encouraged and discouraged using @code{\\break} and
@code{\\noBreak}."
}
-\score{
- \relative c'' \context Voice{
- \emptyText
- c1 \noBreak c1 \noBreak \mark "nobreak" c1 \noBreak
- c1 \break \mark "break" c1 \break \mark "break" c1
- }
- \layout {
- indent = 0.0
- linewidth = 4.0\cm}
+\relative c'' \context Voice {
+ \emptyText
+ c1 \noBreak c1 \noBreak \mark "nobreak" c1 \noBreak
+ c1 \break \mark "break" c1 \break \mark "break" c1
+}
+\layout {
+ indent = 0.0
+ linewidth = 4.0\cm
}
\version "2.6.0"
\header{
-texidoc="
+ texidoc="
Gregorian chant notation sometimes also uses commas and ticks, but in
smaller font size (we call it 'virgula' and 'caesura'). However, the
most common breathing signs are divisio minima/maior/maxima and
\include "gregorian-init.ly"
-\score {
- %
- % Gregorian notation:
- %
- \context VaticanaStaff {
- \relative c' {
+%%
+%% Gregorian notation:
+%%
+\context VaticanaStaff {
+ \relative c' {
- % we turn bars and bar numbers off for Gregorian stuff
- \override Staff.BarLine #'transparent = ##t
- \override Score.BarNumber #'transparent = ##t
+ %% we turn bars and bar numbers off for Gregorian stuff
+ \override Staff.BarLine #'transparent = ##t
+ \override Score.BarNumber #'transparent = ##t
- % here is no \breathe
- c g c
+ %% here is no \breathe
+ c g c
- % \virgula applies rcomma, but in a smaller font
- c \virgula g c
+ %% \virgula applies rcomma, but in a smaller font
+ c \virgula g c
- % \caesura applies rvarcomma, but in a smaller font
- c \caesura g c
+ %% \caesura applies rvarcomma, but in a smaller font
+ c \caesura g c
- % \divisioMinima is a simple vertical stroke through the
- % uppermost staffline, just like the original implementation
- % of breathing signs.
- c \divisioMinima g c
+ %% \divisioMinima is a simple vertical stroke through the
+ %% uppermost staffline, just like the original implementation
+ %% of breathing signs.
+ c \divisioMinima g c
- % \divisio{maior,maxima} and \finalis look like bars and are
- % vertically centered on the staff; the direction property has
- % no effect
- c \divisioMaior g c
- c \divisioMaxima g c
+ %% \divisio{maior,maxima} and \finalis look like bars and are
+ %% vertically centered on the staff; the direction property has
+ %% no effect
+ c \divisioMaior g c
+ c \divisioMaxima g c
- % this one looks almost like a "||" type bar
- \finalis
- }
- }
+ %% this one looks almost like a "||" type bar
+ \finalis
+ }
}
\version "2.6.0"
\header{
-texidoc="
+ texidoc="
Breathing signs are available in different tastes: commas (default),
ticks, vees and `railroad tracks' (caesura)."
- }
-
-
-\score {
-
- {
- %
- % Modern notation:
- %
- \new Staff {
- \relative c'' {
- \key es \major \time 3/4
-
- % this bar contains no \breathe
- <<
- { g4 as g } \\
- { es4 bes es }
- >> |
-
- % by default, \breathe uses the rcomma, just as if saying:
- % \override BreathingSign #'text =
- % #(make-musicglyph-markup "scripts.rcomma")
- <<
- { g4 as g } \\
- { es4 \breathe bes es }
- >> |
-
- % rvarcomma and lvarcomma are variations of the default rcomma
- % and lcomma
-
- % N.B.: must use Staff context here, since we start a Voice below
- \override Staff.BreathingSign #'text =
- #(make-musicglyph-markup "scripts.rvarcomma")
- <<
- { g4 as g } \\
- { es4 \breathe bes es }
- >> |
-
- % wedge
- \override BreathingSign #'text =
- #(make-musicglyph-markup "scripts.upbow")
- es8 d es f g8 \breathe f |
-
- % caesura
- \override BreathingSign #'text =
- #(make-musicglyph-markup "scripts.caesura")
- es8[ d] \breathe es[ f g f] |
- es2 r4 \bar "||" \break
- }
+}
+
+
+{
+ %% Modern notation:
+ \new Staff {
+ \relative c'' {
+ \key es \major \time 3/4
+
+ %% this bar contains no \breathe
+ <<
+ { g4 as g } \\
+ { es4 bes es }
+ >> |
+
+ %% by default, \breathe uses the rcomma, just as if saying:
+ %% \override BreathingSign #'text =
+ % #(make-musicglyph-markup "scripts.rcomma")
+ <<
+ { g4 as g } \\
+ { es4 \breathe bes es }
+ >> |
+
+ %% rvarcomma and lvarcomma are variations of the default rcomma
+ %% and lcomma
+
+ %% N.B.: must use Staff context here, since we start a Voice below
+ \override Staff.BreathingSign #'text =
+ #(make-musicglyph-markup "scripts.rvarcomma")
+ <<
+ { g4 as g } \\
+ { es4 \breathe bes es }
+ >> |
+
+ %% wedge
+ \override BreathingSign #'text =
+ #(make-musicglyph-markup "scripts.upbow")
+ es8 d es f g8 \breathe f |
+
+ %% caesura
+ \override BreathingSign #'text =
+ #(make-musicglyph-markup "scripts.caesura")
+ es8[ d] \breathe es[ f g f] |
+ es2 r4 \bar "||" \break
}
}
}
\version "2.6.0"
\header{
-texidoc="Property chordChanges: display chord names only when
+ texidoc="Property chordChanges: display chord names only when
there's a change in the chords scheme, but always display the
chord name after a line break.
"
settings = {
}
-\score {
- <<
- \context ChordNames <<
- \scheme
- \set chordChanges = ##t
- >>
- \context Staff \transpose c c' \scheme
- >>
- \layout{ raggedright = ##t }
-}
+<<
+ \context ChordNames <<
+ \scheme
+ \set chordChanges = ##t
+ >>
+ \context Staff \transpose c c' \scheme
+>>
+ \layout{ raggedright = ##t }
\header {
-texidoc = "In ignatzek inversions, a note is dropped down to act as the
+ texidoc = "In ignatzek inversions, a note is dropped down to act as the
bass note of the chord. Bass note may be also added explicitly.
Above the staff: computed chord names. Below staff: entered chord name.
"
bladidbla = \chordmode {
- f4:maj7/e_":maj7/e" f:maj7/f_":maj7/f" f2:maj7/g_":maj7/g"
- f4:maj7/+e_":maj7/+e" f:maj7/+f_":maj7/+f" f2:maj7/+g_":maj7/+g"
- }
-
-\score {
-<< \context ChordNames \bladidbla
- \context Voice \bladidbla >>
+ f4:maj7/e_":maj7/e" f:maj7/f_":maj7/f" f2:maj7/g_":maj7/g"
+ f4:maj7/+e_":maj7/+e" f:maj7/+f_":maj7/+f" f2:maj7/+g_":maj7/+g"
}
+
+<<
+ \context ChordNames \bladidbla
+ \context Voice \bladidbla
+>>
}
-\score {
- \relative c''{
- < c-. > 4
- < c-> > 4
- < c-. e-. g-. b-. >
- < c^^ > 4
- < c_^ > 4
- < c_^ e^^ > 4
- < c_^ e^^ > 4
+\relative c''{
+ < c-. > 4
+ < c-> > 4
+ < c-. e-. g-. b-. >
+ < c^^ > 4
+ < c_^ > 4
+ < c_^ e^^ > 4
+ < c_^ e^^ > 4
- }
-
}
-
"
}
-\score {
- \context Staff \relative c' {
- \repeat "tremolo" 2 { c32 e32 }
- \stemDown
- \repeat "tremolo" 2 { c32 e32 }
- }
- \layout { raggedright = ##t }
+\context Staff \relative c' {
+ \repeat "tremolo" 2 { c32 e32 }
+ \stemDown
+ \repeat "tremolo" 2 { c32 e32 }
}
+\layout { raggedright = ##t }
}
-\score{
- <<
- \context ChordNames {
-% #(set-chord-name-style 'ignatzek)
- \chs
- }
- \context Staff \transpose c c' { \chs }
- >>
-}
+<<
+ \context ChordNames {
+ %% #(set-chord-name-style 'ignatzek)
+ \chs
+ }
+ \context Staff \transpose c c' { \chs }
+>>
}
-\score {
+\relative c'' {
- \relative c'' {
-
- \clef "G_8"
- c4
- \clef "G_15"
- c4
- \clef "G_7"
- c4
- \clef "G_6"
- c4
- \clef "G^8"
- c4
- \clef "G^15"
- c4
- \clef "G^9"
- c4
+ \clef "G_8"
+ c4
+ \clef "G_15"
+ c4
+ \clef "G_7"
+ c4
+ \clef "G_6"
+ c4
+ \clef "G^8"
+ c4
+ \clef "G^15"
+ c4
+ \clef "G^9"
+ c4
}
- \layout { raggedright = ##t }
- }
+\layout { raggedright = ##t }
\version "2.6.0"
-\score {
- \new PianoStaff <<
- \context Staff = "up" {
- s1 *2
- }
- \context Staff = "down" <<
- \applymusic #notes-to-clusters \relative c { <c e>4 <f a> <b e> \change Staff = up <e a>
- <a d> <d g> }
+\new PianoStaff <<
+ \context Staff = "up" {
+ s1 *2
+ }
+ \context Staff = "down" <<
+ \applymusic #notes-to-clusters \relative c { <c e>4 <f a> <b e> \change Staff = up <e a>
+ <a d> <d g> }
- { \clef bass s1 * 2 }
- >>
+ { \clef bass s1 * 2 }
+ >>
>>
- \layout {
- raggedright= ##t
- }
+\layout {
+ raggedright= ##t
}
\version "2.6.0"
\header {
- texidoc = "Clusters are a device to denote that a complete range of
+ texidoc = "Clusters are a device to denote that a complete range of
notes is to be played."
}
fragment = \relative c' {
- c4 f4 <e d'>4
- <g a>8 <e a> a4 c2 <d b>4 e4
- c4 }
-
-\score {
- <<
- \new Staff \fragment
- \new Staff \applymusic #notes-to-clusters \fragment
- >>
- \layout { raggedright = ##t }
+ c4 f4 <e d'>4
+ <g a>8 <e a> a4 c2 <d b>4 e4
+ c4
}
+<<
+ \new Staff \fragment
+ \new Staff \applymusic #notes-to-clusters \fragment
+>>
+ \layout { raggedright = ##t }
+
\layout { raggedright= ##t }
-\score {
-
-
- \context Staff \transpose c c' <<
- { c4 d e f g2 g4 a | } \\
- { g4 f e g g2 g2 }
- >>
-}
+\context Staff \transpose c c' <<
+ { c4 d e f g2 g4 a | } \\
+ { g4 f e g g2 g2 }
+>>
confusion to which notes the dots belong."
}
\version "2.6.0"
-\score {
- \relative c'' {
- << <a c>2\\ { <b d>4 <b d>4 } >>
- << { <a c>2 } \\ { <b d>4. <b e>8 } >>
- }
- \layout { raggedright = ##t }
-}
+\relative c'' {
+ << <a c>2\\ { <b d>4 <b d>4 } >>
+ << { <a c>2 } \\ { <b d>4. <b e>8 } >>
+}
+\layout { raggedright = ##t }
\layout { raggedright = ##t }
-\score {
- \relative c {
- \key d \minor
- \clef bass
- << <cis a' cis>4 \\ { g'8. bes16} >>
- }
+\relative c {
+ \key d \minor
+ \clef bass
+ << <cis a' cis>4 \\ { g'8. bes16} >>
}
\layout { raggedright= ##t }
% todo: b2 (up) + b8 down looks strange compared to c2up + b8. (down)
-\score{
- \context Staff <<
- \clef "bass"
- { b8. c'16 d'4 b8 c'8 d'4 b2 b2 }
- \\
- { b2 b2 b8. a16 g4 b8 a g4 }
- >>
-}
+\context Staff <<
+ \clef "bass"
+ { b8. c'16 d'4 b8 c'8 d'4 b2 b2 }
+ \\
+ { b2 b2 b8. a16 g4 b8 a g4 }
+>>
\version "2.6.0"
\header {
-texidoc = "Note heads in collisions should be merged if
+ texidoc = "Note heads in collisions should be merged if
they have the same positions in the extreme note heads.
"
}
-\score {
- \relative c'' {
-c4
+\relative c'' {
+ c4
<< { c4 d4 <c d>8 <c d> <c d> } \\ { c4 c <a b>8 <b c> <c d>8 } >>
}
\layout {raggedright = ##t}
-}
\version "2.6.0"
\header {
- texidoc =
+ texidoc =
- "If @code{merge-differently-headed} is enabled, then
+ "If @code{merge-differently-headed} is enabled, then
open note heads may be merged with black noteheads, but only
if the black note heads are from 8th or shorter notes.
"
-
+
}
\layout { raggedright= ##t }
-\score {
- \context Staff \relative c'' <<
- {
- c2 c8 c4.
-
- \override Staff.NoteCollision #'merge-differently-headed = ##t
- c2 c8 c4.
- c2
- }\\
- {
- c8 c4. c2
-
- c8 c4. c2
- c4
- }
- >>
-}
+\context Staff \relative c'' <<
+ {
+ c2 c8 c4.
+
+ \override Staff.NoteCollision #'merge-differently-headed = ##t
+ c2 c8 c4.
+ c2
+ }\\
+ {
+ c8 c4. c2
+
+ c8 c4. c2
+ c4
+ }
+>>
\layout { raggedright= ##t }
-\score {
- \context Staff \relative c'' <<
- {
- g8[ g8]
- \override Staff.NoteCollision #'merge-differently-dotted = ##t
- g8[ g8]
- g4. r8 g8. g16
- g8 g4 r8 g4
- }
- \\
- {
- g8.[ f16]
- g8.[ f16]
- g8 g4 r8 g4
- g4. r8 g8. g16
- }
- >>
-}
+\context Staff \relative c'' <<
+ {
+ g8[ g8]
+ \override Staff.NoteCollision #'merge-differently-dotted = ##t
+ g8[ g8]
+ g4. r8 g8. g16
+ g8 g4 r8 g4
+ }
+ \\
+ {
+ g8.[ f16]
+ g8.[ f16]
+ g8 g4 r8 g4
+ g4. r8 g8. g16
+ }
+>>
}
\version "2.6.0"
-\score {
- {
-\relative c'' \new Staff {
+{
+ \relative c'' \new Staff {
<< { d8. e16 } \\ { d8. b16 } >>
- }
+ }
}
-\layout { raggedright = ##t }}
+\layout { raggedright = ##t }
\version "2.6.0"
\header {
-texidoc = "Oppositely stemmed chords, meshing into each other,
+ texidoc = "Oppositely stemmed chords, meshing into each other,
are resolved."
}
- \layout { raggedright= ##t }
-
-
-\score {
- \context Staff \transpose c c' {
- \time 3/4
- % Here's what I was trying to do:
- << {
- d'4
- d'4.
- <a c'>4
- <g b g'>4
- <g b g'>4.
- }\\ {
- <g b g'>4
- <g b g'>4.
- <g b d'>4
- d'4
- d'4.
- }
- >>
-
- }
+\layout { raggedright= ##t }
+
+
+\context Staff \transpose c c' {
+ \time 3/4
+ %% Here's what I was trying to do:
+ <<
+ {
+ d'4
+ d'4.
+ <a c'>4
+ <g b g'>4
+ <g b g'>4.
+ } \\ {
+ <g b g'>4
+ <g b g'>4.
+ <g b d'>4
+ d'4
+ d'4.
+ }
+ >>
}
-
\version "2.6.0"
\header{
-texidoc="
+ texidoc="
In addition to normal collision rules, there is support for polyphony,
where the collosion are avoided by shifting middle voices horizontally.
"
twovoice =
- \relative c' \context Staff <<
- { g4 f f e e d d c }
-\\ { c4 c d d e e f f }
+\relative c' \context Staff <<
+ { g4 f f e e d d c }
+ \\ { c4 c d d e e f f }
>>
twovoicechords = \context Staff <<
- \relative c' {
- e4 d c b a g f
- }\\
- \relative c' {
-
<a c>4 <a c>4 <a c>4 <a c>4 <a c>
- }
+ \relative c' {
+ e4 d c b a g f
+ }\\
+ \relative c' {
+ <a c>4 <a c>4 <a c>4 <a c>4 <a c>
+ <a c> <a c>
+ }
>>
threevoice = \context Staff <<
- { g4 f e f g a g2 } \\
- { c4 d e d c d es } \\
- { e4 e e e e e e e }
+ { g4 f e f g a g2 } \\
+ { c4 d e d c d es } \\
+ { e4 e e e e e e e }
>>
hairyChord = \context Staff \relative c''
- << e \\
- fis, \\
- cis' \\
- \\
- ais
- >>
-
-
-\score{
- { \transpose c c' {
- \twovoice
- \twovoicechords
- \threevoice }
- \hairyChord
- }
-
-% \midi { \tempo 4:80 }
-}
+<<
+ e \\
+ fis, \\
+ cis' \\
+ \\
+ ais
+>>
+
+
+ {
+ \transpose c c' {
+ \twovoice
+ \twovoicechords
+ \threevoice
+ }
+ \hairyChord
+ }
+
}
-\score{
- \context Staff \relative c'' <<
- { c2. c bes2 } \\
- { c2. a8 g4 f4. g4 f }
- >>
+\context Staff \relative c'' <<
+ { c2. c bes2 } \\
+ { c2. a8 g4 f4. g4 f }
+>>
- \layout {
- \context{
- \Voice
- \remove "Note_heads_engraver"
- \consists "Completion_heads_engraver"
- }
- }
+\layout {
+ \context{
+ \Voice
+ \remove "Note_heads_engraver"
+ \consists "Completion_heads_engraver"
+ }
}
-\score{
- \relative c'{
+\relative c'{
\time 2/4
c2. c8 d4 e f g a b c2.. b8 a g16 f4 e d c8. c2
- }
- \layout{
- \context{
- \Voice
- \remove "Note_heads_engraver"
- \consists "Completion_heads_engraver"
- }
+}
+\layout{
+ \context{
+ \Voice
+ \remove "Note_heads_engraver"
+ \consists "Completion_heads_engraver"
}
}
texidoc = "Custodes may be engraved in various styles."
