@cindex NoteHead, example of overriding
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-c d
+c4 d
\override NoteHead #'color = #red
-e f g
+e4 f |
\override NoteHead #'color = #green
-a b c
+g4 a b c |
@end lilypond
@strong{\revert command}
@cindex NoteHead, example of overriding
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-c d
+c4 d
\override NoteHead #'color = #red
-e f g
+e4 f |
\override NoteHead #'color = #green
-a
+g4 a
\revert NoteHead #'color
-b c
+b4 c |
@end lilypond
@strong{\once prefix}
@cindex NoteHead, example of overriding
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-c d
+c4 d
\once \override NoteHead #'color = #red
-e f g
+e4 f |
\once \override NoteHead #'color = #green
-a b c
+g4 a b c |
@end lilypond
@strong{\overrideProperty command}
@cindex NoteHead, example of overriding
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
- <c e g>4
- \once \override NoteHead #'font-size = #-3
- <c e g>
- <c e g>
+<c e g>4
+\once \override NoteHead #'font-size = #-3
+<c e g>4
+<c e g>4
@end lilypond
We see the override affects @emph{all} the note heads in the chord.
@cindex @code{\tweak}, example
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
- <c e g>4
- <c \tweak #'font-size #-3 e g>4
+<c e g>4
+<c \tweak #'font-size #-3 e g>4
@end lilypond
Note that the syntax of @code{\tweak} is different from that
@cindex @code{\tweak}, example
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-a ^Black
- -\tweak #'color #red ^Red
- -\tweak #'color #green _Green
+a4^"Black"
+ -\tweak #'color #red ^"Red"
+ -\tweak #'color #green _"Green"
@end lilypond
@noindent
\tweak #'direction #up
\times 4/3 {
\tweak #'color #red
- \times 2/3 { c8[ c8 c8] }
- \times 2/3 { c8[ c8 c8] }
- \times 2/3 { c8[ c8 c8] }
+ \times 2/3 { c8[ c c] }
+ \times 2/3 { c8[ c c] }
+ \times 2/3 { c8[ c c] }
}
@end lilypond
@c NOTE Tuplet brackets collide if notes are high on staff
@c See issue 509
@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
-\times 2/3 { c8[ c c]}
+\times 2/3 { c8[ c c] }
\once \override TupletNumber
#'text = #tuplet-number::calc-fraction-text
\times 2/3 {
- c[ c]
- c[ c]
+ c8[ c]
+ c8[ c]
\once \override TupletNumber #'transparent = ##t
\times 2/3 { c8[ c c] }
-\times 2/3 { c8[ c c]}
+ \times 2/3 { c8[ c c] }
}
@end lilypond
Let's use a concrete example with a simple fragment of real
music:
+@c Mozart, Die Zauberflöte Nr.7 Duett
+
@lilypond[quote,verbatim,relative=2]
{
+ \key es \major
\time 6/8
{
- r4 b8 b[( g]) g |
- g[( e]) e d[( f]) a |
- a g
+ r4 bes8 bes[( g]) g |
+ g8[( es]) es d[( f]) as |
+ as8 g
}
\addlyrics {
- The man who feels love's sweet e -- mo -- tion
+ The man who | feels love's sweet e -- | mo -- tion
}
}
@end lilypond
@lilypond[quote,verbatim,relative=2]
{
+ \key es \major
\time 6/8
{
% Increase thickness of all following slurs from 1.2 to 5.0
\override Slur #'thickness = #5.0
- r4 b8 b[( g]) g |
- g[( e]) e d[( f]) a |
- a g
+ r4 bes8 bes[( g]) g |
+ g8[( es]) es d[( f]) as |
+ as8 g
}
\addlyrics {
- The man who feels love's sweet e -- mo -- tion
+ The man who | feels love's sweet e -- | mo -- tion
}
}
@end lilypond
@lilypond[quote,verbatim,relative=2]
{
+ \key es \major
\time 6/8
{
- r4 b8
+ r4 bes8
% Increase thickness of immediately following slur only
\once \override Slur #'thickness = #5.0
- b[( g]) g |
- g[( e]) e d[( f]) a |
- a g
+ bes8[( g]) g |
+ g8[( es]) es d[( f]) as |
+ as8 g
}
\addlyrics {
- The man who feels love's sweet e -- mo -- tion
+ The man who | feels love's sweet e -- | mo -- tion
}
}
@end lilypond
@lilypond[quote,verbatim,relative=2]
{
+ \key es \major
\time 6/8
{
- r4 b8
+ r4 bes8
% Increase thickness of immediately following slur only
\once \override Slur #'thickness = #5.0
- b[( g]) g |
+ bes[( g]) g |
% Increase thickness of immediately following slur only
\once \override Slur #'thickness = #5.0
- g[( e]) e d[( f]) a |
- a g
+ g8[( es]) es d[( f]) as |
+ as8 g
}
\addlyrics {
- The man who feels love's sweet e -- mo -- tion
+ The man who | feels love's sweet e -- | mo -- tion
}
}
@end lilypond
@lilypond[quote,verbatim,relative=2]
{
+ \key es \major
\time 6/8
{
- r4 b8
+ r4 bes8
% Increase thickness of all following slurs from 1.2 to 5.0
\override Slur #'thickness = #5.0
- b[( g]) g |
- g[( e])
+ bes[( g]) g |
+ g8[( es]) es
% Revert thickness of all following slurs to default of 1.2
\revert Slur #'thickness
- e d[( f]) a |
- a g
+ d8[( f]) as |
+ as8 g
}
\addlyrics {
- The man who feels love's sweet e -- mo -- tion
+ The man who | feels love's sweet e -- | mo -- tion
}
}
@end lilypond
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
+ \key es \major
\time 6/8
{
- r4 b8 b[( g]) g |
- g[( e]) e d[( f]) a |
- a g
+ r4 bes8 bes[( g]) g |
+ g8[( es]) es d[( f]) as |
+ as8 g
}
\addlyrics {
\override LyricText #'font-shape = #'italic
- The man who feels love's sweet e -- mo -- tion
+ The man who | feels love's sweet e -- | mo -- tion
}
}
@end lilypond
\time 12/16
\override BarLine #'stencil = ##f
c4 b8 c d16 c d8 |
- g, a16 b8 c d4 e16 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
\time 12/16
\override Staff.BarLine #'stencil = ##f
c4 b8 c d16 c d8 |
