A basic example of a lilypond input file is
@example
-\version "2.11.23"
+\version "2.11.38"
\score @{
@var{...compound music expression...} % all the music goes here!
\header @{ @}
There are many variations of this basic pattern, but this
example serves as a useful starting place.
-Up to this point none of the examples you have seen have used a
+Up to this point none of the examples you have seen has used a
@code{\score@{@}} command. This is because LilyPond automatically
adds the extra commands which are needed when you give it simple
input. LilyPond treats input like this:
A @code{\score} block must always contain just one music
expression, and
-this must appear first within the @code{\score @{..@}} block.
+this must appear immediately after the @code{\score} command.
Remember that a music expression could be anything from a single
note to a huge compound expression like
Since everything is inside @code{@{ ... @}}, it counts
as one music expression.
-As we saw previously, the @code{\score} can contain other things,
-such as
+As we saw previously, the @code{\score} block can contain other
+things, such as
@example
\score @{
@noindent
Some people put some of those commands outside the @code{\score}
block -- for example, @code{\header} is often placed above the
-@code{\score}. That's just another shorthand that LilyPond
+@code{\score} command. That's just another shorthand that LilyPond
accepts.
Two more commands you have not previously seen are
@code{\layout @{ @}} and @code{\midi @{@}}. If these appear as
shown they will cause LilyPond to produce a printed output and a
-MIDI out respectively. They are described fully in the
-Notation Reference -- @ruser{Score layout} and
+MIDI output respectively. They are described fully in the
+Notation Reference -- @ruser{Score layout} and
@ruser{Creating MIDI files}.
-The @code{\book} command allows
-several @code{\score} blocks to be combined into one output.
-If there are several @code{\book} blocks each one produces a
+You may code multiple @code{\score} blocks. Each will be
+treated as a separate score, but they will be all combined into
+a single output file. A @code{\book} command is not necessary
+-- one will be implicitly created. However, if you would like
+separate output files from one @code{.ly} file then the
+@code{\book} command should be used to separate the different
+sections: each @code{\book} block will produce a
separate output file. For details see @ruser{Multiple scores
in a book}.
the names -- it could be @code{melody}, @code{global},
@code{TimeKey},
@code{pianorighthand}, or @code{foofoobarbaz}. For more details,
-see @ruser{Saving typing with variables and functions}.
+see @ref{Saving typing with variables and functions}.
Remember that you can use almost any name you like as long
as it contains just alphabetic characters and is distinct from
LilyPond command names. The exact
there @emph{is} no mystery. This line explains it all:
@quotation
-@emph{A @code{\score} must begin with a compound music expression.}
+@emph{A @code{\score} block must begin with a compound music expression.}
@end quotation
@noindent
@example
\score @{
- @{
- <<
- \new Staff = "singer" <<
- >>
- \new PianoStaff = piano <<
- >>
+ <<
+ \new Staff = "singer" <<
>>
- @}
+ \new PianoStaff = piano <<
+ >>
+ >>
\layout @{ @}
@}
@end example
-Remember that we use @code{<<} and @code{>>} to show simultaneous
+Remember that we use @code{<< ... >>} instead of
+@code{@{ ... @}} to show simultaneous
music. And we definitely want to show the vocal part and piano
part at the same time, not one after the other! However, the
-@code{<< .. >>} construct is not really necessary for the Singer
+@code{<< ... >>} construct is not really necessary for the Singer
staff, as it contains only one music expression, but Staves often
-do require simultaneous Voices within them, so using @code{<< .. >>}
-rather than braces is a good habit to adopt.
+do require simultaneous Voices within them, so using
+@code{<< ... >>}
+rather than braces is a good habit to adopt. We'll add some real
+music later; for now let's just put in some dummy notes and lyrics.
