Guide, node Updating translation committishes..
@end ignore
-@c \version "2.13.39"
+@c \version "2.19.2"
@node Fundamental concepts
@chapter Fundamental concepts
\header @{ @}
\score @{
- @var{...compound music expression...} % all the music goes here!
+ @var{ @dots{} compound music expression @dots{} } % all the music goes here!
\layout @{ @}
\midi @{ @}
@}
For now, though, let us return to the first example and examine the
@code{\score} command, leaving the others to default.
-A @code{\score} block must always contain just one music expression,
-and this must appear immediately after the @code{\score} command.
-Remember that a music expression could be anything from a single
-note to a huge compound expression like
+A @code{\score} block must always contain exactly one music
+expression. Remember that a music expression could be anything
+from a single note to a huge compound expression like
@example
@{
\new StaffGroup <<
- @var{...insert the whole score of a Wagner opera in here...}
+ @var{ @dots{} insert the whole score of a Wagner opera in here @dots{} }
>>
@}
@end example
@noindent
-Since everything is inside @code{@{ ... @}}, it counts
+Since everything is inside @code{@{ @dots{} @}}, it counts
as one music expression.
As we saw previously, the @code{\score} block can contain other
there @emph{is} no mystery. This line explains it all:
@quotation
-@emph{A @code{\score} block must begin with a compound music expression.}
+@emph{A @code{\score} block must contain exactly one music expression.}
@end quotation
@noindent
-To understand what is meant by a music expression and a compound
+To understand what is meant by a
music expression, you may find it useful to review the tutorial,
@ref{Music expressions explained}. In that section, we saw how to
build big music expressions from small pieces -- we started from
to cultivate so that you can see at a glance what each stave is
for.
-Remember that we use @code{<< ... >>} instead of @code{@{ ... @}} to
+Remember that we use @code{<< @dots{} >>} instead of @code{@{ @dots{} @}} to
show simultaneous music. This causes the vocal part and piano part
-to appear one above the other in the score. The @code{<< ... >>}
+to appear one above the other in the score. The @code{<< @dots{} >>}
construct would not be necessary for the Singer staff in the example
above if it were going to contain only one sequential music
-expression, but @code{<< ... >>} rather than braces is necessary if
+expression, but @code{<< @dots{} >>} rather than braces is necessary if
the music in the Staff is to contain two or more simultaneous
expressions, e.g. two simultaneous Voices, or a Voice with lyrics.
We're going to have a voice with lyrics, so angle brackets are
@multitable @columnfractions .3 .7
@headitem Bracket Type
@tab Function
-@item @code{@{ .. @}}
+@item @code{@{ @dots{} @}}
@tab Encloses a sequential segment of music
-@item @code{< .. >}
+@item @code{< @dots{} >}
@tab Encloses the notes of a chord
-@item @code{<< .. >>}
+@item @code{<< @dots{} >>}
@tab Encloses simultaneous music expressions
-@item @code{( .. )}
+@item @code{( @dots{} )}
@tab Marks the start and end of a slur
-@item @code{\( .. \)}
+@item @code{\( @dots{} \)}
@tab Marks the start and end of a phrasing slur
-@item @code{[ .. ]}
+@item @code{[ @dots{} ]}
@tab Marks the start and end of a manual beam
@end multitable
To these we should add other constructs which generate lines
between or across notes: ties (marked by a tilde, @code{~}),
-tuplets written as @code{\times x/y @{..@}}, and grace notes
-written as @code{\grace@{..@}}.
+tuplets written as @code{\tuplet x/y @{ @dots{} @}}, and grace notes
+written as @code{\grace @{ @dots{} @}}.
Outside LilyPond, the conventional use of brackets requires the
-different types to be properly nested, like this, @code{<< [ @{ ( .. )
+different types to be properly nested, like this, @code{<< [ @{ ( @dots{} )
@} ] >>}, with the closing brackets being encountered in exactly the
opposite order to the opening brackets. This @strong{is} a
requirement for the three types of bracket described by the word
phrasing slur extending out of a tuplet (lines 3 and 4).