- g, a16 b8 c d4 e16 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
@lilypond[quote,verbatim,relative=2]
{
- c c
+ c4 c
\once \override NoteHead #'stencil = #point-stencil
- c c
+ c4 c
}
@end lilypond
\time 12/16
\override Staff.BarLine #'break-visibility = #'#(#f #f #f)
c4 b8 c d16 c d8 |
- g, a16 b8 c d4 e16 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
\time 12/16
\override Staff.TimeSignature #'transparent = ##t
c4 b8 c d16 c d8 |
- g, a16 b8 c d4 e16 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
\time 12/16
\override Staff.TimeSignature #'stencil = ##f
c4 b8 c d16 c d8 |
- g, a16 b8 c d4 e16 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
\time 12/16
\override Staff.BarLine #'color = #white
c4 b8 c d16 c d8 |
- g, a16 b8 c d4 e16 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
\time 12/16
\override Staff.BarLine #'color = #(x11-color 'white)
c4 b8 c d16 c d8 |
- g, a16 b8 c d4 e16 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
\time 12/16
\override Staff.BarLine #'color = #(rgb-color 1 1 1)
c4 b8 c d16 c d8 |
- g, a16 b8 c d4 e16 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
\override Voice.Stem #'color = #(x11-color 'grey85)
\override Staff.BarLine #'color = #(x11-color 'grey10)
c4 b8 c d16 c d8 |
- g, a16 b8 c d4 e16 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\new Staff ="main" {
- \relative g' {
- r4 g8 g c4 c8 d |
- e4 r8
- <<
- { f c c }
- \new Staff \with {
- alignAboveContext = #"main" }
- { f8 f c }
- >>
- r4 |
- }
- }
+ \relative g' {
+ r4 g8 g c4 c8 d |
+ e4 r8
+ <<
+ { f8 c c }
+ \new Staff \with {
+ alignAboveContext = #"main" }
+ { f8 f c }
+ >>
+ r4 |
+ }
+}
@end lilypond
Ossia are normally written without clef and time signature, and
r4 g8 g c4 c8 d |
e4 r8
<<
- { f c c }
+ { f8 c c }
\new Staff \with {
alignAboveContext = #"main"
}
r4 g8 g c4 c8 d |
e4 r8
<<
- { f c c }
+ { f8 c c }
\new Staff \with {
alignAboveContext = #"main"
% Don't print clefs in this staff
% Don't print time signatures in this staff
\override TimeSignature #'stencil = ##f
}
- { f8 f c }
+ { f8 f c }
>>
r4 |
}
r4 g8 g c4 c8 d |
e4 r8
<<
- { f c c }
+ { f8 c c }
\new Staff \with {
alignAboveContext = #"main"
\override Clef #'stencil = ##f
% Reduce all font sizes by ~24%
fontSize = #-2
}
- { f8 f c }
+ { f8 f c }
>>
r4 |
}
r4 g8 g c4 c8 d |
e4 r8
<<
- { f c c }
+ { f8 c c }
\new Staff \with {
alignAboveContext = #"main"
\override Clef #'stencil = ##f
% Reduce stem length and line spacing to match
\override StaffSymbol #'staff-space = #(magstep -2)
}
- { f8 f c }
+ { f8 f c }
>>
r4 |
}
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
c2^"Text1"
-c^"Text2"
-c^"Text3"
-c^"Text4"
+c2^"Text2" |
+c2^"Text3"
+c2^"Text4" |
@end lilypond
Staves are also positioned, by default, as closely together as
@lilypond[quote,ragged-right,verbatim]
<<
\new Staff {
- \relative c' { c a, }
+ \relative c' { c4 a, }
}
\new Staff {
- \relative c'''' { c a, }
+ \relative c'''' { c4 a, }
}
>>
@end lilypond
@cindex direction property, example
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-a4 g c a
+a4 g c a |
\override Stem #'direction = #DOWN
-a g c a
+a4 g c a |
\override Stem #'direction = #UP
-a g c a
+a4 g c a |
\revert Stem #'direction
-a g c a
+a4 g c a |
@end lilypond
Here we use the constants @code{DOWN} and @code{UP}.
@cindex direction property, example
@lilypond[quote,verbatim,relative=2]
-c-5 a-3 f-1 c'-5
+c4-5 a-3 f-1 c'-5 |
\override Fingering #'direction = #DOWN
-c-5 a-3 f-1 c'-5
+c4-5 a-3 f-1 c'-5 |
\override Fingering #'direction = #UP
-c-5 a-3 f-1 c'-5
+c4-5 a-3 f-1 c'-5 |
@end lilypond
However, overriding the @code{direction} property is not the
@cindex fingering example
@lilypond[quote,verbatim,relative=2]
-c-5 a-3 f-1 c'-5
-c_5 a_3 f_1 c'_5
-c^5 a^3 f^1 c'^5
+c4-5 a-3 f-1 c'-5 |
+c4_5 a_3 f_1 c'_5 |
+c4^5 a^3 f^1 c'^5 |
@end lilypond
The @code{direction} property is ignored for chords, but the
@cindex fingering example
@lilypond[quote,verbatim,relative=2]
-<c-5 g-3>
-<c-5 g-3 e-2>
-<c-5 g-3 e-2 c-1>
+<c-5 g-3>4
+<c-5 g-3 e-2>4
+<c-5 g-3 e-2 c-1>4
@end lilypond
@noindent
@cindex fingering example
@lilypond[quote,verbatim,relative=2]
-<c-5 g-3 e-2 c-1>
-<c^5 g_3 e_2 c_1>
-<c^5 g^3 e^2 c_1>
+<c-5 g-3 e-2 c-1>4
+<c^5 g_3 e_2 c_1>4
+<c^5 g^3 e^2 c_1>4
@end lilypond
Even greater control over the placement of fingering of the
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
\set fingeringOrientations = #'(left)
-<f-2>
-< c-1 e-2 g-3 b-5 > 4
+<f-2>4
+<c-1 e-2 g-3 b-5>4
\set fingeringOrientations = #'(left)
-<f-2>
-< c-1 e-2 g-3 b-5 > 4
+<f-2>4
+<c-1 e-2 g-3 b-5>4 |
\set fingeringOrientations = #'(up left down)
-<f-2>
-< c-1 e-2 g-3 b-5 > 4
+<f-2>4
+<c-1 e-2 g-3 b-5>4
\set fingeringOrientations = #'(up left)
-<f-2>
-< c-1 e-2 g-3 b-5 > 4
+<f-2>4
+<c-1 e-2 g-3 b-5>4 |
\set fingeringOrientations = #'(right)
-<f-2>
-< c-1 e-2 g-3 b-5 > 4
+<f-2>4
+<c-1 e-2 g-3 b-5>4
@end lilypond
@noindent
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
\override Fingering #'font-size = #-7
\set fingeringOrientations = #'(left)
-<f-2>
-< c-1 e-2 g-3 b-5 > 4
+<f-2>4
+<c-1 e-2 g-3 b-5>4
\set fingeringOrientations = #'(left)
