c1
@end lilypond
-@findex '
-@findex ,
+@funindex '
+@funindex ,
The optional octave specification takes the form of a series of
single quote (`@code{'}') characters or a series of comma
@cindex note names, default
A sharp is formed by adding @code{-is} to the end of a pitch name and
-a flat is formed by adding @code{-es}
+a flat is formed by adding @code{-es}. Double sharps and double flats
+are obtained by adding @code{-isis} or @code{-eses} to a note name.
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
a2 ais a aes
+a2 aisis a aeses
@end lilypond
-Double sharps and double flats
-are obtained by adding @code{-isis} or @code{-eses} to a note name. These
-are the Dutch note names. In Dutch, @code{aes} is contracted to
+@noindent
+These are the Dutch note names. In Dutch, @code{aes} is contracted to
@code{as}, but both forms are accepted. Similarly, both
@code{es} and @code{ees} are accepted
@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
-a2 aisis a aeses
+a2 as e es
@end lilypond
A natural will cancel the effect of an accidental or key signature.
a4 aes a2
@end lilypond
+The input @code{d e f} is interpreted as ``print a D-natural,
+E-natural, and an F-natural,'' regardless of the key
+signature. For more information about the distinction between
+musical content and the presentation of that content, see
+@ref{More about pitches}.
+
+@lilypond[fragment,quote,ragged-right,verbatim,relative]
+\key d \major
+d e f g
+d e fis g
+@end lilypond
+
@commonprop
@cindex accidental, cautionary
@cindex accidental, parenthesized
@cindex reminder accidental
-@findex ?
+@funindex ?
@cindex cautionary accidental
@cindex parenthesized accidental
-@findex !
+@funindex !
Normally accidentals are printed automatically, but you may also
print them manually. A reminder accidental
and the note names they define are
@c what about micro-tunes, double-sharps, and double-flats? add
-@c more clumns to the table?
+@c more columns to the table?
@c Oh, and should this be made into a multitable?
@cindex note names, other languages
@example
@cindex Relative
@cindex Relative octave specification
-@findex \relative
+@funindex \relative
Octaves are specified by adding @code{'} and @code{,} to pitch names.
When you copy existing music, it is easy to accidentally put a pitch
@end lilypond
Octave changing marks are used for intervals greater than a fourth
+
@lilypond[quote,ragged-right,fragment,verbatim]
\relative c'' {
c g c f, c' a, e''
}
@end lilypond
-The pitch after the @code{\relative} contains a note name.
+The pitch after @code{\relative} contains a note name.
The relative conversion will not affect @code{\transpose},
@code{\chordmode} or @code{\relative} sections in its argument. To use
@end example
This checks that @var{pitch} (without quotes) yields @var{pitch} (with
-quotes) in @code{\relative} mode. If not, a warning is printed, and the
+quotes) in @code{\relative} mode compared to the note given in the
+@code{\relative} command. If not, a warning is printed, and the
octave is corrected. The @var{pitch} is not printed as a note.
In the example below, the first check passes without incident, since
-the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
+the @code{e} (in @code{relative} mode) is within a fifth of
+@code{a'}. However,
the second check produces a warning, since the @code{e} is not within
a fifth of @code{b'}. The warning message is printed, and the octave
is adjusted so that the following notes are in the correct octave
@cindex Transpose
@cindex Transposition of pitches
-@findex \transpose
+@funindex \transpose
A music expression can be transposed with @code{\transpose}. The
syntax is
\transpose c bes @{ e4 @dots{} @}
@end example
-To print this music in B-flat again (i.e. producing a trumpet part,
+To print this music in B-flat again (i.e., producing a trumpet part,
instead of a concert pitch conductor's score) you would wrap the
existing music with another @code{transpose}
Program reference: @internalsref{TransposedMusic}.
+Example: @inputfileref{input/@/test,smart@/-transpose@/.ly}.
+
@refbugs
If you want to use both @code{\transpose} and @code{\relative},
you must put @code{\transpose} outside of @code{\relative}, since
-@code{\relative} will have no effect music that appears inside a
+@code{\relative} will have no effect on music that appears inside a
@code{\transpose}.