@lilypond[quote,verbatim,ragged-right,relative=1]
-r16[ g \times 2/3 { r16 e'8] }
-g,16( a \times 2/3 { b16 d) e }
-g,8[( a \times 2/3 { b8 d) e~] } |
-\times 4/5 { e32\( a, b d e } a4.\)
+r16[ g \tuplet 3/2 { r16 e'8] }
+g,16( a \tuplet 3/2 { b16 d) e }
+g,8[( a \tuplet 3/2 { b8 d) e~] } |
+\tuplet 5/4 { e32\( a, b d e } a4.\)
@end lilypond
music. If a Voice context is not explicitly declared one is created
automatically, as we saw at the beginning of this chapter. Some
instruments such as an Oboe can play only one note at a time. Music
-written for such instruments is monophonic and requires just a single
-voice. Instruments which can play more than one note at a time like
-the piano will often require multiple voices to encode the different
-concurrent notes and rhythms they are capable of playing.
+written for such instruments requires just a single voice. Instruments
+which can play more than one note at a time like the piano will often
+require multiple voices to encode the different concurrent notes and
+rhythms they are capable of playing.
A single voice can contain many notes in a chord, of course,
so when exactly are multiple voices needed? Look first at
@end lilypond
This can be expressed using just the single angle bracket chord
-symbols, @code{< ... >}, and for this just a single voice is
+symbols, @code{< @dots{} >}, and for this just a single voice is
needed. But suppose the F-sharp were actually an eighth-note
followed by an eighth-note G, a passing note on the way to the A?
Now we have two notes which start at the same time but have
@funindex \\
The easiest way to enter fragments with more than one voice on a
-staff is to enter each voice as a sequence (with @code{@{...@}}),
-and combine them simultaneously with angle brackets, @code{<<...>>}.
+staff is to enter each voice as a sequence (with @code{@{ @dots{} @}}),
+and combine them simultaneously with angle brackets, @code{<< @dots{} >>}.
The fragments must also be separated with double backward slashes,
@code{\\}, to place them in separate voices. Without these, the
notes would be entered into a single voice, which would usually
cause errors. This technique is particularly suited to pieces of
-music which are largely monophonic with occasional short sections
+music which are largely homophonic with occasional short sections
of polyphony.
Here's how we split the chords above into two voices and add both
separators.
The Voice contexts bear the names @code{"1"}, @code{"2"}, etc.
-In each of these contexts, the vertical direction of slurs,
-stems, ties, dynamics etc., is set appropriately.
+The first contexts set the @emph{outer} voices, the highest
+voice in context @code{"1"} and the lowest voice in context
+@code{"2"}. The inner voices go in contexts @code{"3"} and
+@code{"4"}. In each of these contexts, the vertical direction
+of slurs, stems, ties, dynamics etc., is set appropriately.
@lilypond[quote,verbatim]
\new Staff \relative c' {
c16 d e f
% Voice "1" Voice "2" Voice "3"
<< { g4 f e } \\ { r8 e4 d c8~ } >> |
- << { d2 e } \\ { c8 b16 a b8 g~ g2 } \\ { s4 b c2 } >> |
+ << { d2 e } \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> |
}
@end lilypond
These voices are all separate from the main voice that contains
-the notes just outside the @code{<< .. >>} construct. Let's call
+the notes just outside the @code{<< @dots{} >>} construct. Let's call
this the @emph{simultaneous construct}. Slurs and ties may only
connect notes within the same voice, so slurs and ties cannot go
into or out of a simultaneous construct. Conversely,
{ d2 e }
\\
% Voice 2 continues
- { c8 b16 a b8 g~ g2 }
+ { c8 b16 a b8 g~ 2 }
\\
{
\voiceThreeStyle
We shall see later how commands like these may be created by the
user.
See @ref{Visibility and color of objects} and
-@ref{Using variables for tweaks}.
+@ref{Using variables for layout adjustments}.
@cindex polyphony and relative note entry
@cindex relative note entry and polyphony
command at the start of each voice:
@example
-\relative c' @{ noteA ... @}
+\relative c' @{ noteA @dots{} @}
<<
- \relative c'' @{ < noteB noteC > ... @}
+ \relative c'' @{ < noteB noteC > @dots{} @}
\\
- \relative g' @{ noteD ... @}
+ \relative g' @{ noteD @dots{} @}
>>
-\relative c' @{ noteE ... @}
+\relative c' @{ noteE @dots{} @}
@end example
Let us finally analyze the voices in a more complex piece of music.