-<f-2>
-< c-1 e-2 g-3 b-5 > 4
+<f-2>4
+<c-1 e-2 g-3 b-5>4 |
\set fingeringOrientations = #'(up left down)
-<f-2>
-< c-1 e-2 g-3 b-5 > 4
+<f-2>4
+<c-1 e-2 g-3 b-5>4
\set fingeringOrientations = #'(up left)
-<f-2>
-< c-1 e-2 g-3 b-5 > 4
+<f-2>4
+<c-1 e-2 g-3 b-5>4 |
\set fingeringOrientations = #'(right)
-<f-2>
-< c-1 e-2 g-3 b-5 > 4
+<f-2>4
+<c-1 e-2 g-3 b-5>4
@end lilypond
@node Outside-staff objects
\dynamicUp
% Start Ottava Bracket
\ottava #1
-c' \startTextSpan
+c'4 \startTextSpan
% Add Dynamic Text and hairpin
-c\pp\<
-c
+c4\pp\<
+c4
% Add Text Script
-c^Text
-c c
+c4^Text |
+c4 c
% Add Dynamic Text and terminate hairpin
-c\ff c \stopTextSpan
+c4\ff c \stopTextSpan |
% Stop Ottava Bracket
\ottava #0
-c, c c c
+c,4 c c c |
@end lilypond
This example also shows how to create Text Spanners --
= \markup { \small \bold Slower }
% Place dynamics above staff
\dynamicUp
-%Place following Ottava Bracket below Text Spanners
+% Place following Ottava Bracket below Text Spanners
\once \override Staff.OttavaBracket #'outside-staff-priority = #340
% Start Ottava Bracket
\ottava #1
-c' \startTextSpan
+c'4 \startTextSpan
% Add Dynamic Text
-c\pp
+c4\pp
% Add Dynamic Line Spanner
-c\<
+c4\<
% Add Text Script
-c^Text
-c c
+c4^Text |
+c4 c
% Add Dynamic Text
-c\ff c \stopTextSpan
+c4\ff c \stopTextSpan |
% Stop Ottava Bracket
\ottava #0
-c, c c c
+c,4 c c c |
@end lilypond
@cindex slurs and outside-staff-priority
example showing the effect of the two methods:
@lilypond[quote,verbatim,relative=2]
-c4( c^\markup\tiny\sharp d4.) c8
+c4( c^\markup { \tiny \sharp } d4.) c8 |
c4(
\once \override TextScript #'avoid-slur = #'inside
\once \override TextScript #'outside-staff-priority = ##f
-c^\markup\tiny\sharp d4.) c8
+c4^\markup { \tiny \sharp } d4.) c8 |
\once \override Slur #'outside-staff-priority = #500
-c4( c^\markup\tiny\sharp d4.) c8
+c4( c^\markup { \tiny \sharp } d4.) c8 |
@end lilypond
Changing the @code{outside-staff-priority} can also be used to
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
c2^"Text1"
-c^"Text2"
+c2^"Text2" |
\once \override TextScript #'outside-staff-priority = #500
-c^"Text3"
-c^"Text4"
+c2^"Text3"
+c2^"Text4" |
@end lilypond
This certainly lifts @qq{Text3} above @qq{Text4} but it also lifts it
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\textLengthOn % Cause notes to space out to accommodate text
c2^"Text1"
-c^"Text2"
-c^"Text3"
-c^"Text4"
+c2^"Text2" |
+c2^"Text3"
+c2^"Text4" |
@end lilypond
The command to revert to the default behavior is
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
% This markup is short enough to fit without collision
-c2^"Tex"
-c''2
-R1
+c2^"Tex" c'' |
+R1 |
+
% This is too long to fit, so it is displaced upwards
-c,,2^"Text"
-c''2
-R1
+c,,2^"Text" c'' |
+R1 |
+
% Turn off collision avoidance
\once \override TextScript #'outside-staff-priority = ##f
-c,,2^"Long Text "
-c''2
-R1
+c,,2^"Long Text " c'' |
+R1 |
+
% Turn off collision avoidance
\once \override TextScript #'outside-staff-priority = ##f
-\textLengthOn % and turn on textLengthOn
+\textLengthOn % and turn on textLengthOn
c,,2^"Long Text " % Spaces at end are honored
-c''2
+c''2 |
@end lilypond
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\dynamicUp
\override DynamicText #'extra-spacing-width = #'(0 . 0)
-a4\f b\mf c\mp b\p
+a4\f b\mf c\mp b\p |
@end lilypond
@noindent
@cindex padding property, example
@lilypond[quote,fragment,relative=1,verbatim]
-% This will not work, see below:
+% This will not work, see below
\override MetronomeMark #'padding = #3
\tempo 4=120
-c1
-% This works:
+c1 |
+% This works
\override Score.MetronomeMark #'padding = #3
\tempo 4=80
-d1
+d1 |
@end lilypond
Note in the second example how important it is to figure out what
@lilypond[quote,ragged-right,verbatim]
sesquisharp = \markup { \sesquisharp }
\relative c'' {
- c
+ c4
% This prints a sesquisharp but the spacing is too small
\once \override Accidental
#'stencil = #ly:text-interface::print
\once \override Accidental #'text = #sesquisharp
- cis c
+ cis4 c
% This improves the spacing
\once \override Score.AccidentalPlacement #'right-padding = #0.6
\once \override Accidental
#'stencil = #ly:text-interface::print
\once \override Accidental #'text = #sesquisharp
- cis
+ cis4 |
}
@end lilypond
@lilypond[quote,fragment,ragged-right,verbatim,relative=3]
\voiceOne
-< a \2 >
+<a\2>
\once \override StringNumber #'self-alignment-X = #RIGHT
-< a \2 >
+<a\2>
@end lilypond
@subheading staff-position property
example of a collision of this type:
@lilypond[quote,verbatim,fragment,ragged-right, relative=1]
-<< {c c c c} \\ {R1} >>
+<< { c4 c c c } \\ { R1 } >>
@end lilypond
The best solution here is to move the multimeasure rest down, since
@lilypond[quote,verbatim,fragment,ragged-right, relative=1]
<<
- {c c c c}
-\\
+ { c4 c c c }
+ \\
\override MultiMeasureRest #'staff-position = #-8
- {R1}
+ { R1 }
>>
@end lilypond
@lilypond[quote,fragment,relative=1,verbatim]
\stemUp
-f-5
-\once \override Fingering
- #'extra-offset = #'(-0.3 . -1.8)
-f-5
+f4-5
+\once \override Fingering #'extra-offset = #'(-0.3 . -1.8)
+f4-5
@end lilypond
avoid the slur on the acciaccatura.
