1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. See TRANSLATION for details.
10 @node Example templates
11 @appendix Example templates
13 This section of the manual contains templates with the LilyPond score
14 already set up for you. Just add notes, run LilyPond, and enjoy
15 beautiful printed scores!
17 @c bad node name for ancient notation to avoid confict
23 * Ancient notation templates::
25 * Lilypond-book templates::
30 @appendixsec Single staff
31 @appendixsubsec Notes only
33 The first example gives you a staff with notes, suitable for a solo
34 instrument or a melodic fragment. Cut and paste this into a file,
35 add notes, and you're finished!
37 @lilypond[quote,verbatim,ragged-right]
39 melody = \relative c' {
54 @appendixsubsec Notes and lyrics
56 The next example demonstrates a simple melody with lyrics. Cut and
57 paste, add notes, then words for the lyrics. This example turns off
58 automatic beaming, which is common for vocal parts. If you want to use
59 automatic beaming, you'll have to change or comment out the relevant
62 @lilypond[quote,verbatim,ragged-right]
64 melody = \relative c' {
82 \new Lyrics \lyricsto "one" \text
89 @appendixsubsec Notes and chords
91 Want to prepare a lead sheet with a melody and chords? Look no further!
93 @lilypond[quote,verbatim,ragged-right]
95 melody = \relative c' {
104 harmonies = \chordmode {
105 c4:m f:min7 g:maj c:aug d2:dim b:sus
111 \set chordChanges = ##t
122 @appendixsubsec Notes, lyrics, and chords.
124 This template allows you to prepare a song with melody, words, and chords.
126 @lilypond[quote,verbatim,ragged-right]
128 melody = \relative c' {
140 harmonies = \chordmode {
147 \set chordChanges = ##t
154 \new Lyrics \lyricsto "one" \text
161 @node Piano templates
162 @appendixsec Piano templates
163 @appendixsubsec Solo piano
165 Here is a simple piano staff.
167 @lilypond[quote,verbatim,ragged-right]
169 upper = \relative c'' {
177 lower = \relative c {
187 \set PianoStaff.instrumentName = "Piano "
188 \new Staff = "upper" \upper
189 \new Staff = "lower" \lower
196 @appendixsubsec Piano and melody with lyrics
198 Here is a typical song format: one staff with the melody and lyrics, with
199 piano accompaniment underneath.
201 @lilypond[quote,verbatim,ragged-right]
203 melody = \relative c'' {
215 upper = \relative c'' {
223 lower = \relative c {
237 \new Lyrics \lyricsto mel \text
240 \new Staff = "upper" \upper
241 \new Staff = "lower" \lower
245 \context { \RemoveEmptyStaffContext }
252 @appendixsubsec Piano centered lyrics
254 Instead of having a full staff for the melody and lyrics, you can place
255 the lyrics between the piano staff (and omit the separate melody staff).
257 @lilypond[quote,verbatim,ragged-right]
259 upper = \relative c'' {
267 lower = \relative c {
281 \new Staff = upper { \new Voice = "singer" \upper }
282 \new Lyrics \lyricsto "singer" \text
289 \context { \GrandStaff \accepts "Lyrics" }
290 \context { \Lyrics \consists "Bar_engraver" }
297 @appendixsubsec Piano centered dynamics
299 Many piano scores have the dynamics centered between the two
300 staffs. This requires a bit of tweaking to implement, but
301 since the template is right here, you don't have to do the
304 @lilypond[quote,verbatim,ragged-right]
306 upper = \relative c'' {
314 lower = \relative c {
328 s2\sustainDown s2\sustainUp
333 \new Staff = "upper" \upper
334 \new Dynamics = "dynamics" \dynamics
335 \new Staff = "lower" <<
339 \new Dynamics = "pedal" \pedal
343 \type "Engraver_group"
345 \alias Voice % So that \cresc works, for example.