<< % Voice one
{ c2 aes4. bes8 }
\\ % Voice two
- { aes2 f4 fes }
- \\ % No voice three
- \\ % Voice four
{
% Ignore these for now - they are explained in Ch 4
- \once \override NoteColumn #'force-hshift = #0
- <ees c>2
- \once \override NoteColumn #'force-hshift = #0.5
+ \once \override NoteColumn.force-hshift = #0
+ <ees, c>2
+ \once \override NoteColumn.force-hshift = #0.5
des2
}
+ \\ % No voice three
+ \\ % Voice four
+ {
+ \override NoteColumn.force-hshift = #0
+ aes'2 f4 fes
+ }
>> |
<c ees aes c>1 |
}
}
\\ % Voice two
{ \voiceTwoStyle
- aes2 f4 fes
+ % Ignore these for now - they are explained in Ch 4
+ \once \override NoteColumn.force-hshift = #0
+ <ees, c>2
+ \once \override NoteColumn.force-hshift = #0.5
+ des2
}
\\ % No Voice three (we want stems down)
\\ % Voice four
{ \voiceThreeStyle
- % Ignore these for now - they are explained in Ch 4
- \once \override NoteColumn #'force-hshift = #0
- <ees c>2
- \once \override NoteColumn #'force-hshift = #0.5
- des2
+ \override NoteColumn.force-hshift = #0
+ aes'2 f4 fes
}
>> |
<c ees aes c>1 |
\new Staff \relative c'' {
\key aes \major
<<
- { c2 aes4. bes8 } \\ { aes2 f4 fes } \\ { <ees c>2 des }
+ { c2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes }
>> |
<c ees aes c>1 |
}
<< % Voice one
{ c2 aes4. bes8 }
\\ % Voice two
- { aes2 f4 fes }
+ { <ees, c>2 des }
\\ % Omit Voice three
\\ % Voice four
- { <ees c>2 des }
+ { aes'2 f4 fes }
>> |
<c ees aes c>1 |
}
@end lilypond
@noindent
-We see that this fixes the stem direction, but exposes a problem
-sometimes encountered with multiple voices -- the stems of the notes
-in one voice can collide with the note heads in other voices. In
-laying out the notes, LilyPond allows the notes or chords from two
-voices to occupy the same vertical note column provided the stems are
-in opposite directions, but the notes from the third and fourth voices
-are displaced, if necessary, to avoid the note heads colliding. This
-usually works well, but in this example the notes of the lowest voice
-are clearly not well placed by default. LilyPond provides several ways
-to adjust the horizontal placing of notes. We are not quite ready yet
-to see how to correct this, so we shall leave this problem until a
+We see that this fixes the stem direction, but the horizontal
+placement of notes is not what we want. LilyPond shifts the
+inner notes when they or their stems would collide with outer
+voices, but this is not appropriate for piano music. In other
+situations, the shifts LilyPond applies might fail to clear
+the collisions. LilyPond provides several ways to adjust the
+horizontal placing of notes. We are not quite ready yet to see
+how to correct this, so we shall leave this problem until a
later section --- see the @code{force-hshift} property in
@ref{Fixing overlapping notation}.
+@warning{Lyrics, spanners (such as slurs, ties, hairpins etc.) cannot be
+created @q{across} voices.}
+
@seealso
Notation Reference: @ruser{Multiple voices}.
Voice contexts can also be created manually
inside a @code{<< >>} block to create polyphonic music, using
-@code{\voiceOne} ... @code{\voiceFour} to indicate the required
+@code{\voiceOne} @dots{} @code{\voiceFour} to indicate the required
directions of stems, slurs, etc. In longer scores this method
is clearer, as it permits the voices to be separated and to be
given more descriptive names.