}
-\score {
- {
- \override Staff.Custos #'neutral-position = #4
+{
+ \override Staff.Custos #'neutral-position = #4
- \override Staff.Custos #'style = #'hufnagel
- c'1^"hufnagel"
- \break < d' a' f''>1
+ \override Staff.Custos #'style = #'hufnagel
+ c'1^"hufnagel"
+ \break < d' a' f''>1
- \override Staff.Custos #'style = #'medicaea
- c'1^"medicaea"
- \break < d' a' f''>1
+ \override Staff.Custos #'style = #'medicaea
+ c'1^"medicaea"
+ \break < d' a' f''>1
- \override Staff.Custos #'style = #'vaticana
- c'1^"vaticana"
- \break < d' a' f''>1
+ \override Staff.Custos #'style = #'vaticana
+ c'1^"vaticana"
+ \break < d' a' f''>1
- \override Staff.Custos #'style = #'mensural
- c'1^"mensural"
- \break < d' a' f''>1
- }
- \layout {
- \context {
- \Staff
- \consists Custos_engraver
- }
- raggedright = ##t
- }
+ \override Staff.Custos #'style = #'mensural
+ c'1^"mensural"
+ \break < d' a' f''>1
+}
+\layout {
+ \context {
+ \Staff
+ \consists Custos_engraver
+ }
+ raggedright = ##t
}
\version "2.6.0"
\header {
- texidoc = "Dots move to the right when a collision with the (up)flag happens."
+ texidoc = "Dots move to the right when a collision with the (up)flag happens."
}
-\score {
- \relative c''
- {
- \time 8/4
- \set Staff.autoBeaming = ##f
- a,16.
- g''16.
- a,4. a8 a8. a16. c,16. g16.
- }
- \layout { raggedright = ##t}
+\relative c''
+{
+ \time 8/4
+ \set Staff.autoBeaming = ##f
+ a,16.
+ g''16.
+ a,4. a8 a8. a16. c,16. g16.
}
+\layout { raggedright = ##t}
-\score {
- \context Voice \relative c'' {
- \time 6/8
- d4. g,,
- \stemDown
- <b'' c d e>4. <f g a b>
- <f a c> <e a c> <b f' c' g'>
-
-
- <<
- { f <b c> r4. }\\
- { b, <a b> r4. }
- >>
-
-
- }
- \layout { }
- \midi { }
+\context Voice \relative c'' {
+ \time 6/8
+ d4. g,,
+ \stemDown
+ <b'' c d e>4. <f g a b>
+ <f a c> <e a c> <b f' c' g'>
+
+
+ <<
+ { f <b c> r4. }\\
+ { b, <a b> r4. }
+ >>
+
+
}
timb = \drummode { \repeat "unfold" 2 {timh4 ssh timl8 ssh r timh r4 ssh8 timl r4 cb8 cb} }
\score {
- \repeat "volta" 2 {
- <<
- \new DrumStaff \with {
- drumStyleTable = #timbales-style
- \override StaffSymbol #'line-count = #2
- \override BarLine #'bar-size = #2
- } <<
- \set Staff.instrument = "timbales"
- \timb
- >>
- \new DrumStaff <<
- \set Staff.instrument = "drums"
- \new DrumVoice {\stemUp \drh }
- \new DrumVoice {\stemDown \drl }
- >>
+ \repeat "volta" 2 {
+ <<
+ \new DrumStaff \with {
+ drumStyleTable = #timbales-style
+ \override StaffSymbol #'line-count = #2
+ \override BarLine #'bar-size = #2
+ } <<
+ \set Staff.instrument = "timbales"
+ \timb
+ >>
+ \new DrumStaff <<
+ \set Staff.instrument = "drums"
+ \new DrumVoice {\stemUp \drh }
+ \new DrumVoice {\stemDown \drl }
+ >>
>>
- }
- \layout {}
+ }
+ \layout {}
- %% broken:
- \midi{ \tempo 4=120 }
+ %% broken:
+ \midi{ \tempo 4=120 }
}
texidoc = "Broken crescendi should be open on one side."
}
-\score { \relative c'' {
- c1 \< \break c1\! \> \break c1\!
- }
- \layout {
- linewidth = 4.\cm
- }
+\relative c'' {
+ c1 \< \break c1\! \> \break c1\!
}
-
+\layout {
+ linewidth = 4.\cm
+}
+
closer to the note head (staccato, accent) are reckoned with.
" }
-\score {
-
-\relative c'' { c1\ff
- e,-.-> \f
- e \rfz
- c' \mf
- c \mp \>
- c\!\ppppp \<
- c\sfp\!
-
-}
+
+\relative c'' {
+ c1\ff
+ e,-.-> \f
+ e \rfz
+ c' \mf
+ c \mp \>
+ c\!\ppppp \<
+ c\sfp\!
}
\version "2.6.0"
\header{
-texidoc=" Dynamics appear below or above the staff. If multiple
+ texidoc=" Dynamics appear below or above the staff. If multiple
dynamics are linked with (de)crescendi, they should be on the same
line. Isolated dynamics may be forced up or down.
"
-\score{
\relative c''{
-a1^\sfz
-a1\fff\> c,,\!\pp a'' a\p
+ a1^\sfz
+ a1\fff\> c,,\!\pp a'' a\p
-% We need this to test if we get two Dynamic line spanners
-a
+ %% We need this to test if we get two Dynamic line spanners
+ a
-% because do_removal_processing ()
-% doesn't seem to post_process elements
-d\f
+ %% because do_removal_processing ()
+ %% doesn't seem to post_process elements
+ d\f
-a
+ a
}
-\layout{
-}
-\midi{
-\tempo 1 = 60
-}
-}
texidoc = "Crescendi may start off-notes, however, they should not collapse into flat lines."
}
-\score { { \context Voice {
+\context Voice {
<< f''1 { s4 s4 \< s4\! \> s4\! } >>
-}}
+}
\layout { raggedright = ##t}
-}
\version "2.6.0"
\header {
-texidoc = "With the new chord syntax, it is possible to associate
+ texidoc = "With the new chord syntax, it is possible to associate
fingerings uniquely with notes. This makes it possible to add
horizontal fingerings to notes.
"
}
- \layout { raggedright= ##t }
+\layout { raggedright= ##t }
-\score {
- \relative c'{
- \set fingeringOrientations = #'(left)
- < c-1 e-2 g-3 b-5 > 4
- \set fingeringOrientations = #'(down left)
- < c-1 e-2 g-3 b-5 > 4
+\relative c'{
+ \set fingeringOrientations = #'(left)
+ < c-1 e-2 g-3 b-5 > 4
- \set fingeringOrientations = #'(down left up)
- < c-1 e-2 g-3 b-5 > 4
+ \set fingeringOrientations = #'(down left)
+ < c-1 e-2 g-3 b-5 > 4
- \once \override Fingering #'staff-padding = #'()
- < c-1 e-2 g-3 b-5 > 4
+ \set fingeringOrientations = #'(down left up)
+ < c-1 e-2 g-3 b-5 > 4
- \set fingeringOrientations = #'(up left)
- < c-1 e-2 g-3 b-5 > 4
+ \once \override Fingering #'staff-padding = #'()
+ < c-1 e-2 g-3 b-5 > 4
- \set fingeringOrientations = #'(right)
- < c-1 e-2 g-3 b-5 > 4
+ \set fingeringOrientations = #'(up left)
+ < c-1 e-2 g-3 b-5 > 4
+
+ \set fingeringOrientations = #'(right)
+ < c-1 e-2 g-3 b-5 > 4
- }
}
+
-
\version "2.6.0"
-\header {
-texidoc = "Automatic fingering tries to put fingering instructions
+\header {
+ texidoc = "Automatic fingering tries to put fingering instructions
next to noteheads.
"
}
- \layout { raggedright= ##t }
-
+\layout { raggedright= ##t }
-\score {
-
- \relative c' {
- c4-4
+\relative c' {
+ c4-4
<c-1 f-4>
< c-1 e-2 g-3 b-4 >
-}}
-
+}
+
\version "2.6.0"
\header{
- texidoc = "
+ texidoc = "
The line-spanners connects to the Y position of the note on the next line.
When put across line breaks, only the part before the line break is
printed.
}
-\score{
- \context PianoStaff <<
- \set PianoStaff.followVoice = ##t
- \context Staff = "one" \relative c''{
- a1 \break
- \change Staff=two
- a,
- }
- \context Staff = "two" { \clef bass \skip 1*2 }
- >>
- \layout{
- raggedright = ##t
- }
+
+\context PianoStaff <<
+ \set PianoStaff.followVoice = ##t
+ \context Staff = "one" \relative c''{
+ a1 \break
+ \change Staff=two
+ a,
+ }
+ \context Staff = "two" { \clef bass \skip 1*2 }
+>>
+\layout{
+ raggedright = ##t
}
+
that this does not change variable symbols such as beams or slurs.
" }
-\score {
- \relative c'' \context Voice {
-\override NoteHead #'font-magnification = #0.9
-c4
-\override NoteHead #'font-magnification = #0.8
+
+\relative c'' \context Voice {
+ \override NoteHead #'font-magnification = #0.9
+ c4
+ \override NoteHead #'font-magnification = #0.8
-c4-"normal"
- % why doesn't this work?
+ c4-"normal"
+ %% why doesn't this work?
c4-\markup \bold \magnify #2.0 "foobar"
\override NoteHead #'font-magnification = #1.2
c4
}
-}
+
\version "2.6.0"
\header{
-texidoc="
+ texidoc="
As a last resort, the placement of grobs can be adjusted manually, by
setting the @code{extra-offset} of a grob.
"
}
-\score{
- \relative c''{
- \context Bottom
- \applyoutput #(outputproperty-compatibility
- (make-type-checker 'note-head-interface)
- 'extra-offset '(2 . 3))
- c2
- c
- \context Score {
- \applyoutput #(outputproperty-compatibility (make-type-checker 'mark-interface) 'extra-offset '(-1 . 4))
- }
- \mark A
- d1
- \mark \default
- e
+
+\relative c''{
+ \context Bottom
+ \applyoutput #(outputproperty-compatibility
+ (make-type-checker 'note-head-interface)
+ 'extra-offset '(2 . 3))
+ c2
+ c
+ \context Score {
+ \applyoutput #(outputproperty-compatibility (make-type-checker 'mark-interface) 'extra-offset '(-1 . 4))
+ }
+ \mark A
+ d1
+ \mark \default
+ e
}
\layout{
- raggedright = ##t
-}
+ raggedright = ##t
}
+
\header{
-texidoc=" Between notes, there may be simple glissando lines.
+ texidoc=" Between notes, there may be simple glissando lines.
Here, the first two glissandi are not consecutive.
The engraver does no time-keeping, so it involves some trickery to get
"
}
-\score{
- \context Staff = "one" \relative c''{
- % gliss non gliss and
- c4 \glissando d e \glissando f \glissando \break
- % consecutive
- c \glissando d, \glissando e'
- << { \stemUp e8 \glissando g8 }
- \context Voice = VB {\stemDown \repeat unfold 4 d16 } >>
- \override Glissando #'style = #'zigzag
- c4 \glissando c,, \glissando c' \glissando d
- }
- \layout{
- linewidth = 50.\mm indent = 0
- \context{
- \Staff
- % makes for handier debugging
- % \remove Clef_engraver
- }
- }
+
+\context Staff = "one" \relative c''{
+ % gliss non gliss and
+ c4 \glissando d e \glissando f \glissando \break
+ % consecutive
+ c \glissando d, \glissando e'
+ << { \stemUp e8 \glissando g8 }
+ \context Voice = VB {\stemDown \repeat unfold 4 d16 } >>
+ \override Glissando #'style = #'zigzag
+ c4 \glissando c,, \glissando c' \glissando d
+}
+\layout{
+ linewidth = 50.\mm indent = 0
+
}
+
\version "2.6.0"
\header
{
- texidoc = "The autobeamer is not confused by grace notes."
+ texidoc = "The autobeamer is not confused by grace notes."
}
-\score{
- \context Voice \relative c''{
- \grace a8 g16 f e f \grace a8 g16 f e f \grace a8 g16 f e f
- \grace a8 g16 f e f |
- }
- \layout { raggedright = ##t }
+\context Voice \relative c''{
+
+ \grace a8 g16 f e f \grace a8 g16 f e f \grace a8 g16 f e f
+ \grace a8 g16 f e f |
}
+\layout { raggedright = ##t }
+
\version "2.6.0"
\header {
-texidoc = "Bar line should come before the grace note."
+ texidoc = "Bar line should come before the grace note."
}
-
-\score { \relative c' \context Staff {
- f1 \grace { a'16[ f] } g1 }
- \layout { raggedright = ##t}
- }
+
+\relative c' \context Staff {
+ f1 \grace { a'16[ f] } g1 }
+\layout { raggedright = ##t}
+
\version "2.6.0"
\header {
-texidoc = "Grace notes do tricky things with timing. If a measure
+ texidoc = "Grace notes do tricky things with timing. If a measure
starts with a grace note, the measure does not start at 0, but
earlier. Nevertheless, lily should not get confused. For example, line
breaks should be possible at grace notes, and the bar number should be
"
}
-\score { \relative c'' { c1 \break
-\grace c8
-c1 }
+\relative c'' { c1 \break
+ \grace c8
+ c1 }
\layout { raggedright = ##t }
-}
+
\header
{
-texidoc = "Grace beams and normal beams may occur simultaneously.
+ texidoc = "Grace beams and normal beams may occur simultaneously.
Unbeamed grace notes are not put into normal beams.
"
}
- \layout { raggedright= ##t }
+\layout { raggedright= ##t }
\version "2.6.0"
-\score { \relative c'' { c4 d8[ \grace { e32[ d c d] } e8] e[ e \grace { f16 } e8 e] }}
+\relative c'' {
+ c4 d8[
+ \grace { e32[ d c d] } e8]
+ e[ e
+ \grace { f16 } e8 e]
+}
\version "2.6.0"
\header {
- texidoc="@cindex Grace End
+ texidoc="@cindex Grace End
Grace notes after the last note do not confuse the timing code."
}
-\score {
- \context Voice \relative c' {
-
- c4 \grace { d16[ d16] }
-
- }
- \layout {
- raggedright = ##t
- }
- \midi { }
+
+\context Voice \relative c' {
+
+ c4 \grace { d16[ d16] }
+
}
+\layout {
+ raggedright = ##t
+}
+
\version "2.6.0"
\header {
-texidoc = "Grace code should not be confused by nested sequential musics, containing grace notes; practically speaking, this means that the end-bar and measure bar coincide in this example."
+ texidoc = "Grace code should not be confused by nested sequential musics, containing grace notes; practically speaking, this means that the end-bar and measure bar coincide in this example."
}
-\score {
- {
- c''2 { \grace b'16 c''2 } \bar "|."
- }
- \layout {
- raggedright = ##t
- }
+{
+ c''2 { \grace b'16 c''2 } \bar "|."
}
+\layout {
+
+ raggedright = ##t
+}
+
\version "2.6.0"
\header {
-texidoc = "Grace code should not be confused by nested sequential musics, containing grace notes; practically speaking, this means that the end-bar and measure bar coincide in this example."
+ texidoc = "Grace code should not be confused by nested sequential musics, containing grace notes; practically speaking, this means that the end-bar and measure bar coincide in this example."
}
- \layout { raggedright= ##t }
+\layout { raggedright= ##t }
+
+
-\score{
-
{ c''2 { \grace b'16 c''2 } \bar "|." }
- \layout {
+\layout {
}
- }
+
\version "2.6.0"
\header {
-texidoc = "Grace code should not be confused by nested sequential musics, containing grace notes; practically speaking, this means that the end-bar and measure bar coincide in this example."
+ texidoc = "Grace code should not be confused by nested sequential musics, containing grace notes; practically speaking, this means that the end-bar and measure bar coincide in this example."
}
- \layout { raggedright= ##t }
+\layout { raggedright= ##t }
-\score { \context Voice {
- { \grace b'8 c''2 }
- \grace b'16 c''4 c''4 \bar "|."
- }}
+\context Voice {
+ { \grace b'8 c''2 }
+ \grace b'16 c''4 c''4 \bar "|."
+}
\version "2.6.0"
\header {
- texidoc = "In nested syntax, graces are still properly handled."
- }
- \layout { raggedright= ##t }
-
-\score { \relative c'' {
- f1
- \grace e8 f1
- << { \grace { e8 } f1 } >>
+ texidoc = "In nested syntax, graces are still properly handled."
}
+\layout { raggedright= ##t }
+
+\relative c'' {
+ f1
+ \grace e8 f1
+ << { \grace { e8 } f1 } >>
}
+
\version "2.6.0"
\header {
-texidoc = "Also in the nested syntax here, grace notes appear rightly."
+ texidoc = "Also in the nested syntax here, grace notes appear rightly."
}
-\score { \context Voice \relative c'' {
+\context Voice \relative c'' {
- <<
- { \grace g32 f4 }
- >>
- \grace c16 c2. \bar "|."
-}
- \layout { raggedright = ##t }
-
+ <<
+ { \grace g32 f4 }
+ >>
+ \grace c16 c2. \bar "|."
}
+\layout { raggedright = ##t }
+
+
\version "2.6.0"
\header {
- texidoc = "Graces notes may have the same duration as the main note."
- }
-
-\score
-{ \relative c'' {
- s2 <f>4
- \grace g e4
+ texidoc = "Graces notes may have the same duration as the main note."
}
- \layout { raggedright = ##t }
+\relative c'' {
+ s2 <f>4
+ \grace g e4
}
+\layout { raggedright = ##t }
+
+
\version "2.6.0"
\header {
- texidoc = "Grace notes may be put in a @code{partcombine}r."
+ texidoc = "Grace notes may be put in a @code{partcombine}r."
}
\layout { raggedright= ##t }
-\score {
- \new Staff
- \partcombine
- \relative c'' {
- c4 d e f \grace f16 g1
- }
- \relative c' {
- c4 d e2 g1
- }
-
-
+
+\new Staff
+\partcombine
+\relative c'' {
+ c4 d e f \grace f16 g1
+}
+\relative c' {
+ c4 d e2 g1
}
+
+
+
\version "2.6.0"
\header{
-texidoc = "Stripped version of trip.ly. Staves should be of correct length."
+ texidoc = "Stripped version of trip.ly. Staves should be of correct length."
}
- \layout { raggedright= ##t }
+\layout { raggedright= ##t }
-\score{
- \context PianoStaff \relative c'' <<
- \new Staff {
- r1
- r1
- \bar "|."
- }
- \new Staff {
- r1
- \context Staff {
- \grace { c16 } c1
- }
+
+\context PianoStaff \relative c'' <<
+ \new Staff {
+ r1
+ r1
+ \bar "|."