@subsection Rests
@cindex Rests
-@findex \rest
-@findex r
+@funindex \rest
+@funindex r
Rests are entered like notes with the note name @code{r}
@cindex Skip
@cindex Invisible rest
@cindex Space note
-@findex \skip
-@findex s
+@funindex \skip
+@funindex s
An invisible rest (also called a `skip') can be entered like a note
with note name `@code{s}' or with @code{\skip @var{duration}}
@subsection Durations
@cindex duration
-@findex \longa
-@findex \breve
-@findex \maxima
+@funindex \longa
+@funindex \breve
+@funindex \maxima
In Note, Chord, and Lyrics mode, durations are designated by numbers and
dots: durations are entered as their reciprocal values. For example, a
quarter note is entered using a @code{4} (since it is a 1/4 note), while
a half note is entered using a @code{2} (since it is a 1/2 note). For
-notes longer than a whole you must use the variables @code{\longa} and
-@code{\breve}
+notes longer than a whole you must use the @code{\longa} and
+@code{\breve} commands
@example
c'\breve
}
\layout {
ragged-right = ##t
+ indent=0\mm
+ \context {
+ \Score
+ \remove "Bar_number_engraver"
+ }
\context {
\Staff
\remove "Clef_engraver"
@node Augmentation dots
@subsection Augmentation dots
-@findex .
+@funindex .
To obtain dotted note lengths, simply add a dot (`@code{.}') to
the number. Double-dotted notes are produced in a similar way.
situations. The following commands may be used to force a particular
direction manually
-@findex \dotsUp
+@funindex \dotsUp
@code{\dotsUp},
-@findex \dotsDown
+@funindex \dotsDown
@code{\dotsDown},
-@findex \dotsNeutral
+@funindex \dotsNeutral
@code{\dotsNeutral}.
@seealso
@cindex tuplets
@cindex triplets
-@findex \times
+@funindex \times
Tuplets are made out of a music expression by multiplying all durations
with a fraction
Tuplets may be nested, for example,
@lilypond[fragment,ragged-right,verbatim,relative=2]
-\set tupletNumberFormatFunction = #fraction-tuplet-formatter
+\override TupletNumber #'text = #tuplet-number::calc-fraction-text
\times 4/6 {
a4 a
\times 3/5 { a a a a a }
@refcommands
-@findex \tupletUp
+@funindex \tupletUp
@code{\tupletUp},
-@findex \tupletDown
+@funindex \tupletDown
@code{\tupletDown},
-@findex \tupletNeutral
+@funindex \tupletNeutral
@code{\tupletNeutral}.
@commonprop
-@findex tupletNumberFormatFunction
+@funindex tupletNumberFormatFunction
@cindex tuplet formatting
The property @code{tupletSpannerDuration} specifies how long each
For more information about @code{make-moment}, see
@ref{Time administration}.
-The format of the number is determined by the property
-@code{tupletNumberFormatFunction}. The default prints only the
-denominator, but if it is set to the Scheme function
-@code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
-instead.
+The format of the number is determined by the property @code{text} in
+@code{TupletNumber}. The default prints only the denominator, but if
+it is set to the function @code{tuplet-number::calc-fraction-text},
+@var{num}:@var{den} will be printed instead.
To avoid printing tuplet numbers, use
\times 2/3 { c8 c c } \times 2/3 { c8 c c }
@end lilypond
+Tuplet brackets can be made to run to prefatory matter or
+the next note
+
+@lilypond[ragged-right]
+\new RhythmicStaff {
+ \set tupletFullLength = ##t
+ \time 4/4
+ \times 4/5 {
+ c4 c1
+ }
+ \set tupletFullLengthNote = ##t
+ \time 2/4
+ \times 2/3 {
+ c4 c c
+ }
+ \time 3/4
+ c4
+}
+@end lilypond
+
@seealso
@subsection Bar check
@cindex Bar check
-@findex barCheckSynchronize
-@findex |
+@funindex barCheckSynchronize
+@funindex |
Bar checks help detect errors in the durations. A bar check is
entered using the bar symbol, `@code{|}'. Whenever it is encountered
especially if the score is polyphonic, so a good place to start correcting
input is by scanning for failed bar checks and incorrect durations.
-@findex |
-@findex pipeSymbol
+@funindex |
+@funindex pipeSymbol
It is also possible to redefine the meaning of @code{|}. This is done
by assigning a music expression to @code{pipeSymbol},
not entirely filled, then the ties exactly show how much each measure
is off.
+If you want to allow line breaking on the bar lines where
+@internalsref{Completion_heads_engraver} splits notes, you must
+also remove @internalsref{Forbid_line_breaks_engraver}.