-@example
-\score @{
- @{
- <<
- \new Staff = "singer" <<
- \new Voice = "vocal" @{ @}
- \addlyrics @{ @}
- >>
- \new PianoStaff = "piano" <<
- \new Staff = "upper" @{ @}
- \new Staff = "lower" @{ @}
- >>
+@lilypond[verbatim,quote,ragged-right]
+\score {
+ <<
+ \new Staff = "singer" <<
+ \new Voice = "vocal" { c'1 }
+ \addlyrics { And }
>>
- @}
- \layout @{ @}
-@}
-@end example
+ \new PianoStaff = "piano" <<
+ \new Staff = "upper" { c'1 }
+ \new Staff = "lower" { c'1 }
+ >>
+ >>
+ \layout { }
+}
+@end lilypond
Now we have a lot more details. We have the singer's staff: it
contains a @code{Voice} (in LilyPond, this term refers to a set of
@example
\relative c'' @{
- a4 b c d
+ r4 d8\noBeam g, c4 r
@}
@end example
But if we did that, the @code{\score} section would get pretty
long, and it would be harder to understand what was happening. So
-let's use variables instead.
+let's use variables instead. These were introduced at the end
+of the previous section, remember? So, adding a few notes, we
+now have a piece of real music:
-@example
-melody = \relative c'' @{ @}
-text = \lyricmode @{ @}
-upper = \relative c'' @{ @}
-lower = \relative c @{ @}
-\score @{
- @{
- <<
- \new Staff = "singer" <<
- \new Voice = "vocal" @{ \melody @}
- \addlyrics @{ \text @}
- >>
- \new PianoStaff = "piano" <<
- \new Staff = "upper" @{ \upper @}
- \new Staff = "lower" @{ \lower @}
- >>
+@lilypond[verbatim,quote,ragged-right]
+melody = \relative c'' { r4 d8\noBeam g, c4 r }
+text = \lyricmode { And God said, }
+upper = \relative c'' { <g d g,>2~ <g d g,> }
+lower = \relative c { b2 e2 }
+
+\score {
+ <<
+ \new Staff = "singer" <<
+ \new Voice = "vocal" { \melody }
+ \addlyrics { \text }
>>
- @}
- \layout @{ @}
-@}
-@end example
+ \new PianoStaff = "piano" <<
+ \new Staff = "upper" { \upper }
+ \new Staff = "lower" {
+ \clef "bass"
+ \lower
+ }
+ >>
+ >>
+ \layout { }
+}
+@end lilypond
+
Be careful about the difference between notes, which are introduced
with @code{\relative}, and lyrics, which are introduced with
This example uses @code{\with}, which will be explained more
fully later. It is a means of modifying the default behaviour
-of a Staff. Here it says that the new staff should be placed
-above the staff called @qq{main} instead of the default position
-which is below.
+of a single Staff. Here it says that the new staff should be
+placed above the staff called @qq{main} instead of the default
+position which is below.
Ossia are often written without clef and without
time signature and are usually in a smaller font.
capable of playing.
A single voice can contain many notes in a chord, of course,
-so when exactly are multiple voices needed?
-Let us analyse a short piece of music to see how many voices
-are required. Here are the notes from the first two bars
-of the second of Chopin's Deux Nocturnes, Op 32.
+so when exactly are multiple voices needed? Look first at
+this example of four chords:
-@c The following should appear as music without code
-@lilypond[quote,ragged-right]
-\new Staff \relative c'' {
- \key aes \major
- <<
- { \voiceOne
- c2 aes4. bes8 } \\
- { \voiceTwo
- 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 |
-}
-@end lilypond
-
-The direction of the stems is often used to indicate the
-continuity of two simultaneous melodic lines. Here the
-stems of the highest notes are all pointing up and the
-stems of the lower notes are all pointing down.
-This is the first indication that more than one voice
-is required.
-
-But the real need for multiple voices arises when notes
-which start at the same time have different durations.
-Look at the notes which start at beat three in the first
-bar. The a-flat is a dotted quarter note, the f is a
-quarter note and the d-flat is a half note. These
-cannot be written as a chord as all the notes in a chord
-must have the same duration. Neither can they be written
-as sequential notes, as they must start at the same time.
-This section of the bar requires three voices, and the
-normal practice would be to write the whole bar as three
-voices, as shown here, where we have used different noteheads
-and colors for the three voices.