346 \consists "Output_property_engraver"
348 \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
349 pedalSustainStrings = #'("Ped." "*Ped." "*")
350 pedalUnaCordaStrings = #'("una corda" "" "tre corde")
352 \consists "Piano_pedal_engraver"
353 \consists "Script_engraver"
354 \consists "Dynamic_engraver"
355 \consists "Text_engraver"
357 \override TextScript #'font-size = #2
358 \override TextScript #'font-shape = #'italic
359 \override DynamicText #'extra-offset = #'(0 . 2.5)
360 \override Hairpin #'extra-offset = #'(0 . 2.5)
362 \consists "Skip_event_swallow_translator"
364 \consists "Axis_group_engraver"
369 \override VerticalAlignment #'forced-distance = #7
375 \new Staff = "upper" << \upper \dynamics >>
376 \new Staff = "lower" << \lower \dynamics >>
377 \new Dynamics = "pedal" \pedal
381 \type "Performer_group"
383 \consists "Piano_pedal_performer"
395 @appendixsec String quartet
396 @appendixsubsec String quartet
398 This template demonstrates a string quartet. It also uses a @code{\global}
399 section for time and key signatures.
401 @lilypond[quote,verbatim,ragged-right]
409 violinOne = \new Voice { \relative c''{
410 \set Staff.instrumentName = "Violin 1 "
415 violinTwo = \new Voice { \relative c''{
416 \set Staff.instrumentName = "Violin 2 "
421 viola = \new Voice { \relative c' {
422 \set Staff.instrumentName = "Viola "
428 cello = \new Voice { \relative c' {
429 \set Staff.instrumentName = "Cello "
438 \new Staff << \global \violinOne >>
439 \new Staff << \global \violinTwo >>
440 \new Staff << \global \viola >>
441 \new Staff << \global \cello >>
448 @appendixsubsec String quartet parts
450 The previous example produces a nice string quartet, but what if you
451 needed to print parts? This template demonstrates how to use the
452 @code{\tag} feature to easily split a piece into individual parts.
454 You need to split this template into separate files; the filenames
455 are contained in comments at the beginning of each file. @code{piece.ly}
456 contains all the music definitions. The other files -- @code{score.ly},
457 @code{vn1.ly}, @code{vn2.ly}, @code{vla.ly}, and
458 @code{vlc.ly} -- produce the appropiate part.
469 Violinone = \new Voice { \relative c''{
470 \set Staff.instrumentName = "Violin 1 "
474 \bar "|." }} %*********************************
475 Violintwo = \new Voice { \relative c''{
476 \set Staff.instrumentName = "Violin 2 "
480 \bar "|." }} %*********************************
481 Viola = \new Voice { \relative c' {
482 \set Staff.instrumentName = "Viola "
487 \bar "|." }} %*********************************
488 Cello = \new Voice { \relative c' {
489 \set Staff.instrumentName = "Cello "
494 \bar "|."}} %**********************************
498 \tag #'score \tag #'vn1 \new Staff { << \global \Violinone >> }
499 \tag #'score \tag #'vn2 \new Staff { << \global \Violintwo>> }
500 \tag #'score \tag #'vla \new Staff { << \global \Viola>> }
501 \tag #'score \tag #'vlc \new Staff { << \global \Cello>> }
510 #(set-global-staff-size 14)
512 \new StaffGroup \keepWithTag #'score \music
522 \keepWithTag #'vn1 \music
531 \keepWithTag #'vn2 \music
540 \keepWithTag #'vla \music
549 \keepWithTag #'vlc \music
555 @node Vocal ensembles
556 @appendixsec Vocal ensembles
558 @appendixsubsec SATB vocal score
560 Here is a standard four-part SATB vocal score. With larger ensembles,
561 it's often useful to include a section which is included in all
562 parts. For example, the time signature and key signatures are almost
563 always the same for all parts.