+
@refbugs
@cindex Chords
-A chord is formed by a enclosing a set of pitches in @code{<} and
-@code{>}. A chord may be followed by a duration, and a set of
+A chord is formed by a enclosing a set of pitches between @code{<}
+and @code{>}. A chord may be followed by a duration, and a set of
articulations, just like simple notes
@lilypond[verbatim,ragged-right,fragment,quote,relative=1]
@refcommands
-@findex \stemUp
+@funindex \stemUp
@code{\stemUp},
-@findex \stemDown
+@funindex \stemDown
@code{\stemDown},
-@findex \stemNeutral
+@funindex \stemNeutral
@code{\stemNeutral}.
is to enter each voice as a sequence (with @code{@{...@}}), and combine
them simultaneously, separating the voices with @code{\\}
-@findex \\
+@funindex \\
@lilypond[quote,verbatim,fragment]
\new Staff \relative c' {
voice in the first @code{<< \\ >>} construct is effective in the second
@code{<< \\ >>}, and the voice is tied across the two constructs.
+@cindex note heads, styles
+
@lilypond[quote,verbatim,fragment]
\new Staff \relative c' {
\override NoteHead #'style = #'cross
@refcommands
-@findex \oneVoice
+@funindex \oneVoice
@code{\oneVoice},
-@findex \voiceOne
+@funindex \voiceOne
@code{\voiceOne},
-@findex \voiceTwo
+@funindex \voiceTwo
@code{\voiceTwo},
-@findex \voiceThree
+@funindex \voiceThree
@code{\voiceThree},
-@findex \voiceFour
+@funindex \voiceFour
@code{\voiceFour}.
-@findex \shiftOn
+@funindex \shiftOn
@code{\shiftOn},
-@findex \shiftOnn
+@funindex \shiftOnn
@code{\shiftOnn},
-@findex \shiftOnnn
+@funindex \shiftOnnn
@code{\shiftOnnn},
-@findex \shiftOff
+@funindex \shiftOff
@code{\shiftOff}: these commands specify in what chords of the current
voice should be shifted. The outer voices (normally: voice one and
two) have @code{\shiftOff}, while the inner voices (three and four)
* Unmetered music::
* System start delimiters::
* Staff symbol::
+* Writing music in parallel::
@end menu
@node Clef
@subsection Clef
-@findex \clef
+@funindex \clef
The clef indicates which lines of the staff correspond to which
pitches. The clef is set with the @code{\clef} command
@seealso
+Manual: @ref{Grace notes}.
+
Program reference: @internalsref{Clef}.
@subsection Key signature
@cindex Key signature
-@findex \key
+@funindex \key
The key signature indicates the tonality in which a piece is played. It
is denoted by a set of alterations (flats or sharps) at the start of the
@code{\key} @var{pitch} @var{type}
@end example
-@findex \minor
-@findex \major
-@findex \minor
-@findex \ionian
-@findex \locrian
-@findex \aeolian
-@findex \mixolydian
-@findex \lydian
-@findex \phrygian
-@findex \dorian
+@funindex \minor
+@funindex \major
+@funindex \minor
+@funindex \ionian
+@funindex \locrian
+@funindex \aeolian
+@funindex \mixolydian
+@funindex \lydian
+@funindex \phrygian
+@funindex \dorian
@cindex church modes
Here, @var{type} should be @code{\major} or @code{\minor} to get
Accidentals and key signatures often confuse new users, because
unaltered notes get natural signs depending on the key signature. For
-more information, see @ref{More about pitches}.
+more information, see @ref{Accidentals} or @ref{More about pitches}.
+
+@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
+\key g \major
+f1
+fis
+@end lilypond
@commonprop
@cindex Time signature
@cindex meter
-@findex \time
+@funindex \time
Time signature indicates the metrum of a piece: a regular pattern of
strong and weak beats. It is denoted by a fraction at the start of the
@cindex partial measure
@cindex measure, partial
@cindex shorten measures
-@findex \partial
+@funindex \partial
Partial measures, such as an anacrusis or upbeat, are entered using the
\partial @var{duration}
@end example
+where @code{duration} is the rhythmic length to be added before
+the next bar.
+
This is internally translated into
@example
@end example
The property @code{measurePosition} contains a rational number
-indicating how much of the measure has passed at this point.
+indicating how much of the measure has passed at this point. Note
+that this is a negative number; @code{\partial 4} is internally
+translated to mean ``there is a quarter note left in the bar''.
