Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
When revising a translation, copy the HEAD committish of the
- version that you are working on. See TRANSLATION for details.
+ version that you are working on. For details, see the Contributors'
+ Guide, node Updating translation committishes..
@end ignore
-@c \version "2.12.0"
+@c \version "2.14.0"
@node Fundamental concepts
@chapter Fundamental concepts
@example
\version @w{"@version{}"}
+
\header @{ @}
+
\score @{
@var{...compound music expression...} % all the music goes here!
\layout @{ @}
treated as a separate score, but they will be all combined into
a single output file. A @code{\book} command is not necessary
-- one will be implicitly created. However, if you would like
-separate output files from one @code{.ly} file then the
+separate output files from one @file{.ly} file then the
@code{\book} command should be used to separate the different
sections: each @code{\book} block will produce a
separate output file.
@cindex variables
-Another great shorthand is the ability to define variables (see
-@ref{Organizing pieces with variables}. All the templates use this
+Another great shorthand is the ability to define variables, as
+shown in @ref{Organizing pieces with variables}. All the
+templates use this:
@example
melody = \relative c' @{
When LilyPond looks at this file, it takes the value of
@code{melody} (everything after the equals sign) and inserts it
whenever it sees @code{\melody}. There's nothing special about
-the names -- it could be @code{melody}, @code{global},
-@code{TimeKey},
-@code{pianorighthand}, or @code{foofoobarbaz}. For more details,
-see @ref{Saving typing with variables and functions}.
-Remember that you can use almost any name you like as long
-as it contains just alphabetic characters and is distinct from
-LilyPond command names. The exact
-limitations on variable names are detailed in
-@ruser{File structure}.
+the name -- it could be @code{melody}, @code{global},
+@code{keyTime}, @code{pianorighthand}, or something else.
+Remember that you can use almost any name you like as long as it
+contains just alphabetic characters and is distinct from LilyPond
+command names. For more details, see @ref{Saving typing with
+variables and functions}. The exact limitations on variable names
+are detailed in @ruser{File structure}.
@seealso
melody = \relative c'' { r4 d8\noBeam g, c4 r }
text = \lyricmode { And God said, }
upper = \relative c'' { <g d g,>2~ <g d g,> }
-lower = \relative c { b2 e2 }
+lower = \relative c { b2 e }
\score {
<<
r4 g8 g c4 c8 d |
e4 r8
<<
- { f c c }
+ { f8 c c }
\new Staff {
f8 f c
}
r4 g8 g c4 c8 d |
e4 r8
<<
- { f c c }
+ { f8 c c }
\new Staff \with {
- alignAboveContext = #"main" }
- { f8 f c }
+ alignAboveContext = #"main"
+ } { f8 f c }
>>
r4 |
}
inserted beam and end before the end of the beam -- not very
musical, perhaps, but possible:
-@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
- { g8\( a b[ c b\) a] }
+@lilypond[quote,verbatim,ragged-right,relative=2]
+g8\( a b[ c b\) a] g4
@end lilypond
In general, different kinds of brackets, bracket-like constructs,
extending into a tuplet, a tie crossing two tuplets, and a
phrasing slur extending out of a tuplet (lines 3 and 4).
-@lilypond[quote,verbatim,fragment,ragged-right]
-{
- r16[ g16 \times 2/3 {r16 e'8] }
- g16( a \times 2/3 {b d) e' }
- g8[( a \times 2/3 {b d') e'~]}
- \times 4/5 {e'32\( a b d' e'} a'4.\)
-}
+@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\( a, b d e } a4.\)
@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
this example of four chords:
-@lilypond[quote,verbatim,fragment,ragged-right,relative=1]
+@lilypond[quote,verbatim,ragged-right,relative=1]
\key g \major
<d g>4 <d fis> <d a'> <d g>
@end lilypond
@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
the passing note and a slur:
-@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+@lilypond[quote,verbatim,ragged-right,relative=2]
\key g \major
-% Voice "1" Voice "2"
-<< { g4 fis8( g) a4 g } \\ { d4 d d d } >> |
+% Voice "1" Voice "2"
+<< { g4 fis8( g) a4 g } \\ { d4 d d d } >>
@end lilypond
Notice how the stems of the second voice now point down.
Here's another simple example:
-@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+@lilypond[quote,verbatim,ragged-right,relative=2]
\key d \minor
% Voice "1" Voice "2"
<< { r4 g g4. a8 } \\ { d,2 d4 g } >> |
@end lilypond
It is not necessary to use a separate @code{<< \\ >>} construct
-for each bar. For music with few notes in each bar this layout
+for each bar. For music with few notes in each bar this layout
can help the legibility of the code, but if there are many
notes in each bar it may be better to split out each voice
separately, like this:
-@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+@lilypond[quote,verbatim,ragged-right,relative=2]
\key d \minor
<< {
% Voice "1"
@cindex voices, naming
@cindex voices crossing brackets
@cindex slurs crossing brackets
-@cindex ties crossing brackest
+@cindex ties crossing brackets
This example has just two voices, but the same construct may be
used to encode three or more voices by adding more back-slash
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,fragment]
+@lilypond[quote,verbatim]
\new Staff \relative c' {
% Main voice
c16 d e f
- % Voice "1" Voice "2" Voice "3"
- << { g4 f e } \\ { r8 e4 d c8 ~ } >> |
- << { d2 e2 } \\ { c8 b16 a b8 g ~ g2 } \\ { s4 b4 c2 } >> |
+ % Voice "1" Voice "2" Voice "3"
+ << { g4 f e } \\ { r8 e4 d c8~ } >> |
+ << { d2 e } \\ { c8 b16 a b8 g~ g2 } \\ { s4 b c2 } >> |
}
@end lilypond
\new Staff \relative c' {
% Main voice
c16 d e f
- << % Bar 1
+ << % Bar 1
{
\voiceOneStyle
g4 f e
\\
{
\voiceTwoStyle
- r8 e4 d c8 ~
+ r8 e4 d c8~
}
- >>
- << % Bar 2
+ >> |
+ << % Bar 2
% Voice 1 continues
- { d2 e2 }
+ { d2 e }
\\
% Voice 2 continues
- { c8 b16 a b8 g ~ g2 }
+ { c8 b16 a b8 g~ g2 }
\\
{
\voiceThreeStyle
- s4 b4 c2
+ s4 b c2
}
- >>
+ >> |
}
@end lilypond
@cindex relative note entry and polyphony
Polyphony does not change the relationship of notes within a
-@code{\relative @{ @}} block. Each note is still calculated
-relative to the note immediately preceding it, or to the first
-note of the preceding chord. So in
+@code{\relative} block. Each note is still calculated relative to
+the note immediately preceding it, or to the first note of the
+preceding chord. So in
@example
\relative c' @{ noteA << < noteB noteC > \\ noteD >> noteE @}
@lilypond[quote,ragged-right]
\new Staff \relative c'' {
\key aes \major
- << % Voice one
+ << % Voice one
{ c2 aes4. bes8 }
- \\ % Voice two
- { aes2 f4 fes }
- \\ % No voice three
- \\ % Voice four
+ \\ % Voice two
{
% Ignore these for now - they are explained in Ch 4
- \once \override NoteColumn #'force-hshift = #0
- <ees c>2
+ \once \override NoteColumn #'ignore-collision = ##t
+ <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 |
}
\new Staff \relative c'' {
\key aes \major
<<
- { % Voice one
+ { % Voice one
\voiceOneStyle
c2 aes4. bes8
}
\\ % Voice two
{ \voiceTwoStyle
- aes2 f4 fes
+ % Ignore these for now - they are explained in Ch 4
+ \once \override NoteColumn #'ignore-collision = ##t
+ <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 |
we have learnt, using the @code{<< \\ >>} construct to
enter the music of the first bar in three voices:
-@lilypond[quote,verbatim,fragment,ragged-right]
+@lilypond[quote,verbatim,ragged-right]
\new Staff \relative c'' {
\key aes \major
<<
- { c2 aes4. bes8 } \\ { aes2 f4 fes } \\ { <ees c>2 des2 }
- >>
- <c ees aes c>1
+ { c2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes }
+ >> |
+ <c ees aes c>1 |
}
@end lilypond
voices downward ones. The stems for voices 1 and 2 are right,
but the stems in voice 3 should go down in this particular piece
of music. We can correct this by skipping voice three
-and placing the music in voice four. This is done by simply
+and placing the music in voice four. This is done by simply
adding another pair of @code{\\}.
