@c -*- coding: utf-8; mode: texinfo; fill-column: 60 -*-
@ignore
- Translation of GIT committish: 66dd932f6519b7913400a838c5efbc5407e06cd8
+ Translation of GIT committish: 12c6693055728e69dce5c4e5a4a2b5f71180a5e2
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@c Translation checker:
@c Translation checker committish:
-@c \version "2.14.0"
+@c \version "2.19.21"
@node Fundamentele concepten
@translationof Fundamental concepts
zoals dit:
@example
-\relative c'' @{
- c4 a d c
+\relative @{
+ c''4 a d c
@}
@end example
\score @{
\new Staff @{
\new Voice @{
- \relative c'' @{
- c4 a b c
+ \relative @{
+ c''4 a b c
@}
@}
@}
variabelen}. Alle sjablonen gebruiken dat:
@example
-melodie = \relative c' @{
- c4 a b c
+melodie = \relative @{
+ c'4 a b c
@}
\score @{
braces next to @code{\new Voice = "vocal"}, we could start writing
@example
-\relative c'' @{
- r4 d8\noBeam g, c4 r
+\relative @{
+ r4 d''8\noBeam g, c4 r
@}
@end example
have a piece of real music:
@lilypond[verbatim,quote,ragged-right]
-melody = \relative c'' { r4 d8\noBeam g, c4 r }
+melody = \relative { r4 d''8\noBeam g, c4 r }
text = \lyricmode { And God said, }
-upper = \relative c'' { <g d g,>2~ <g d g,> }
-lower = \relative c { b2 e }
+upper = \relative { <g' d g,>2~ <g d g,> }
+lower = \relative { b,2 e }
\score {
<<
@lilypond[verbatim,quote,ragged-right]
\new Staff {
- \relative g' {
- r4 g8 g c4 c8 d |
+ \relative {
+ r4 g'8 g c4 c8 d |
e4 r8
<<
{ f8 c c }
@lilypond[verbatim,quote,ragged-right]
\new Staff = "main" {
- \relative g' {
- r4 g8 g c4 c8 d |
+ \relative {
+ r4 g'8 g c4 c8 d |
e4 r8
<<
{ f8 c c }
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] g4 }
+@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[ g \times 2/3 { r16 e'8] }
- g16( a \times 2/3 { b16 d) e' }
- g8[( a \times 2/3 { b8 d') e'~] } |
- \times 4/5 { e'32\( a b d' e' } a'4.\)
-}
+@lilypond[quote,verbatim,ragged-right,relative=1]
+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
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 } >>
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]
-\new Staff \relative c' {
+@lilypond[quote,verbatim]
+\new Staff \relative {
% Main voice
- c16 d e f
+ c'16 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
blue triangle voice.
@lilypond[quote,verbatim]
-\new Staff \relative c' {
+\new Staff \relative {
% Main voice
- c16 d e f
+ c'16 d e f
<< % Bar 1
{
\voiceOneStyle
{ d2 e }
\\
% Voice 2 continues
- { c8 b16 a b8 g~ g2 }
+ { c8 b16 a b8 g~ 2 }
\\
{
\voiceThreeStyle
@c The following should appear as music without code
@lilypond[quote,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
\key aes \major
<< % Voice one
- { c2 aes4. bes8 }
+ { c''2 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.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 |
}
}
\\ % 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]
-\new Staff \relative c'' {
+@lilypond[quote,verbatim,ragged-right]
+\new Staff \relative {
\key aes \major
<<
- { c2 aes4. bes8 } \\ { aes2 f4 fes } \\ { <ees c>2 des }
+ { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes }
>> |
<c ees aes c>1 |
}
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]
-\new Staff \relative c'' {
+@lilypond[quote,verbatim,ragged-right]
+\new Staff \relative {
\key aes \major
<< % Voice one
- { c2 aes4. bes8 }
+ { c''2 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
-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.