565 @lilypond[quote,verbatim,ragged-right]
572 sopMusic = \relative c'' {
575 sopWords = \lyricmode {
579 altoMusic = \relative c' {
582 altoWords =\lyricmode {
586 tenorMusic = \relative c' {
589 tenorWords = \lyricmode {
593 bassMusic = \relative c {
596 bassWords = \lyricmode {
602 \new Lyrics = sopranos { s1 }
603 \new Staff = women <<
605 "sopranos" { \voiceOne << \global \sopMusic >> }
607 "altos" { \voiceTwo << \global \altoMusic >> }
609 \new Lyrics = "altos" { s1 }
610 \new Lyrics = "tenors" { s1 }
614 "tenors" { \voiceOne <<\global \tenorMusic >> }
616 "basses" { \voiceTwo <<\global \bassMusic >> }
618 \new Lyrics = basses { s1 }
620 \context Lyrics = sopranos \lyricsto sopranos \sopWords
621 \context Lyrics = altos \lyricsto altos \altoWords
622 \context Lyrics = tenors \lyricsto tenors \tenorWords
623 \context Lyrics = basses \lyricsto basses \bassWords
628 % a little smaller so lyrics
629 % can be closer to the staff
631 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
638 @appendixsubsec SATB vocal score and automatic piano reduction
640 This template adds an automatic piano reduction to the SATB vocal
641 score. This demonstrates one of the strengths of LilyPond -- you
642 can use a music definition more than once. If you make any changes
643 to the vocal notes (say, tenorMusic), then the changes will also
644 apply to the piano reduction.
646 @lilypond[quote,verbatim,ragged-right]
653 sopMusic = \relative c'' {
656 sopWords = \lyricmode {
660 altoMusic = \relative c' {
663 altoWords =\lyricmode {
667 tenorMusic = \relative c' {
670 tenorWords = \lyricmode {
674 bassMusic = \relative c {
677 bassWords = \lyricmode {
684 \new Lyrics = sopranos { s1 }
685 \new Staff = women <<
687 "sopranos" { \voiceOne << \global \sopMusic >> }
689 "altos" { \voiceTwo << \global \altoMusic >> }
691 \new Lyrics = "altos" { s1 }
692 \new Lyrics = "tenors" { s1 }
696 "tenors" { \voiceOne <<\global \tenorMusic >> }
698 "basses" { \voiceTwo <<\global \bassMusic >> }
700 \new Lyrics = basses { s1 }
702 \context Lyrics = sopranos \lyricsto sopranos \sopWords
703 \context Lyrics = altos \lyricsto altos \altoWords
704 \context Lyrics = tenors \lyricsto tenors \tenorWords
705 \context Lyrics = basses \lyricsto basses \bassWords
709 \set Staff.printPartCombineTexts = ##f
711 << \global \sopMusic >>
712 << \global \altoMusic >>
716 \set Staff.printPartCombineTexts = ##f
718 << \global \tenorMusic >>
719 << \global \bassMusic >>
725 % a little smaller so lyrics
726 % can be closer to the staff
728 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
734 @appendixsubsec SATB with aligned contexts
736 Here all the lyrics lines are placed using @code{alignAboveContext}
737 and @code{alignBelowContext}.
739 @lilypond[quote,verbatim,ragged-right]
746 sopMusic = \relative c'' {
749 sopWords = \lyricmode {
753 altoMusic = \relative c' {
756 altoWords =\lyricmode {
760 tenorMusic = \relative c' {
763 tenorWords = \lyricmode {
767 bassMusic = \relative c {
770 bassWords = \lyricmode {
776 \new Staff = women <<
778 "sopranos" { \voiceOne << \global \sopMusic >> }
780 "altos" { \voiceTwo << \global \altoMusic >> }
782 \new Lyrics \with {alignAboveContext=women} \lyricsto sopranos \sopWords
783 \new Lyrics \with {alignBelowContext=women} \lyricsto altos \altoWords
784 % we could remove the line about this with the line below, since we want
785 % the alto lyrics to be below the alto Voice anyway.
786 % \new Lyrics \lyricsto altos \altoWords
791 "tenors" { \voiceOne <<\global \tenorMusic >> }
793 "basses" { \voiceTwo <<\global \bassMusic >> }
796 \new Lyrics \with {alignAboveContext=men} \lyricsto tenors \tenorWords
797 \new Lyrics \with {alignBelowContext=men} \lyricsto basses \bassWords
798 % again, we could replace the line above this with the line below.