-@lilypond[quote,verbatim,fragment,ragged-right]
+@lilypond[quote,verbatim,ragged-right]
\new Staff \relative c'' {
\key aes \major
- << % Voice one
+ << % Voice one
{ c2 aes4. bes8 }
- \\ % Voice two
- { aes2 f4 fes }
- \\ % Omit Voice three
- \\ % Voice four
- { <ees c>2 des2 }
+ \\ % Voice two
+ { <ees, c>2 des }
+ \\ % Omit Voice three
+ \\ % Voice four
+ { 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
-later section --- see the @code{force-hshift} property in @ref{Fixing
-overlapping notation}.
+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
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.
markup, ties, slurs, and dynamics:
@lilypond[quote,ragged-right,verbatim]
-\relative c'{
+\relative c' {
% Default behavior or behavior after \oneVoice
- c d8 ~ d e4 ( f g a ) b-> c
+ c4 d8~ d e4( f | g4 a) b-> c |
}
@end lilypond
@lilypond[quote,ragged-right,verbatim]
-\relative c'{
+\relative c' {
\voiceOne
- c d8 ~ d e4 ( f g a ) b-> c
+ c4 d8~ d e4( f | g4 a) b-> c |
\oneVoice
- c, d8 ~ d e4 ( f g a ) b-> c
+ c,4 d8~ d e4( f | g4 a) b-> c |
}
@end lilypond
@lilypond[quote,ragged-right,verbatim]
-\relative c'{
+\relative c' {
\voiceTwo
- c d8 ~ d e4 ( f g a ) b-> c
+ c4 d8~ d e4( f | g4 a) b-> c |
\oneVoice
- c, d8 ~ d e4 ( f g a ) b-> c
+ c,4 d8~ d 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
<<
% Continue the main voice in parallel
- { g4 f e | d2 e2) }
+ { g4 f e | d2 e) | }
% Initiate second voice
\new Voice {
- % Set stems, etc, down
+ % Set stems, etc., down
\voiceTwo
- r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
+ r8 e4 d c8~ | c8 b16 a b8 g~ g2 |
}
% Initiate third voice
\new Voice {
% Set stems, etc, up
\voiceThree
- s2. | s4 b4 c2
+ s2. | s4 b c2 |
}
>>
}
\new Staff \relative c' {
c16^( d e f
<<
- { g4 f e | d2 e2) }
+ { g4 f e | d2 e) | }
\new Voice {
\voiceTwo
- r8 e4 d c8 ~ |
+ r8 e4 d c8~ |
<<
- {c8 b16 a b8 g ~ g2}
+ { c8 b16 a b8 g~ g2 | }
\new Voice {
\voiceThree
- s4 b4 c2
+ s4 b c2 |
}
>>
}
% Initiate first voice
\new Voice {
\voiceOne
- c16^( d e f g4 f e | d2 e2) |
+ c16^( d e f g4 f e | d2 e) |
}
% Initiate second voice
\new Voice {
% Set stems, etc, down
\voiceTwo
- s4 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2 |
+ s4 r8 e4 d c8~ | c8 b16 a b8 g~ g2 |
}
% Initiate third voice
\new Voice {
% Set stems, etc, up
\voiceThree
- s1 | s4 b4 c2 |
+ s1 | s4 b c2 |
}
>>
@end lilypond
The @code{\shiftOn}, @code{\shiftOnn}, @code{\shiftOnnn}, and
@code{\shiftOff} commands specify the degree to which notes and
chords of the voice should be shifted if a collision
-would otherwise occur. By default, the outer voices (normally
+would otherwise occur. By default, the outer voices (normally
voices one and two) have @code{\shiftOff} specified, while the
inner voices (three and four) have @code{\shiftOn} specified.
When a shift is applied, voices one and three are shifted to
the lyrics to the notes with @code{\lyricsto@{@}}, using the
name assigned to the Voice.
-@lilypond[quote,verbatim,fragment]
+@lilypond[quote,verbatim]
<<
- \new Voice = "one" \relative c'' {
- \autoBeamOff
- \time 2/4
- c4 b8. a16 g4. f8 e4 d c2
+ \new Voice = "one" {
+ \relative c'' {
+ \autoBeamOff
+ \time 2/4
+ c4 b8. a16 | g4. f8 | e4 d | c2 |
+ }
}
\new Lyrics \lyricsto "one" {
- No more let sins and sor -- rows grow.
+ No more let | sins and | sor -- rows | grow. |
}
>>
@end lilypond
rather than music.