+ }
+ \new Staff {
+ r1
+ \context Staff {
+ \grace { c16 } c1
}
- >>
- \layout { }
-}
+ }
+>>
+\layout { }
+
\version "2.6.0"
\header {
-texidoc = "Pieces may begin with grace notes."
+ texidoc = "Pieces may begin with grace notes."
}
-\score { \relative c' \context Staff {
- \grace { a'16[ f] } g1
- \bar "||" % test if | and || are synced.
- \grace { a16[ bes] } c1
- \bar "||" % test if | and || are synced.
- }
- \layout { raggedright = ##t}
+\relative c' \context Staff {
+ \grace { a'16[ f] } g1
+ \bar "||" % test if | and || are synced.
+ \grace { a16[ bes] } c1
+ \bar "||" % test if | and || are synced.
}
+\layout { raggedright = ##t}
+
\version "2.6.0"
\header{
-texidoc = "Here @code{startGraceMusic} should set @code{no-stem-extend} to
+ texidoc = "Here @code{startGraceMusic} should set @code{no-stem-extend} to
true; the two grace beams should be the same here.
"
}
-\score {
- \context Voice \relative c {
- \grace {
- f8[ e8]
- \override Stem #'no-stem-extend = ##t
- f8[ e8]
- \revert Stem #'no-stem-extend
- }
- a4
-
+
+\context Voice \relative c {
+ \grace {
+ f8[ e8]
+ \override Stem #'no-stem-extend = ##t
+ f8[ e8]
+ \revert Stem #'no-stem-extend
}
- \layout {
- raggedright = ##t
- }
- \midi { }
+ a4
+
}
+\layout {
+ raggedright = ##t
+}
+\midi { }
+
texidoc = "Grace notes in different voices/staves are synchronized."
}
-\score {\relative c'' << \context Staff { c2
- \grace c8
- c4 c4 }
- \new Staff { c2 \clef bass
- \grace { dis8[ ( d8] \key es\major }
+\relative c'' <<
+ \context Staff {
+ c2
+ \grace c8
+ c4 c4 }
+ \new Staff {
+ c2 \clef bass
+ \grace { dis8[ ( d8] \key es\major }
c4) c4 }
- \new Staff { c2 c4 c4 \bar "|." }
- >>
- \layout { raggedright = ##t}
- }
+ \new Staff { c2 c4 c4 \bar "|." }
+>>
+\layout { raggedright = ##t}
+
\version "2.6.0"
\header {
- texidoc = "When grace notes are entered with unfolded repeats,
+ texidoc = "When grace notes are entered with unfolded repeats,
line breaks take place before grace notes.
"
}
-
-\score{
- \context Voice \relative c'{
- \repeat unfold 10 {\grace d8 c4 d e f}
- }
+
+\context Voice \relative c'{
+ \repeat unfold 10 {\grace d8 c4 d e f}
+
}
+
\header {
- texidoc = "A volta repeat may begin with a grace. Consecutive
+ texidoc = "A volta repeat may begin with a grace. Consecutive
ending and starting repeat bars are merged into one @code{:||:}."
- }
+}
- \layout { raggedright= ##t }
+\layout { raggedright= ##t }
-\score {\relative c' {
-\repeat volta 2 {
- c1
-}
-\repeat volta 2 {
- \grace {c8 } c4
+\relative c' {
+ \repeat volta 2 {
+ c1
+ }
+ \repeat volta 2 {
+ \grace {c8 } c4
+ }
}
-}}
\header {
- texidoc = "Repeated music can start with grace notes. Bar checks
+ texidoc = "Repeated music can start with grace notes. Bar checks
preceding the grace notes do not cause synchronization effects. "
}
-\score{
- \relative c''{\key a \minor \time 2/4
- \repeat "volta" 2 {
- \grace { a16[ b] } c4 c4 |
- \grace { d16[ b] } c4 c4 |
-
- }
- }
- \layout { raggedright = ##t}
- }
+
+\relative c''{\key a \minor \time 2/4
+ \repeat "volta" 2 {
+ \grace { a16[ b] } c4 c4 |
+ \grace { d16[ b] } c4 c4 |
+
+ }
+ }
+\layout { raggedright = ##t}
+
\header{
- texidoc=" You can have beams, notes, chords, stems etc. within a
+ texidoc=" You can have beams, notes, chords, stems etc. within a
@code{\grace} section. If there are tuplets, the grace notes will not
be under the brace.
"
}
-\score { \context Voice = VA \relative c'' {
- \grace b8 c4\fermata
- \grace { c32[ cis32] } gis4
- \grace { cis32[ dis32] } e4
- \grace { c32[ d] }\times 2/3 { c8[ c c] }
- \grace { b32[ ( c32] } c4)
- \grace <c d>16 c8[ c8]
-% \grace c16 c8[ c8]
- %% broken?
- %%\grace { \set Grace.graceAlignPosition = \right c16} c4
- c4 \grace { c16 } c4
+\context Voice = VA \relative c'' {
+ \grace b8 c4\fermata
+ \grace { c32[ cis32] } gis4
+ \grace { cis32[ dis32] } e4
+ \grace { c32[ d] }\times 2/3 { c8[ c c] }
+ \grace { b32[ ( c32] } c4)
+ \grace <c d>16 c8[ c8]
+ % \grace c16 c8[ c8]
+ %% broken?
+ %%\grace { \set Grace.graceAlignPosition = \right c16} c4
+ c4 \grace { c16 } c4
}
\layout {raggedright = ##t}
-\midi{ }
-}
+
\version "2.6.0"
\header {
-texidoc ="Hairpin crescendi may be dashed. "
+ texidoc ="Hairpin crescendi may be dashed. "
}
-\score {
- \relative c' {
- \override Hairpin #'dash-fraction = #0.4
- \override Hairpin #'dash-period = #1
- f2\< g c1 d4\> b a gis\! }
- }
+
+\relative c' {
+ \override Hairpin #'dash-fraction = #0.4
+ \override Hairpin #'dash-period = #1
+ f2\< g c1 d4\> b a gis\! }
+
alignment; this should not confuse the mechanism.
"
-}
+ }
\layout { raggedright= ##t }
-
-\score { \transpose c c''
- \context PianoStaff <<
- \new Staff { c4 c c c \break s1 \break c4 c c c \break c c c c}
- \new Staff { d4 d d d s1 s1 s1 s1 }
- \new Staff { e4 e e e s1 e4 e e e s1 }
- >>
- \layout {
+
+\transpose c c''
+\context PianoStaff <<
+ \new Staff { c4 c c c \break s1 \break c4 c c c \break c c c c}
+ \new Staff { d4 d d d s1 s1 s1 s1 }
+ \new Staff { e4 e e e s1 e4 e e e s1 }
+>>
+\layout {
\context {
- \RemoveEmptyStaffContext
+ \RemoveEmptyStaffContext
}
- }
}
+
\header {
-texidoc = "Instrument names are set with @code{Staff.instrument} and
+ texidoc = "Instrument names are set with @code{Staff.instrument} and
@code{Staff.instr}. You can enter markup texts to create more funky names,
including alterations. "
textFlat = \markup {\smaller \flat}
-\score {
- \new Staff {
- \set Staff.instrument = \markup { \column { "Clarinetti" \line { "in B" \textFlat } } }
- \set Staff.instr = \markup { \smaller { "Cl(B" \textFlat ")" } }
- { c''1 \break c'' }
+\new Staff {
+ \set Staff.instrument = \markup { \column { "Clarinetti" \line { "in B" \textFlat } } }
+ \set Staff.instr = \markup { \smaller { "Cl(B" \textFlat ")" } }
+
+ { c''1 \break c'' }
- }
- \layout { raggedright = ##t }
}
+\layout { raggedright = ##t }
+
\version "2.6.0"
\header {
- texidoc = "Instrument names are also printed on partial starting measures."
+ texidoc = "Instrument names are also printed on partial starting measures."
}
-\score {
- \relative c'' { \set Staff.instrument = "foo" \partial 4 c4 c1 }
- \layout { raggedright = ##t }
-}
+
+\relative c'' { \set Staff.instrument = "foo" \partial 4 c4 c1 }
+\layout { raggedright = ##t }
+
\version "2.6.0"
\header{
-texidoc="
+ texidoc="
Staff margins are also markings attached to barlines. They should be
left of the staff, and be centered vertically with respect to the staff.
They may be on normal staves, but also on compound staves, like the
"
}
-
-\score {
- \context PianoStaff <<
- \context Staff = "treble" {
- \set PianoStaff.instrument = "Piano "
- \set Staff.instrument = "Right " { c''4 }}
- \context Staff = "bass" { \set Staff.instrument = "Left " \clef bass c4 }>>
+
+
+\context PianoStaff <<
+ \context Staff = "treble" {
+ \set PianoStaff.instrument = "Piano "
+ \set Staff.instrument = "Right " { c''4 }}
+ \context Staff = "bass" { \set Staff.instrument = "Left " \clef bass c4 }>>
\layout {
-raggedright = ##t
-}}
+ raggedright = ##t
+}
#(set-global-staff-size 16)
-\score {
- \relative cis' {
-
-% \clef french % same as octaviated bass
-\clef violin
-\key cis \major cis1 \key ces \major ces
-\clef soprano
-\key cis \major cis \key ces \major ces
-\clef mezzosoprano
-\key cis \major cis \key ces \major ces
-\clef alto
-\key cis \major cis \key ces \major ces
-\clef tenor
-\key cis \major cis \key ces \major ces
-\clef baritone
-\key cis \major cis \key ces \major ces
-\clef bass
-\key cis \major cis \key ces \major ces
-}
+\relative cis' {
+
+ % \clef french % same as octaviated bass
+ \clef violin
+ \key cis \major cis1 \key ces \major ces
+ \clef soprano
+ \key cis \major cis \key ces \major ces
+ \clef mezzosoprano
+ \key cis \major cis \key ces \major ces
+ \clef alto
+ \key cis \major cis \key ces \major ces
+ \clef tenor
+ \key cis \major cis \key ces \major ces
+ \clef baritone
+ \key cis \major cis \key ces \major ces
+ \clef bass
+ \key cis \major cis \key ces \major ces
}
+
+
\version "2.6.0"
\header {
- texidoc = "With the @code{\\lyricsto} mechanism, individual lyric
+ texidoc = "With the @code{\\lyricsto} mechanism, individual lyric
lines can be associated with one melody line. For each lyric line,
can be tuned whether to follow melismata or not."
-
+
}
-\score {
+
<<
- \context Voice = "bla" \relative c'' {
- \autoBeamOff
- c2( d4) e8[ c b c] f4
- }
- \lyricsto "bla" \new Lyrics { bla ab blob blob }
- \lyricsto "bla" \new Lyrics {
- bla
+ \context Voice = "bla" \relative c'' {
+ \autoBeamOff
+ c2( d4) e8[ c b c] f4
+ }
+ \lyricsto "bla" \new Lyrics { bla ab blob blob }
+ \lyricsto "bla" \new Lyrics {
+ bla
- \set ignoreMelismata = ##t
-
- blob
+ \set ignoreMelismata = ##t
+
+ blob
- %% note: effect of ignoreMelismata delayed one time step.
- \unset ignoreMelismata
- blob
-
- blob
- }
+ %% note: effect of ignoreMelismata delayed one time step.
+ \unset ignoreMelismata
+ blob
- \lyricsto "bla" \new Lyrics {
- nes ted lyrics voice with more words than no tes
- }
- >>
- }
+ blob
+ }
+
+ \lyricsto "bla" \new Lyrics {
+ nes ted lyrics voice with more words than no tes
+ }
+>>
+
\version "2.6.0"
\header {
-texidoc ="Polyphonic rhythms and rests do not disturb
+ texidoc ="Polyphonic rhythms and rests do not disturb
@code{\lyricsto}."
}
-\score {
- {
- \clef violin
- \time 8/8
- \key des \major
- <<
- \lyricsto "one" \new Lyrics {
- Do mi nus ex
- }
- \context Voice = "one" {
- \voiceOne
- bes'4 bes'4
- bes'4 bes'4
- }
- \context Voice = "two" {
- \voiceTwo
- ees'8 r8 r8 r8 ees' r8 r8 r8
- }
- \lyricsto "two" \new Lyrics {
- Do na
- }
- >>
+
+{
+ \clef violin
+ \time 8/8
+ \key des \major
+ <<
+ \lyricsto "one" \new Lyrics {
+ Do mi nus ex
+ }
+ \context Voice = "one" {
+ \voiceOne
+ bes'4 bes'4
+ bes'4 bes'4
+ }
+ \context Voice = "two" {
+ \voiceTwo
+ ees'8 r8 r8 r8 ees' r8 r8 r8
}
- \layout { raggedright = ##t}
+ \lyricsto "two" \new Lyrics {
+ Do na
+ }
+ >>
}
+\layout { raggedright = ##t}
+
\header
{
- texidoc = "Lyric extenders run to the end of the line if it
+ texidoc = "Lyric extenders run to the end of the line if it
continues the next line. Otherwise, it should run to the last note
of the melisma."
}
-\score {
- <<
- \context Voice=A {
- a1 ( a1 \break
- a) a2( b) \break
- a2
- }
- \lyricsto A \context Lyrics \lyricmode { a __ a __ ha }
- >>
- \layout {
- raggedright = ##t
- }
-}
+
+<<
+ \context Voice=A {
+ a1 ( a1 \break
+ a) a2( b) \break
+ a2
+ }
+ \lyricsto A \context Lyrics \lyricmode { a __ a __ ha }
+>>
+ \layout {
+ raggedright = ##t
+ }
+
\header {
- texidoc = "Hyphens are print at the beginning of the line only when
+ texidoc = "Hyphens are print at the beginning of the line only when
they go past the first note. "
- }
+}
-\score {
-<< \new Staff \relative c'' { \time 1/4 c16[ c c c]
-\time 1/4
-c16[ c c c]
-\time 1/4
-r c16[ c c]
-}
- \new Lyrics \lyricmode {
- bla16 -- bla -- bla -- bla --
- bla -- bla -- bla -- bla8 --
- bla16 -- bla -- bla
- }>>
- \layout {
- indent = 0.0 \cm
- linewidth = 3.4 \cm
-
- \context {
- \Staff \remove "Time_signature_engraver"
- }
-
+<<
+ \new Staff \relative c'' {
+ \time 1/4 c16[ c c c]
+ \time 1/4
+ c16[ c c c]
+ \time 1/4
+ r c16[ c c]
+
+ }
+ \new Lyrics \lyricmode {
+ bla16 -- bla -- bla -- bla --
+ bla -- bla -- bla -- bla8 --
+ bla16 -- bla -- bla
+ }
+>>
+ \layout {
+ indent = 0.0 \cm
+ linewidth = 3.4 \cm
+
+ \context {
+ \Staff \remove "Time_signature_engraver"
}
-
-}
+ }
+
+
-
+
\header {
-texidoc = "In tightly engraved music, hyphens are removed, except at the
+ texidoc = "In tightly engraved music, hyphens are removed, except at the
end of the line. Normally, lyrics are not typeset so tightly, but by
tuning down @code{padding} of in @code{SeparationItem}, syllables are put
closer together, and as a result hyphens may disappear.
}
-\score {
-<< \new Staff \relative c'' { \time 1/4 c16[ c c c]
-\time 1/4
-c16[ c c c]
-\time 1/4
-c16[ c c c]
-}
- \new Lyrics \with {
- % Otherwise lyrics are so far apart that hyphens don't disappear
- \override SeparationItem #'padding = #0.0
- }
- \lyricmode {
- bla -- bla -- bla -- bla --
- bla -- bla -- bla -- bla --
-
- \override LyricHyphen #'minimum-length = #0.7
- \override LyricHyphen #'spacing-procedure =
- #Hyphen_spanner::set_spacing_rods
-
- bla -- bla -- bla -- bla
- }>>
- \layout {
- indent = 0.0 \cm
- linewidth = 3.4 \cm
-
- \context {
- \Staff \remove "Time_signature_engraver"
- }
-
+<<
+ \new Staff \relative c'' {
+ \time 1/4 c16[ c c c]
+ \time 1/4
+ c16[ c c c]
+ \time 1/4
+ c16[ c c c]
+
+ }
+ \new Lyrics \with {
+ % Otherwise lyrics are so far apart that hyphens don't disappear
+ \override SeparationItem #'padding = #0.0
+ }
+ \lyricmode {
+ bla -- bla -- bla -- bla --
+ bla -- bla -- bla -- bla --
+
+ \override LyricHyphen #'minimum-length = #0.7
+ \override LyricHyphen #'spacing-procedure =
+ #Hyphen_spanner::set_spacing_rods
+
+ bla -- bla -- bla -- bla
+ }
+>>
+ \layout {
+ indent = 0.0 \cm
+ linewidth = 3.4 \cm
+
+ \context {
+ \Staff \remove "Time_signature_engraver"
}
-
-}
+
+ }
+
+
-
+
\version "2.6.0"
\header {
-texidoc = "
+ texidoc = "
Normally, the lyric is centered on the note head. However, on
melismata, the text is left aligned on the left-side of the note head.
}
-\score{
- <<
- \relative c' \context Voice = "bla" {
- \autoBeamOff
- c4( c16 d c b) c4
- d16[ e f g]
-
- }
- \lyricsto "bla" \context Lyrics \lyricmode {
- alllll __ tijd
- izzz
- }
- >>
- \layout { raggedright = ##t }
-}
+
+<<
+ \relative c' \context Voice = "bla" {
+ \autoBeamOff
+ c4( c16 d c b) c4
+ d16[ e f g]
+
+ }
+ \lyricsto "bla" \context Lyrics \lyricmode {
+ alllll __ tijd
+ izzz
+ }
+>>
+ \layout { raggedright = ##t }
+
\version "2.6.0"
\header
{
- texidoc = "Melismata are triggered by manual beams."
+ texidoc = "Melismata are triggered by manual beams."
}
-\score {
- <<
- \new Staff
- \relative c'' {
- \set Staff.autoBeaming = ##f
- c8 c8[ c8 c8] c8 }
-
- \lyricsto "" \new Lyrics \lyricmode { bla bla bla }
- >>
- \layout { raggedright = ##t }
-}
+
+<<
+ \new Staff
+ \relative c'' {
+ \set Staff.autoBeaming = ##f
+ c8 c8[ c8 c8] c8 }
+
+ \lyricsto "" \new Lyrics \lyricmode { bla bla bla }
+>>
+ \layout { raggedright = ##t }
+
\header {
- texidoc = "The note markup function may be used to make metronome
+ texidoc = "The note markup function may be used to make metronome
markings. It works for a variety of flag, dot and duration settings."