799 % \new Lyrics \lyricsto basses \bassWords
804 % a little smaller so lyrics
805 % can be closer to the staff
807 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
815 \new Staff = women <<
817 "sopranos" { \voiceOne << \global \sopMusic >> }
819 "altos" { \voiceTwo << \global \altoMusic >> }
822 \new Lyrics \with {alignAboveContext=women} \lyricsto sopranos \sopWords
823 \new Lyrics \lyricsto altos \altoWords
828 "tenors" { \voiceOne <<\global \tenorMusic >> }
830 "basses" { \voiceTwo <<\global \bassMusic >> }
833 \new Lyrics \with {alignAboveContext=men} \lyricsto tenors \tenorWords
834 \new Lyrics \lyricsto basses \bassWords
839 % a little smaller so lyrics
840 % can be closer to the staff
842 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
849 @c bad node name to avoid node name confict
850 @node Ancient notation templates
851 @appendixsec Ancient notation templates
853 @appendixsubsec Transcription of mensural music
855 When transcribing mensural music, an incipit at the beginning of the
856 piece is useful to indicate the original key and tempo. While today
857 musicians are used to bar lines in order to faster recognize rhythmic
858 patterns, bar lines were not yet invented during the period of
859 mensural music; in fact, the meter often changed after every few
860 notes. As a compromise, bar lines are often printed between the
861 staves rather than on the staves.
863 @lilypond[quote,verbatim,line-width=11.0\cm]
867 \set Score.skipBars = ##t
870 \once \override Score.SystemStartBracket #'transparent = ##t
871 \override Score.SpacingSpanner #'spacing-increment = #1.0 % tight spacing
874 \once \override Staff.TimeSignature #'style = #'neomensural
875 \override Voice.NoteHead #'style = #'neomensural
876 \override Voice.Rest #'style = #'neomensural
877 \set Staff.printKeyCancellation = ##f
878 \cadenzaOn % turn off bar lines
880 \once \override Staff.BarLine #'transparent = ##f
882 \skip 1*1 % need this extra \skip such that clef change comes
887 \revert Score.SpacingSpanner #'spacing-increment % CHECK: no effect?
888 \cadenzaOff % turn bar lines on again
889 \once \override Staff.Clef #'full-size-change = ##t
890 \set Staff.forceClef = ##t
893 \override Voice.NoteHead #'style = #'default
894 \override Voice.Rest #'style = #'default
896 % FIXME: setting printKeyCancellation back to #t must not
897 % occur in the first bar after the incipit. Dto. for forceClef.
898 % Therefore, we need an extra \skip.
900 \set Staff.printKeyCancellation = ##t
901 \set Staff.forceClef = ##f
903 \skip 1*7 % the actual music
905 % let finis bar go through all staves
906 \override Staff.BarLine #'transparent = ##f
914 \set Staff.instrumentName = "Discantus "
917 \clef "neomensural-c1"
919 \skip 1*8 % eight bars
929 \once \override NoteHead #'transparent = ##t c'1 |
934 discantusLyrics = \lyricmode {
950 \set Staff.instrumentName = "Altus "
953 \clef "neomensural-c3"
956 \skip 1*7 % seven bars
961 r2 g2. e4 fis g | % two bars
963 fis g4.( fis16 e fis4) |
965 \once \override NoteHead #'transparent = ##t g1 |
970 altusLyrics = \lyricmode {
975 Ju -- bi -- la -- te | % two bars
984 \set Staff.instrumentName = "Tenor "
987 \clef "neomensural-c4"
1000 r2 d'2. d'4 b e' | % two bars
1001 \once \override NoteHead #'transparent = ##t e'1 |
1006 tenorLyrics = \lyricmode {
1011 Ju -- bi -- la -- te | % two bars
1018 \set Staff.instrumentName = "Bassus "
1022 r\maxima % eight bars
1033 \once \override NoteHead #'transparent = ##t e1 |
1038 bassusLyrics = \lyricmode {
1049 \new StaffGroup = choirStaff <<
1051 "discantusNotes" << \global \discantusNotes >>
1053 "discantusLyrics" \lyricsto discantusNotes { \discantusLyrics }
1055 "altusNotes" << \global \altusNotes >>
1057 "altusLyrics" \lyricsto altusNotes { \altusLyrics }
1059 "tenorNotes" << \global \tenorNotes >>
1061 "tenorLyrics" \lyricsto tenorNotes { \tenorLyrics }
1063 "bassusNotes" << \global \bassusNotes >>
1065 "bassusLyrics" \lyricsto bassusNotes { \bassusLyrics }
1072 \override BarLine #'transparent = ##t
1074 % incipit should not start with a start delimiter
1075 \remove "System_start_delimiter_engraver"
1081 \override Slur #'transparent = ##t
1083 % Comment in the below "\remove" command to allow line
1084 % breaking also at those barlines where a note overlaps
1085 % into the next bar. The command is commented out in this
1086 % short example score, but especially for large scores, you
1087 % will typically yield better line breaking and thus improve
1088 % overall spacing if you comment in the following command.