@lilypond[quote,ragged-right,verbatim]
\relative c' {
% Default behavior or behavior after \oneVoice
- c4 d8~ d e4( f | g4 a) b-> c |
+ c4 d8~ 8 e4( f | g4 a) b-> c |
}
@end lilypond
@lilypond[quote,ragged-right,verbatim]
\relative c' {
\voiceOne
- c4 d8~ d e4( f | g4 a) b-> c |
+ c4 d8~ 8 e4( f | g4 a) b-> c |
\oneVoice
- c,4 d8~ d e4( f | g4 a) b-> c |
+ c,4 d8~ 8 e4( f | g4 a) b-> c |
}
@end lilypond
@lilypond[quote,ragged-right,verbatim]
\relative c' {
\voiceTwo
- c4 d8~ d e4( f | g4 a) b-> c |
+ c4 d8~ 8 e4( f | g4 a) b-> c |
\oneVoice
- c,4 d8~ d e4( f | g4 a) b-> c |
+ c,4 d8~ 8 e4( f | g4 a) b-> c |
}
@end lilypond
-Now let's look at three different ways to notate the same passage
-of polyphonic music, each of which is advantageous in different
+Now let's look at three different ways to notate the same passage of
+polyphonic music, each of which is advantageous in different
circumstances, using the example from the previous section.
-An expression that appears directly inside a @code{<< >>} belongs
-to the main voice (but, note, @strong{not} in a @code{<< \\ >>}
-construct). This is useful when extra voices appear while the
-main voice is playing. Here is a more correct rendition of our
-example. The red diamond-shaped notes
-demonstrate that the main melody is now in a single voice context,
+An expression that appears directly inside a @code{<< >>} belongs to the
+main voice (but, note, @strong{not} in a @code{<< \\ >>} construct).
+This is useful when extra voices appear while the main voice is playing.
+Here is a more correct rendition of our example. The red diamond-shaped
+notes demonstrate that the main melody is now in a single voice context,
permitting a phrasing slur to be drawn over them.
@lilypond[quote,ragged-right,verbatim]
\new Staff \relative c' {
\voiceOneStyle
- % The following notes are monophonic
+ % This section is homophonic
c16^( d e f
% Start simultaneous section of three voices
<<
\new Voice {
% Set stems, etc., down
\voiceTwo
- r8 e4 d c8~ | c8 b16 a b8 g~ g2 |
+ r8 e4 d c8~ | 8 b16 a b8 g~ 2 |
}
% Initiate third voice
\new Voice {
\voiceTwo
r8 e4 d c8~ |
<<
- { c8 b16 a b8 g~ g2 | }
+ { c8 b16 a b8 g~ 2 | }
\new Voice {
\voiceThree
s4 b c2 |
\new Voice {
% Set stems, etc, down
\voiceTwo
- s4 r8 e4 d c8~ | c8 b16 a b8 g~ g2 |
+ s4 r8 e4 d c8~ | 8 b16 a b8 g~ 2 |
}
% Initiate third voice
\new Voice {
down. If notes from two voices which have their stems in the
same direction are placed at the same position and both voices
have no shift or the same shift specified, the error message
-@qq{Too many clashing note columns} will be produced.
+@qq{This voice needs a @code{@bs{}voiceXx} or @code{@bs{}shiftXx} setting}
+will be produced.
@seealso
-Notation Reference: @ruser{Multiple voices}.
+Learning Manual:
+@ref{Moving objects}.
+
+Notation Reference:
+@ruser{Multiple voices}.
@node Voices and vocals
global = { \key f \major \time 6/8 \partial 8 }
SopOneMusic = \relative c'' {
- c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ c4
+ c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4
}
SopOneLyrics = \lyricmode {
Let | flee -- cy flocks the | hills a -- dorn, __
@seealso
-Notation Reference: @ruser{Creating contexts}.
+Notation Reference: @ruser{Creating and referencing contexts}.
@node Engravers explained
@tab Engraves clefs
@item Completion_heads_engraver
@tab Splits notes which cross bar lines
-@c The old Dynamic_engraver is deprecated. -jm
-@item New_dynamic_engraver
+@item Dynamic_engraver
@tab Creates hairpins and dynamic texts
@item Forbid_line_break_engraver
@tab Prevents line breaks if a musical element is still active
action will not take place. For example, the
@code{instrumentName} clearly lives in the @code{Staff} context, since
it is the staff that is to be named.