@lilypond[quote,verbatim]
-global = { \time 6/8 \partial 8 \key f \major}
+global = { \key f \major \time 6/8 \partial 8 }
+
SopOneMusic = \relative c'' {
- c8 | c([ bes)] a a([ g)] f | f'4. b, | c4.~ c4 }
-SopTwoMusic = \relative c' {
- r8 | r4. r4 c8 | a'([ g)] f f([ e)] d | e([ d)] c bes' }
+ c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ c4
+}
SopOneLyrics = \lyricmode {
- Let | flee -- cy flocks the | hills a -- dorn, __ }
+ Let | flee -- cy flocks the | hills a -- dorn, __
+}
+SopTwoMusic = \relative c' {
+ r8 | r4. r4 c8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes'
+}
SopTwoLyrics = \lyricmode {
- Let | flee -- cy flocks the | hills a -- dorn, }
+ Let | flee -- cy flocks the | hills a -- dorn,
+}
\score {
\new ChoirStaff <<
verses, set for SATB. In this case the words for all four
parts are the same. Note how we use variables to separate the
music notation and words from the staff structure. See too
-how a variable, which we have chosen to call @q{TimeKey}, is used
+how a variable, which we have chosen to call @q{keyTime}, is used
to hold several commands for use within the two staves. In other
examples this is often called @q{global}.
@lilypond[quote,verbatim]
-TimeKey = { \time 4/4 \partial 4 \key c \major}
-SopMusic = \relative c' { c4 | e4. e8 g4 g | a a g }
-AltoMusic = \relative c' { c4 | c4. c8 e4 e | f f e }
-TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 }
-BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 }
-VerseOne = \lyricmode {
- E -- | ter -- nal fa -- ther, | strong to save, }
-VerseTwo = \lyricmode {
- O | Christ, whose voice the | wa -- ters heard, }
-VerseThree = \lyricmode {
- O | Ho -- ly Spi -- rit, | who didst brood }
-VerseFour = \lyricmode {
- O | Tri -- ni -- ty of | love and pow'r }
+keyTime = { \key c \major \time 4/4 \partial 4 }
+
+SopMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g }
+AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e }
+TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 }
+BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 }
+
+VerseOne =
+ \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, }
+VerseTwo =
+ \lyricmode { O | Christ, whose voice the | wa -- ters heard, }
+VerseThree =
+ \lyricmode { O | Ho -- ly Spi -- rit, | who didst brood }
+VerseFour =
+ \lyricmode { O | Tri -- ni -- ty of | love and pow'r }
\score {
\new ChoirStaff <<
\new Staff <<
\clef "treble"
- \new Voice = "Sop" { \voiceOne \TimeKey \SopMusic }
+ \new Voice = "Sop" { \voiceOne \keyTime \SopMusic }
\new Voice = "Alto" { \voiceTwo \AltoMusic }
\new Lyrics \lyricsto "Sop" { \VerseOne }
\new Lyrics \lyricsto "Sop" { \VerseTwo }
>>
\new Staff <<
\clef "bass"
- \new Voice = "Tenor" { \voiceOne \TimeKey \TenorMusic }
- \new Voice = "Bass" { \voiceTwo \BassMusic }
- >>
- >>
-}
-@end lilypond
-
-@cindex verse and refrain
-
-We end with an example to show how we might code a solo verse which
-continues into a two-part refrain in two staves. The
-positioning of the sequential and simultaneous sections to achieve
-this within a single score is quite tricky, so follow the
-explanation carefully!
-
-Let's start with a score block containing a @code{ChoirStaff}, as
-we would like the brace to appear at the start of the chorus.
-Normally you would need angle brackets after @code{\new ChoirStaff}
-to bring in all the staves in parallel, but here we want to
-defer the parallelism during the solo so we use braces, although
-angle brackets here wouldn't hurt. Inside the @code{ChoirStaff} we
-want first the staff which will contain the verse. This must
-contain notes and lyrics in parallel, so here we need angle
-brackets around the @code{\new Voice} and @code{\new Lyrics} to
-start them at the same time:
-
-@lilypond[quote,verbatim,ragged-right]
-versenotes = \relative c'' {
- \clef "treble"
- \key g \major
- \time 3/4 g g g b b b
-}
-versewords = \lyricmode {
- One two three four five six
-}
-\score {
- \new ChoirStaff {
- \new Staff <<
- \new Voice = "verse" {
- \versenotes \break
- }
- \new Lyrics \lyricsto verse {
- \versewords
- }
- >>
- }
-}
-@end lilypond
-
-That gives the verse line.
-
-Now we want to continue with refrainA on the same staff while a
-second staff is introduced in parallel with it for refrainB, so
-this is a parallel section which must be positioned immediately
-following the @code{\break} in the verse Voice. Yes, @emph{within}
-the verse Voice! Here's that parallel section. More staves
-could be introduced here in the same way.
-
-@example
-<<
- \refrainnotesA
- \new Lyrics \lyricsto verse @{
- \refrainwordsA
- @}
- \new Staff <<
- \new Voice = "refrainB" @{
- \refrainnotesB
- @}
- \new Lyrics \lyricsto "refrainB" @{
- \refrainwordsB
- @}
- >>
->>
-@end example
-
-Here's the final result with two staves in the chorus showing
-how the parallel section is positioned within the verse Voice:
-
-@lilypond[quote,verbatim, ragged-right]
-versenotes = \relative c'' {
- \clef "treble"
- \key g \major
- \time 3/4 g g g b b b
-}
-refrainnotesA = \relative c'' {
- \time 2/4
- c c g g \bar "|."
-}
-refrainnotesB = \relative c {
- \clef "bass"
- \key g \major
- c e d d
-}
-versewords = \lyricmode {
- One two three four five six
-}
-refrainwordsA = \lyricmode {
- la la la la
-}
-refrainwordsB = \lyricmode {
- dum dum dum dum
-}
-\score {
- \new ChoirStaff {
- \new Staff <<
- \new Voice = "verse" {
- \versenotes \break
- <<
- \refrainnotesA
- \new Lyrics \lyricsto "verse" {
- \refrainwordsA
- }
- \new Staff <<
- \new Voice = "refrainB" {
- \refrainnotesB
- }
- \new Lyrics \lyricsto "refrainB" {
- \refrainwordsB
- }
- >>
- >>
- }
- \new Lyrics \lyricsto "verse" {
- \versewords
- }
- >>
- }
-}
-@end lilypond
-
-@cindex book, example of using
-@funindex \book
-@funindex book
-
-However, although this is an interesting and useful exercise to
-help you to understand how sequential and simultaneous blocks work,
-in practice one would perhaps choose to code this as two
-@code{\score} blocks within an implicit @code{\book} block, as
-follows:
-
-@lilypond[quote,verbatim,ragged-right]
-versenotes = \relative c'' {
- \clef "treble"
- \key g \major
- \time 3/4 g g g b b b
-}
-refrainnotesA = \relative c'' {
- \time 2/4
- c c g g \bar "|."