1089 %\remove "Forbid_line_break_engraver"
1096 @appendixsubsec Gregorian transcription template
1098 This example demonstrates how to do modern transcription of Gregorian
1099 music. Gregorian music has no measure, no stems; it uses only half and
1100 quarter noteheads, and special marks, indicating rests of different length.
1102 @lilypond[quote,verbatim,ragged-right]
1103 \include "gregorian-init.ly"
1106 chant = \relative c' {
1107 \set Score.timing = ##f
1108 f4 a2 \divisioMinima
1109 g4 b a2 f2 \divisioMaior
1110 g4( f) f( g) a2 \finalis
1113 verba = \lyricmode {
1114 Lo -- rem ip -- sum do -- lor sit a -- met
1119 \new Voice = "melody" {
1122 \new Lyrics = "one" \lyricsto melody \verba
1128 \remove "Time_signature_engraver"
1129 \remove "Bar_engraver"
1130 \override Stem #'transparent = ##t
1134 \override Stem #'length = #0
1146 @appendixsec Jazz combo
1148 This is a much more complicated template, for a jazz ensemble. Note that all
1149 instruments are notated in @code{\key c \major}. This refers to the key in
1150 concert pitch; LilyPond will automatically transpose the key if the music
1151 is within a @code{\transpose} section.
1153 @c TODO must clean up this jazz combo example
1154 @c - transpositions stated in names (ie "trumpet in Bb" or whatever)
1155 @c - one global section, instead of "global" (time) and "key"
1156 @c - does it need those wierd macros? sl, nsl, etc.
1157 @c - maybe ask Amelie Zapf to clean it up, or whether I should just
1158 @c make whatever changes I feel like.
1160 @c FIXME: produces a warning ; key change merge.
1161 @c The `line-width' argument is for the \header.
1163 @lilypond[quote,verbatim,ragged-right,line-width]
1173 "LilyPond example file by Amelie Zapf,"
1177 texidoc = "Jazz tune for combo
1178 (horns, guitar, piano, bass, drums)."
1181 #(set-global-staff-size 16)
1182 \include "english.ly"
1184 %%%%%%%%%%%% Some macros %%%%%%%%%%%%%%%%%%%
1187 \override NoteHead #'style = #'slash
1188 \override Stem #'transparent = ##t
1191 \revert NoteHead #'style
1192 \revert Stem #'transparent
1194 cr = \override NoteHead #'style = #'cross
1195 ncr = \revert NoteHead #'style
1197 %% insert chord name style stuff here.