@lilypond[quote,verbatim,fragment,ragged-right,relative=1]
-r4 \acciaccatura e8\( d8 c ~c d c d\)
+r4 \acciaccatura e8\( d8 c~ c d c d\)
@end lilypond
@noindent
@lilypond[quote,verbatim,fragment,ragged-right,relative=1]
r4
\phrasingSlurUp
-\acciaccatura e8\( d8 c ~c d c d\)
+\acciaccatura e8\( d8 c~ c d c d\)
@end lilypond
@noindent
@lilypond[quote,verbatim,fragment,ragged-right,relative=1]
r4
\once \override PhrasingSlur #'positions = #'(-4 . -3)
-\acciaccatura
-e8\( d8 c ~c d c d\)
+\acciaccatura e8\( d8 c~ c d c d\)
@end lilypond
Here's a further example taken from the opening of the left-hand
@lilypond[quote,verbatim,fragment,ragged-right]
{
-\clef "bass"
-<< {b,8 ais, b, g,} \\ {e, g e, g} >>
-<< {b,8 ais, b, g,} \\ {e, g e, g} >>
+ \clef "bass"
+ << { b,8 ais, b, g, } \\ { e,8 g e, g } >>
+ << { b,8 ais, b, g, } \\ { e,8 g e, g } >>
}
@end lilypond
\clef "bass"
<<
\override Beam #'positions = #'(3 . 3)
- {b,8 ais, b, g,}
+ { b,8 ais, b, g, }
\\
- {e, g e, g}
+ { e,8 g e, g }
>>
- << {b,8 ais, b, g,} \\ {e, g e, g} >>
+ << { b,8 ais, b, g, } \\ { e,8 g e, g } >>
}
@end lilypond
@subheading force-hshift property
-@c FIXME: formatting stuff (ie not important right now IMO)
-@c @a nchor Chopin finally corrected TODOgp
-
We can now see how to apply the final corrections to the Chopin
example introduced at the end of @ref{I'm hearing Voices}, which
was left looking like this:
\new Staff \relative c'' {
\key aes \major
<<
- { c2 aes4. bes8 } \\
- { aes2 f4 fes } \\
- { \voiceFour
- <ees c>2
- des2
+ { c2 aes4. bes8 }
+ \\
+ { aes2 f4 fes }
+ \\
+ {
+ \voiceFour
+ <ees c>2 des
}
>> |
<c ees aes c>1 |
\new Staff \relative c'' {
\key aes \major
<<
- { c2 aes4. bes8 } \\
- { aes2 f4 fes } \\
- { \voiceFour
- \once \override NoteColumn #'force-hshift = #0 <ees c>2
- \once \override NoteColumn #'force-hshift = #0.5 des2
+ { c2 aes4. bes8 }
+ \\
+ { aes2 f4 fes }
+ \\
+ {
+ \voiceFour
+ \once \override NoteColumn #'force-hshift = #0
+ <ees c>2
+ \once \override NoteColumn #'force-hshift = #0.5
+ des2
}
>> |
<c ees aes c>1 |
deal with a tricky example which needs several tweaks to produce
the desired output. The example has been deliberately chosen to
illustrate the use of the Notation Reference to resolve unusual
-problems with notation. It is not representative of more usual
+problems with notation. It is not representative of the more usual
engraving process, so please do not let these difficulties put
you off! Fortunately, difficulties like these are not very common!
@c The following should appear as music without code
@c This example should not be indexed
@c line-width ensures no break
-@lilypond[quote,ragged-right,line-width=5.5\in]
+@lilypond[quote,ragged-right,line-width=6\in]
rhMusic = \relative c'' {
- r2
- c4.\( g8 |
- \once \override Tie #'staff-position = #3.5
- bes1~ |
- \bar "||"
- \time 6/4
- \mergeDifferentlyHeadedOn
- \mergeDifferentlyDottedOn
- bes2.^\markup {\bold "Moderato"} r8
- <<
- {c,8 d fis bes a | }
- \\
- % Reposition the c2 to the right of the merged note
- {c,8~ \once \override NoteColumn #'force-hshift = #1.0
- % Move the c2 out of the main note column so the merge will work
- \shiftOnn c2}
- \\
- % Stem on the d2 must be down to permit merging
- {s8 \stemDown \once \override Stem #'transparent = ##t d2}
- \\
- {s4 fis4.}
- >>
- \mergeDifferentlyHeadedOff
- \mergeDifferentlyDottedOff
- g2.\)
+ \new Voice {
+ r2 c4.\( g8 |
+ \once \override Tie #'staff-position = #3.5
+ bes1~ |
+ \bar "||"
+ \time 6/4
+ \mergeDifferentlyHeadedOn
+ \mergeDifferentlyDottedOn
+ bes2.^\markup { \bold "Moderato" } r8
+ <<
+ { c,8 d fis bes a }
+ \new Voice {
+ \voiceTwo
+ c,8~
+ % Reposition the c2 to the right of the merged note
+ \once \override NoteColumn #'force-hshift = #1.0
+ % Move the c2 out of the main note column so the merge will work
+ \shiftOnn
+ c2
+ }
+ \new Voice {
+ \voiceThree
+ s8
+ % Stem on the d2 must be down to permit merging
+ \stemDown
+ % Stem on the d2 should be invisible
+ \once \override Stem #'transparent = ##t
+ d2
+ }
+ \new Voice {
+ \voiceFour
+ s4 fis4.