-}
-refrainnotesB = \relative c {
- \clef "bass"
- \key g \major
- c e d d
-}
-versewords = \lyricmode {
- One two three four five six
-}
-refrainwordsA = \lyricmode {
- la la la la
-}
-refrainwordsB = \lyricmode {
- dum dum dum dum
-}
-\score {
- \new Staff <<
- \new Voice = "verse" {
- \versenotes
- }
- \new Lyrics \lyricsto "verse" {
- \versewords
- }
- >>
-}
-
-\score {
- \new ChoirStaff <<
- \new Staff <<
- \new Voice = "refrainA" {
- \refrainnotesA
- }
- \new Lyrics \lyricsto "refrainA" {
- \refrainwordsA
- }
- >>
- \new Staff <<
- \new Voice = "refrainB" {
- \refrainnotesB
- }
- \new Lyrics \lyricsto "refrainB" {
- \refrainwordsB
- }
+ \new Voice = "Tenor" { \voiceOne \keyTime \TenorMusic }
+ \new Voice = "Bass" { \voiceTwo \BassMusic }
>>
>>
}
output. For example, compare the input and output of the
following example:
-@lilypond[quote,verbatim,relative=2,fragment]
-cis4 cis2. g4
+@lilypond[quote,verbatim,relative=2]
+cis4 cis2. | a4 a2. |
@end lilypond
The input is rather sparse, but in the output, bar lines,
@cindex creating contexts
@cindex contexts, creating
-There can be only one top level context: the @code{Score} context.
-This is created with the @code{\score} command, or, in simple scores,
-it is created automatically.
+In an input file a score block, introduced with a @code{\score}
+command, contains a single music expression and an associated
+output definition (either a @code{\layout} or a @code{\midi} block).
+The @code{Score} context is usually left to be created automatically
+when the interpretation of that music expression starts.
For scores with only one voice and one staff, the @code{Voice} and
-@code{Staff} contexts may be left to be created automatically, but for
-more complex scores it is necessary to create them by hand. The
-simplest command that does this is @code{\new}. It is prepended to a
-music expression, for example
+@code{Staff} contexts may also be left to be created automatically,
+but for more complex scores it is necessary to create them by hand.
+The simplest command that does this is @code{\new}. It is prepended
+to a music expression, for example
@example
\new @var{type} @var{music-expression}
@code{Voice}). This command creates a new context, and starts
interpreting the @var{music-expression} within that context.
-Note that there is no @code{\new Score} command;
-the single top-level @code{Score} context is introduced
-with @code{\score}.
+@warning{@bs{}@code{new Score} should not be used as the essential
+top-level @code{Score} context is created automatically when the music
+expression within the @bs{}@code{score} block is interpreted. Score-wide
+default values of context properties can be changed within the
+@bs{}@code{layout} block. See @ref{Modifying context properties}}
You have seen many practical examples which created new
@code{Staff} and @code{Voice} contexts in earlier sections, but
<< % start of simultaneous staves section
\time 2/4
\new Staff { % create RH staff
- \key g \minor
\clef "treble"
+ \key g \minor
\new Voice { % create voice for RH notes
\relative c'' { % start of RH notes
d4 ees16 c8. |
} % end of RH voice
} % end of RH staff
\new Staff << % create LH staff; needs two simultaneous voices
- \key g \minor
\clef "bass"
+ \key g \minor
\new Voice { % create LH voice one
\voiceOne
\relative g { % start of LH voice one notes
Where the @emph{ContextName} is usually @code{Score},
@code{Staff} or @code{Voice}. It may be omitted,
-in which case @code{Voice} is assumed.
+in which case the current context (typically @code{Voice}) is assumed.
The names of context properties consist of words joined
together with no hyphens or underscores, all except the
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]
<<
\new Staff \relative c'' {
\set Staff.instrumentName = #"Soprano"
- c4 c
- }
+ c2 c
+ }
\new Staff \relative c' {
- \set instrumentName = #"Alto" % Wrong!
- d4 d
- }
+ \set instrumentName = #"Alto" % Wrong!
+ d2 d
+ }
>>
@end lilypond
@lilypond[quote,verbatim,ragged-right]
<<
\new Staff \relative c'' {
- ais4 aes
- }
+ aeses2 aes
+ }
\new Staff \relative c'' {
\set Staff.extraNatural = ##f
- ais4 aes
- }
+ aeses2 aes
+ }
>>
@end lilypond
@lilypond[quote,verbatim,ragged-right]
<<
\new Staff \relative c'' {
- ais4 aes
- }
+ aeses2 aes
+ }
\new Staff \relative c'' {
\set Score.extraNatural = ##f
- ais4 aes
- }
+ aeses2 aes
+ }
>>
@end lilypond
other things) several times. The change is from the default
value, not the most recently set value.
-@lilypond[quote,verbatim,ragged-right,relative=1,fragment]
-c4
+@lilypond[quote,verbatim,ragged-right,relative=1]
+c4 d
% make note heads smaller
\set fontSize = #-4
-d e
+e4 f |
% make note heads larger
\set fontSize = #2.5
-f g
+g4 a
% return to default size
\unset fontSize
-a b
+b4 c |
@end lilypond
We have now seen how to set the values of several different types of
@funindex with
@cindex context properties, setting with \with
-Context properties may also be set at the time the context is
-created. Sometimes this is a clearer way of specifying a
+The default value of context properties may be set at the time 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 @{ .. @}} block in which the 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:
+command it may be followed immediately by a @code{\with @{ .. @}}
+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:
@example
\new Staff \with @{ extraNatural = ##f @}
@lilypond[quote,verbatim,ragged-right]
<<
- \new Staff
- \relative c'' {
- gis ges aes ais
+ \new Staff {
+ \relative c'' {
+ gisis4 gis aeses aes
+ }
}
- \new Staff \with { extraNatural = ##f }
- \relative c'' {
- gis ges aes ais
+ \new Staff \with { extraNatural = ##f } {
+ \relative c'' {
+ gisis4 gis aeses aes
+ }
}
>>
@end lilypond
Properties set in this way may still be changed dynamically using
-@code{\set} and returned to their default value with @code{\unset}.
+@code{\set} and returned to the default value set in the
+@code{\with} block with @code{\unset}.
@cindex fontSize, default and setting
-The @code{fontSize} property is treated differently. If this is
-set in a @code{\with} clause it effectively resets the default
-value of the font size. If it is later changed with @code{\set},
-this new default value may be restored with the
+So if the @code{fontSize} property is set in a @code{\with} clause
+it sets the default value of the font size. If it is later changed
+with @code{\set}, this new default value may be restored with the
@code{\unset fontSize} command.