1202 %%%%%%%%%%%% Keys'n'thangs %%%%%%%%%%%%%%%%%
1208 Key = { \key c \major }
1210 % ############ Horns ############
1212 % ------ Trumpet ------
1213 trpt = \transpose c d \relative c'' {
1217 trpharmony = \transpose c' d {
1222 \set Staff.instrumentName = #"Trumpet"
1229 % ------ Alto Saxophone ------
1230 alto = \transpose c a \relative c' {
1234 altoharmony = \transpose c' a {
1239 \set Staff.instrumentName = #"Alto Sax"
1246 % ------ Baritone Saxophone ------
1247 bari = \transpose c a' \relative c {
1249 c1 c \sl d4^"Solo" d d d \nsl
1251 bariharmony = \transpose c' a \chordmode {
1252 \jzchords s1 s d2:maj e:m7
1256 \set Staff.instrumentName = #"Bari Sax"
1263 % ------ Trombone ------
1264 tbone = \relative c {
1268 tboneharmony = \chordmode {
1273 \set Staff.instrumentName = #"Trombone"
1280 % ############ Rhythm Section #############
1282 % ------ Guitar ------
1283 gtr = \relative c'' {
1285 c1 \sl b4 b b b \nsl c1
1287 gtrharmony = \chordmode {
1293 \set Staff.instrumentName = #"Guitar"
1300 %% ------ Piano ------
1301 rhUpper = \relative c'' {
1306 rhLower = \relative c' {
1312 lhUpper = \relative c' {
1317 lhLower = \relative c {
1326 \set Staff.midiInstrument = "acoustic grand"
1328 \new Voice = "one" \rhUpper
1329 \new Voice = "two" \rhLower
1335 \set Staff.midiInstrument = "acoustic grand"
1337 \new Voice = "one" \lhUpper
1338 \new Voice = "two" \lhLower
1344 \set PianoStaff.instrumentName = #"Piano"
1345 \new Staff = "upper" \PianoRH
1346 \new Staff = "lower" \PianoLH
1350 % ------ Bass Guitar ------
1351 Bass = \relative c {
1357 \set Staff.instrumentName = #"Bass"
1364 % ------ Drums ------
1366 hh4 <hh sn>4 hh <hh sn> hh <hh sn>4
1373 bd4 s bd s bd s bd s bd s bd s
1379 \set DrumStaff.instrumentName = #"Drums"
1380 \new DrumVoice { \voiceOne \up }
1381 \new DrumVoice { \voiceTwo \down }
1385 %%%%%%%%% It All Goes Together Here %%%%%%%%%%%%%%%%%%%%%%
1389 \new StaffGroup = "horns" <<
1390 \new Staff = "trumpet" \trumpet
1391 \new Staff = "altosax" \altosax
1392 \new ChordNames = "barichords" \bariharmony
1393 \new Staff = "barisax" \barisax
1394 \new Staff = "trombone" \trombone
1397 \new StaffGroup = "rhythm" <<
1398 \new ChordNames = "chords" \gtrharmony
1399 \new Staff = "guitar" \guitar
1400 \new PianoStaff = "piano" \piano
1401 \new Staff = "bass" \bass
1402 \new DrumStaff { \drumContents }
1407 \context { \RemoveEmptyStaffContext }
1410 \override BarNumber #'padding = #3
1411 \override RehearsalMark #'padding = #2
1422 This isn't very useful, and only duplicates material in
1423 "global issues". And if this info changes, this section often
1426 @no de Other templates
1427 @se ction Other templates
1428 @su bsection All headers
1430 This template displays all available headers. Some of them are only
1431 used in the Mutopia project; they don't affect the printed output at
1432 all. They are used if you want the piece to be listed with different
1433 information in the Mutopia database than you wish to have printed on the
1434 music. For example, Mutopia lists the composer of the famous D major
1435 violin concerto as TchaikovskyPI, whereas perhaps you wish to print
1436 "Petr Tchaikowski" on your music.
1438 @ The `line-width' is for \header.
1439 @li lypond[quote,verbatim,ragged-right,line-width]
1442 dedication = "dedication"
1444 subtitle = "Subtitle"
1445 subsubtitle = "Subsubtitle"
1446 composer = "Composer (xxxx-yyyy)"
1450 instrument = "Instrument"
1451 arranger = "Arranger"
1453 texttranslator = "Translator"
1454 copyright = "public domain"
1456 % These are headers used by the Mutopia Project
1457 % http://www.mutopiaproject.org/
1459 mutopiacomposer = ""
1461 mutopiainstrument = ""
1462 date = "composer's dates"
1464 maintainer = "your name here"
1465 maintainerEmail = "your email here"
1466 maintainerWeb = "your home page"
1467 lastupdated = "2004/Aug/26"
1489 @node Lilypond-book templates
1490 @appendixsec Lilypond-book templates
1492 These templates are for use with @code{lilypond-book}. If you're not familiar
1493 with this program, please refer to @ref{LilyPond-book}.
1495 @appendixsubsec LaTeX
1497 You can include LilyPond fragments in a LaTeX document.
1500 \documentclass[]@{article@}
1522 @appendixsubsec Texinfo
1524 You can include LilyPond fragments in Texinfo; in fact, this entire manual
1525 is written in Texinfo.
1533 @@lilypond[verbatim,fragment,ragged-right]
1539 @@lilypond[verbatim,fragment,ragged-right]