+ }
+ >> |
+ \mergeDifferentlyHeadedOff
+ \mergeDifferentlyDottedOff
+ g2.\)
+ }
}
lhMusic = \relative c' {
the tied C, the half-note D which is merged with the eighth note
D, and the dotted quarter note F-sharp, which is also merged with
the eighth note at the same pitch. Everything else is in a single
-voice, so the easiest way is to introduce these four voices
+voice, so the easiest way is to introduce these extra three voices
temporarily at the time they are needed. If you have forgotten
-how to do this, look at @ref{I'm hearing Voices}. Let us begin
-by entering the notes as two variables and setting up the staff
-structure in a score block, and see what LilyPond produces by
-default:
+how to do this, look at @ref{I'm hearing Voices} and @ref{Explicitly
+instantiating voices}. Here we choose to use explicitly instantiated
+voices for the polyphonic passage, as LilyPond is better able to
+avoid collisions if all voices are instantiated explicitly in this
+way.
+
+So let us begin by entering the notes as two variables, setting up
+the staff structure in a score block, and seeing what LilyPond
+produces by default:
@c line-width ensures no break
-@lilypond[quote,verbatim,ragged-right,line-width=5.5\in]
+@lilypond[quote,verbatim,ragged-right,line-width=6\in]
rhMusic = \relative c'' {
- r2 c4. g8 |
- bes1~ |
- \time 6/4
- bes2. r8
- % Start polyphonic section of four voices
- <<
- {c,8 d fis bes a | }
- \\
- {c,8~ c2 | }
- \\
- {s8 d2 | }
- \\
- {s4 fis4. | }
- >>
- g2.
+ \new Voice {
+ r2 c4. g8 |
+ bes1~ |
+ \time 6/4
+ bes2. r8
+ % Start polyphonic section of four voices
+ <<
+ { c,8 d fis bes a } % continuation of main voice
+ \new Voice {
+ \voiceTwo
+ c,8~ c2
+ }
+ \new Voice {
+ \voiceThree
+ s8 d2
+ }
+ \new Voice {
+ \voiceFour
+ s4 fis4.
+ }
+ >> |
+ g2. % continuation of main voice
+ }
}
lhMusic = \relative c' {
@end lilypond
All the notes are right, but the appearance is far from
-satisfactory. The tie clashes with the change in time signature,
-the notes are not merged together, and several notation elements
+satisfactory. The tie collides with the change in time signature,
+some notes are not merged together, and several notation elements
are missing. Let's first deal with the easier things. We can
easily add the left hand slur and the right hand phrasing slur,
since these were all covered in the Tutorial. Doing this gives:
@c line-width ensures no break
-@lilypond[quote,verbatim,ragged-right,line-width=5.5\in]
+@lilypond[quote,verbatim,ragged-right,line-width=6\in]
rhMusic = \relative c'' {
- r2 c4.\( g8 |
- bes1~ |
- \time 6/4
- bes2. r8
- % Start polyphonic section of four voices
- <<
- {c,8 d fis bes a | }
- \\
- {c,8~ c2 | }
- \\
- {s8 d2 | }
- \\
- {s4 fis4. | }
- >>
- g2.\)
+ \new Voice {
+ r2 c4.\( g8 |
+ bes1~ |
+ \time 6/4
+ bes2. r8
+ % Start polyphonic section of four voices
+ <<
+ { c,8 d fis bes a } % continuation of main voice
+ \new Voice {
+ \voiceTwo
+ c,8~ c2
+ }
+ \new Voice {
+ \voiceThree
+ s8 d2
+ }
+ \new Voice {
+ \voiceFour
+ s4 fis4.
+ }
+ >> |
+ g2.\) % continuation of main voice
+ }
}
lhMusic = \relative c' {
next need to correct the collision of the tie with the time signature.
This is best done by moving the tie upwards. Moving objects was
covered earlier in @ref{Moving objects}, which says that objects
-positioned relative to the staff can be moved by overriding their
-@code{staff-position} property, which is specified in half staff
+positioned relative to the staff can be moved vertically by overriding
+their @code{staff-position} property, which is specified in half staff
spaces relative to the center line of the staff. So the following
override placed just before the first tied note would move the tie up
to 3.5 half staff spaces above the center line:
This completes bar two, giving:
@c line-width ensures no break
-@lilypond[quote,verbatim,ragged-right,line-width=5.5\in]
+@lilypond[quote,verbatim,ragged-right,line-width=6\in]
rhMusic = \relative c'' {
- r2 c4.\( g8 |
- \once \override Tie #'staff-position = #3.5
- bes1~ |
- \bar "||"
- \time 6/4
- bes2. r8
- % Start polyphonic section of four voices
- <<
- {c,8 d fis bes a | }
- \\
- {c,8~ c2 | }
- \\
- {s8 d2 | }
- \\
- {s4 fis4. | }
- >>
- g2.\)
+ \new Voice {
+ r2 c4.\( g8 |
+ \once \override Tie #'staff-position = #3.5
+ bes1~ |
+ \bar "||"
+ \time 6/4
+ bes2. r8
+ % Start polyphonic section of four voices
+ <<
+ { c,8 d fis bes a } % continuation of main voice
+ \new Voice {
+ \voiceTwo
+ c,8~ c2
+ }
+ \new Voice {
+ \voiceThree
+ s8 d2
+ }
+ \new Voice {
+ \voiceFour
+ s4 fis4.
+ }
+ >> |
+ g2.\) % continuation of main voice
+ }
}
lhMusic = \relative c' {
On to bar three and the start of the Moderato section. The tutorial
showed how to add embolded text with the @code{\markup} command, so
-adding @q{Moderato} in bold is easy. But how do we merge notes in
+adding @qq{Moderato} in bold is easy. But how do we merge notes in
different voices together? This is where we need to turn again to
the Notation Reference for help. A search for @qq{merge} in the
Notation Reference index quickly leads us to the commands for merging
-differently headed and differently dotted notes in @ruser{Collision
-resolution}. In our example we need to merge both types of note for
-the duration of the polyphonic section in bar 3, so using the
-information we find in the Notation Reference we add
+differently headed and differently dotted notes in
+@ruser{Collision resolution}. In our example we need to merge both
+types of note for the duration of the polyphonic section in bar 3,
+so using the information we find in the Notation Reference we add
@example
\mergeDifferentlyHeadedOn
to the end, giving:
@c line-width ensures no break
-@lilypond[quote,ragged-right,line-width=5.5\in]
+@lilypond[quote,ragged-right,line-width=6\in]
rhMusic = \relative c'' {
- r2 c4.\( g8 |
- \once \override Tie #'staff-position = #3.5
- bes1~ |
- \bar "||"
- \time 6/4
- bes2.^\markup {\bold "Moderato"} r8
- \mergeDifferentlyHeadedOn
- \mergeDifferentlyDottedOn
- % Start polyphonic section of four voices
- <<
- {c,8 d fis bes a | }
- \\
- {c,8~ c2 | }
- \\
- {s8 d2 | }
- \\
- {s4 fis4. | }
- >>
- \mergeDifferentlyHeadedOff
- \mergeDifferentlyDottedOff
- g2.\)
+ \new Voice {
+ r2 c4.\( g8 |
+ \once \override Tie #'staff-position = #3.5
+ bes1~ |
+ \bar "||"
+ \time 6/4
+ bes2.^\markup { \bold "Moderato" } r8
+ \mergeDifferentlyHeadedOn
+ \mergeDifferentlyDottedOn
+ % Start polyphonic section of four voices
+ <<
+ { c,8 d fis bes a } % continuation of main voice
+ \new Voice {
+ \voiceTwo
+ c,8~ c2
+ }
+ \new Voice {
+ \voiceThree
+ s8 d2
+ }
+ \new Voice {
+ \voiceFour
+ s4 fis4.