-
-@c The following should appear as music without code
-@c The three voice styles should be defined in -init
-@lilypond[quote,ragged-right]
-\new Staff \relative c'' {
- \key aes \major
- <<
- { \voiceOne
- \voiceOneStyle
- c2 aes4. bes8 } \\
- { \voiceTwo
- \voiceTwoStyle
- aes2 f4 fes } \\
- { \voiceFour
- \voiceThreeStyle
- \once \override NoteColumn #'force-hshift = #0 <ees c>2
- \once \override NoteColumn #'force-hshift = #0.5 des2 }
- >> |
- <c ees aes c>1 |
-}
+@lilypond[quote,verbatim,fragment,ragged-right,relative=1]
+\key g \major
+<d g>4 <d fis> <d a'> <d g>
@end lilypond
-Let us see how this is done.
-
+This can be expressed using just the single angle bracket chord
+symbols, @code{< ... >}, and for this just a single voice is
+needed. But suppose the F-sharp were actually an eighth-note
+followed by an eighth-note G, a passing note on the way to the A?
+Now we have two notes which start at the same time but have
+different durations: the quarter-note D and the eighth-note
+F-sharp. How are these to be coded? They cannot be written as
+a chord because all the notes in a chord must have the same
+duration. And they cannot be written as two separate notes
+as they need to start at the same time. This is when two
+voices are required.
+
+Let us see how this is done in LilyPond input syntax.
+
+@funindex << \\ >>
@funindex \\
The easiest way to enter fragments with more than one voice on a
staff is to enter each voice as a sequence (with @code{@{...@}}),
and combine them simultaneously with angle brackets, @code{<<...>>}.
-The fragments must also be separated with double backward slashes,
-@code{\\}, to place them in separate voices. Without these, the
-notes would be entered into a single voice, which would usually
+The fragments must also be separated with double backward slashes,
+@code{\\}, to place them in separate voices. Without these, the
+notes would be entered into a single voice, which would usually
cause errors. This technique is particularly suited to pieces of
music which are largely monophonic with occasional short sections
-of polyphony. Here's a simple example:
+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]
+\key g \major
+% Voice "1" Voice "2"
+<< { g4 fis8( g) a4 g } \\ { d4 d d d } >> |
+@end lilypond
+
+Notice how the stems of the second voice now point down.
+
+Here's another simple example:
@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
\key d \minor
% Voice "1" Voice "2"
<< { r4 g g4. a8 } \\ { d,2 d4 g } >> |
<< { bes4 bes c bes } \\ { g4 g g8( a) g4 } >> |
-<< { a2. r4 } \\ { fis2. s4 } >>
+<< { a2. r4 } \\ { fis2. s4 } >> |
@end lilypond
It is not necessary to use a separate @code{<< \\ >>} construct
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,
+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.
@lilypond[quote,verbatim,fragment]
parallel voices from separate simultaneous constructs on the same
staff are the same voice. Other voice-related properties also
carry across simultaneous constructs. Here is the same example,
-with different colors and noteheads for each voice. Note that
-changes in one Voice do not affect other voices, but they do
-persist in the same Voice later. Note also that tied notes may be
+with different colors and note heads for each voice. Note that
+changes in one voice do not affect other voices, but they do
+persist in the same voice later. Note also that tied notes may be
split across the same voices in two constructs, shown here in the
blue triangle voice.
@lilypond[quote,verbatim]
\new Staff \relative c' {
- \voiceOneStyle
+ % Main voice
c16 d e f
<< % Bar 1
- { g4 f e } \\
+ {
+ \voiceOneStyle
+ g4 f e
+ }
+ \\
{
\voiceTwoStyle
r8 e4 d c8 ~
}
- >> |
+ >>
<< % Bar 2
- { d2 e2 } \\
- { c8 b16 a b8 g ~ g2 } \\
+ % Voice 1 continues
+ { d2 e2 }
+ \\
+ % Voice 2 continues
+ { c8 b16 a b8 g ~ g2 }
+ \\
{
\voiceThreeStyle
s4 b4 c2
- }
+ }
>>
}
@end lilypond
The commands @code{\voiceXXXStyle} are mainly intended for use in
educational documents such as this one. They modify the color
-of the notehead, the stem and the beams, and the style of the
-notehead, so that the voices may be easily distinguished.
+of the note head, the stem and the beams, and the style of the
+note head, so that the voices may be easily distinguished.
Voice one is set to red diamonds, voice two to blue triangles,
voice three to green crossed circles, and voice four (not used
-here) to magenta crosses. We shall see later how commands like
-these may be created by the user.
+here) to magenta crosses. We shall see later how commands like
+these may be created by the user.