-In this example the first staff is labelled, but not the second,
+In this example the first staff is labeled, but not the second,
because we omitted the context name.
@lilypond[quote,verbatim,ragged-right]
@lilypond[quote,verbatim,ragged-right]
<<
\new Staff \relative c'' {
- ais2 aes
+ aeses2 aes
}
\new Staff \relative c'' {
\set Staff.extraNatural = ##f
- ais2 aes
+ aeses2 aes
}
>>
@end lilypond
@lilypond[quote,verbatim,ragged-right]
<<
\new Staff \relative c'' {
- ais2 aes
+ aeses2 aes
}
\new Staff \relative c'' {
\set Score.extraNatural = ##f
- ais2 aes
+ aeses2 aes
}
>>
@end lilypond
-As another example, if @code{clefOctavation} is set in
+As another example, if @code{clefTransposition} is set in
the @code{Score} context this immediately changes the value
-of the octavation in all current staves and sets a new default
+of the transposition in all current staves and sets a new default
value which will be applied to all staves.
The opposite command, @code{\unset}, effectively removes the
context is created. Sometimes this is a clearer way of setting a
property value if it is to remain fixed for the duration of
the context. When a context is created with a @code{\new}
-command it may be followed immediately by a @code{\with @{ .. @}}
+command it may be followed immediately by a @code{\with @{ @dots{} @}}
block in which the default property values are set. For example,
if we wish to suppress the printing of extra naturals for the
duration of a staff we would write:
<<
\new Staff {
\relative c'' {
- gis4 ges aes ais
+ gisis4 gis aeses aes
}
}
\new Staff \with { extraNatural = ##f } {
\relative c'' {
- gis4 ges aes ais
+ gisis4 gis aeses aes
}
}
>>
@code{\context} block within a @code{\layout} block. Each
@code{\context} block will affect all contexts of the type specified
throughout the @code{\score} or @code{\book} block in which the
-@code{\layout} block appears. Here is a example to show the format:
+@code{\layout} block appears. Here is an example to show the format:
@lilypond[verbatim,quote]
\score {
\new Staff {
\relative c'' {
- cis4 e d ces
+ cisis4 e d cis
}
}
\layout {
<<
\new Staff {
\relative c'' {
- gis4 ges aes ais
+ gisis4 gis aeses aes
}
}
\new Staff {
\relative c'' {
- gis4 ges aes ais
+ gisis4 gis aeses aes
}
}
>>
@lilypond[quote,verbatim,ragged-right]
\new Staff \with {
- \remove Staff_symbol_engraver
+ \remove "Staff_symbol_engraver"
}
\relative c' {
c4 d
@lilypond[quote,verbatim,ragged-right]
\new Staff <<
\new Voice \with {
- \consists Ambitus_engraver
+ \consists "Ambitus_engraver"
} {
\relative c'' {
\voiceOne
@lilypond[quote,verbatim,ragged-right]
\new Staff \with {
- \consists Ambitus_engraver
+ \consists "Ambitus_engraver"
}
<<
\new Voice {
\layout {
\context {
\Staff
- \consists Ambitus_engraver
+ \consists "Ambitus_engraver"
}
}
}
@code{\set} command in a @code{\context} block in the
same way.
-
@seealso
Notation Reference: @ruser{Modifying context plug-ins},
@ruser{Changing context default settings}.
+@knownissues
+The @code{Stem_engraver} and @code{Beam_engraver} attach their
+objects to note heads. If the @code{Note_heads_engraver} is removed
+no note heads are produced and therefore no stems or beams are created
+either.
+
@node Extending the templates
@section Extending the templates
@seealso
The starting templates can be found in the @q{Templates} appendix,
-see @ref{Single staff}.
+see @ref{Single staff templates}.