}
\version "2.6.0"
-\score { { c4^\markup {
- \note #"1" #1
- \note #"2" #1
- \note #"4" #1
- \note #"8" #1
- \note #"16" #1
- \note #"32" #1
- \note #"64" #1
+{ c4^\markup {
+ \note #"1" #1
+ \note #"2" #1
+ \note #"4" #1
+ \note #"8" #1
+ \note #"16" #1
+ \note #"32" #1
+ \note #"64" #1
- \note #"1" #-1
- \note #"2" #-1
- \note #"4" #-1
- \note #"8" #-1
- \note #"16" #-1
- \note #"32" #-1
- \note #"64" #-1
+ \note #"1" #-1
+ \note #"2" #-1
+ \note #"4" #-1
+ \note #"8" #-1
+ \note #"16" #-1
+ \note #"32" #-1
+ \note #"64" #-1
- \note #"1." #-1
- \note #"2." #-1
- \note #"4." #-1
- \note #"8." #-1
- \note #"16." #-1
- \note #"32." #-1
- \note #"64." #-1
+ \note #"1." #-1
+ \note #"2." #-1
+ \note #"4." #-1
+ \note #"8." #-1
+ \note #"16." #-1
+ \note #"32." #-1
+ \note #"64." #-1
- \note #"1." #1
- \note #"2." #1
- \note #"4." #1
- \note #"8." #1
- \note #"16." #1
- \note #"32." #1
- \note #"64." #1
+ \note #"1." #1
+ \note #"2." #1
+ \note #"4." #1
+ \note #"8." #1
+ \note #"16." #1
+ \note #"32." #1
+ \note #"64." #1
}
-} }
+}
\header {
- texidoc = "There is a Scheme macro @code{markup} to produce markup
+ texidoc = "There is a Scheme macro @code{markup} to produce markup
texts using a similar syntax as @code{\\markup}.
"
- }
+}
%{
%}
\version "2.6.0"
-\score {
- {
- \fatText
- f'1-\markup {
- foo
- \raise #0.2 \hbracket \bold bar
- \override #'(baseline-skip . 4)
- \bracket \column { baz bazr bla }
- \hspace #2.0
- \override #'(font-encoding . fetaMusic) {
- \lookup #"noteheads-0"
- }
- \musicglyph #"accidentals.-1"
- \combine "X" "+"
- \combine "o" "/"
- \box \column { \line { "string 1" } \line { "string 2" } }
- \italic Norsk
- \super "2"
- \dynamic sfzp
- \huge { "A" \smaller "A" \smaller \smaller "A"
- \smaller \smaller \smaller "A" }
- \sub "alike"
- }
- \break
- f'1-#(markup*
- "foo"
- #:raise 0.2 #:hbracket #:bold "bar"
- #:override '(baseline-skip . 4)
- #:bracket #:column ( "baz" "bazr" "bla" )
- #:hspace 2.0
- #:override '(font-encoding . fetaMusic) #:line (#:lookup "noteheads-0"
- )
- #:musicglyph "accidentals.-1"
- #:combine "X" "+"
- #:combine "o" "/"
- #:box #:column ("string 1" "string 2")
- " "
- #:italic "Norsk"
- #:super "2"
- #:circle #:dynamic "p"
- " "
- #:dynamic "sfzp"
- #:huge #:line ("A" #:smaller "A" #:smaller #:smaller "A"
- #:smaller #:smaller #:smaller "A")
- #:sub "alike")
- }
- \layout {
- raggedright = ##t
- indent = #0
- \context {
- \Staff
- \remove Time_signature_engraver
- }
+{
+ \fatText
+ f'1-\markup {
+ foo
+ \raise #0.2 \hbracket \bold bar
+ \override #'(baseline-skip . 4)
+
+ \bracket \column { baz bazr bla }
+ \hspace #2.0
+ \override #'(font-encoding . fetaMusic) {
+ \lookup #"noteheads-0"
}
+ \musicglyph #"accidentals.-1"
+ \combine "X" "+"
+ \combine "o" "/"
+ \box \column { \line { "string 1" } \line { "string 2" } }
+ \italic Norsk
+ \super "2"
+ \dynamic sfzp
+ \huge { "A" \smaller "A" \smaller \smaller "A"
+ \smaller \smaller \smaller "A" }
+ \sub "alike"
+ }
+ \break
+ f'1-#(markup*
+ "foo"
+ #:raise 0.2 #:hbracket #:bold "bar"
+ #:override '(baseline-skip . 4)
+ #:bracket #:column ( "baz" "bazr" "bla" )
+ #:hspace 2.0
+ #:override '(font-encoding . fetaMusic) #:line (#:lookup "noteheads-0"
+ )
+ #:musicglyph "accidentals.-1"
+ #:combine "X" "+"
+ #:combine "o" "/"
+ #:box #:column ("string 1" "string 2")
+ " "
+ #:italic "Norsk"
+ #:super "2"
+ #:circle #:dynamic "p"
+ " "
+ #:dynamic "sfzp"
+ #:huge #:line ("A" #:smaller "A" #:smaller #:smaller "A"
+ #:smaller #:smaller #:smaller "A")
+ #:sub "alike")
+}
+\layout {
+ raggedright = ##t
+ indent = #0
+ \context {
+ \Staff
+ \remove Time_signature_engraver
+ }
}
+
\version "2.6.0"
\header {texidoc="Markup scripts may be stacked."}
\layout { raggedright = ##t}
-\score { { c''^\markup { "a" \column { "1" \bold "2" "3" } } } }
+{
+ c''^\markup {
+ "a"
+ \column { "1" \bold "2" "3" }
+ }
+}
\header {
- texidoc = "Own markup commands may be defined by using the
+ texidoc = "Own markup commands may be defined by using the
@code{def-markup-command} scheme macro."
- }
+}
\version "2.6.0" % to be updated
#(def-markup-command (upcase paper props str) (string?)
"Upcase the string characters. Syntax: \\upcase #\"string\""
- (interpret-markup paper props (make-simple-markup (string-upcase str))))
-
-\score {
- {
- c''-\markup \upcase #"hello world"
- % produces a "HELLO WORLD" markup
- }
- \layout { raggedright = ##t }
+ (interpret-markup paper props (make-simple-markup (string-upcase str))))
+
+
+{
+ c''-\markup \upcase #"hello world"
+ % produces a "HELLO WORLD" markup
}
+\layout { raggedright = ##t }
+
\header
{
- texidoc = "The @code{Measure_grouping_engraver} adds triangles and
+ texidoc = "The @code{Measure_grouping_engraver} adds triangles and
brackets above beats when the beats of a time signature are grouped. "
}
%% TODO: should have 2/4 + 5/8 time sig style.
-\score {
+
\context Staff
- \relative c' {
- #(set-time-signature 2 4)
- c8 a'4 a8~
- #(set-time-signature 5 8 '(3 2))
- a8 bes4 r8 bes8->
- \time 2/4
- c,8 g'4 g8~
- #(set-time-signature 5 8 '(3 2))
- g8 a4 g a4.->
- }
- \layout {
- raggedright = ##t
- \context { \Staff
- \consists "Measure_grouping_engraver"
- }
- }
- }
+\relative c' {
+ #(set-time-signature 2 4)
+ c8 a'4 a8~
+ #(set-time-signature 5 8 '(3 2))
+ a8 bes4 r8 bes8->
+ \time 2/4
+ c,8 g'4 g8~
+ #(set-time-signature 5 8 '(3 2))
+ g8 a4 g a4.->
+}
+\layout {
+ raggedright = ##t
+ \context { \Staff
+ \consists "Measure_grouping_engraver"
+ }
+}
+
rhythmical pattern and direction of the melody line."
}
-\score {
- \context Voice{
- \clef "petrucci-c4"
- \set Staff.printKeyCancellation = ##f
- \cadenzaOn % turn off bar lines
- #(set-accidental-style 'forget)
- % ligaturae binaria
+\context Voice{
+ \clef "petrucci-c4"
+ \set Staff.printKeyCancellation = ##f
+ \cadenzaOn % turn off bar lines
+ #(set-accidental-style 'forget)
- \[
- b\breve^\markup { \column { { \bold "ligaturae binaria" } "BL" } }
- g\longa
+ % ligaturae binaria
+
+ \[
+ b\breve^\markup { \column { { \bold "ligaturae binaria" } "BL" } }
+ g\longa
\]
- \[
- g\breve^\markup { "BL" }
- b\longa
+ \[
+ g\breve^\markup { "BL" }
+ b\longa
\]
- \[
- b\longa^\markup { "LL" }
- g
+ \[
+ b\longa^\markup { "LL" }
+ g
\]
- \[
- g\longa^\markup { "LL" }
- b
+ \[
+ g\longa^\markup { "LL" }
+ b
\]
- \[
- b\breve^\markup { "BB" }
- g
+ \[
+ b\breve^\markup { "BB" }
+ g
\]
- \[
- g\breve^\markup { "BB" }
- b
+ \[
+ g\breve^\markup { "BB" }
+ b
\]
- \[
- b\longa^\markup { "LB" }
- g\breve
+ \[
+ b\longa^\markup { "LB" }
+ g\breve
\]
- \[
- g\longa^\markup { "LB" }
- b\breve
+ \[
+ g\longa^\markup { "LB" }
+ b\breve
\]
- \[
- b1^\markup { "SS" }
- g
+ \[
+ b1^\markup { "SS" }
+ g
\]
- \[
- g1^\markup { "SS" }
- b
+ \[
+ g1^\markup { "SS" }
+ b
\]
- \bar "|" \break
+ \bar "|" \break
- % ligaturae ternariae, quaternariae, etc. (sicut in Apel[1])
+ % ligaturae ternariae, quaternariae, etc. (sicut in Apel[1])
- \[
- b\breve^\markup {
- \column { { \bold "ligaturae ternariae, quaternariae, etc." } "BBL" } }
- a
- g\longa
+ \[
+ b\breve^\markup {
+ \column { { \bold "ligaturae ternariae, quaternariae, etc." } "BBL" } }
+ a
+ g\longa
\]
- \[
- a\breve^\markup { "BBBB" }
- g
- a
- b
+ \[
+ a\breve^\markup { "BBBB" }
+ g
+ a
+ b
\]
- \[
- b1^\markup { "SSBBBLB" }
- a
- g\breve
- a
- b
- a\longa
- b\breve
+ \[
+ b1^\markup { "SSBBBLB" }
+ a
+ g\breve
+ a
+ b
+ a\longa
+ b\breve
\]
- \[
- a\longa^\markup { "LBMxBL" }
- g\breve
- a\maxima
- b\breve
- a\longa
+ \[
+ a\longa^\markup { "LBMxBL" }
+ g\breve
+ a\maxima
+ b\breve
+ a\longa
\]
- \[
- d'\breve^\markup { "BBBBLL" }
- c'
- f
- d'
- b\longa
- g
+ \[
+ d'\breve^\markup { "BBBBLL" }
+ c'
+ f
+ d'
+ b\longa
+ g
\]
- \[
- c'1^\markup { "SSBLLBB" }
- b
- g\breve
- d'\longa
- a
- c'\breve
- b
+ \[
+ c'1^\markup { "SSBLLBB" }
+ b
+ g\breve
+ d'\longa
+ a
+ c'\breve
+ b
\]
- \bar "|" \break
+ \bar "|" \break
- % examples from "dtv-Atlas zur Musik" [2]
+ % examples from "dtv-Atlas zur Musik" [2]
- \[
- d'\breve^\markup { \column { { \bold "dtv-Atlas" } "BBL" } }
- c'
- b\longa
+ \[
+ d'\breve^\markup { \column { { \bold "dtv-Atlas" } "BBL" } }
+ c'
+ b\longa
\]
- \[
- a\breve^\markup { "BBBL" }
- b
- c'
- d'\longa
+ \[
+ a\breve^\markup { "BBBL" }
+ b
+ c'
+ d'\longa
\]
- \[
- b\longa.^\markup { "L.B.BBLBBB" }
- g\breve.
- a\breve
- b
- c'\longa
- a\breve
- b
- a
+ \[
+ b\longa.^\markup { "L.B.BBLBBB" }
+ g\breve.
+ a\breve
+ b
+ c'\longa
+ a\breve
+ b
+ a
\]
- \[
- c'1^\markup { "SSBB" }
- b
- g\breve
- a
+ \[
+ c'1^\markup { "SSBB" }
+ b
+ g\breve
+ a
\]
- \[
- b\longa^\markup { "LBL" }
- a\breve
- c'\longa
+ \[
+ b\longa^\markup { "LBL" }
+ a\breve
+ c'\longa
\]
- \[
- a1^\markup { "SSBL" }
- b
- d'\breve
- c'\longa
+ \[
+ a1^\markup { "SSBL" }
+ b
+ d'\breve
+ c'\longa
\]
- \bar "|" \break
+ \bar "|" \break
- % some ligatures from Ockeghem: Missa De plus en plus
+ % some ligatures from Ockeghem: Missa De plus en plus
- \[
- c'\maxima^\markup {
- \column { { \bold "Ockeghem: Missa De plus en plus" } "MxMx" } }
- g
+ \[
+ c'\maxima^\markup {
+ \column { { \bold "Ockeghem: Missa De plus en plus" } "MxMx" } }
+ g
\]
- \[
- d\longa^\markup { "LBBBB" }
- c\breve
- f
- e
- d
+ \[
+ d\longa^\markup { "LBBBB" }
+ c\breve
+ f
+ e
+ d
\]
- \[
- c'\maxima^\markup { "MxL" }
- d'\longa
+ \[
+ c'\maxima^\markup { "MxL" }
+ d'\longa
\]
- \[
- e'\breve^\markup { "BBB" }
- d'
- c'
+ \[
+ e'\breve^\markup { "BBB" }
+ d'
+ c'
\]
- \[
- b\longa^\markup { "LBBBBB" }
- c'\breve
- d'
- g
- f
- g
- \]
+ \[
+ b\longa^\markup { "LBBBBB" }
+ c'\breve
+ d'
+ g
+ f
+ g
+ \]
- \[
- g\breve^\markup { "BBBBL" }
- b
- c'
- e'
- d'\longa
+ \[
+ g\breve^\markup { "BBBBL" }
+ b
+ c'
+ e'
+ d'\longa
\]
- \[
- e'1^\markup { "SSB" }
- a
- g\breve
+ \[
+ e'1^\markup { "SSB" }
+ a
+ g\breve
\]
- \[
- g\longa^\markup { "LLLL" }
- b
- c'
- e'
+ \[
+ g\longa^\markup { "LLLL" }
+ b
+ c'
+ e'
\]
- \bar "|" \break
+ \bar "|" \break
- % some from the Requiem
+ % some from the Requiem
- \[
- a1^\markup { \column { { \bold "Ockeghem: Requiem" } "SSBBBBBBBL" } }
- d
- e\breve
- f
- d
- f
- e
- f
- g
- e\longa
+ \[
+ a1^\markup { \column { { \bold "Ockeghem: Requiem" } "SSBBBBBBBL" } }
+ d
+ e\breve
+ f
+ d
+ f
+ e
+ f
+ g
+ e\longa
\]
- \[
- c'\breve^\markup { "BBBBL" }
- c
- d
- c
- c'\longa
+ \[
+ c'\breve^\markup { "BBBBL" }
+ c
+ d
+ c
+ c'\longa
\]
- \bar "|" \break
+ \bar "|" \break
- % crazy ligatures
+ % crazy ligatures
- \[
- c\breve^\markup { \column { { \bold "crazy ligatures" } "BBBBB" } }
- e
- f
- g
- bes
+ \[
+ c\breve^\markup { \column { { \bold "crazy ligatures" } "BBBBB" } }
+ e
+ f
+ g
+ bes
\]
- \[
- bes\breve^\markup { "BB" }
- a
+ \[
+ bes\breve^\markup { "BB" }
+ a
\] % TODO: accidentals must be collected and printed before ligature
- \[
- a\breve.^\markup { "B.B.B.B.B.B.B.B.B." }
- g
- b
- a
- e
- g
- f
- a
- g
- \]
-
- \[
- b^\markup { "B.B." }
- a
+ \[
+ a\breve.^\markup { "B.B.B.B.B.B.B.B.B." }
+ g
+ b
+ a
+ e
+ g
+ f
+ a
+ g
+ \]
+
+ \[
+ b^\markup { "B.B." }
+ a
\] % TODO: dots within ligatures must be placed above heads
- \bar "|" \break
+ \bar "|" \break
- % invalid ligatures (those commented out are rejected with explanation)
+ % invalid ligatures (those commented out are rejected with explanation)
- % \[
- % a1^\markup { \column { { \bold "invalid ligatures" } "SS" } }
- % as
- % \]
+ % \[
+ % a1^\markup { \column { { \bold "invalid ligatures" } "SS" } }
+ % as
+ % \]
- \[
- a\breve^\markup { "BBB" }
- g
- as
+ \[
+ a\breve^\markup { "BBB" }
+ g
+ as
\]
- % \[
- % f\longa^\markup { "LLB" }
- % g
- % f\breve
- % \]
+ % \[
+ % f\longa^\markup { "LLB" }
+ % g
+ % f\breve
+ % \]
- % \[
- % f\breve^\markup { "BSLB" }
- % a1
- % g\longa
- % a\breve
- % \]
- }
+ % \[
+ % f\breve^\markup { "BSLB" }
+ % a1
+ % g\longa
+ % a\breve
+ % \]
+}
- \layout {
- raggedright = ##t
- packed = ##t
- indent = 0.0
- \context {
- \Voice
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
- }
+\layout {
+ raggedright = ##t
+ packed = ##t
+ indent = 0.0
+ \context {
+ \Voice
+ \remove Ligature_bracket_engraver
+ \consists Mensural_ligature_engraver
}
}
+
% Litterae:
%
% [1] Willi Apel: The Notation of Polyphonic Music. 900-1600.
\version "2.6.0"
\header {
-
-texidoc = "There is limited support for mensural notation: note head
+
+ texidoc = "There is limited support for mensural notation: note head
shapes are available. Mensural stems are centered on the note heads,
both for up and down stems."
}
-\score { { \context Voice {
- \override NoteHead #'style = #'mensural
-\transpose c d'' { c4 c2 c8 c16 c16 c1 c\breve c\longa }
-\transpose c c' { c4 c2 c8 c16 c16 c1 c\breve c\longa }
-}}}
+{ \context Voice {
+ \override NoteHead #'style = #'mensural
+ \transpose c d'' { c4 c2 c8 c16 c16 c1 c\breve c\longa }
+ \transpose c c' { c4 c2 c8 c16 c16 c1 c\breve c\longa }
+}}
\header {
- texidoc = "Here @code{\\tempo} directives are printed as metronome markings.