@refbugs
a2 g2
@end lilypond
+@code{\partial} is only intended to be used at the beginning of a
+piece. If you use it after the beginning, some odd warnings may
+occur.
+
@node Bar lines
@subsection Bar lines
@cindex Bar lines
-@findex \bar
+@funindex \bar
@cindex measure lines
@cindex repeat bars
@noindent
This will insert an invisible bar line and allow line breaks at this
-point.
+point (without increasing the bar number counter).
In scores with many staves, a @code{\bar} command in one staff is
automatically applied to all staves. The resulting bar lines are
-connected between different staves of a StaffGroup
+connected between different staves of a @code{StaffGroup},
+@code{PianoStaff}, or @code{ChoirStaff}.
@lilypond[quote,ragged-right,fragment,verbatim]
<<
@commonprop
-@findex whichBar
-@findex repeatCommands
-@findex defaultBarType
+@funindex whichBar
+@funindex repeatCommands
+@funindex defaultBarType
The command @code{\bar }@var{bartype} is a short cut for doing
@code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
Program reference: @internalsref{BarLine} (created at
@internalsref{Staff} level), @internalsref{SpanBar} (across staves).
-Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
-
@node Unmetered music
@subsection Unmetered music
@cindex cadenza
-@findex \cadenzaOn
-@findex \cadenzaOff
+@funindex \cadenzaOn
+@funindex \cadenzaOff
Bar lines and bar numbers are calculated automatically. For unmetered
music (cadenzas, for example), this is not desirable. To turn off
@refbugs
-LilyPond will only insert page breaks at a barline. Unless the unmetered
-music ends before the end of the staff line, you will need to insert
+LilyPond will only insert line breaks and page breaks at a
+barline. Unless the unmetered music ends before the end of
+the staff line, you will need to insert
invisible bar lines
@example
@end example
@noindent
-to indicate where line breaks can occur.
+to indicate where breaks can occur.
@node System start delimiters
@internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
@internalsref{SystemStartBracket}. Only one of these types is created
in every context, and that type is determined by the property
-@code{systemStartDelimiter}.
+@internalsref{systemStartDelimiter}.
@node Staff symbol
Notes, dynamic signs, etc., are grouped
with a set of horizontal lines, called a staff (plural `staves'). In
LilyPond, these lines are drawn using a separate layout object called
-staff symbol.
+@code{staff symbol}.
The staff symbol may be tuned in the number, thickness and distance
of lines, using properties. This is demonstrated in the example files
@end lilypond
In combination with Frenched staves, this may be used to typeset ossia
-sections. An example is in @inputfileref{input/@/test@/,ossia.ly},
-shown here
+sections. An example is shown here
@cindex ossia
@inputfileref{input/@/regression,staff@/-line@/-positions@/.ly}.
+@node Writing music in parallel
+@subsection Writing music in parallel
+
+@cindex Writing music in parallel
+@cindex Interleaved music
+
+Music for multiple parts can be interleaved
+
+@lilypond[quote,fragment,verbatim]
+\parallelMusic #'(voiceA voiceB) {
+ r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
+ c'2 c'2 |
+ r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
+ c'2 c'2 |
+}
+\new StaffGroup <<
+ \new Staff \new Voice \voiceA
+ \new Staff \new Voice \voiceB
+>>
+@end lilypond
+
+
@node Connecting notes
@section Connecting notes
@subsection Ties
@cindex tie
-@findex ~
+@funindex ~
A tie connects two adjacent note heads of the same pitch. The tie in
effect extends the length of a note. Ties should not be confused with
@end lilypond
When a tie is applied to a chord, all note heads whose pitches match
-are connected. When no note heads match, no ties will be created.
+are connected. When no note heads match, no ties will be created. Chords
+may be partially tied by placing the tie inside the chord,
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+<c~ e g~ b> <c e g b>
+@end lilypond
A tie is just a way of extending a note duration, similar to the
augmentation dot. The following example shows two ways of notating
mechanism automatically splits long notes, and ties them across bar
lines.