@subsubheading Setting context properties with @code{\context}
\score {
\new Staff {
\relative c'' {
- cis4 e d ces
+ cisis4 e d cis
}
}
\layout {
}
@end lilypond
+If the property override is to be applied to all staves
+within the score:
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff {
+ \relative c'' {
+ gisis4 gis aeses aes
+ }
+ }
+ \new Staff {
+ \relative c'' {
+ gisis4 gis aeses aes
+ }
+ }
+ >>
+ \layout {
+ \context {
+ \Score extraNatural = ##f
+ }
+ }
+}
+@end lilypond
+
@noindent
Context properties set in this way may be overridden for particular
instances of contexts by statements in a @code{\with} block, and by
@seealso
Notation Reference:
@ruser{Changing context default settings}.
-@c FIXME
-@c uncomment when backslash-node-name issue is resolved -pm
-@c @ruser{The set command}.
+@ruser{The set command}.
Internals Reference:
@rinternals{Contexts},
\remove Staff_symbol_engraver
}
\relative c' {
- c4
+ c4 d
\set fontSize = #-4 % make note heads smaller
- d e
+ e4 f |
\set fontSize = #2.5 % make note heads larger
- f g
+ g4 a
\unset fontSize % return to default size
- a b
+ b4 c |
}
@end lilypond
\new Staff <<
\new Voice \with {
\consists Ambitus_engraver
+ } {
+ \relative c'' {
+ \voiceOne
+ c4 a b g
+ }
}
- \relative c'' {
- \voiceOne
- c a b g
- }
- \new Voice
- \relative c' {
- \voiceTwo
- c e d f
+ \new Voice {
+ \relative c' {
+ \voiceTwo
+ c4 e d f
+ }
}
>>
@end lilypond
@lilypond[quote,verbatim,ragged-right]
\new Staff \with {
- \consists Ambitus_engraver
- }
- <<
- \new Voice
- \relative c'' {
- \voiceOne
- c a b g
+ \consists Ambitus_engraver
+}
+<<
+ \new Voice {
+ \relative c'' {
+ \voiceOne
+ c4 a b g
+ }
}
- \new Voice
- \relative c' {
- \voiceTwo
- c e d f
+ \new Voice {
+ \relative c' {
+ \voiceTwo
+ c4 e d f
+ }
}
>>
@end lilypond
@lilypond[quote,verbatim,ragged-right]
\score {
<<
- \new Staff <<
- \relative c'' { c a b g }
- >>
- \new Staff <<
- \relative c' { c a b g }
- >>
- \new Staff <<
+ \new Staff {
+ \relative c'' {
+ c4 a b g
+ }
+ }
+ \new Staff {
+ \relative c' {
+ c4 a b g
+ }
+ }
+ \new Staff {
\clef "G_8"
- \relative c' { c a b g }
- >>
- \new Staff <<
+ \relative c' {
+ c4 a b g
+ }
+ }
+ \new Staff {
\clef "bass"
- \relative c { c a b g }
- >>
+ \relative c {
+ c4 a b g
+ }
+ }
>>
\layout {
\context {
@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
@cindex template, modifying
@cindex modifying templates
-Start off with the template that seems closest to what you want to end
-up with. Let's say that you want to write something for soprano and
-cello. In this case, we would start with the @q{Notes and lyrics} template (for the
-soprano part).
+Start off with the template that seems closest to what you want to
+end up with. Let's say that you want to write something for
+soprano and cello. In this case, we would start with the
+@q{Notes and lyrics} template (for the soprano part).
@example
\version @w{"@version{}"}
+
melody = \relative c' @{
- \clef treble
+ \clef "treble"
\key c \major
\time 4/4
a4 b c d
@example
\version @w{"@version{}"}
+
melody = \relative c' @{
- \clef treble
+ \clef "treble"
\key c \major
\time 4/4
a4 b c d
@example
\version @w{"@version{}"}
+
sopranoMusic = \relative c' @{
- \clef treble
+ \clef "treble"
\key c \major
\time 4/4
a4 b c d
@}
celloMusic = \relative c @{
- \clef bass
+ \clef "bass"
\key c \major
\time 4/4
d4 g fis8 e d4
@lilypond[quote,verbatim,ragged-right,addversion]
sopranoMusic = \relative c' {
- \clef treble
+ \clef "treble"
\key c \major
\time 4/4
a4 b c d
}
celloMusic = \relative c {
- \clef bass
+ \clef "bass"
\key c \major
\time 4/4
d4 g fis8 e d4
@c The following should appear as music without code
@lilypond[quote,ragged-right]
global = { \key d \major \time 4/4 }
+
sopranoMusic = \relative c'' {
\clef "treble"
r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
}
sopranoWords = \lyricmode {
- Wor -- thy is the lamb that was slain
+ Wor -- thy | is the lamb | that was slain |
}
+
altoMusic = \relative a' {
\clef "treble"
r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 |
}
altoWords = \sopranoWords
+
tenorMusic = \relative c' {
\clef "G_8"
r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
}
tenorWords = \sopranoWords
+
bassMusic = \relative c' {
\clef "bass"
r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
}
bassWords = \sopranoWords
+
upper = \relative a' {
\clef "treble"
\global
<d fis d'>4. <d fis d'>8 <a d a'>2 |
<g cis g'>4 <a d fis> <a cis e>2 |
}
+
lower = \relative c, {
\clef "bass"
\global
\new ChoirStaff <<
\new Staff = "sopranos" <<
\set Staff.instrumentName = #"Soprano"
- \new Voice = "sopranos" { \global \sopranoMusic }
+ \new Voice = "sopranos" {
+ \global
+ \sopranoMusic
+ }
>>
- \new Lyrics \lyricsto "sopranos" { \sopranoWords }
+ \new Lyrics \lyricsto "sopranos" {
+ \sopranoWords
+ }
\new Staff = "altos" <<
\set Staff.instrumentName = #"Alto"
- \new Voice = "altos" { \global \altoMusic }
+ \new Voice = "altos" {
+ \global
+ \altoMusic
+ }
>>
\new Lyrics \lyricsto "altos" { \altoWords }
\new Staff = "tenors" <<
\set Staff.instrumentName = #"Tenor"
- \new Voice = "tenors" { \global \tenorMusic }
+ \new Voice = "tenors" {
+ \global
+ \tenorMusic
+ }
>>
\new Lyrics \lyricsto "tenors" { \tenorWords }
\new Staff = "basses" <<
\set Staff.instrumentName = #"Bass"
- \new Voice = "basses" { \global \bassMusic }
+ \new Voice = "basses" {
+ \global
+ \bassMusic
+ }
>>
- \new Lyrics \lyricsto "basses" { \bassWords }
+ \new Lyrics \lyricsto "basses" {
+ \bassWords
+ }
>> % end ChoirStaff
-
\new PianoStaff <<
\set PianoStaff.instrumentName = #"Piano"
\new Staff = "upper" \upper
@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
+@q{SATB vocal score and automatic piano reduction} -- see
+@ref{Vocal ensembles} -- 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.