+
+ texidoc = "Here @code{\\tempo} directives are printed as metronome markings.
The marking is left aligned with the time signature, if there is one.
"
-
- }
+
+}
\version "2.6.0"
-\score { \relative c'' { \tempo \breve = 100 c1 c1 \tempo 8.. = 50 c1 }
+\relative c'' {
+ \tempo \breve = 100 c1 c1 \tempo 8.. = 50 c1
+}
\layout { raggedright = ##t }
- }
-
+
+
\version "2.6.0"
\header{
-texidoc="
+ texidoc="
If @code{Score.skipBars} is set,
the signs for four, two, and one measure rest are combined to
produce the graphical representation of rests for up to 10 bars.
}
thenotes = \relative cis' {
-\set Score.skipBars = ##t
-\time 4/4
-R1 |
-R1*1 |
-R1*2 |
-R1*3 |
-R1*4 |
-R1*5 |
-R1*6 |
-R1*7 |
-R1*8 |
-R1*9 |
-R1*10 |
-R1*11 |
+ \set Score.skipBars = ##t
+ \time 4/4
+ R1 |
+ R1*1 |
+ R1*2 |
+ R1*3 |
+ R1*4 |
+ R1*5 |
+ R1*6 |
+ R1*7 |
+ R1*8 |
+ R1*9 |
+ R1*10 |
+ R1*11 |
}
-\score { << \context Staff \thenotes
+<< \context Staff \thenotes
+
+ >>
- >>
-}
}
-\score {
-
- {
- \set Score.skipBars = ##t
- \override Staff.BarLine #'hair-thickness = #7.5
- \override Staff.MultiMeasureRest #'hair-thickness = #10
- c'1 R1*20 c'1
- }
- \layout { raggedright = ##t}
+
+{
+ \set Score.skipBars = ##t
+ \override Staff.BarLine #'hair-thickness = #7.5
+ \override Staff.MultiMeasureRest #'hair-thickness = #10
+
+ c'1 R1*20 c'1
}
+\layout { raggedright = ##t}
+
\version "2.6.0"
\header {
- texidoc = "There are both long and short instrument names.
+ texidoc = "There are both long and short instrument names.
Engraving instrument names should not be confused by the
multimeasure rests. "
}
-\score{
- \context Staff <<
- \set Staff.instrument = "instrument"
- \set Staff.instr = "instr"
- {c''1 \break R1 }
- >>
- \layout {
- raggedright = ##t
- \context {
- \Staff
- \consists Instrument_name_engraver
-
- }
- }
+
+\context Staff <<
+ \set Staff.instrument = "instrument"
+ \set Staff.instr = "instr"
+ {c''1 \break R1 }
+>>
+\layout {
+ raggedright = ##t
+ \context {
+ \Staff
+ \consists Instrument_name_engraver
+
+ }
}
+
\header { texidoc = "The centering of multi-measure rests is
independent on prefatory matter in other staves."
- }
+ }
\version "2.6.0"
-\score {
- << \new Staff { R1 }
- \new Staff { f'1 \clef bass }
- >>
+<< \new Staff { R1 }
+ \new Staff { f'1 \clef bass }
+
+ >>
+
+ \layout { raggedright = ##t }
-\layout { raggedright = ##t }
-}
\header {
- texidoc = "By setting texts starting with a multi-measure rest, an
+ texidoc = "By setting texts starting with a multi-measure rest, an
extra spacing column is created. This should not cause problems."
- }
+}
\version "2.6.0"
-\score {
- <<
- \set Score.skipBars = ##t
- \context Staff = "flute" \new Voice {
- << { R1*40 } { s1*0_"bla" }>>
- }
- >>
- \layout {
- raggedright = ##t
- }
- }
+
+<<
+ \set Score.skipBars = ##t
+ \context Staff = "flute" \new Voice {
+ << { R1*40 } { s1*0_"bla" }>>
+ }
+>>
+ \layout {
+ raggedright = ##t
+ }
+
\header {
-texidoc = "
+ texidoc = "
Texts may be added to the multi-measure rests.
"
}
-\score { {
+{
\time 3/4
\set Score.skipBars = ##t
R2._\markup { \center-align { \musicglyph #"scripts.dfermata" \roman "Ad lib" } }
R2.*3_\markup { \roman "a1b2c3" }
R2.*10^"inner"^"top"_"inner"_"bot"
c'2.
-}}
+}
\version "2.6.0"
\header{
-texidoc="
+ texidoc="
Multi-measure rests do not collide with barlines and clefs. They
are not expanded when you set @code{Score.skipBars}. Although the
multi-measure-rest is a Spanner, minimum distances are set to keep it
}
-\score { {
- \time 3/4 \key cis \major
- R2.*15
+{
+ \time 3/4 \key cis \major
+ R2.*15
- R2.
- R2.*3
- R2.*9
- R2.*11
+ R2.
+ R2.*3
+ R2.*9
+ R2.*11
-\time 8/4 R1*2
+ \time 8/4 R1*2
}
- \layout {
- \context {
- \Score
- skipBars = ##t
- }
- raggedright = ##t
- }
+\layout {
+ \context {
+ \Score
+ skipBars = ##t
+ }
+ raggedright = ##t
}
+
\header {
-texidoc =
+ texidoc =
-"With @code{music-map}, you can apply functions operating on a single
+ "With @code{music-map}, you can apply functions operating on a single
piece of music to an entire music expression. In this example, the the
function @code{notes-to-skip} changes a note to a skip. When applied
to an entire music expression in the 1st measure, the scripts and
\version "2.6.0"
#(define (notes-to-skip m)
-"Convert all stuff with duration (notes, lyrics, bass figures, etc.) to skips.
+ "Convert all stuff with duration (notes, lyrics, bass figures, etc.) to skips.
Scripts and dynamics are maintained.
"
(if (memq 'rhythmic-event (ly:music-property m 'types))
- (let* ((newmus (make-music 'SkipEvent)))
- (map
- (lambda (x) (ly:music-set-property! newmus (car x) (cdr x)))
- (ly:music-mutable-properties m))
- newmus
- )
- m)
+ (let* ((newmus (make-music 'SkipEvent)))
+ (map
+ (lambda (x) (ly:music-set-property! newmus (car x) (cdr x)))
+ (ly:music-mutable-properties m))
+ newmus
+ )
+ m)
)
- \layout { raggedright= ##t }
+\layout { raggedright= ##t }
foobar = \transpose c c' { c4\>-^ c4-^ c4\!-^ c4-^ }
-\score {
- \relative c'' \context Voice {
- \foobar
- << \applymusic #(lambda (x) (music-map notes-to-skip x))
- \foobar
- { d2 d2 } >>
-}}
+\relative c'' \context Voice {
+ \foobar
+
+ << \applymusic #(lambda (x) (music-map notes-to-skip x))
+ \foobar
+ { d2 d2 } >>
+}
\version "2.6.0"
\header{
- texidoc=" By default, text is set with empty horizontal dimensions.
+ texidoc=" By default, text is set with empty horizontal dimensions.
The boolean property @code{no-spacing-rods} in @code{TextScript} is used
to control the horizontal size of text. " }
-\score{
- \relative c''{
- %% \emptyText
- %% short for \override TextScript #'no-spacing-rods = ##t
- c2_"very wide and long text" c | \break
- %% short for \override TextScript #'no-spacing-rods = ##f
- \fatText
- c_"very wide and long text" c
- }
- \layout {
- linewidth = 3.0\cm
- }
+
+\relative c''{
+ %% \emptyText
+ %% short for \override TextScript #'no-spacing-rods = ##t
+ c2_"very wide and long text" c | \break
+ %% short for \override TextScript #'no-spacing-rods = ##f
+ \fatText
+ c_"very wide and long text" c
+}
+\layout {
+ linewidth = 3.0\cm
}
+
\header {
- texidoc = "Note grouping events are used to indicate where
+ texidoc = "Note grouping events are used to indicate where
analysis brackets start and end.
@cindex bracket
@cindex analysis
"
-
+
}
-\score {
- \relative c''
- {
- c4\startGroup\startGroup\startGroup
- c4\stopGroup
- c4\startGroup
- c4\stopGroup\stopGroup
- c4\startGroup
- c4\stopGroup\stopGroup
- }
-
- \layout {
- \context {
- \Staff \consists "Horizontal_bracket_engraver"
- }
- raggedright = ##t
- }
+
+\relative c''
+{
+ c4\startGroup\startGroup\startGroup
+ c4\stopGroup
+ c4\startGroup
+ c4\stopGroup\stopGroup
+ c4\startGroup
+ c4\stopGroup\stopGroup
+}
+
+\layout {
+ \context {
+ \Staff \consists "Horizontal_bracket_engraver"
+ }
+ raggedright = ##t
}
+
\version "2.6.0"
\header {
- texidoc = "Note heads are flipped on the stem to prevent collisions.
+ texidoc = "Note heads are flipped on the stem to prevent collisions.
It also works for whole heads that have invisible stems.
"
}
- \layout { raggedright= ##t }
+\layout { raggedright= ##t }
-\score { \relative c''
- \context Voice {
- <g a c>4
- <c d g a>
- <c d e >
- <c c g>
- <c d f g>1
- }}
+\relative c''
+\context Voice {
+ <g a c>4
+ <c d g a>
+ <c d e >
+ <c c g>
+ <c d f g>1
+}
\header
{
- texidoc = " The handling of stems for harmonic notes must be
+ texidoc = " The handling of stems for harmonic notes must be
completely identical to normal note heads.
Harmonic heads do not get dots. If @code{harmonicAccidentals} is unset, they also don't get accidentals."
\version "2.6.0"
-\score {
- {
- < c'' f''\harmonic >4
- \stemUp
- < c'' f''\harmonic >4.
- < cis'' fis''\harmonic >8
- \set Staff.harmonicAccidentals = ##f
- < dis'' gis''\harmonic >8
- }
- \layout {
- raggedright = ##t
- }
+{
+ < c'' f''\harmonic >4
+ \stemUp
+ < c'' f''\harmonic >4.
+ < cis'' fis''\harmonic >8
+ \set Staff.harmonicAccidentals = ##f
+ < dis'' gis''\harmonic >8
+}
+
+\layout {
+ raggedright = ##t
}
+
\version "2.6.0"
\header{
-texidoc="
+ texidoc="
Note head shapes may be set from several choices.
The stem endings should be adjusted according to the note head.
If you want different note head styles on one stem,
}
>>
-\score {
- \transpose c c {
- \clef C
- \override Staff.NoteHead #'style = #'default
- s1*0^\markup { "default" }
- \pattern
+\transpose c c {
+ \clef C
- \override Staff.NoteHead #'style = #'baroque
- s1*0^\markup { "baroque" }
- \pattern
+ \override Staff.NoteHead #'style = #'default
+ s1*0^\markup { "default" }
+ \pattern
- \break
+ \override Staff.NoteHead #'style = #'baroque
+ s1*0^\markup { "baroque" }
+ \pattern
- \override Staff.NoteHead #'style = #'neomensural
- s1*0^\markup { "neomensural" }
- \pattern
+ \break
- \override Staff.NoteHead #'style = #'mensural
- s1*0^\markup { "mensural" }
- \pattern
+ \override Staff.NoteHead #'style = #'neomensural
+ s1*0^\markup { "neomensural" }
+ \pattern
- \break
+ \override Staff.NoteHead #'style = #'mensural
+ s1*0^\markup { "mensural" }
+ \pattern
- \override Staff.NoteHead #'style = #'petrucci
- s1*0^\markup { "petrucci" }
- \pattern
+ \break
- \override Staff.NoteHead #'style = #'harmonic
- s1*0^\markup { "harmonic" }
- \pattern
+ \override Staff.NoteHead #'style = #'petrucci
+ s1*0^\markup { "petrucci" }
+ \pattern
- \break
+ \override Staff.NoteHead #'style = #'harmonic
+ s1*0^\markup { "harmonic" }
+ \pattern
- \override Staff.NoteHead #'style = #'diamond
- s1*0^\markup { "diamond" }
- \pattern
+ \break
- \override Staff.NoteHead #'style = #'cross
- s1*0^\markup { "cross" }
- \pattern
+ \override Staff.NoteHead #'style = #'diamond
+ s1*0^\markup { "diamond" }
+ \pattern
- \break
+ \override Staff.NoteHead #'style = #'cross
+ s1*0^\markup { "cross" }
+ \pattern
- \override Staff.NoteHead #'style = #'xcircle
- s1*0^\markup { "xcircle" }
- \pattern
+ \break
- \override Staff.NoteHead #'style = #'triangle
- s1*0^\markup { "triangle" }
- \pattern
+ \override Staff.NoteHead #'style = #'xcircle
+ s1*0^\markup { "xcircle" }
+ \pattern
- \break
+ \override Staff.NoteHead #'style = #'triangle
+ s1*0^\markup { "triangle" }
+ \pattern
- \override Staff.NoteHead #'style = #'slash
- s1*0^\markup { "slash" }
- \pattern
- }
+ \break
- \layout {
- indent = 0.0
- raggedright = ##t
- }
+ \override Staff.NoteHead #'style = #'slash
+ s1*0^\markup { "slash" }
+ \pattern
}
+
+\layout {
+ indent = 0.0
+ raggedright = ##t
+}
+
\version "2.6.0"
\header {
-texidoc = "Note head lines (e.g. glissando)
+ texidoc = "Note head lines (e.g. glissando)
run between centers of the note heads."
}
su = { \change Staff = up}
sd = { \change Staff = down}
-\score {
- \context PianoStaff
- <<
- \context Staff = "up" {
- \set PianoStaff.connectArpeggios = ##t
- \showStaffSwitch
- \clef F
- c4 d \sd b a g8 f16 e32 d \su g2 \glissando a,4 \sd \break a2. \su g4 \glissando f1
- }
- \context Staff = "down" {
- \clef F s1*4
- }
- >>
-\layout {
+
+\context PianoStaff
+<<
+ \context Staff = "up" {
+ \set PianoStaff.connectArpeggios = ##t
+ \showStaffSwitch
+ \clef F
+ c4 d \sd b a g8 f16 e32 d \su g2 \glissando a,4 \sd \break a2. \su g4 \glissando f1
+ }
+ \context Staff = "down" {
+ \clef F s1*4
+ }
+>>
+ \layout {
linewidth = 8.0 \cm
-}
-}
+ }
+
\version "2.6.0"
\header{
-texidoc=" The number of stafflines of a staff can be set. Ledger
+ texidoc=" The number of stafflines of a staff can be set. Ledger
lines both on note heads and rests, as well as barlines, are
adjusted accordingly. "
}
-\score {
+
\context Voice \relative c {
- c' c c c | g' g g g \bar ":|"
+ c' c c c | g' g g g \bar ":|"
+}
+\layout {
+ \context {
+ \Staff
+ \override StaffSymbol #'line-count = #3
}
- \layout {
-\context { \Staff
-\override StaffSymbol #'line-count = #3
-} }
- \midi { }
-}
\header
{
-texidoc = "Ottava brackets are supported, through the
+ texidoc = "Ottava brackets are supported, through the
use of the scheme function @code{set-octavation}.
The spanner should go below a staff for 8va bassa, and the ottavation
}
\version "2.6.0"
-% . There must be a minimum distance between the octavation line and the
-% topmost staff line, taking into account the height of the closing
-% vertical dashed line.
-%
-% . Octavation lines broken across staves must always start with `8va'
-% (or something similar).
-%
-% . The `8va' should be slightl offset to the left.
-%
-% . The final vertical dashed line of the octavation line should be offset
-% to the right.
-%
-% . Octavation lines for `8va bassa' must be below the staff, not above.
-%
-% . The `8va bassa' string is far too long for short octavation lines.
-% LilyPond should select between `8va bassa', `8ba', and `8', depending
-% on the available horizontal space (and the octavation style selected
-% by the user). The same holds for `8va' and `15ma'.
+%% . There must be a minimum distance between the octavation line and the
+%% topmost staff line, taking into account the height of the closing
+%% vertical dashed line.
+ %
+%% . Octavation lines broken across staves must always start with `8va'
+%% (or something similar).
+ %
+%% . The `8va' should be slightl offset to the left.
+ %
+%% . The final vertical dashed line of the octavation line should be offset
+%% to the right.
+ %
+%% . Octavation lines for `8va bassa' must be below the staff, not above.
+ %
+%% . The `8va bassa' string is far too long for short octavation lines.
+%% LilyPond should select between `8va bassa', `8ba', and `8', depending
+%% on the available horizontal space (and the octavation style selected
+%% by the user). The same holds for `8va' and `15ma'.
\layout { raggedright = ##t}
-\score {
- \relative c''' {
+
+\relative c''' {
a b c a
#(set-octavation 1)
a b c a
\set Staff.ottavation = #"8"
g,,16
}
-}
+
voices.
"
- }
+ }
\version "2.6.0"
vone =
%%%%%%%%%%%%%% 0 1 2 3
\relative c'' {
- \time 2/4
- a8[ a] a8[ a] |
- a8[ a] a8[ a]
+ \time 2/4
+ a8[ a] a8[ a] |
+ a8[ a] a8[ a]
}
vtwo =
\relative c' {
- \time 2/4
- f8[ f]~ f8[ f] |
- f8[ f] f8[ f]
+ \time 2/4
+ f8[ f]~ f8[ f] |
+ f8[ f] f8[ f]
}
-\score {
- \partcombine \vone \vtwo
- }
+
+\partcombine \vone \vtwo
+
\header {
- texidoc ="The new part combiner stays apart from:
+ texidoc ="The new part combiner stays apart from:
@itemize @bullet
@item different durations,
@item different articulations (taking into account only slur/beam/tie), and
@item wide pitch ranges.
@end itemize
"
- }
+}
\version "2.6.0"
-vone = \relative a' { g2 g g g4 g f' c c( c) c c c ~ c
- c2. c4 c
- }
-vtwo = \relative a' { f2 f4 f f2 g4 g c, f f f f f~ f ~ f
- f4 f2. ~ f4
+vone = \relative a' {
+ g2 g g g4 g f' c c( c) c c c ~ c
+ c2. c4 c
+}
+vtwo = \relative a' {
+ f2 f4 f f2 g4 g c, f f f f f~ f ~ f
+ f4 f2. ~ f4
+}
+
- }
+\partcombine \vone \vtwo
+
+\layout { raggedright = ##t }
-\score {
- \partcombine \vone \vtwo
- \layout { raggedright = ##t }
-}
\version "2.6.0"
\header {
- texidoc = "Unterminated piano pedal brackets run to the end of the piece. "
+ texidoc = "Unterminated piano pedal brackets run to the end of the piece. "
}
-\score {
- {
- \set Staff.pedalSustainStyle = #'bracket
- c4 \sustainDown
- \bar "|."