+@funindex \repeatTie
+
When a second alternative of a repeat starts with a tied note, you
have to repeat the tie. This can be achieved with @code{\repeatTie},
\set tieWaitForNote = ##t
\grace { c16[~ e~ g]~ } <c, e g>2
\repeat "tremolo" 8 { c32~ c'~ } <c c,>1
+e8~ c~ a~ f~ <e' c a f>2
@end lilypond
@refcommands
-@findex \tieUp
+@funindex \tieUp
@code{\tieUp},
-@findex \tieDown
+@funindex \tieDown
@code{\tieDown},
-@findex \tieNeutral
+@funindex \tieNeutral
@code{\tieNeutral},
-@findex \tieDotted
+@funindex \tieDotted
@code{\tieDotted},
-@findex \tieDashed
+@funindex \tieDashed
@code{\tieDashed},
-@findex \tieSolid
+@funindex \tieSolid
@code{\tieSolid}.
Switching staves when a tie is active will not produce a slanted tie.
+Changing clefs or octavations during a tie is not really
+well-defined. In these cases, a slur may be preferable.
+
@node Slurs
@subsection Slurs
@refcommands
-@findex \slurUp
+@funindex \slurUp
@code{\slurUp},
-@findex \slurDown
+@funindex \slurDown
@code{\slurDown},
-@findex \slurNeutral
+@funindex \slurNeutral
@code{\slurNeutral},
-@findex \slurDashed
+@funindex \slurDashed
@code{\slurDashed},
-@findex \slurDotted
+@funindex \slurDotted
@code{\slurDotted},
-@findex \slurSolid
+@funindex \slurSolid
@code{\slurSolid}.
@seealso
@refcommands
-@findex \phrasingSlurUp
+@funindex \phrasingSlurUp
@code{\phrasingSlurUp},
-@findex \phrasingSlurDown
+@funindex \phrasingSlurDown
@code{\phrasingSlurDown},
-@findex \phrasingSlurNeutral
+@funindex \phrasingSlurNeutral
@code{\phrasingSlurNeutral}.
@subsection Manual beams
@cindex beams, manual
-@findex ]
-@findex [
+@funindex ]
+@funindex [
In some cases it may be necessary to override the automatic beaming
algorithm. For example, the autobeamer will not put beams over rests
@commonprop
-@findex stemLeftBeamCount
-@findex stemRightBeamCount
+@funindex stemLeftBeamCount
+@funindex stemRightBeamCount
Normally, beaming patterns within a beam are determined automatically.
If necessary, the properties @code{stemLeftBeamCount} and
\set Score.beatLength = #(ly:make-moment 1 8)
c16[ c c c c c c c]
@end lilypond
-@findex subdivideBeams
+@funindex subdivideBeams
@noindent
For more information about @code{make-moment}, see
Line breaks are normally forbidden when beams cross bar lines. This
behavior can be changed by setting @code{allowBeamBreak}.
-@findex allowBeamBreak
+@funindex allowBeamBreak
@cindex beams and line breaks
@cindex beams, kneed
@cindex kneed beams
@node Grace notes
@subsection Grace notes
-@findex \grace
+@funindex \grace
@cindex ornaments
@cindex grace notes
@cindex appoggiatura
\new Staff { c4 \grace { g8[ b] } c4 } >>
@end lilypond
-@findex \afterGrace
+@funindex \afterGrace
If you want to end a note with a grace, use the @code{\afterGrace}
command. It takes two arguments: the main note, and the grace notes
for example, to produce smaller type, and set directions. Hence, when
introducing layout tweaks, they should be inside the grace section,
for example,
+
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\new Voice {
\acciaccatura {
The layout of grace sections can be changed throughout the music using
the function @code{add-grace-property}. The following example
-undefines the Stem direction for this grace, so stems do not always
-point up.
+undefines the @code{Stem} direction for this grace, so
+that stems do not always point up.
@example
\new Staff @{
The slash through the stem in acciaccaturas can be obtained
in other situations by @code{\override Stem #'stroke-style = #"grace"}.
+
+@commonprop
+
+Grace notes may be forced to use floating spacing,
+
+@lilypond[relative=2,ragged-right]
+<<
+ \override Score.SpacingSpanner #'strict-grace-spacing = ##t
+ \new Staff {
+ c'4
+ \afterGrace
+ c'4
+ { c'16[ c'8 c'16] }
+ c'4
+ }
+ \new Staff {
+ c'16[ c'16 c'16 c'16]
+ c'16[ c'16 c'16 c'16]
+ c'4
+ }
+>>
+@end lilypond
+
+
@seealso
Program reference: @internalsref{GraceMusic}.