@node Four-part SATB vocal score
}
@end lilypond
-None of the templates provides this layout exactly. The nearest is
-@q{SATB vocal score and automatic piano reduction} -- see
-@ref{Vocal ensembles} -- but we need to change the layout and add a piano
+@warning{This layout can be achieved very easily using the built-in
+template: @code{satb.ly}, see @ref{Built-in templates}. But for ease
+of use this template deliberately hides the necessary context
+structure, instead providing it automatically. So for purposes of
+learning let us see how to build this up from scratch. You may need
+to do this if the built-in template does not meet your needs
+adequately.}
+
+The nearest copy-and-edit template to this layout is
+@ref{SATB vocal score and automatic piano reduction} -- but we need
+to change the layout and add a piano
accompaniment which is not derived automatically from the vocal parts.
The variables holding the music and words for the vocal parts are
fine, but we shall need to add variables for the piano reduction.
@end example
It is not necessary to use the simultaneous construct
-@code{<< .. >>} for the manual two staff and the pedal organ staff,
+@code{<< @dots{} >>} for the manual two staff and the pedal organ staff,
since they contain only one music expression, but it does no harm,
and always using angle brackets after @code{\new Staff} is a good
habit to cultivate in case there are multiple voices. The opposite
is true for Voices: these should habitually be followed by braces
-@code{@{ .. @}} in case your music is coded in several variables
+@code{@{ @dots{} @}} in case your music is coded in several variables
which need to run consecutively.
Let's add this structure to the score block, and adjust the indenting.
@}
>> % end ManualOne Staff context
\new Staff = "ManualTwo" \with @{
- \override VerticalAxisGroup
- #'staff-staff-spacing #'stretchability = 5
+ \override VerticalAxisGroup.staff-staff-spacing.stretchability = 5
@} <<
\keyTime
\clef "bass"
d2 c |
}
ManualOneVoiceTwoMusic = \relative c' {
- ees16 d ees8~ ees16 f ees d c8 d~ d c~ |
- c8 c4 b8 c8. g16 c b c d |
+ ees16 d ees8~ 16 f ees d c8 d~ d c~ |
+ 8 c4 b8 c8. g16 c b c d |
}
ManualTwoMusic = \relative c' {
- c16 b c8~ c16 b c g a8 g~ g16 g aes ees |
- f16 ees f d g aes g f ees d e8~ ees16 f ees d |
+ c16 b c8~ 16 b c g a8 g~ 16 g aes ees |
+ f16 ees f d g aes g f ees d ees8~ 16 f ees d |
}
PedalOrganMusic = \relative c {
- r8 c16 d ees d ees8~ ees16 a, b g c b c8 |
+ r8 c16 d ees d ees8~ 16 a, b g c b c8 |
r16 g ees f g f g8 c,2 |
}
}
>> % end ManualOne Staff context
\new Staff = "ManualTwo" \with {
- \override VerticalAxisGroup
- #'staff-staff-spacing #'stretchability = 5
+ \override VerticalAxisGroup.staff-staff-spacing.stretchability = 5
} <<
\keyTime
\clef "bass"
@lilypond[quote,verbatim,ragged-right]
dolce = \markup { \italic \bold dolce }
-padText = { \once \override TextScript #'padding = #5.0 }
+padText = { \once \override TextScript.padding = #5.0 }
fthenp =_\markup {
\dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
}
violin = \relative c'' @{
\repeat volta 2 @{
c4._\markup @{ \italic \bold dolce @} b8 a8 g a b |
- \once \override TextScript #'padding = #5.0
+ \once \override TextScript.padding = #5.0
c4.^"hi there!" d8 e' f g d |
c,4.\markup @{
\dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p
@}
@end example
-@c TODO Replace the following with a better example -td
-@c Skylining handles this correctly without padText
-
So far we've seen static substitution -- when LilyPond
sees @code{\padText}, it replaces it with the stuff that
we've defined it to be (ie the stuff to the right of
(parser location padding)
(number?)
#{
- \once \override TextScript #'padding = $padding
+ \once \override TextScript.padding = #padding
#})
-\relative c''' {
- c4^"piu mosso" b a b |
+\relative c'' {
+ c4^"piu mosso" b a b
\padText #1.8
- c4^"piu mosso" d e f |
+ c4^"piu mosso" b a b
\padText #2.6
- c4^"piu mosso" fis a g |
+ c4^"piu mosso" b a b
}
@end lilypond
projects / lilypond.git / blobdiff