- }
- \layout { raggedright = ##t }
+
+{
+ \set Staff.pedalSustainStyle = #'bracket
+ c4 \sustainDown
+ \bar "|."
}
+\layout { raggedright = ##t }
+
\version "2.6.0"
\header
{
- texidoc = "The standard piano pedals style comes with Ped symbols.
+ texidoc = "The standard piano pedals style comes with Ped symbols.
The pedal string can be also tuned, for example, to a shorter tilde/P variant
at the end of the melody."
}
-\score{
- \context Staff \relative c'{
- c4 d e f g
- \sustainDown b c
- c, d16[ c c c] e[ e \sustainUp \sustainDown e e ] f4 \sustainUp
- g\sustainDown b \sustainUp c
- \set Staff.pedalSustainStrings = #'("-" "-P" "P")
- \override Staff.SustainPedal #'padding = #-2
- c, \sustainDown d e \sustainUp \sustainDown f
- \sustainUp g b c
- }
+
+\context Staff \relative c'{
+ c4 d e f g
+ \sustainDown b c
+ c, d16[ c c c] e[ e \sustainUp \sustainDown e e ] f4 \sustainUp
+ g\sustainDown b \sustainUp c
+ \set Staff.pedalSustainStrings = #'("-" "-P" "P")
+ \override Staff.SustainPedal #'padding = #-2
+ c, \sustainDown d e \sustainUp \sustainDown f
+ \sustainUp g b c
}
+
\header {
-texidoc =" The A is atop an invisible barline. The barline,
+ texidoc =" The A is atop an invisible barline. The barline,
although invisible, is also translated because it is the last one of
the break alignment."
-
+
}
\layout { raggedright= ##t }
-\score{ {
-a a a a \break
-\mark A
-a a a a}}
+{
+ a a a a \break
+ \mark A
+ a a a a
+}
\version "2.6.0"
\header {
- texidoc = "Distances between prefatory items (e.g. clef, bar,
+ texidoc = "Distances between prefatory items (e.g. clef, bar,
etc.) are determined by engraving standards. These distances depend
on which items are combined. Mid-line, the order for clef and
bar-line is different from the start of line.
}
-\score { \relative c'' {
- \set Staff.instrument = "fobar"
- \bar "||:"
- \key cis \major
- cis4 cis4 cis4 cis4 \clef bass cis,1
- \clef treble
- \bar ":|"
- \key g \minor
- c1
+\relative c'' {
+ \set Staff.instrument = "fobar"
+ \bar "||:"
+ \key cis \major
+ cis4 cis4 cis4 cis4 \clef bass cis,1
+ \clef treble
+ \bar ":|"
+ \key g \minor
+ c1
}
\layout { raggedright = ##t}
-}
+
\version "2.6.0"
\header{
-texidoc="
+ texidoc="
Across linebreaks, the left edge of a first and second alternative
bracket should be equal.
"
}
- \layout { raggedright= ##t }
-
-\score {
+\layout { raggedright= ##t }
\context Staff\relative c'' {
- \repeat "volta" 2 { c1 \break } \alternative { d e }
- c1
- \repeat "volta" 2 { c1 } \alternative { { d \break} e }
+ \repeat "volta" 2 { c1 \break } \alternative { d e }
+ c1
+ \repeat "volta" 2 { c1 } \alternative { { d \break} e }
}
-}
+
\header {
-texidoc = "Percent repeats are not skipped, even when @code{skipBars} is set."
+ texidoc = "Percent repeats are not skipped, even when @code{skipBars} is set."
}
- \layout { raggedright= ##t }
+\layout { raggedright= ##t }
+
+
+\context Staff <<
+ \set Score.skipBars = ##t
+ {
+ \repeat "percent" 2 { g2 a g a }
+ }
+>>
-\score {
- \context Staff <<
- \set Score.skipBars = ##t
- {
- \repeat "percent" 2 { g2 a g a }
- }
- >>
-}
\version "2.6.0"
\header {
-texidoc = "Within a bar, beat repeats denote that a music snippet should be
+ texidoc = "Within a bar, beat repeats denote that a music snippet should be
played again."
}
-\score { \relative c'
- \context Voice { \time 4/4
- \repeat "percent" 2 { c2 }
+\relative c'
+\context Voice {
+ \time 4/4
+ \repeat "percent" 2 { c2 }
- % the chairman dances
- \repeat "percent" 2 { g'8 g c, c }
- \repeat "percent" 4 { b8 b8 }
- }
- \layout { raggedright = ##t }
+ %% the chairman dances
+ \repeat "percent" 2 { g'8 g c, c }
+ \repeat "percent" 4 { b8 b8 }
}
+\layout { raggedright = ##t }
+
\version "2.6.0"
\header {
- texidoc = "Unfolding tremolo repeats. All fragments fill one
+ texidoc = "Unfolding tremolo repeats. All fragments fill one
measure with 16th notes exactly."
}
-\score{
- {
- \time 2/4
- \applymusic #unfold-repeats
- { \repeat tremolo 4 { c'16 e' } |
- \repeat tremolo 8 c'16 } |
- \time 3/4
- \applymusic #unfold-repeats
- { \repeat tremolo 6 { c'16 e' } |
- \repeat tremolo 12 c'16 } | \bar "|."
-
- \bar "|."
+{
+ \time 2/4
+ \applymusic #unfold-repeats
+ { \repeat tremolo 4 { c'16 e' } |
+ \repeat tremolo 8 c'16 } |
-
- }
- \layout { raggedright = ##t }
+ \time 3/4
+ \applymusic #unfold-repeats
+ { \repeat tremolo 6 { c'16 e' } |
+ \repeat tremolo 12 c'16 } | \bar "|."
+
+ \bar "|."
+
+
}
+\layout { raggedright = ##t }
+
\version "2.6.0"
\header{
-texidoc="
+ texidoc="
LilyPond has three modes for repeats: folded, unfolded and
semi-unfolded. Unfolded repeats are fully written out. Semi unfolded
repeats have the body written and all alternatives sequentially.
"
}
-\score {
- \context Voice \relative c'' {
-\repeat unfold 3 { c^"3x 0a" d }
-% less alts than body
-\repeat unfold 4 { c^"4x 0a" d } \alternative { e f }
-% more alts than body
-\repeat unfold 2 { c^"2x 3a" d } \alternative { e f g }
-}}
+
+\context Voice \relative c'' {
+ \repeat unfold 3 { c^"3x 0a" d }
+ %% less alts than body
+ \repeat unfold 4 { c^"4x 0a" d } \alternative { e f }
+ %% more alts than body
+ \repeat unfold 2 { c^"2x 3a" d } \alternative { e f g }
+}
\version "2.6.0"
\header{
-texidoc="
+ texidoc="
Volta (Semi folded) behavior. Voltas can start on non-barline moments.
If they don't barlines should still be shown.
"
}
-% no alts.
-\score {
- \context Voice \relative c'' {
- % repeat non aligning with barlines.
- \repeat volta 3 { c^"3x 0alt" d e }
- % less alts than body
- \repeat volta 4 { c^"4x 2alt" d } \alternative { e f }
- % more alts than body
- \repeat volta 2 { c^"2x 3alt" d } \alternative { e f g }
- }
- \layout {}
- \midi {}
+%% no alts.
+
+\context Voice \relative c'' {
+ %% repeat non aligning with barlines.
+ \repeat volta 3 { c^"3x 0alt" d e }
+ %% less alts than body
+ \repeat volta 4 { c^"4x 2alt" d } \alternative { e f }
+ %% more alts than body
+ \repeat volta 2 { c^"2x 3alt" d } \alternative { e f g }
}
\header {
- texidoc = "Rests under beams are only moved if necessary."
+ texidoc = "Rests under beams are only moved if necessary."
}
\version "2.6.0"
fig = \relative c' {
- <a c e>8[ r <c e a> r <e a c> r <a c e>] r |
+ <a c e>8[ r <c e a> r <e a c> r <a c e>]
+ r |
}
-
-\score {
- \relative c' \new Staff {
- \fig
- \transpose c c, \fig
- \new Voice { \stemUp \transpose c f \fig }
- <<
- \\
- \transpose f c \fig
- >>
-
- <<
- { \transpose c c' \fig }
- \\
- {}
- >>
-
- << \transpose c c' \fig \\
- \transpose f c \fig
- >>
+
+
+ \relative c' \new Staff {
+ \fig
+ \transpose c c, \fig
+ \new Voice { \stemUp \transpose c f \fig }
+ <<
+ \\
+ \transpose f c \fig
+ >>
+
+ <<
+ { \transpose c c' \fig }
+ \\
+ {}
+ >>
+
+ << \transpose c c' \fig \\
+ \transpose f c \fig
+ >>
}
\layout {
- raggedright = ##t
+ raggedright = ##t
}
-}
+
\version "2.6.0"
\header{
-texidoc="
+ texidoc="
Rests should not collide with beams, stems and noteheads. Rests may
be under beams. Rests should be move by integral number of spaces
inside the staff, and by half spaces outside. Notice that the half
r r r r r r r r r r r r r r r r
}
different = << {
- \relative c'' {
- r8 a e4 a e
- }
- }\\ {
-
- \relative c'' {
- r1
- }} >>
+ \relative c'' {
+ r8 a e4 a e
+ }
+}\\ {
+
+ \relative c'' {
+ r1
+ }} >>
scales = \context Staff <<
- { r1 r2 r2 \scale c''1 c'2 a'2 \rests }
- \\
- { a'1 a'2 d'2 \rests r1 r2 r2 \scale }
+ { r1 r2 r2 \scale c''1 c'2 a'2 \rests }
+ \\
+ { a'1 a'2 d'2 \rests r1 r2 r2 \scale }
>>
restsII = \context Staff {
- r4 r8
- \context Staff << { r8 } \\{ r8} >>
- \context Staff << { r8} r8 \\{ r8} >>
- \context Staff << { r8} r8 r8 \\ { r8} >>
- \context Staff << { r} \\ { r} >>
- \context Staff << { r} r\\ { \stemDown r} >>
- \different
- }
-
-\score{
- {
- \scales
- \restsII
- }
- \layout { raggedright = ##t }
-}
+ r4 r8
+ \context Staff << { r8 } \\{ r8} >>
+ \context Staff << { r8} r8 \\{ r8} >>
+ \context Staff << { r8} r8 r8 \\ { r8} >>
+ \context Staff << { r} \\ { r} >>
+ \context Staff << { r} r\\ { \stemDown r} >>
+ \different
+}
+
+
+{
+ \scales
+ \restsII
+}
+\layout { raggedright = ##t }
+
\version "2.6.0"
\header {
-texidoc = "Rests can have pitches--these will be affected by
+ texidoc = "Rests can have pitches--these will be affected by
transposition and relativization. If a rest has a pitch, rest/rest and
beam/rest collision resolving will leave it alone."
}
- \layout { raggedright= ##t }
+\layout { raggedright= ##t }
-\score { \relative c''
- {
- a4\rest b4\rest c4\rest
+\relative c''
+{
+ a4\rest b4\rest c4\rest
+
+ <<d \\ d\rest^"rest pitch" >>
+ <<d \\ r>>
+ c16 [ d r e]
+ c16 [ d e\rest^"rest pitch" e]
+
+}
- <<d \\ d\rest^"rest pitch" >>
- <<d \\ r>>
- c16 [ d r e]
- c16 [ d e\rest^"rest pitch" e]
-
- }
- }
\header {
- texidoc = "In polyphonic situations, rests are moved down
+ texidoc = "In polyphonic situations, rests are moved down
even if there is no opposite note or rest. The amount is two
@code{staff-space}s. "
- }
+}
\version "2.6.0"
-\score {
- \new Staff \relative c' {
- << { r8 g''4 g8 r g4 g8 } \\
- { d,4 r d r } >>
- }
- \layout { raggedright = ##t }
+
+\new Staff \relative c' {
+ << { r8 g''4 g8 r g4 g8 } \\
+ { d,4 r d r } >>
}
+\layout { raggedright = ##t }
+
\header {
- texidoc = "Scripts are put on the utmost head, so they are
+ texidoc = "Scripts are put on the utmost head, so they are
positioned correctly when there are collisions."
}
-\score {
- \relative c'' {
+
+\relative c'' {
c4
<c d c'>\marcato
<< { c4^^ }\\
- { d4_^ } >>
- }
+ { d4_^ } >>
+}
\layout { raggedright = ##t}
- }
+
\version "2.6.0"
\header {
- texidoc = "Scripts can be stacked. The order is determined by a
+ texidoc = "Scripts can be stacked. The order is determined by a
priority field, but when objects have the same priority, the input
order determines the order. Objects specified first are closest to the note.
"
}
-\score{ \relative c'' { c4^"inner up"^"outer up"_"inner down"_"outer down" }
- \layout { raggedright = ##t}
- }
+\relative c'' { c4^"inner up"^"outer up"_"inner down"_"outer down" }
+\layout { raggedright = ##t}
+
\layout { raggedright= ##t }
\header {
-texidoc = "Scripts may be stacked."
+ texidoc = "Scripts may be stacked."
}
-\score { { c'''->-. } }
+{ c'''->-. }
\version "2.6.0"
\header{
-texidoc="
+ texidoc="
Slurs behave decently when broken across a linebreak.
"
}
-
-\score{
- \context PianoStaff <<
- \context Staff = "one" \relative c'{
- \stemUp \slurUp
- c4( c \change Staff=two c c) |
- \change Staff=one
- \stemUp \slurUp
- c4( c \change Staff=two c c) |
- \stemUp \slurUp
- c4( c \change Staff=one c c) |
- \change Staff=two
- \stemUp \slurUp
- c4( c \change Staff=one c c) |
- \change Staff=two
- \stemUp \slurUp
- c4( \change Staff=one c c c) |
- r2
- \change Staff=two
- \stemUp \slurUp
- c4( \change Staff=one c
- \break
- c c)
- r2
-% \stemDown \slurDown
-% c4( \change Staff=two c c \change Staff=one c)
- \stemDown \slurDown
- d4( \change Staff=two c c \change Staff=one d)
- \change Staff=two
- \stemUp \slurUp
- c4( \change Staff=one c c \change Staff=two c)
- r1
- }
- \context Staff = "two" \relative c'{
- \clef bass
- s1 s1 s1 s1 s1 s1 s1 s1 s1 s1
- }
- >>
-}
+
+
+\context PianoStaff <<
+ \context Staff = "one" \relative c'{
+ \stemUp \slurUp
+ c4( c \change Staff=two c c) |
+ \change Staff=one
+ \stemUp \slurUp
+ c4( c \change Staff=two c c) |
+ \stemUp \slurUp
+ c4( c \change Staff=one c c) |
+ \change Staff=two
+ \stemUp \slurUp
+ c4( c \change Staff=one c c) |
+ \change Staff=two
+ \stemUp \slurUp
+ c4( \change Staff=one c c c) |
+ r2
+ \change Staff=two
+ \stemUp \slurUp
+ c4( \change Staff=one c
+ \break
+ c c)
+ r2
+ %% \stemDown \slurDown
+ %% c4( \change Staff=two c c \change Staff=one c)
+ \stemDown \slurDown
+ d4( \change Staff=two c c \change Staff=one d)
+ \change Staff=two
+ \stemUp \slurUp
+ c4( \change Staff=one c c \change Staff=two c)
+ r1
+ }
+ \context Staff = "two" \relative c'{
+ \clef bass
+ s1 s1 s1 s1 s1 s1 s1 s1 s1 s1
+ }
+>>
+
\header {texidoc = "@cindex Slur, dotted, dashed
The appearance of slurs may be changed from solid to dotted or dashed.
"
-}
-\score{
- \relative c'{
- c( d e c) |
- \slurDotted
- c( d e c) |
- \slurDashed
- c( d e c) |
- \override Slur #'dash-period = #2.0
- \override Slur #'dash-fraction = #0.4
- c( d e c) |
- \slurSolid
- c( d e c) |
- }
- \layout{ raggedright=##t }
+ }
+
+\relative c'{
+ c( d e c) |
+ \slurDotted
+ c( d e c) |
+ \slurDashed
+ c( d e c) |
+ \override Slur #'dash-period = #2.0
+ \override Slur #'dash-fraction = #0.4
+ c( d e c) |
+ \slurSolid
+ c( d e c) |
}
+\layout{ raggedright=##t }
+
\version "2.6.0"
\header{
-texidoc="Slurs should not get confused by augmentation dots. With a lot
+ texidoc="Slurs should not get confused by augmentation dots. With a lot
of dots, the problems becomes more visible."
}
-\score {
- \relative c'' {
- c4.............( c)
- }
- \layout {
- raggedright = ##t
- }
+
+\relative c'' {
+ c4.............( c)
+}
+\layout {
+ raggedright = ##t
}
+
\version "2.6.0"
\header{
-texidoc="
+ texidoc="
Slurs should look nice and symmetric. The curvature may increase
only to avoid noteheads, and as little as possible. Slurs never
run through noteheads or stems.
"
}
-\score{
- \relative c''{
- \time 3/4
- \slurUp
- \stemNeutral a ( \stemDown a \stemNeutral a) a( c a) a( e' a,) a( g' a,)
- \stemUp a( e' a,)
- \break
- \slurDown
- \stemNeutral c ( \stemUp c \stemNeutral c) c ( a c) c( d, c') c( f, c')
- \stemDown c( f, c')
- }
- \layout{
- linewidth = 120.\mm
- }
+
+\relative c''{
+ \time 3/4
+ \slurUp
+ \stemNeutral a ( \stemDown a \stemNeutral a) a( c a) a( e' a,) a( g' a,)
+ \stemUp a( e' a,)
+ \break
+ \slurDown
+ \stemNeutral c ( \stemUp c \stemNeutral c) c ( a c) c( d, c') c( f, c')
+ \stemDown c( f, c')
+}
+\layout{
+ linewidth = 120.\mm
}
+
\version "2.6.0"
\header
{
- texidoc ="Slurs may be placed over rest. The slur will avoid colliding with
+ texidoc ="Slurs may be placed over rest. The slur will avoid colliding with
the rest.
"
}
-\score{ { \stemDown c'4 ( r4 c'2)
+{ \stemDown c'4 ( r4 c'2)
- \relative c'' {
- % Finish with F if played separately
- c8-.( r c,-. r c4) r4| }
-
+ \relative c'' {
+ %% Finish with F if played separately
+ c8-.( r c,-. r c4) r4|
+ }
+
+}
+\layout { raggedright = ##t }
- }
-\layout { raggedright = ##t}
- }
% #(define debug-slur-scoring #t)
}
-%% help lilypond-book
-%% \score
-
\relative {
\grace e=''16( d8.[) c16]
texidoc = "Symmetric figures should lead to symmetric slurs."