Doing this gives for our ChoirStaff:
@example
- \new ChoirStaff <<
- \new Staff = "sopranos" <<
- \set Staff.instrumentName = #"Soprano"
- \new Voice = "sopranos" @{ \global \sopranoMusic @}
- >>
- \new Lyrics \lyricsto "sopranos" @{ \sopranoWords @}
- \new Staff = "altos" <<
- \set Staff.instrumentName = #"Alto"
- \new Voice = "altos" @{ \global \altoMusic @}
- >>
- \new Lyrics \lyricsto "altos" @{ \altoWords @}
- \new Staff = "tenors" <<
- \set Staff.instrumentName = #"Tenor"
- \new Voice = "tenors" @{ \global \tenorMusic @}
- >>
- \new Lyrics \lyricsto "tenors" @{ \tenorWords @}
- \new Staff = "basses" <<
- \set Staff.instrumentName = #"Bass"
- \new Voice = "basses" @{ \global \bassMusic @}
- >>
- \new Lyrics \lyricsto "basses" @{ \bassWords @}
- >> % end ChoirStaff
+\new ChoirStaff <<
+ \new Staff = "sopranos" <<
+ \set Staff.instrumentName = #"Soprano"
+ \new Voice = "sopranos" @{
+ \global
+ \sopranoMusic
+ @}
+ >>
+ \new Lyrics \lyricsto "sopranos" @{
+ \sopranoWords
+ @}
+ \new Staff = "altos" <<
+ \set Staff.instrumentName = #"Alto"
+ \new Voice = "altos" @{
+ \global
+ \altoMusic
+ @}
+ >>
+ \new Lyrics \lyricsto "altos" @{
+ \altoWords
+ @}
+ \new Staff = "tenors" <<
+ \set Staff.instrumentName = #"Tenor"
+ \new Voice = "tenors" @{
+ \global
+ \tenorMusic
+ @}
+ >>
+ \new Lyrics \lyricsto "tenors" @{
+ \tenorWords
+ @}
+ \new Staff = "basses" <<
+ \set Staff.instrumentName = #"Bass"
+ \new Voice = "basses" @{
+ \global
+ \bassMusic
+ @}
+ >>
+ \new Lyrics \lyricsto "basses" @{
+ \bassWords
+ @}
+>> % end ChoirStaff
@end example
Next we must work out the piano part. This is
<< % combine ChoirStaff and PianoStaff one above the other
\new ChoirStaff <<
\new Staff = "sopranos" <<
- \new Voice = "sopranos" @{ \global \sopranoMusic @}
+ \new Voice = "sopranos" @{
+ \global
+ \sopranoMusic
+ @}
>>
- \new Lyrics \lyricsto "sopranos" @{ \sopranoWords @}
+ \new Lyrics \lyricsto "sopranos" @{
+ \sopranoWords
+ @}
\new Staff = "altos" <<
- \new Voice = "altos" @{ \global \altoMusic @}
+ \new Voice = "altos" @{
+ \global
+ \altoMusic
+ @}
>>
- \new Lyrics \lyricsto "altos" @{ \altoWords @}
+ \new Lyrics \lyricsto "altos" @{
+ \altoWords
+ @}
\new Staff = "tenors" <<
\clef "G_8" % tenor clef
- \new Voice = "tenors" @{ \global \tenorMusic @}
+ \new Voice = "tenors" @{
+ \global
+ \tenorMusic
+ @}
>>
- \new Lyrics \lyricsto "tenors" @{ \tenorWords @}
+ \new Lyrics \lyricsto "tenors" @{
+ \tenorWords
+ @}
\new Staff = "basses" <<
\clef "bass"
- \new Voice = "basses" @{ \global \bassMusic @}
+ \new Voice = "basses" @{
+ \global
+ \bassMusic
+ @}
>>
- \new Lyrics \lyricsto "basses" @{ \bassWords @}
+ \new Lyrics \lyricsto "basses" @{
+ \bassWords
+ @}
>> % end ChoirStaff
\new PianoStaff <<
r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
}
sopranoWords = \lyricmode {
- Wor -- thy is the lamb that was slain
+ Wor -- thy | is the lamb | that was slain |
}
altoMusic = \relative a' {
\clef "treble"
\new ChoirStaff <<
\new Staff = "sopranos" <<
\set Staff.instrumentName = #"Soprano"
- \new Voice = "sopranos" { \global \sopranoMusic }
+ \new Voice = "sopranos" {
+ \global
+ \sopranoMusic
+ }
>>
- \new Lyrics \lyricsto "sopranos" { \sopranoWords }
+ \new Lyrics \lyricsto "sopranos" {
+ \sopranoWords
+ }
\new Staff = "altos" <<
\set Staff.instrumentName = #"Alto"
- \new Voice = "altos" { \global \altoMusic }
+ \new Voice = "altos" {
+ \global
+ \altoMusic
+ }
>>
- \new Lyrics \lyricsto "altos" { \altoWords }
+ \new Lyrics \lyricsto "altos" {
+ \altoWords
+ }
\new Staff = "tenors" <<
\set Staff.instrumentName = #"Tenor"
- \new Voice = "tenors" { \global \tenorMusic }
+ \new Voice = "tenors" {
+ \global
+ \tenorMusic
+ }
>>
- \new Lyrics \lyricsto "tenors" { \tenorWords }
+ \new Lyrics \lyricsto "tenors" {
+ \tenorWords
+ }
\new Staff = "basses" <<
\set Staff.instrumentName = #"Bass"
- \new Voice = "basses" { \global \bassMusic }
+ \new Voice = "basses" {
+ \global
+ \bassMusic
+ }
>>
- \new Lyrics \lyricsto "basses" { \bassWords }
+ \new Lyrics \lyricsto "basses" {
+ \bassWords
+ }
>> % end ChoirStaff
\new PianoStaff <<
title = "Jesu, meine Freude"
composer = "J S Bach"
@}
-TimeKey = @{ \time 4/4 \key c \minor @}
-ManualOneVoiceOneMusic = @{s1@}
-ManualOneVoiceTwoMusic = @{s1@}
-ManualTwoMusic = @{s1@}
-PedalOrganMusic = @{s1@}
+keyTime = @{ \key c \minor \time 4/4 @}
+ManualOneVoiceOneMusic = @{ s1 @}
+ManualOneVoiceTwoMusic = @{ s1 @}
+ManualTwoMusic = @{ s1 @}
+PedalOrganMusic = @{ s1 @}
\score @{
@}
part just one.