@example
\new Staff @{
- \relative c' @{
- << @{ e4 f g a @} \\ @{ c,4 d e f @} >>
+ \relative @{
+ << @{ e'4 f g a @} \\ @{ c,4 d e f @} >>
@}
@}
@end example
@example
\new Staff <<
- \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @}
- \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @}
+ \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @}
+ \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @}
>>
@end example
@c The following example should not display the code
@lilypond[ragged-right,quote]
\new Staff <<
- \new Voice = "1" { \voiceOne \relative c' { e4 f g a } }
- \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } }
+ \new Voice = "1" { \voiceOne \relative { e'4 f g a } }
+ \new Voice = "2" { \voiceTwo \relative { c'4 d e f } }
>>
@end lilypond
markup, ties, slurs, and dynamics:
@lilypond[quote,ragged-right,verbatim]
-\relative c' {
+\relative {
% Default behavior or behavior after \oneVoice
- c4 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' {
\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 {
typeset the music:
@lilypond[quote,ragged-right,verbatim]
-\new Staff \relative c' {
- c16^( d e f
+\new Staff \relative {
+ c'16^( d e f
<<
{ g4 f e | d2 e) | }
\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 {
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'' {
@lilypond[quote,verbatim]
global = { \key f \major \time 6/8 \partial 8 }
-SopOneMusic = \relative c'' {
- c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ c4
+SopOneMusic = \relative {
+ c''8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4
}
SopOneLyrics = \lyricmode {
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'
+SopTwoMusic = \relative {
+ r8 | r4. r4 c'8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes'
}
SopTwoLyrics = \lyricmode {
Let | flee -- cy flocks the | hills a -- dorn,
@lilypond[quote,verbatim]
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 }
+SopMusic = \relative { c'4 | e4. e8 g4 g | a4 a g }
+AltoMusic = \relative { c'4 | c4. c8 e4 e | f4 f e }
+TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 }
+BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 }
VerseOne =
\lyricmode { E -- | ter -- nal fa -- ther, | strong to save, }
output. For example, compare the input and output of the
following example:
-@lilypond[quote,verbatim,relative=2,fragment]
+@lilypond[quote,verbatim,relative=2]
cis4 cis2. | a4 a2. |
@end lilypond
@code{Voice}). This command creates a new context, and starts
interpreting the @var{music-expression} within that context.
-(Note that a @code{\new Score} command is not normally required,
-as the essential top-level @code{Score} context is created
-automatically when the music expression within the @code{\score}
-block is interpreted. The only reason for creating a @code{Score}
-context explicitly using @code{\new Score} is to introduce a
-@code{\with} block in which one or more score-wide default values
-of context properties may be specified. Information on using
-@code{\with} blocks can be found under the heading
-@qq{Setting context properties with @code{\\with} } in
-@ref{Modifying context properties}.)
+@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
\clef "treble"
\key g \minor
\new Voice { % create voice for RH notes
- \relative c'' { % start of RH notes
- d4 ees16 c8. |
+ \relative { % start of RH notes
+ d''4 ees16 c8. |
d4 ees16 c8. |
} % end of RH notes
} % end of RH voice
\key g \minor
\new Voice { % create LH voice one
\voiceOne
- \relative g { % start of LH voice one notes
+ \relative { % start of LH voice one notes
g8 <bes d> ees, <g c> |
g8 <bes d> ees, <g c> |
} % end of LH voice one notes
} % end of LH voice one
\new Voice { % create LH voice two
\voiceTwo
- \relative g { % start of LH voice two notes
+ \relative { % start of LH voice two notes
g4 ees |
g4 ees |
} % end of LH voice two notes
@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
+ \new Staff \relative {
+ aeses'2 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
+ \new Staff \relative {
+ aeses'2 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
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]
+@lilypond[quote,verbatim,ragged-right,relative=1]
c4 d
% make note heads smaller
\set fontSize = #-4
@lilypond[quote,verbatim,ragged-right]
<<
\new Staff {
- \relative c'' {
- gis4 ges aes ais
+ \relative {
+ gisis'4 gis aeses aes
}
}
\new Staff \with { extraNatural = ##f } {
- \relative c'' {
- gis4 ges aes ais
+ \relative {
+ gisis'4 gis aeses aes
}
}
>>
@end lilypond
-Or, if the property override is to be applied to all staves
-within the score, it may be appended to an explicit
-@code{\new Score} command, like this:
-
-@lilypond[quote,verbatim,ragged-right]
-\score {
- \new Score \with { extraNatural = ##f } <<
- \new Staff {
- \relative c'' {
- gis4 ges aes ais
- }
- }
- \new Staff {
- \relative c'' {
- gis4 ges aes ais
- }
- }
- >>
-}
-@end lilypond
-
Properties set in this way may still be changed dynamically using
@code{\set} and returned to the default value set in the
@code{\with} block with @code{\unset}.
@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
+ \relative {
+ cisis''4 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 {
+ gisis'4 gis aeses aes
+ }
+ }
+ \new Staff {
+ \relative {
+ gisis'4 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
@lilypond[quote,verbatim,ragged-right]
\new Staff \with {
- \remove Staff_symbol_engraver
+ \remove "Staff_symbol_engraver"
}
-\relative c' {
- c4 d
+\relative {
+ c'4 d
\set fontSize = #-4 % make note heads smaller
e4 f |
\set fontSize = #2.5 % make note heads larger
@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 {
\score {
<<
\new Staff {
- \relative c'' {
- c4 a b g
+ \relative {
+ c''4 a b g
}
}
\new Staff {
- \relative c' {
- c4 a b g
+ \relative {
+ c'4 a b g
}
}
\new Staff {
\clef "G_8"
- \relative c' {
- c4 a b g
+ \relative {
+ c'4 a b g
}
}
\new Staff {
\clef "bass"
- \relative c {
+ \relative {
c4 a b g
}
}
\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
@example
\version @w{"@version{}"}
-melody = \relative c' @{
+melody = \relative @{
\clef "treble"
\key c \major
\time 4/4
@example
\version @w{"@version{}"}
-melody = \relative c' @{
+melody = \relative @{
\clef "treble"
\key c \major
\time 4/4
@example
\version @w{"@version{}"}
-sopranoMusic = \relative c' @{
+sopranoMusic = \relative @{
\clef "treble"
\key c \major
\time 4/4
Aaa Bee Cee Dee
@}
-celloMusic = \relative c @{
+celloMusic = \relative @{
\clef "bass"
\key c \major
\time 4/4
easily fixed. Here's the complete soprano and cello template.