}
-\score{
- \relative c''<<
- \time 4/4
- \context Staff{
- f8(f f f) f(g g f) f(a a f) f(b b f)
- }
- \new Staff{
- e,(e e e) e(d d e) e(c c e) e(b b e)
- }
- >>
- \layout{
- raggedright = ##t
- }
+
+\relative c''<<
+ \time 4/4
+ \context Staff{
+ f8(f f f) f(g g f) f(a a f) f(b b f)
+ }
+ \new Staff{
+ e,(e e e) e(d d e) e(c c e) e(b b e)
+ }
+>>
+\layout{
+ raggedright = ##t
}
+
\version "2.6.0"
\header
{
- texidoc = "Symmetric figures should lead to symmetric slurs."
+ texidoc = "Symmetric figures should lead to symmetric slurs."
}
-\score{
- \relative c'<<
- \time 6/8
- \context Staff{
- e8(e e) e(d e) e(c e) e(b e)
- }
- \new Staff{
- f'8(f f) f(g f) f(a f) f(b f)
- }
- >>
- \layout{
- raggedright = ##t
- }
+
+\relative c'<<
+ \time 6/8
+ \context Staff{
+ e8(e e) e(d e) e(c e) e(b e)
+ }
+ \new Staff{
+ f'8(f f) f(g f) f(a f) f(b f)
+ }
+>>
+\layout{
+ raggedright = ##t
}
+
\version "2.6.0"
\header {
-texidoc = "Accidentals in different staves do not affect the
+ texidoc = "Accidentals in different staves do not affect the
spacing of the eighth notes here."
}
-\score { \relative c'' << \new Staff { \time 4/4
+\relative c'' <<
+ \new Staff {
+ \time 4/4
- c8[ c8 cis8 cis8]
- cis8[ cis8 cis8 cis]
+ c8[ c8 cis8 cis8]
+ cis8[ cis8 cis8 cis]
+ }
+ {
+ \key d \major cis4 cis4 cis4 cis!4
+ }
+>>
+\layout { raggedright = ##t}
- }
- { \key d \major cis4 cis4 cis4 cis!4 } >>
-
- \layout { raggedright = ##t}
- }
\version "2.6.0"
\header {
-texidoc = "Accidentals sticking out to the left
+ texidoc = "Accidentals sticking out to the left
of a note will take a little more space, but only if the spacing is tight."
}
-\score { \relative c'' {
- \time 8/4
- c2 c2 cis2 cis2 |
- c8 c8 cis8 cis8 cis c c c]
+\relative c'' {
+ \time 8/4
+ c2 c2 cis2 cis2 |
+ c8 c8 cis8 cis8 cis c c c]
}
\layout { raggedright = ##t}
-}
+
\version "2.6.0"
\header {
-texidoc = "Downstem notes following a barline are
+ texidoc = "Downstem notes following a barline are
printed with some extra space. This is an optical correction similar
to juxtaposed stems.
sd = \override Stem #'direction = #-1
su = \override Stem #'direction = #1
-\score { \relative c''
+\relative c''
{
-%\override Staff.StaffSpacing #'stem-spacing-correction = #10
-%\override Staff.NoteSpacing #'stem-spacing-correction = #10
+ %%\override Staff.StaffSpacing #'stem-spacing-correction = #10
+ %%\override Staff.NoteSpacing #'stem-spacing-correction = #10
-\time 1/4 \sd c4 \su c4
-\sd c4 \su c4
-\sd f c,4 c'4 cis4 \stemUp c4
+ \time 1/4 \sd c4 \su c4
+ \sd c4 \su c4
+ \sd f c,4 c'4 cis4 \stemUp c4
}
\layout { raggedright = ##t}
-}
+
\version "2.6.0"
\header {
- texidoc = "Clef changes at the start of a line get much more space
+ texidoc = "Clef changes at the start of a line get much more space
than clef changes halfway the line."
}
-\score {
- <<
- \new Staff {
- c'2
- \clef bass e16 f a
- \clef treble b
- }
- \new Staff {
- c'4 c'4 c'4
- }
- >>
- \layout {
- raggedright = ##t
- \context {
- \Staff
- \remove Time_signature_engraver
- }
+
+<<
+ \new Staff {
+ c'2
+ \clef bass e16 f a
+ \clef treble b
+ }
+ \new Staff {
+ c'4 c'4 c'4
+ }
+>>
+ \layout {
+ raggedright = ##t
+ \context {
+ \Staff
+ \remove Time_signature_engraver
}
-}
+ }
+
\version "2.6.0"
\header {
-
- texidoc ="Broken engraving of a bar at the end of a line does not upset
+
+ texidoc ="Broken engraving of a bar at the end of a line does not upset
the space following rests and notes." }
-\score
-{
- \relative c' {
- c2.. r8
- c2.. r8
- \time 3/4 \break
- e2 e4 | e2 e4 \time 4/4 \break
+
+\relative c' {
+ c2.. r8
+ c2.. r8
+ \time 3/4 \break
+ e2 e4 | e2 e4 \time 4/4 \break
}
\layout {
- raggedright = ##t }
-}
+ raggedright = ##t }
+
\header { texidoc = "
A voicelet (a very short voice to get polyphonic chords correct)
should not confuse the spacing engine."
-}
+ }
- \score {
- { \context Staff \relative c' {
+
+{ \context Staff \relative c' {
c4
<<
- { r4 dis'4 } \\
- { r4 fis,4 } \\
- { r bis } \\
- { s gis }
+ { r4 dis'4 } \\
+ { r4 fis,4 } \\
+ { r bis } \\
+ { s gis }
>>
c4
}}
- \layout { raggedright = ##t }
-}
+\layout { raggedright = ##t }
+
\version "2.6.0"
\header {
- texidoc = "Spacing uses the duration of the notes, but disregards
+ texidoc = "Spacing uses the duration of the notes, but disregards
grace notes for this. In this example, the 8ths around the grace
are spaced exactly as the other 8th notes.
"
}
-\score { \relative c''
- \context Voice
+\relative c''
+\context Voice
{
- c8[ c8]
- \grace { b16 }
- c8[ c8] c8[ c8]
+ c8[ c8]
+ \grace { b16 }
+ c8[ c8] c8[ c8]
}
- \layout { raggedright = ##t}
-}
+\layout { raggedright = ##t}
+
\header {
texidoc = "Grace note spacing. "
}
-
-\score {
- \context Voice \relative c'' { \grace { c16[ d] } c4 }
- \layout { raggedright = ##t}
-}
+
+\context Voice \relative c'' { \grace { c16[ d] } c4 }
+\layout { raggedright = ##t}
+
+
\version "2.6.0"
\header {
- texidoc = "For knees, the spacing correction is such that the
+ texidoc = "For knees, the spacing correction is such that the
stems are put at regular distances. This effect takes into account the
width of the note heads and the thickness of the stem.
"
- }
-\score {
+}
+
{
- g''8[ g g'' g'']
+ g''8[ g g'' g'']
- % check code independent of default settings.
- \override NoteSpacing #'knee-spacing-correction = #1.0
- g''8[ g g'' g'']
- \override Stem #'thickness = #10
- g''8[ g g'' g'']
- }
+ % check code independent of default settings.
+ \override NoteSpacing #'knee-spacing-correction = #1.0
+ g''8[ g g'' g'']
+ \override Stem #'thickness = #10
+ g''8[ g g'' g'']
+}
\layout { raggedright = ##t}
- }
+
\header {
-texidoc = "The flags of 8th notes take some space, but not
+ texidoc = "The flags of 8th notes take some space, but not
too much: the space following a flag is less than the space
following a beamed 8th head."
}
-\score { \relative c'' \context Staff {
- \set autoBeaming = ##f
- a8[ a8 a8 a8]
- a8 a8 a8 a8
+\relative c'' \context Staff {
+ \set autoBeaming = ##f
+ a8[ a8 a8 a8]
+ a8 a8 a8 a8
}
\layout {
-raggedright = ##t
- }
- }
+ raggedright = ##t
+}
+
\version "2.6.0"
\version "2.6.0"
\header {
- texidoc = "Rests get a little less space, since they are narrower.
+ texidoc = "Rests get a little less space, since they are narrower.
However, the quarter rest in feta font is relatively wide, causing this
effect to be very small.
"
- }
-\score { \relative c'' \context Staff {
- \time 12/4
- r4 c4 c4 c4 r4 r4 c4
+}
+\relative c'' \context Staff {
+ \time 12/4
+ r4 c4 c4 c4 r4 r4 c4
}
\layout {
-raggedright = ##t
- }
- }
+ raggedright = ##t
+}
+
\version "2.6.0"
\header {
-
-texidoc = "Notes that are shorter than the common shortest note get a
+
+ texidoc = "Notes that are shorter than the common shortest note get a
space (i.e. without the space needed for the note) proportional to
their duration. So, the 16th notes get 1/2 of the space of an eigth note.
The total distance for a 16th (which includes note head) is 3/4 of the
}
-\score { \relative c''
+\relative c''
{
- \time 2/4
- c16 c c c c4 c4
- c8 c8 c8 c8
- c8 c8 c4
- c8 c8 c4
+ \time 2/4
+ c16 c c c c4 c4
+ c8 c8 c8 c8
+ c8 c8 c4
+ c8 c8 c4
}
- \layout { raggedright = ##t}
-}
+\layout { raggedright = ##t}
+
\version "2.6.0"
\header {
-texidoc = "Upstem notes before a barline are printed with some extra
+ texidoc = "Upstem notes before a barline are printed with some extra
space. This is an optical correction similar to juxtaposed stems.
"
sd = \override Stem #'direction = #-1
su = \override Stem #'direction = #1
-\score { \relative e'
+\relative e'
{
-%\override Staff.StaffSpacing #'stem-spacing-correction = #0.5
-%\override Staff.NoteSpacing #'stem-spacing-correction = #0.5
+ %%\override Staff.StaffSpacing #'stem-spacing-correction = #0.5
+ %%\override Staff.NoteSpacing #'stem-spacing-correction = #0.5
-\time 3/8
-\su
-e8 e e
-f f f
-a a a
-c c c
-e e e
+ \time 3/8
+ \su
+ e8 e e
+ f f f
+ a a a
+ c c c
+ e e e
}
\layout { raggedright = ##t}
-}
+
\header{
-texidoc="
+ texidoc="
There are optical corrections to the spacing of stems. The overlap between
two adjacent stems of different direction is used as a measure for how
}
-\score {
- \context Voice \relative c {
- % make sure neutral is down.
- \override Stem #'neutral-direction = #-1
- \time 16/4 c''4 c c, c' d, c' e, c' f, c' g c a c b c
-
- }
- \layout {
- raggedright = ##t
- }
+
+\context Voice \relative c {
+ %% make sure neutral is down.
+ \override Stem #'neutral-direction = #-1
+ \time 16/4 c''4 c c, c' d, c' e, c' f, c' g c a c b c
}
+\layout {
+ raggedright = ##t
+}
+
+
\version "2.6.0"
\header {
- texidoc = "For juxtaposed chords with the same direction, a
+ texidoc = "For juxtaposed chords with the same direction, a
slight optical correction is used. It is constant, and works only if
two chords have no common head-positions range."
}
-\score { \relative c'' {
-\stemDown
-\time 12/4
+\relative c'' {
+ \stemDown
+ \time 12/4
f8[
- e f e] f[ d f d] f[ c f c] f[ b, f' b,] f'[ a, f' a,]
+ e f e] f[ d f d] f[ c f c] f[ b, f' b,] f'[ a, f' a,]
}
\layout { raggedright = ##t}
-}
+
\version "2.6.0"
\header {
- texidoc ="Space from a normal note (or barline) to a grace note is
+ texidoc ="Space from a normal note (or barline) to a grace note is
smaller than to a normal note."
-
+
}
-\score {
- \context Voice
- { \time 2/4
- \relative c'' {
- e8 e \grace d8 e e \grace f8 e es, d' d
- e8 e e e \grace { \stemDown f8 \stemNeutral } e es, d'
- }
+\context Voice
+{ \time 2/4
+ \relative c'' {
+ e8 e \grace d8 e e \grace f8 e es, d' d
+ e8 e e e \grace { \stemDown f8 \stemNeutral } e es, d'
+
+ }
+
+}
+\layout { raggedright = ##t}
- }
- \layout { raggedright = ##t}
- }
\header {
- texidoc = "At the beginning of a system, the @code{|:} repeat
+ texidoc = "At the beginning of a system, the @code{|:} repeat
barline is drawn between the staves, but the @code{:|} is not."
- }
-
-\score {
- \new PianoStaff <<
- \context Staff = "up" {
- \bar "|:" r1
- \bar ":|" \break r1
- }
- \context Staff = "down" { r r }
- >>
- \layout{ raggedright = ##t }
}
+
+
+\new PianoStaff <<
+ \context Staff = "up" {
+ \bar "|:" r1
+ \bar ":|" \break r1
+ }
+ \context Staff = "down" { r r }
+>>
+\layout{ raggedright = ##t }
+
"
}
-\score {
- \relative c' \new StaffGroup <<
- \new Staff {
- \override Score.BarLine #'transparent = ##t
- a1 a1
- \revert Score.BarLine #'transparent
- \override Score.SpanBar #'transparent = ##t
- a1 a1
- }
- \lyricmode <<
- \new Lyrics { bla1 die bla }
- \new Lyrics { foo bar foo }
- >>
- \new Staff {
- f1 f1 f1 f1
- }
+
+\relative c' \new StaffGroup <<
+ \new Staff {
+ \override Score.BarLine #'transparent = ##t
+ a1 a1
+ \revert Score.BarLine #'transparent
+ \override Score.SpanBar #'transparent = ##t
+ a1 a1
+ }
+ \lyricmode <<
+ \new Lyrics { bla1 die bla }
+ \new Lyrics { foo bar foo }
>>
- \layout {
- \context {
- \Staff
- }
- raggedright =##t
+ \new Staff {
+ f1 f1 f1 f1
}
+>>
+\layout {
+ \context {
+ \Staff
+ }
+ raggedright =##t
}
+
%% Local variables:
%% LilyPond-indent-level:2
%% End:
\header{
- texidoc=" The staccato dot (and all scripts with follow-into-staff
+ texidoc=" The staccato dot (and all scripts with follow-into-staff
set) must not be on staff lines. The staccato dot is close to the
notehead. If the head is in a space, then the dot is in the space next
to it. "
}
-\score {
- \context Voice \relative c' {
- e'4-. f-. g-. d-. c-. b-.
- \stemDown
- e,-. d-. c-. b-. a-. g-.
- }
- \layout {
- raggedright = ##t
- }
+
+\context Voice \relative c' {
+ e'4-. f-. g-. d-. c-. b-.
+ \stemDown
+ e,-. d-. c-. b-. a-. g-.
}
+\layout {
+ raggedright = ##t
+}
+
\header {
-
-texidoc = "Staves may be present in several sizes within a score.
+
+ texidoc = "Staves may be present in several sizes within a score.
This is achieved with an internal scaling factor. If the scaling factor is
forgotten in some places, objects generally become too thick or too
large on smaller staves."
\version "2.6.0"
-\score {
- <<
- \new Staff \with {
- fontSize = #-4
- \override StaffSymbol #'staff-space = #(magstep -4)
- }
- \relative c' {
-\override DynamicText #'extra-offset = #'(0 . 3)
- s1-\f c''8[(\< r a g]) e[ r d( <f a>])\! \times 2/3 { d4 d d }
- }
+
+<<
+ \new Staff \with {
+ fontSize = #-4
+ \override StaffSymbol #'staff-space = #(magstep -4)
+ }
+ \relative c' {
+ \override DynamicText #'extra-offset = #'(0 . 3)
+ s1-\f c''8[(\< r a g]) e[ r d( <f a>])\! \times 2/3 { d4 d d }
+ }
\new Staff
- \relative c' {
-\override DynamicText #'extra-offset = #'(0 . 3)
+ \relative c' {
+ \override DynamicText #'extra-offset = #'(0 . 3)
s1-\f c''8[(\< r a g]) e[ r d( <f a>])\! \times 2/3 { d4 d d }
- }
- >>
+ }
+ >>
\layout {
#(layout-set-staff-size 6)
raggedright = ##t
}
-}
+
\version "2.6.0"
\header {
-texidoc = "The staff is a grob (graphical object) which may be adjusted as well, for example, to have 6 thick lines and a slightly large @code{staff-space}.
+ texidoc = "The staff is a grob (graphical object) which may be adjusted as well, for example, to have 6 thick lines and a slightly large @code{staff-space}.
However, beams remain correctly quantized."
}
mus = \relative c' { c4 g' d'8 d d d }
-\score {
- <<
- \new Staff {
- \override Staff.StaffSymbol #'thickness = #2.0
- \override Staff.StaffSymbol #'line-count = #6
- \override Staff.StaffSymbol #'staff-space = #1.1
- \mus
- }
+
+<<
+ \new Staff {
+ \override Staff.StaffSymbol #'thickness = #2.0
+ \override Staff.StaffSymbol #'line-count = #6
+ \override Staff.StaffSymbol #'staff-space = #1.1
\mus
- >>
+ }
+ \mus
+>>
\layout {
raggedright = ##t
}
-}
+
\version "2.6.0"
\header {
-
- texidoc = "If note head is `over' the center line, the stem is
+
+ texidoc = "If note head is `over' the center line, the stem is
shortened. This happens with forced stem directions, and with some
chord configurations."