@example
- \new PianoStaff <<
- \new Staff = "ManualOne" <<
- \new Voice @{ \ManualOneVoiceOneMusic @}
- \new Voice @{ \ManualOneVoiceTwoMusic @}
- >> % end ManualOne Staff context
- \new Staff = "ManualTwo" <<
- \new Voice @{ \ManualTwoMusic @}
- >> % end ManualTwo Staff context
- >> % end PianoStaff context
+\new PianoStaff <<
+ \new Staff = "ManualOne" <<
+ \new Voice @{
+ \ManualOneVoiceOneMusic
+ @}
+ \new Voice @{
+ \ManualOneVoiceTwoMusic
+ @}
+ >> % end ManualOne Staff context
+ \new Staff = "ManualTwo" <<
+ \new Voice @{
+ \ManualTwoMusic
+ @}
+ >> % end ManualTwo Staff context
+>> % end PianoStaff context
@end example
Next we need to add a staff for the pedal organ.
<< % PianoStaff and Pedal Staff must be simultaneous
\new PianoStaff <<
\new Staff = "ManualOne" <<
- \new Voice @{ \ManualOneVoiceOneMusic @}
- \new Voice @{ \ManualOneVoiceTwoMusic @}
+ \new Voice @{
+ \ManualOneVoiceOneMusic
+ @}
+ \new Voice @{
+ \ManualOneVoiceTwoMusic
+ @}
>> % end ManualOne Staff context
\new Staff = "ManualTwo" <<
- \new Voice @{ \ManualTwoMusic @}
+ \new Voice @{
+ \ManualTwoMusic
+ @}
>> % end ManualTwo Staff context
>> % end PianoStaff context
\new Staff = "PedalOrgan" <<
- \new Voice @{ \PedalOrganMusic @}
+ \new Voice @{
+ \PedalOrganMusic
+ @}
>>
>>
@end example
Let's add this structure to the score block, and adjust the indenting.
We also add the appropriate clefs, ensure stems, ties and slurs in
each voice on the upper staff point to the right direction with
-@code{\voiceOne} and @code{\voiceTwo}, and enter the time signature
-and key to each staff using our predefined variable, @code{\TimeKey}.
+@code{\voiceOne} and @code{\voiceTwo}, and enter the key and time
+signature to each staff using our predefined variable, @code{\keyTime}.
@example
\score @{
<< % PianoStaff and Pedal Staff must be simultaneous
\new PianoStaff <<
\new Staff = "ManualOne" <<
- \TimeKey % set time signature and key
+ \keyTime % set key and time signature
\clef "treble"
- \new Voice @{ \voiceOne \ManualOneVoiceOneMusic @}
- \new Voice @{ \voiceTwo \ManualOneVoiceTwoMusic @}
+ \new Voice @{
+ \voiceOne
+ \ManualOneVoiceOneMusic
+ @}
+ \new Voice @{
+ \voiceTwo
+ \ManualOneVoiceTwoMusic
+ @}
>> % end ManualOne Staff context
\new Staff = "ManualTwo" <<
- \TimeKey
+ \keyTime
\clef "bass"
- \new Voice @{ \ManualTwoMusic @}
+ \new Voice @{
+ \ManualTwoMusic
+ @}
>> % end ManualTwo Staff context
>> % end PianoStaff context
\new Staff = "PedalOrgan" <<
- \TimeKey
+ \keyTime
\clef "bass"
- \new Voice @{ \PedalOrganMusic @}
+ \new Voice @{
+ \PedalOrganMusic
+ @}
>> % end PedalOrgan Staff
>>
@} % end Score context
@end example
+@cindex stretchability of staves
+@cindex staves, stretchability
+
+The above layout of the organ staves is almost perfect; however,
+there is a slight defect which is not visible by looking at just a
+single system: The distance of the pedal staff to the left hand staff
+should behave approximately the same as the right hand staff to the
+left hand staff. In particular, the stretchability of staves in a
+@code{PianoStaff} context is limited (so that the distance between
+the staves for the left and right hand can't become too large), and
+the pedal staff should behave similarly.
+
+@cindex sub-properties
+@cindex properties, sub-properties
+@cindex graphical objects
+@cindex objects, graphical
+@cindex grobs
+
+Stretchability of staves can be controlled with the
+@code{staff-staff-spacing} property of the
+@code{VerticalAxisGroup} @q{graphical object} (commonly called
+@q{grob}s within the lilypond documentation) -- don't worry about
+the details right now; this is fully explained later. For the
+curious, have a look at @ruser{Overview of modifying properties}.
+In this case, we want to modify the @code{stretchability}
+sub-property only. Again, for the curious, you can find the
+default values for the staff-staff-spacing property
+in file @file{scm/define-grobs.scm} by looking up the definition
+of the @code{VerticalAxisGroup} grob. The value for
+@code{stretchability} is taken from the definition of the
+@code{PianoStaff} context (in file @file{ly/engraver-init.ly})
+so that the values are identical.