* Trills::
* Glissando::
* Arpeggio::
+* Falls and doits::
@end menu
@subsection Dynamics
@cindex Dynamics
-@findex \pppp
-@findex \ppp
-@findex \pp
-@findex \p
-@findex \mp
-@findex \mf
-@findex \f
-@findex \ff
-@findex \fff
-@findex \ffff
-@findex \fp
-@findex \sf
-@findex \sff
-@findex \sp
-@findex \spp
-@findex \sfz
-@findex \rfz
+@funindex \pppp
+@funindex \ppp
+@funindex \pp
+@funindex \p
+@funindex \mp
+@funindex \mf
+@funindex \f
+@funindex \ff
+@funindex \fff
+@funindex \ffff
+@funindex \fp
+@funindex \sf
+@funindex \sff
+@funindex \sp
+@funindex \spp
+@funindex \sfz
+@funindex \rfz
Absolute dynamic marks are specified using a command after a note
@code{c4\ff}. The available dynamic marks are @code{\ppppp},
c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
@end lilypond
-@findex \<
-@findex \>
-@findex \!
+@funindex \<
+@funindex \>
+@funindex \!
A crescendo mark is started with @code{\<} and terminated with
@code{\!} or an absolute dynamic. A decrescendo is started with
@end lilypond
@noindent
-A hairpin starts at the left edge of the beginning note and ends on the
-right edge of the ending note.
+A hairpin normally starts at the left edge of the beginning note
+and ends on the right edge of the ending note. If the ending
+note falls on the downbeat, the hairpin ends on the immediately
+preceding barline. This may be modified by setting the
+@code{hairpinToBarline} property,
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\set hairpinToBarline = ##f
+c4\< c2. c4\!
+@end lilypond
In some situations the @code{\espressivo} articulation mark may
be suitable to indicate a crescendo and decrescendo on the one note,
example
@example
-\override Staff.Hairpin #'minimum-length = #5
+\override Voice.Hairpin #'minimum-length = #5
@end example
+@cindex al niente
+@cindex niente, al
+
+Hairpins may be printed with a circled tip (al niente notation) by
+setting the @code{circled-tip} property,
+
+@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+\override Hairpin #'circled-tip = ##t
+c2\< c\!
+c4\> c\< c2\!
+@end lilypond
+
+
@cindex crescendo
@cindex decrescendo
@cindex diminuendo
-You can also use a text saying @emph{cresc.} instead of hairpins
+You can also use text saying @emph{cresc.} instead of hairpins
@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
\setTextCresc
\override Score.Hairpin #'after-line-breaking = ##t
@end example
-Text style dynamic changes (such as cresc. and dim.) are printed with a
+Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
+are printed with a
dashed line showing their extent. To surpress printing this line, use
@example
@refcommands
-@findex \dynamicUp
+@funindex \dynamicUp
@code{\dynamicUp},
-@findex \dynamicDown
+@funindex \dynamicDown
@code{\dynamicDown},
-@findex \dynamicNeutral
+@funindex \dynamicNeutral
@code{\dynamicNeutral}.
Trills that should be executed on an explicitly specified pitch can be
typeset with the command @code{pitchedTrill},
-@lilypond[ragged-right,verbatim,fragment,relative=1]
+@lilypond[ragged-right,verbatim,fragment,relative=1,quote]
\pitchedTrill c4\startTrillSpan fis
f\stopTrillSpan
@end lilypond
@refcommands
@code{\startTrillSpan},
-@findex \startTrillSpan
+@funindex \startTrillSpan
@code{\stopTrillSpan}.
-@findex \stopTrillSpan
+@funindex \stopTrillSpan
@seealso
@subsection Glissando
@cindex Glissando
-@findex \glissando
+@funindex \glissando
A glissando is a smooth change in pitch. It is denoted by a line or a
wavy line between two notes. It is requested by attaching
@cindex Arpeggio
@cindex broken chord
-@findex \arpeggio
+@funindex \arpeggio
You can specify an arpeggio sign (also known as broken chord) on a
chord by attaching an @code{\arpeggio} to a chord
@refcommands
@code{\arpeggio},
-@findex \arpeggioUp
+@funindex \arpeggioUp
@code{\arpeggioUp},
-@findex \arpeggioDown
+@funindex \arpeggioDown
@code{\arpeggioDown},
-@findex \arpeggioNeutral
+@funindex \arpeggioNeutral
@code{\arpeggioNeutral},
-@findex \arpeggioBracket
+@funindex \arpeggioBracket
@code{\arpeggioBracket}.
arpeggios in one @internalsref{PianoStaff} at the same point in time.