}
-\score {
- \relative c'' {
- \stemDown d c b a g f e
- \stemNeutral
- \stemUp a b c d e f g a
- \stemNeutral
- <g, e'>2 <b e g> <c e g> <d f g>
-
- }
- \layout {
- raggedright = ##t
- }
+
+\relative c'' {
+ \stemDown d c b a g f e
+ \stemNeutral
+ \stemUp a b c d e f g a
+ \stemNeutral
+ <g, e'>2 <b e g> <c e g> <d f g>
+
+}
+\layout {
+ raggedright = ##t
}
+
\version "2.6.0"
\header{
-texidoc="
+ texidoc="
Stem tremolos or rolls are tremolo signs that look like beam segments
crossing stems. If the stem is in a beam, the tremolo must be parallel
to the beam. If the stem is invisible (e.g. on a whole note), the
}
-\score{
- \context Voice \relative c''{
- \override TextScript #'direction = #1
- \override TextScript #'padding = #5
- a1:4^":4" a:8^":8" c:16^":16" a:32^":32" a^"x" a:^":"
- a4:4 c:8 a:16 c:32 a a: a2:
- \break
- \stemUp
- a4:32 a'4:64
- \stemDown
- c,4:32 c,4:64
- \stemNeutral
- c'8:16 c c c
- a': a a: a
- c,16:32 c: c c a16:32 a: a a
- c8:16 g: d: a:
- c8:32 f: b: e:
- \transpose c c { f''8:256[ f'8: f'':] }
- }
+
+\context Voice \relative c''{
+ \override TextScript #'direction = #1
+ \override TextScript #'padding = #5
+ a1:4^":4" a:8^":8" c:16^":16" a:32^":32" a^"x" a:^":"
+ a4:4 c:8 a:16 c:32 a a: a2:
+ \break
+ \stemUp
+ a4:32 a'4:64
+ \stemDown
+ c,4:32 c,4:64
+ \stemNeutral
+ c'8:16 c c c
+ a': a a: a
+ c,16:32 c: c c a16:32 a: a a
+ c8:16 g: d: a:
+ c8:32 f: b: e:
+ \transpose c c { f''8:256[ f'8: f'':] }
}
+
\version "2.6.0"
\header {
- texidoc =
-"
+ texidoc =
+ "
The piano brace should be shifted horizontally if it is enclosed in a bracket.
"
}
-\score { {
- \context StaffGroup <<
- c4
- \context PianoStaff <<
- \new Staff d
- \new Staff e
- >>
+{
+ \context StaffGroup <<
+ c4
+ \context PianoStaff <<
+ \new Staff d
+ \new Staff e
>>
- }
- \layout {raggedright = ##t}
+ >>
}
+\layout {raggedright = ##t}
+
\header {
- texidoc = "For other tunings, it is sufficient to set
+ texidoc = "For other tunings, it is sufficient to set
@code{stringTunings}. The number of staff lines is adjusted
accordingly."
\version "2.6.0"
-\score {
- \new TabStaff {
- \set TabStaff.stringTunings = #'(5 10 15 20)
- \relative c'' { c4 d e f }
- }
+
+\new TabStaff {
+ \set TabStaff.stringTunings = #'(5 10 15 20)
+ \relative c'' { c4 d e f }
}
+
String numbers can be entered as note articulations (inside a chord) and
chord articulations (outside a chord)
"
-}
+ }
partition = {
- \key e \major
- <e\5 dis'\4>
- <e dis'>
- <<e\5 dis'\4>>
- <e dis'>\5\4
+ \key e \major
+ <e\5 dis'\4>
+ <e dis'>
+ <<e\5 dis'\4>>
+ <e dis'>\5\4
}
-\score {
- \context StaffGroup <<
- \context Staff <<
- \clef "G_8"
- \partition
- >>
- \context TabStaff <<
- \partition
- >>
+
+\context StaffGroup <<
+ \context Staff <<
+ \clef "G_8"
+ \partition
>>
-}
+ \context TabStaff <<
+ \partition
+ >>
+>>
+
\version "2.6.0"
\header {
-texidoc = "The @code{\\tag} command marks music expressions with a
+ texidoc = "The @code{\\tag} command marks music expressions with a
name. These tagged expressions can be filtered out later. This
mechanism can be used to make different versions of the same music. In
this example, the top stave displays the music expression with all
\layout { raggedright= ##t }
common =
- \relative c'' {
-
- c1
- \relative c' <<
- \tag #'part <<
- R1 \\
- {
- \set fontSize = #-1
- c4_"cue" f2 g4 }
- >>
- \tag #'score R1
- >>
- c1-\tag #'part ^4
+\relative c'' {
+
+ c1
+ \relative c' <<
+ \tag #'part <<
+ R1 \\
+ {
+ \set fontSize = #-1
+ c4_"cue" f2 g4 }
+ >>
+ \tag #'score R1
+ >>
+ c1-\tag #'part ^4
}
-\score {
- \simultaneous {
- \new Staff {
- \set Staff.instrument = #"both"
- \common
- }
- \new Staff {
- \set Staff.instrument = #"part"
- \keepWithTag #'part \common
- }
- \new Staff {
- \set Staff.instrument = #"score"
- \keepWithTag #'score \common
- }
- }
+
+\simultaneous {
+ \new Staff {
+ \set Staff.instrument = #"both"
+ \common
+ }
+ \new Staff {
+ \set Staff.instrument = #"part"
+ \keepWithTag #'part \common
+ }
+ \new Staff {
+ \set Staff.instrument = #"score"
+ \keepWithTag #'score \common
+ }
}
+
\version "2.6.0"
\header {
-texidoc = "Tie engraver uses @code{busyGrobs} to keep track of
+ texidoc = "Tie engraver uses @code{busyGrobs} to keep track of
note heads. By throwing many mixed tuplets on the queue,
one may have collisions between ties and beams.
"
}
-\score
-{
- \context Staff \relative c''
- <<
- { \times 2/3 { c'8~ c8~ c8~ c8~ c8~ c8 } }
- \\
- { \voiceTwo \times 2/5 { a,4 ~a4 ~a4~ a4~ a4 }}
- \\
- { \voiceThree { b,8 ~ b8 ~ b8 ~ b8 }}
- >>
- \layout {
- raggedright = ##t
- }
-}
+\context Staff \relative c''
+<<
+ { \times 2/3 { c'8~ c8~ c8~ c8~ c8~ c8 } }
+ \\
+ { \voiceTwo \times 2/5 { a,4 ~a4 ~a4~ a4~ a4 }}
+ \\
+ { \voiceThree { b,8 ~ b8 ~ b8 ~ b8 }}
+>>
+
+ \layout {
+ raggedright = ##t
+ }
+
\version "2.6.0"
\header{
-texidoc="
+ texidoc="
When tying chords, the outer ties point outwards, the inner ties
point away from the center of the staff. The behavior can be overridden
by setting explicitly the @code{direction} of a @code{TieColumn}.
t = \relative c' { <c e g> ~ <c e g> }
- \score {
- \context Voice {
- \t
- \transpose c g \t
- \override TieColumn #'direction = #-1
- \t
+\context Voice {
+ \t
+ \transpose c g \t
+
+ \override TieColumn #'direction = #-1
+ \t
- }
}
+
\version "2.6.0"
\header {
-texidoc = "Ties should not collide with dots."
+ texidoc = "Ties should not collide with dots."
}
-\score{{\time 9/8 \key f \major\clef bass
+{
+ \time 9/8 \key f \major\clef bass
g4 d8 bes4. ~ bes4 a8 \bar "|"
a8 gis8 d8 f4. gis,4. \bar "|"
a,4. ~ a,4 r8 r4 r8 \bar "|"
c4. ~ c8 a8 g8 f8
-}}
+}
\version "2.6.0"
\header {
- texidoc = "Tieing a grace to the to a following grace or main note works."
+ texidoc = "Tieing a grace to the to a following grace or main note works."
}
- \layout { raggedright= ##t }
+\layout { raggedright= ##t }
-\score { \context Voice \relative c'' {
- c4 \grace { c8 ~ c16 ~ } c4
- }
+\context Voice \relative c'' {
+ c4 \grace { c8 ~ c16 ~ } c4
}
+
\version "2.6.0"
\header {
-texidoc = "In combination with a beam, the bracket of the tuplet
+ texidoc = "In combination with a beam, the bracket of the tuplet
bracket is removed. This only happens if there is one beam, as long as
the bracket."
}
- \layout { raggedright= ##t }
+\layout { raggedright= ##t }
-\score { \context Voice\relative c'' {
-\times 2/3 { r c8[ c8] }
-\times 2/3 { c8[ c c] }
-\times 2/3 { c16[ c16] c8[ c8] }
-}}
+\context Voice\relative c'' {
+ \times 2/3 { r c8[ c8] }
+ \times 2/3 { c8[ c c] }
+ \times 2/3 { c16[ c16] c8[ c8] }
+}
\header {
- texidoc = "The size of the tuplet bracket gap is adjusted to the
+ texidoc = "The size of the tuplet bracket gap is adjusted to the
width of the text."
}
\version "2.6.0"
\layout {
- indent = 0.0\mm
- raggedright = ##t
+ indent = 0.0\mm
+ raggedright = ##t
}
-\score{
- \relative c'' {
- \set tupletNumberFormatFunction = #fraction-tuplet-formatter
- \times 17/12 { c8 c4 c8 c8}
- }
+
+\relative c'' {
+ \set tupletNumberFormatFunction = #fraction-tuplet-formatter
+ \times 17/12 { c8 c4 c8 c8}
}
+
\header {
-texidoc = "Tuplet bracket formatting supports numerous options,
+ texidoc = "Tuplet bracket formatting supports numerous options,
for instance, bracketed (B) and non-bracketed (NB).
"
}
-
+
\version "2.6.0"
-\score {
- \context Voice \relative c'' {
-
- \times 2/3 { c'8 c,, c }
- \times 2/3 { c'8 c'' c,, }
-
-
- \times 2/3 { c8[^"NB" c c] }
-
- \times 2/3 { c8^"B" c[ c] }
- \times 2/4 { r8_"B" c,[ c'] r8 }
-
- \override TupletBracket #'bracket-visibility = #'if-no-beam
- \times 2/3 { c8[ c c] }
-
- \override TupletBracket #'direction = #1
- \override TupletBracket #'number-visibility = ##f
- \times 2/3 { c8^""^""^"up, no digit" c[ c] }
- \revert TupletBracket #'number-visibility
-
- \override TupletBracket #'bracket-visibility = ##t
- \override TupletBracket #'edge-height = #'(0.0 . 0.0)
- \override TupletBracket #'shorten-pair = #'(2.0 . 2.0)
- \times 4/6 { c_"shorter, no edges" f b b f c}
- \revert TupletBracket #'edge-height
- \revert TupletBracket #'shorten-pair
- \override TupletBracket #'bracket-flare = #'(0.5 . 0.5)
- \times 2/3 { b^""^""^"angled edges" b b }
- \revert TupletBracket #'direction
- \times 2/3 { b b b }
-
- }
+
+\context Voice \relative c'' {
+
+ \times 2/3 { c'8 c,, c }
+ \times 2/3 { c'8 c'' c,, }
+
+
+ \times 2/3 { c8[^"NB" c c] }
+
+ \times 2/3 { c8^"B" c[ c] }
+ \times 2/4 { r8_"B" c,[ c'] r8 }
+
+ \override TupletBracket #'bracket-visibility = #'if-no-beam
+ \times 2/3 { c8[ c c] }
+
+ \override TupletBracket #'direction = #1
+ \override TupletBracket #'number-visibility = ##f
+ \times 2/3 { c8^""^""^"up, no digit" c[ c] }
+ \revert TupletBracket #'number-visibility
+
+ \override TupletBracket #'bracket-visibility = ##t
+ \override TupletBracket #'edge-height = #'(0.0 . 0.0)
+ \override TupletBracket #'shorten-pair = #'(2.0 . 2.0)
+ \times 4/6 { c_"shorter, no edges" f b b f c}
+ \revert TupletBracket #'edge-height
+ \revert TupletBracket #'shorten-pair
+ \override TupletBracket #'bracket-flare = #'(0.5 . 0.5)
+ \times 2/3 { b^""^""^"angled edges" b b }
+ \revert TupletBracket #'direction
+ \times 2/3 { b b b }
+
}
+
\version "2.6.0"
\header {
- texidoc = "Tuplets may contain rests. "
+ texidoc = "Tuplets may contain rests. "
}
-\score {
- \context Voice \relative c'' {
- \time 2/4
- \times 2/3 { r c,,, c''' }
- \times 2/3 { r c c }
- \times 2/3 { r c r}
- \times 2/3 { r r r}
- \times 2/3 { r c e}
- \times 2/3 { c r e}
- \times 2/3 { r c g}
- \times 2/3 { c r g}
- }
+
+\context Voice \relative c'' {
+ \time 2/4
+ \times 2/3 { r c,,, c''' }
+ \times 2/3 { r c c }
+ \times 2/3 { r c r }
+ \times 2/3 { r r r }
+ \times 2/3 { r c e }
+ \times 2/3 { c r e }
+ \times 2/3 { r c g }
+ \times 2/3 { c r g }
}
+
\version "2.6.0"
\header {
-texidoc = "Horizontal tuplet brackets are shifted vertically
+ texidoc = "Horizontal tuplet brackets are shifted vertically
to avoid staff line collisions."
}
- \layout { raggedright= ##t }
+\layout { raggedright= ##t }
-\score { \context Voice\relative c'' {
-\times 2/3 { b'4 b b }
-\times 2/3 { f4 f f }
-\times 2/3 { g4 g g }
-\times 2/3 { a4 a a }
-}}
+\context Voice\relative c'' {
+ \times 2/3 { b'4 b b }
+ \times 2/3 { f4 f f }
+ \times 2/3 { g4 g g }
+ \times 2/3 { a4 a a }
+}
\version "2.6.0"
\header{
-
-texidoc="
+
+ texidoc="
Tuplets are indicated by a bracket with a number. There should be no
bracket if there is a beam exactly matching the length of the tuplet.
The bracket does not interfere with the stafflines, and the number is
}
\layout { raggedright= ##t }
-\score{
- \context Voice \relative c'' {
- \times 2/3 { a8 b c }
- \times 2/3 { r8 b[ f] }
- \override TupletBracket #'bracket-flare = #'(0.5 . 0.5)
- \times 2/3 { r8 b r8 }
- c4 |
-
- \times 3/4 { c4 c4 c4 c4 } c4 |
-
- \time 6/8
- \times 6/9 { c8 c c c c c c c c }
-
- }
+
+\context Voice \relative c'' {
+ \times 2/3 { a8 b c }
+ \times 2/3 { r8 b[ f] }
+ \override TupletBracket #'bracket-flare = #'(0.5 . 0.5)
+ \times 2/3 { r8 b r8 }
+ c4 |
+
+ \times 3/4 { c4 c4 c4 c4 } c4 |
+
+ \time 6/8
+ \times 6/9 { c8 c c c c c c c c }
+
}
+
can be printed automatically. This is enabled if the property
@code{followVoice} is set to true. "
- }
-\score {
- \relative c'
- \context PianoStaff <<
- \set PianoStaff.followVoice = ##t
- \context Staff = "one" \context Voice {
- c1
- \change Staff=two
- b2 a
}
- \context Staff = "two" {\clef bass \skip 1*2 }
- >>
- \layout{
- raggedright = ##t
- }
+
+\relative c'
+\context PianoStaff <<
+ \set PianoStaff.followVoice = ##t
+ \context Staff = "one" \context Voice {
+ c1
+ \change Staff=two
+ b2 a
+ }
+ \context Staff = "two" {\clef bass \skip 1*2 }
+>>
+\layout{
+ raggedright = ##t
}
+
\version "2.6.0"
\header {
-texidoc ="Broken volta spanners behave correctly at their left edge in all cases."
+ texidoc ="Broken volta spanners behave correctly at their left edge in all cases."
}
With the test file and unmodified 1.3.116 I see the following:
Bar 3 - 1st volta spanner centered on first note - prefer it to start
- closer to key signature (can live with this)
+closer to key signature (can live with this)
Bar 6 - 1st volta continuation - perfect
Bar 9 - 2nd volta spanner starts on left edge of key signature - prefer
- it to start right of key signature
+it to start right of key signature
Bar 12 1st volta starts between first two slurred notes in measure -
- this is not acceptable
+this is not acceptable
Bar 17 like above with hairpin.
Bar 23 like above (I had expected this to be OK)
Bar 20 2nd volta continuation perfect
%}
voiceB = {
- \clef bass
- \set Staff.instrument = "Bass"
- \set Staff.instr = "B"
- \key f \minor
- \time 4/4
- f1
- \repeat volta 2
- {
- f1 \break
+ \clef bass
+ \set Staff.instrument = "Bass"
+ \set Staff.instr = "B"
+ \key f \minor
+ \time 4/4
+ f1
+ \repeat volta 2
+ {
+ f1 \break
+ }
+ \alternative
+ {
+ {
+ f1 f g \break
+ f e d \break
}
- \alternative
- {
- {
- f1 f g \break
- f e d \break
- }
- {
- f1 |
- }
+ {
+ f1 |
}
+ }
}
voiceC = {
- \repeat volta 2
- {
-f f
- \break
- }
- \alternative
- {
- f
- { f f }
- }
+ \repeat volta 2
+ {
+ f f
+ \break
+ }
+ \alternative
+ {
+ f
+ { f f }
+ }
}
voiceD = {
- \repeat volta 2
- {
-f f
- \break
- }
- \alternative
- {
- { f
- }
- { f f \break f
- }
- }
+ \repeat volta 2
+ {
+ f f
+ \break
+ }
+ \alternative
+ {
+ { f
+ }
+ { f f \break f
+ }
+ }
}
voiceE = {
- \repeat volta 2
- {
-f f\break
+ \repeat volta 2
+ {
+ f f\break
+ }
+ \alternative
+ {
+ {
+ f
+
}
- \alternative
- {
- {
- f
-
- }
- {
- f f
- }
+ {
+ f f
}
+ }
}
-\score{
- <<
+<<
- \new Staff
- {
- \voiceB
- \voiceC
- \break
- \voiceD
- \voiceE
- }
- >>
- \layout { raggedright =##t }
-}
+ \new Staff
+ {
+ \voiceB
+ \voiceC
+ \break
+ \voiceD
+ \voiceE
+ }
+
+>>
+ \layout { raggedright =##t }
+
\header {
- texidoc = "By setting @code{voltaOnThisStaff}, repeats can be put
+ texidoc = "By setting @code{voltaOnThisStaff}, repeats can be put
also over other staves than the topmost one in a score."
}
vmus = { \repeat volta 2 c1 \alternative { d e } }
-\score {
-
- \relative c'' <<
- \new StaffGroup <<
- \context Staff \vmus
- \new Staff \vmus
- >>
- \new StaffGroup <<
- \new Staff <<
- \set Staff.voltaOnThisStaff = ##t
- \vmus >>
- \new Staff \vmus
- >>
- >>
-
- \layout { raggedright = ##t }
-}
+
+
+\relative c'' <<
+ \new StaffGroup <<
+ \context Staff \vmus
+ \new Staff \vmus
+ >>
+ \new StaffGroup <<
+ \new Staff <<
+ \set Staff.voltaOnThisStaff = ##t
+ \vmus >>
+ \new Staff \vmus
+ >>
+>>
+
+\layout { raggedright = ##t }
+
projects / lilypond.git / commitdiff