+
+@example
+\score @{
+ << % PianoStaff and Pedal Staff must be simultaneous
+ \new PianoStaff <<
+ \new Staff = "ManualOne" <<
+ \keyTime % set key and time signature
+ \clef "treble"
+ \new Voice @{
+ \voiceOne
+ \ManualOneVoiceOneMusic
+ @}
+ \new Voice @{
+ \voiceTwo
+ \ManualOneVoiceTwoMusic
+ @}
+ >> % end ManualOne Staff context
+ \new Staff = "ManualTwo" \with @{
+ \override VerticalAxisGroup
+ #'staff-staff-spacing #'stretchability = 5
+ @} <<
+ \keyTime
+ \clef "bass"
+ \new Voice @{
+ \ManualTwoMusic
+ @}
+ >> % end ManualTwo Staff context
+ >> % end PianoStaff context
+ \new Staff = "PedalOrgan" <<
+ \keyTime
+ \clef "bass"
+ \new Voice @{
+ \PedalOrganMusic
+ @}
+ >> % end PedalOrgan Staff
+ >>
+@} % end Score context
+@end example
That completes the structure. Any three-staff organ music
will have a similar structure, although the number of voices
may vary. All that remains now
title = "Jesu, meine Freude"
composer = "J S Bach"
}
-TimeKey = { \time 4/4 \key c \minor }
+keyTime = { \key c \minor \time 4/4 }
ManualOneVoiceOneMusic = \relative g' {
- g4 g f ees | d2 c2 |
+ g4 g f ees |
+ d2 c |
}
ManualOneVoiceTwoMusic = \relative c' {
ees16 d ees8~ ees16 f ees d c8 d~ d c~ |
- c c4 b8 c8. g16 c b c d |
+ c8 c4 b8 c8. g16 c b c d |
}
ManualTwoMusic = \relative c' {
c16 b c8~ c16 b c g a8 g~ g16 g aes ees |
- f ees f d g aes g f ees d e8~ ees16 f ees d |
+ f16 ees f d g aes g f ees d e8~ ees16 f ees d |
}
PedalOrganMusic = \relative c {
r8 c16 d ees d ees8~ ees16 a, b g c b c8 |
r16 g ees f g f g8 c,2 |
- }
+}
\score {
<< % PianoStaff and Pedal Staff must be simultaneous
\new PianoStaff <<
\new Staff = "ManualOne" <<
- \TimeKey % set time signature and key
+ \keyTime % set key and time signature
\clef "treble"
- \new Voice { \voiceOne \ManualOneVoiceOneMusic }
- \new Voice { \voiceTwo \ManualOneVoiceTwoMusic }
+ \new Voice {
+ \voiceOne
+ \ManualOneVoiceOneMusic
+ }
+ \new Voice {
+ \voiceTwo
+ \ManualOneVoiceTwoMusic
+ }
>> % end ManualOne Staff context
- \new Staff = "ManualTwo" <<
- \TimeKey
+ \new Staff = "ManualTwo" \with {
+ \override VerticalAxisGroup
+ #'staff-staff-spacing #'stretchability = 5
+ } <<
+ \keyTime
\clef "bass"
- \new Voice { \ManualTwoMusic }
+ \new Voice {
+ \ManualTwoMusic
+ }
>> % end ManualTwo Staff context
>> % end PianoStaff context
\new Staff = "PedalOrgan" <<
- \TimeKey
+ \keyTime
\clef "bass"
- \new Voice { \PedalOrganMusic }
+ \new Voice {
+ \PedalOrganMusic
+ }
>> % end PedalOrgan Staff context
>>
} % end Score context
@end lilypond
+@seealso
+Music Glossary:
+@rglos{system}.
@node Saving typing with variables and functions
@subsection Saving typing with variables and functions
@lilypond[quote,verbatim,ragged-right]
hornNotes = \relative c'' { c4 b dis c }
+
\score {
{
\hornNotes
@lilypond[quote,verbatim,ragged-right]
fragmentA = \relative c'' { a4 a8. b16 }
fragmentB = \relative c'' { a8. gis16 ees4 }
-violin = \new Staff { \fragmentA \fragmentA \fragmentB \fragmentA }
+
+violin = \new Staff {
+ \fragmentA \fragmentA |
+ \fragmentB \fragmentA |
+}
+
\score {
{
\violin
@c TODO Avoid padtext - not needed with skylining
@lilypond[quote,verbatim,ragged-right]
-dolce = \markup{ \italic \bold dolce }
+dolce = \markup { \italic \bold dolce }
+
padText = { \once \override TextScript #'padding = #5.0 }
-fthenp=_\markup{ \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p }
+fthenp =_\markup {
+ \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
+}
+
violin = \relative c'' {
\repeat volta 2 {
c4._\dolce b8 a8 g a b |
c,4.\fthenp b8 c4 c-. |
}
}
+
\score {
{
\violin
}
-\layout{ragged-right=##t}
+ \layout { ragged-right = ##t }
}
@end lilypond
@example
violin = \relative c'' @{
\repeat volta 2 @{
- c4._\markup@{ \italic \bold dolce @} b8 a8 g a b |
+ c4._\markup @{ \italic \bold dolce @} b8 a8 g a b |
\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 @} b8 c4 c-. |
+ c,4.\markup @{
+ \dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p
+ @}
+ b8 c4 c-. |
@}
@}
@end example
@lilypond[quote,verbatim,ragged-right]
padText =
-#(define-music-function (parser location padding) (number?)
- #{
- \once \override TextScript #'padding = #$padding
- #})
+#(define-music-function
+ (parser location padding)
+ (number?)
+ #{
+ \once \override TextScript #'padding = #padding
+ #})
\relative c''' {
- c4^"piu mosso" b a b
+ c4^"piu mosso" b a b |
\padText #1.8
- c4^"piu mosso" d e f
+ c4^"piu mosso" d e f |
\padText #2.6
- c4^"piu mosso" fis a g
+ c4^"piu mosso" fis a g |
}
@end lilypond
Using variables is also a good way to reduce work if the
-LilyPond input syntax changes (see @rprogram{Updating old input files}). If
+LilyPond input syntax changes (see
+@rprogram{Updating files with convert-ly}). If
you have a single definition (such as @code{\dolce}) for all your
input files (see @ref{Style sheets}), then if the syntax changes, you
only need to update your single @code{\dolce} definition,
-instead of making changes throughout every @code{.ly} file.
+instead of making changes throughout every @file{.ly} file.
@node Scores and parts
@example
hornNotes = \relative c @{
\time 2/4
- r4 f8 a cis4 f e d
+ r4 f8 a | cis4 f | e4 d |
@}
@end example
@example
\include "horn-music.ly"
+
\header @{
instrument = "Horn in F"
@}
@lilypond[quote,ragged-right]
\transpose f c' \relative c {
\time 2/4
- r4 f8 a cis4 f e d
+ r4 f8 a | cis4 f | e4 d |
}
@end lilypond
\transpose f c' \relative c {
\time 2/4
\set Score.skipBars = ##t
- R2*3
- r4 f8 a cis4 f e d
+ R2*3 |
+ r4 f8 a | cis4 f | e4 d |
}
@end lilypond
@lilypond[quote,ragged-right]
\relative c <<
\new Staff {
- \time 2/4 R2*3
- r4 f8 a cis4 f e d
+ \clef "treble"
+ \time 2/4
+ R2*3 |
+ r4 f8 a | cis4 f | e4 d |
}
\new Staff {
- \clef bass
- r4 d,8 f | gis4 c | b bes |
- a8 e f4 | g d | gis f
+ \clef "bass"
+ \time 2/4
+ r4 d,8 f | gis4 c | b4 bes |
+ a8 e f4 | g4 d | gis4 f |
}
>>
@end lilypond
projects / lilypond.git / blobdiff