+@node Falls and doits
+@subsection Falls and doits
+
+Falls and doits can be added to notes using the @code{\bendAfter}
+command,
+@lilypond[fragment,ragged-right,relative=2]
+\override Score.SpacingSpanner #'shortest-duration-space = #3.0
+c4-\bendAfter #+5
+c4-\bendAfter #-3
+@end lilypond
@node Repeats
@subsection Repeat types
@cindex repeats
-@findex \repeat
+@funindex \repeat
The following types of repetition are supported
for repeats with alternatives. These are not played in MIDI output by
default.
-@ignore
-@item fold
-Alternative endings are written stacked. This has limited use but may be
-used to typeset two lines of lyrics in songs with repeats, see
-@inputfileref{input,star-spangled-banner@/.ly}.
-@end ignore
@item tremolo
Make tremolo beams. These are not played in MIDI output by default.
@item percent
Make beat or measure repeats. These look like percent signs. These
are not played in MIDI output by default. Percent repeats must be
-declared within a Voice context.
+declared within a @code{Voice} context.
@end table
@end example
If you have alternative endings, you may add
-@findex \alternative
+@funindex \alternative
@example
\alternative @{
@var{alternative1}
is assumed to be played more than once.
Standard repeats are used like this
+
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
c1
\repeat volta 2 { c4 d e f }
@end lilypond
With alternative endings
+
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
c1
\repeat volta 2 {c4 d e f}
\alternative { {d2 d} {f f,} }
@end lilypond
-In this example, the first ending is not a complete bar (it
-only had 3 beats). The beginning of the second ending
+In the following example, the first ending is not a complete
+bar (it only had 3 beats). The beginning of the second ending
contains the 4th beat from the first ending. This ``extra''
beat in the second ending is due to the first time ending,
and has nothing to do with the @code{\partial} at the
}
@end lilypond
+@funindex \repeatTie
+
+Ties may be added to a second ending,
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+c1
+\repeat volta 2 {c4 d e f ~ }
+\alternative { {f2 d} {f\repeatTie f,} }
+@end lilypond
+
It is possible to shorten volta brackets
by setting @code{voltaSpannerDuration}. In the next example, the
bracket only lasts one measure, which is a duration of 3/4.
For clarity, it is advisable to use braces in such situations.
Timing information is not remembered at the start of an alternative,
-so after a repeat timing information must be reset by hand, for
-example by setting @code{Score.measurePosition} or entering
+so after a repeat timing information must be reset by hand; for
+example, by setting @code{Score.measurePosition} or entering
@code{\partial}. Similarly, slurs or ties are also not repeated.
+Volta brackets are not vertically aligned.
+
@node Repeats and MIDI
@subsection Repeats and MIDI
@cindex expanding repeats
-@findex \unfoldRepeats
+@funindex \unfoldRepeats
With a little bit of tweaking, all types of repeats can be present
in the MIDI output. This is achieved by applying the
-@code{\unfoldRepeats} music function. This functions changes all
+@code{\unfoldRepeats} music function. This function changes all
repeats to unfold repeats.
@lilypond[quote,verbatim,fragment,line-width=8.0\cm]
\bar "|."
@end lilypond
-When creating a score file using @code{\unfoldRepeats} for midi, then
-it is necessary to make two @code{\score} blocks. One for MIDI (with
+When creating a score file using @code{\unfoldRepeats} for MIDI,
+it is necessary to make two @code{\score} blocks: one for MIDI (with
unfolded repeats) and one for notation (with volta, tremolo, and
percent repeats). For example,
@node Manual repeat commands
@subsection Manual repeat commands
-@findex repeatCommands
+@funindex repeatCommands
The property @code{repeatCommands} can be used to control the layout of
repeats. Its value is a Scheme list of repeat commands.
@subsection Tremolo subdivisions
@cindex tremolo marks
-@findex tremoloFlags
+@funindex tremoloFlags
Tremolo marks can be printed on a single note by adding
`@code{:}[@var{number}]' after the note. The number indicates the
-Isolated percents can also be printed. This is done by putting a multi
-measure rest with a different print function,
+Isolated percents can also be printed. This is done by putting a
+multi-measure rest with a different print function,
-@lilypond[fragment,verbatim]
+@lilypond[fragment,verbatim,quote]
\override MultiMeasureRest #'stencil
= #ly:multi-measure-rest::percent
R1