+ }
+ >> |
+ \mergeDifferentlyHeadedOff
+ \mergeDifferentlyDottedOff
+ g2.\) % continuation of main voice
+ }
}
lhMusic = \relative c' {
@cindex staff-position property, example
@c line-width ensures no break
-@lilypond[quote,verbatim,ragged-right,line-width=5.5\in]
+@lilypond[quote,verbatim,ragged-right,line-width=6\in]
rhMusic = \relative c'' {
- r2 c4.\( g8 |
- \once \override Tie #'staff-position = #3.5
- bes1~ |
- \bar "||"
- \time 6/4
- bes2.^\markup {\bold "Moderato"} r8
- \mergeDifferentlyHeadedOn
- \mergeDifferentlyDottedOn
- % Start polyphonic section of four voices
- <<
- {c,8 d fis bes a | }
- \\
- % Move the c2 out of the main note column so the merge will work
- {c,8~ \shiftOnn c2 | }
- \\
- % Stem on the d2 must be down to permit merging
- {s8 \stemDown d2 | }
- \\
- {s4 fis4. | }
- >>
- \mergeDifferentlyHeadedOff
- \mergeDifferentlyDottedOff
- g2.\)
+ \new Voice {
+ r2 c4.\( g8 |
+ \once \override Tie #'staff-position = #3.5
+ bes1~ |
+ \bar "||"
+ \time 6/4
+ bes2.^\markup { \bold "Moderato" } r8
+ \mergeDifferentlyHeadedOn
+ \mergeDifferentlyDottedOn
+ % Start polyphonic section of four voices
+ <<
+ { c,8 d fis bes a } % continuation of main voice
+ \new Voice {
+ \voiceTwo
+ % Move the c2 out of the main note column so the merge will work
+ c,8~ \shiftOnn c2
+ }
+ \new Voice {
+ \voiceThree
+ % Stem on the d2 must be down to permit merging
+ s8 \stemDown d2
+ }
+ \new Voice {
+ \voiceFour
+ s4 fis4.
+ }
+ >> |
+ \mergeDifferentlyHeadedOff
+ \mergeDifferentlyDottedOff
+ g2.\) % continuation of main voice
+ }
}
lhMusic = \relative c' {
@cindex transparent property, example
@c line-width ensures no break
-@lilypond[quote,verbatim,ragged-right,line-width=5.5\in]
+@lilypond[quote,verbatim,ragged-right,line-width=6\in]
rhMusic = \relative c'' {
- r2
- c4.\( g8 |
- \once \override Tie #'staff-position = #3.5
- bes1~ |
- \bar "||"
- \time 6/4
- bes2.^\markup {\bold "Moderato"} r8
- \mergeDifferentlyHeadedOn
- \mergeDifferentlyDottedOn
- <<
- {c,8 d fis bes a | }
- \\
- % Reposition the c2 to the right of the merged note
- {c,8~ \once \override NoteColumn #'force-hshift = #1.0
- % Move the c2 out of the main note column so the merge will work
- \shiftOnn c2}
- \\
- % Stem on the d2 must be down to permit merging
- {s8 \stemDown \once \override Stem #'transparent = ##t d2}
- \\
- {s4 fis4.}
- >>
- \mergeDifferentlyHeadedOff
- \mergeDifferentlyDottedOff
- g2.\)
+ \new Voice {
+ r2 c4.\( g8 |
+ \once \override Tie #'staff-position = #3.5
+ bes1~ |
+ \bar "||"
+ \time 6/4
+ bes2.^\markup { \bold "Moderato" } r8
+ \mergeDifferentlyHeadedOn
+ \mergeDifferentlyDottedOn
+ % Start polyphonic section of four voices
+ <<
+ { c,8 d fis bes a } % continuation of main voice
+ \new Voice {
+ \voiceTwo
+ c,8~
+ % Reposition the c2 to the right of the merged note
+ \once \override NoteColumn #'force-hshift = #1.0
+ % Move the c2 out of the main note column so the merge will work
+ \shiftOnn
+ c2
+ }
+ \new Voice {
+ \voiceThree
+ s8
+ % Stem on the d2 must be down to permit merging
+ \stemDown
+ % Stem on the d2 should be invisible
+ \once \override Stem #'transparent = ##t
+ d2
+ }
+ \new Voice {
+ \voiceFour
+ s4 fis4.