@lilypond[quote,verbatim,ragged-right,addversion]
-sopranoMusic = \relative c' {
+sopranoMusic = \relative {
\clef "treble"
\key c \major
\time 4/4
Aaa Bee Cee Dee
}
-celloMusic = \relative c {
+celloMusic = \relative {
\clef "bass"
\key c \major
\time 4/4
@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
@lilypond[quote,ragged-right]
global = { \key d \major \time 4/4 }
-sopranoMusic = \relative c'' {
+sopranoMusic = \relative {
\clef "treble"
- r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+ r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 |
}
sopranoWords = \lyricmode {
Wor -- thy | is the lamb | that was slain |
}
-altoMusic = \relative a' {
+altoMusic = \relative {
\clef "treble"
- r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 |
+ r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 |
}
altoWords = \sopranoWords
-tenorMusic = \relative c' {
+tenorMusic = \relative {
\clef "G_8"
- r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+ r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 |
}
tenorWords = \sopranoWords
-bassMusic = \relative c' {
+bassMusic = \relative {
\clef "bass"
- r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+ r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
}
bassWords = \sopranoWords
@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
+@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.
@lilypond[quote,verbatim,ragged-right,addversion]
global = { \key d \major \time 4/4 }
-sopranoMusic = \relative c'' {
+sopranoMusic = \relative {
\clef "treble"
- r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+ r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 |
}
sopranoWords = \lyricmode {
Wor -- thy | is the lamb | that was slain |
}
-altoMusic = \relative a' {
+altoMusic = \relative {
\clef "treble"
- r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 |
+ r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 |
}
altoWords = \sopranoWords
-tenorMusic = \relative c' {
+tenorMusic = \relative {
\clef "G_8"
- r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+ r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 |
}
tenorWords = \sopranoWords
-bassMusic = \relative c' {
+bassMusic = \relative {
\clef "bass"
- r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+ r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
}
bassWords = \sopranoWords
upper = \relative a' {
@} % 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
composer = "J S Bach"
}
keyTime = { \key c \minor \time 4/4 }
-ManualOneVoiceOneMusic = \relative g' {
- g4 g f ees |
+ManualOneVoiceOneMusic = \relative {
+ g'4 g f ees |
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 |
+ManualOneVoiceTwoMusic = \relative {
+ ees'16 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 |
+ManualTwoMusic = \relative {
+ c'16 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 |
+PedalOrganMusic = \relative {
+ r8 c16 d ees d ees8~ 16 a, b g c b c8 |
r16 g ees f g f g8 c,2 |
}
\ManualOneVoiceTwoMusic
}
>> % end ManualOne Staff context
- \new Staff = "ManualTwo" <<
+ \new Staff = "ManualTwo" \with {
+ \override VerticalAxisGroup.staff-staff-spacing.stretchability = 5
+ } <<
\keyTime
\clef "bass"
\new Voice {
} % end Score context
@end lilypond
+@seealso
+Music Glossary:
+@rglos{system}.
@node Saving typing with variables and functions
@subsection Saving typing with variables and functions
By this point, you've seen this kind of thing:
@lilypond[quote,verbatim,ragged-right]
-hornNotes = \relative c'' { c4 b dis c }
+hornNotes = \relative { c''4 b dis c }
\score {
{
You may even realize that this could be useful in minimalist music:
@lilypond[quote,verbatim,ragged-right]
-fragmentA = \relative c'' { a4 a8. b16 }
-fragmentB = \relative c'' { a8. gis16 ees4 }
+fragmentA = \relative { a'4 a8. b16 }
+fragmentB = \relative { a'8. gis16 ees4 }
violin = \new Staff {
\fragmentA \fragmentA |
@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
(parser location padding)
(number?)
#{
- \once \override TextScript #'padding = $padding
+ \once \override TextScript.padding = #padding
#})
-\relative c''' {
- c4^"piu mosso" b a b |
+\relative {
+ c'''4^"piu mosso" b a b |
\padText #1.8
c4^"piu mosso" d e f |
\padText #2.6
of a horn/@/bassoon duo
@example
-hornNotes = \relative c @{
+hornNotes = \relative @{
\time 2/4
r4 f8 a | cis4 f | e4 d |
@}
in the following output
@lilypond[quote,ragged-right]
-\transpose f c' \relative c {
+\transpose f c' \relative {
\time 2/4
r4 f8 a | cis4 f | e4 d |
}
leading to
@lilypond[quote,ragged-right]
-\relative c <<
+\relative <<
\new Staff {
\clef "treble"
\time 2/4
@end lilypond
+
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