+ }
+ >> |
+ \mergeDifferentlyHeadedOff
+ \mergeDifferentlyDottedOff
+ g2.\) % continuation of main voice
+ }
}
lhMusic = \relative c' {
with the tied notes in one of them
@lilypond[quote,fragment,relative=2]
-<< { b8~ b8\noBeam }
-\\ { b[ g8] }
->>
+<< { b8~ b\noBeam } \\ { b8[ g] } >>
@end lilypond
@noindent
<<
{
\once \override Stem #'transparent = ##t
- b8~ b8\noBeam
+ b8~ b\noBeam
}
\\
- { b[ g8] }
+ { b8[ g] }
>>
@end lilypond
{
\once \override Stem #'transparent = ##t
\once \override Stem #'length = #8
- b8~ b8\noBeam
+ b8~ b\noBeam
}
\\
- { b[ g8] }
+ { b8[ g] }
>>
@end lilypond
\once \override Score.MetronomeMark #'transparent = ##t
% Invisible tempo marking to lengthen fermata in MIDI
\tempo 4=80
- a\fermata
+ a4\fermata |
% New tempo for next section
\tempo 4=100
- a a a a
+ a4 a a a |
}
\layout { }
\midi { }
\once \override Score.MetronomeMark #'stencil = ##f
% Invisible tempo marking to lengthen fermata in MIDI
\tempo 4=80
- a\fermata
+ a4\fermata |
% New tempo for next section
\tempo 4=100
- a a a a
+ a4 a a a |
}
\layout { }
\midi { }
\override Lyrics.LyricText #'font-shape = #'italic
\override Lyrics.LyricText #'font-series = #'bold
}
+
normal = {
\revert Lyrics.LyricText #'font-shape
\revert Lyrics.LyricText #'font-series
}
-global = { \time 4/4 \partial 4 \key c \major}
-SopranoMusic = \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 = \lyrics { E -- | ter -- nal \emphasize Fa -- ther, \normal | strong to save, }
-VerseTwo = \lyricmode { O | \emphasize Christ, \normal whose voice the | wa -- ters heard, }
-VerseThree = \lyricmode { O | \emphasize Ho -- ly Spi -- rit, \normal | who didst brood }
-VerseFour = \lyricmode { O | \emphasize Tri -- ni -- ty \normal of | love and pow'r }
+global = { \key c \major \time 4/4 \partial 4 }
+
+SopranoMusic = \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 = \lyrics {
+ E -- | ter -- nal \emphasize Fa -- ther, | \normal strong to save,
+}
+
+VerseTwo = \lyricmode {
+ O | \emphasize Christ, \normal whose voice the | wa -- ters heard,
+}
+
+VerseThree = \lyricmode {
+ O | \emphasize Ho -- ly Spi -- rit, | \normal who didst brood
+}
+
+VerseFour = \lyricmode {
+ O | \emphasize Tri -- ni -- ty \normal of | love and pow'r
+}
\score {
\new ChoirStaff <<
\clef "treble"
\new Voice = "Soprano" { \voiceOne \global \SopranoMusic }
\new Voice = "Alto" { \voiceTwo \AltoMusic }
- \new Lyrics \lyricsto "Soprano" { \VerseOne }
- \new Lyrics \lyricsto "Soprano" { \VerseTwo }
+ \new Lyrics \lyricsto "Soprano" { \VerseOne }
+ \new Lyrics \lyricsto "Soprano" { \VerseTwo }
\new Lyrics \lyricsto "Soprano" { \VerseThree }
- \new Lyrics \lyricsto "Soprano" { \VerseFour }
+ \new Lyrics \lyricsto "Soprano" { \VerseFour }
>>
\new Staff <<
\clef "bass"
\new Voice = "Tenor" { \voiceOne \TenorMusic }
- \new Voice = "Bass" { \voiceTwo \BassMusic }
+ \new Voice = "Bass" { \voiceTwo \BassMusic }
>>
>>
}
@ref{Advanced tweaks with Scheme}.
@lilypond[quote,verbatim,ragged-right]
-mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
- #:line(#:dynamic "mp" #:text #:italic "dolce" )))
-
-inst = #(define-music-function (parser location string) (string?)
- (make-music
+mpdolce =
+#(make-dynamic-script
+ (markup #:hspace 0
+ #:translate '(5 . 0)
+ #:line (#:dynamic "mp"
+ #:text #:italic "dolce")))
+
+inst =
+#(define-music-function
+ (parser location string)
+ (string?)
+ (make-music
'TextScriptEvent
'direction UP
'text (markup #:bold (#:box string))))
\relative c'' {
\tempo 4=50
- a4.\mpdolce d8 cis4--\glissando a | b4 bes a2
+ a4.\mpdolce d8 cis4--\glissando a |
+ b4 bes a2 |
\inst "Clarinet"
- cis4.\< d8 e4 fis | g8(\! fis)-. e( d)-. cis2
+ cis4.\< d8 e4 fis |
+ g8(\! fis)-. e( d)-. cis2 |
}
@end lilypond
@example
%%% save this to a file called "definitions.ily"
-mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
- #:line(#:dynamic "mp" #:text #:italic "dolce" )))
-
-inst = #(define-music-function (parser location string) (string?)
- (make-music
+mpdolce =
+#(make-dynamic-script
+ (markup #:hspace 0
+ #:translate '(5 . 0)
+ #:line (#:dynamic "mp"
+ #:text #:italic "dolce")))
+
+inst =
+#(define-music-function
+ (parser location string)
+ (string?)
+ (make-music
'TextScriptEvent
'direction UP
'text (markup #:bold (#:box string))))
\relative c'' @{
\tempo 4=50
- a4.\mpdolce d8 cis4--\glissando a | b4 bes a2
+ a4.\mpdolce d8 cis4--\glissando a |
+ b4 bes a2 |
\inst "Clarinet"
- cis4.\< d8 e4 fis | g8(\! fis)-. e( d)-. cis2
+ cis4.\< d8 e4 fis |
+ g8(\! fis)-. e( d)-. cis2 |
@}
@end example
@lilypond[quote,ragged-right]
-mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
- #:line(#:dynamic "mp" #:text #:italic "dolce" )))
-
-inst = #(define-music-function (parser location string) (string?)
- (make-music
+mpdolce =
+#(make-dynamic-script
+ (markup #:hspace 0
+ #:translate '(5 . 0)
+ #:line (#:dynamic "mp"
+ #:text #:italic "dolce")))
+
+inst =
+#(define-music-function
+ (parser location string)
+ (string?)
+ (make-music
'TextScriptEvent
'direction UP
'text (markup #:bold (#:box string))))
\relative c'' {
\tempo 4=50
- a4.\mpdolce d8 cis4--\glissando a | b4 bes a2
+ a4.\mpdolce d8 cis4--\glissando a |
+ b4 bes a2 |
\inst "Clarinet"
- cis4.\< d8 e4 fis | g8(\! fis)-. e( d)-. cis2
+ cis4.\< d8 e4 fis |
+ g8(\! fis)-. e( d)-. cis2 |
}
@end lilypond
@example
%%% definitions.ily
-mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
- #:line( #:dynamic "mp" #:text #:italic "dolce" )))
-
-inst = #(define-music-function (parser location string) (string?)
- (make-music
+mpdolce =
+#(make-dynamic-script
+ (markup #:hspace 0
+ #:translate '(5 . 0)
+ #:line (#:dynamic "mp"
+ #:text #:italic "dolce")))
+
+inst =
+#(define-music-function
+ (parser location string)
+ (string?)
+ (make-music
'TextScriptEvent
'direction UP
'text (markup #:bold (#:box string))))
\layout@{
- \context @{ \Score
+ \context @{
+ \Score
\override MetronomeMark #'extra-offset = #'(-9 . 0)
\override MetronomeMark #'padding = #'3
@}
- \context @{ \Staff
+ \context @{
+ \Staff
\override TimeSignature #'style = #'numbered
@}
- \context @{ \Voice
+ \context @{
+ \Voice
\override Glissando #'thickness = #3
\override Glissando #'gap = #0.1
@}
@end example
@lilypond[quote,ragged-right]
-mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
- #:line( #:dynamic "mp" #:text #:italic "dolce" )))
-
-inst = #(define-music-function (parser location string) (string?)
- (make-music
+mpdolce =
+#(make-dynamic-script
+ (markup #:hspace 0
+ #:translate '(5 . 0)
+ #:line (#:dynamic "mp"
+ #:text #:italic "dolce")))
+
+inst =
+#(define-music-function
+ (parser location string)
+ (string?)
+ (make-music
'TextScriptEvent
'direction UP
'text (markup #:bold (#:box string))))
\layout{
- \context { \Score
+ \context {
+ \Score
\override MetronomeMark #'extra-offset = #'(-9 . 0)
\override MetronomeMark #'padding = #'3
}
- \context { \Staff
+ \context {
+ \Staff
\override TimeSignature #'style = #'numbered
}
- \context { \Voice
+ \context {
+ \Voice
\override Glissando #'thickness = #3
\override Glissando #'gap = #0.1
}
\relative c'' {
\tempo 4=50
- a4.\mpdolce d8 cis4--\glissando a | b4 bes a2
+ a4.\mpdolce d8 cis4--\glissando a |
+ b4 bes a2 |
\inst "Clarinet"
- cis4.\< d8 e4 fis | g8(\! fis)-. e( d)-. cis2
+ cis4.\< d8 e4 fis |
+ g8(\! fis)-. e( d)-. cis2 |
}
@end lilypond
@example
%%% definitions.ily
-mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
- #:line( #:dynamic "mp" #:text #:italic "dolce" )))
-
-inst = #(define-music-function (parser location string) (string?)
- (make-music
+mpdolce =
+#(make-dynamic-script
+ (markup #:hspace 0
+ #:translate '(5 . 0)
+ #:line (#:dynamic "mp"
+ #:text #:italic "dolce")))
+
+inst =
+#(define-music-function
+ (parser location string)
+ (string?)
+ (make-music
'TextScriptEvent
'direction UP
'text (markup #:bold (#:box string))))
#(set-global-staff-size 23)
+
\layout@{
- \context @{ \Score
+ \context @{
+ \Score
\override MetronomeMark #'extra-offset = #'(-9 . 0)
\override MetronomeMark #'padding = #'3
@}
- \context @{ \Staff
+ \context @{
+ \Staff
@}
- \context @{ \Voice
+ \context @{
+ \Voice
\override Glissando #'thickness = #3
\override Glissando #'gap = #0.1
@}
@end example
@lilypond[quote,ragged-right]
-mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
- #:line( #:dynamic "mp" #:text #:italic "dolce" )))
-
-inst = #(define-music-function (parser location string) (string?)
- (make-music
+mpdolce =
+#(make-dynamic-script
+ (markup #:hspace 0
+ #:translate '(5 . 0)
+ #:line (#:dynamic "mp"
+ #:text #:italic "dolce")))
+
+inst =
+#(define-music-function
+ (parser location string)
+ (string?)
+ (make-music
'TextScriptEvent
'direction UP
'text (markup #:bold (#:box string))))
#(set-global-staff-size 23)
+
\layout{
\context { \Score
\override MetronomeMark #'extra-offset = #'(-9 . 0)
\relative c'' {
\tempo 4=50
- a4.\mpdolce d8 cis4--\glissando a | b4 bes a2
+ a4.\mpdolce d8 cis4--\glissando a |
+ b4 bes a2 |
\inst "Clarinet"
- cis4.\< d8 e4 fis | g8(\! fis)-. e( d)-. cis2
+ cis4.\< d8 e4 fis |
+ g8(\! fis)-. e( d)-. cis2 |
}
@end lilypond
@example
%%% global.ily
\version @w{"@version{}"}
+
#(ly:set-option 'point-and-click #f)
+
\include "../init/init-defs.ly"
\include "../init/init-layout.ly"
\include "../init/init-headers.ly"
@lilypond[quote,verbatim,ragged-right]
#(define (color-notehead grob)
- "Color the notehead according to its position on the staff."
- (let ((mod-position (modulo (ly:grob-property grob 'staff-position) 7)))
- (case mod-position
- ;; Return rainbow colors
- ((1) (x11-color 'red )) ; for C
- ((2) (x11-color 'orange )) ; for D
- ((3) (x11-color 'yellow )) ; for E
- ((4) (x11-color 'green )) ; for F
- ((5) (x11-color 'blue )) ; for G
- ((6) (x11-color 'purple )) ; for A
- ((0) (x11-color 'violet )) ; for B
- )
- )
-)
+ "Color the notehead according to its position on the staff."
+ (let ((mod-position (modulo (ly:grob-property grob 'staff-position)
+ 7)))
+ (case mod-position
+ ;; Return rainbow colors
+ ((1) (x11-color 'red )) ; for C
+ ((2) (x11-color 'orange )) ; for D
+ ((3) (x11-color 'yellow )) ; for E
+ ((4) (x11-color 'green )) ; for F
+ ((5) (x11-color 'blue )) ; for G
+ ((6) (x11-color 'purple )) ; for A
+ ((0) (x11-color 'violet )) ; for B
+ )))
\relative c' {
% Arrange to obtain color from color-notehead procedure
\override NoteHead #'color = #color-notehead
- a2 b |
- c2 d |
- e2 f |
- g2 a |
+ a2 b | c2 d | e2 f | g2 a |
}
@end lilypond
Further examples showing the use of these programmable interfaces
-can be found in @rextend{Tweaking with Scheme}.
+can be found in @rextend{Callback functions}.
projects / lilypond.git / blobdiff