See @ref{Visibility and color of objects}
TODO Add link to using variables for tweaks
Polyphony does not change the relationship of notes within a
-@code{\relative @{ @}} block. Each note is still calculated
-relative to the note immediately preceding it, or to the first
+@code{\relative @{ @}} block. Each note is still calculated
+relative to the note immediately preceding it, or to the first
note of the preceding chord. So in
@example
@code{noteC}. @*
@code{noteE} is relative to @code{noteD}, not @code{noteA}
-We are now in a position to return to the first example from
-the Chopin Nocturne to see how this might be encoded. As we
+An alternative way, which may be clearer if the notes in the
+voices are widely separated, is to place a @code{\relative}
+command at the start of each voice:
+
+@example
+\relative c' @{ noteA ... @}
+<<
+ \relative c'' @{ < noteB noteC > ... @}
+\\
+ \relative g' @{ noteD ... @}
+>>
+\relative c' @{ noteE ... @}
+@end example
+
+Let us finally analyse the voices in a more complex piece of
+music. Here are
+the notes from the first two bars of the second of Chopin's
+Deux Nocturnes, Op 32. This example will be used at later
+stages in this and the next chapter to illustrate several
+techniques for producing notation, so please ignore for now
+anything in the underlying code which looks mysterious and
+concentrate just on the music and the voices -- the
+complications will all be explained in later sections.
+
+@c The following should appear as music without code
+@lilypond[quote,ragged-right]
+\new Staff \relative c'' {
+ \key aes \major
+ << % Voice one
+ { c2 aes4. bes8 }
+ \\ % Voice two
+ { aes2 f4 fes }
+ \\ % No voice three
+ \\ % Voice four
+ {
+ % Ignore these for now - they are explained in Ch 4
+ \once \override NoteColumn #'force-hshift = #0
+ <ees c>2
+ \once \override NoteColumn #'force-hshift = #0.5
+ des2
+ }
+ >> |
+ <c ees aes c>1 |
+}
+@end lilypond
+
+The direction of the stems is often used to indicate the
+continuity of two simultaneous melodic lines. Here the
+stems of the highest notes are all pointing up and the
+stems of the lower notes are all pointing down.
+This is the first indication that more than one voice
+is required.
+
+But the real need for multiple voices arises when notes
+which start at the same time have different durations.
+Look at the notes which start at beat three in the first
+bar. The A-flat is a dotted quarter note, the F is a
+quarter note and the D-flat is a half note. These
+cannot be written as a chord as all the notes in a chord
+must have the same duration. Neither can they be written
+as sequential notes, as they must start at the same time.
+This section of the bar requires three voices, and the
+normal practice would be to write the whole bar as three
+voices, as shown below, where we have used different note heads
+and colors for the three voices. Again, the code behind this
+example will be explained later, so ignore anything you do
+not understand.
+
+@c The following should appear as music without code
+@c The three voice styles should be defined in -init
+@lilypond[quote,ragged-right]
+\new Staff \relative c'' {
+ \key aes \major
+ <<
+ { % Voice one
+ \voiceOneStyle
+ c2 aes4. bes8
+ }
+ \\ % Voice two
+ { \voiceTwoStyle
+ aes2 f4 fes
+ }
+ \\ % 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
+ }
+ >> |
+ <c ees aes c>1 |
+}
+@end lilypond
+
+
+Let us try to encode this music from scratch. As we
shall see, this encounters some difficulties. We begin as
-we have learnt, using the @code{<< \\ >>} construct to
+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'' {
\key aes \major
- <<
+ <<
{ c2 aes4. bes8 } \\ { aes2 f4 fes } \\ { <ees c>2 des2 }
- >> |
- <c ees aes c>1 |
+ >>
+ <c ees aes c>1
}
@end lilypond
@cindex stem down
@cindex stem up
-@funindex \voiceOne
-@funindex \voiceTwo
-@funindex \voiceThree
-@funindex \voiceFour
The stem directions are automatically assigned with the
odd-numbered voices taking upward stems and the even-numbered
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 telling LilyPond that this third voice is really a fourth
-voice, with stems going down, using the @code{\voiceFour}
-command. There are also corresponding @code{\voiceOne},
-@code{\voiceTwo}, and @code{\voiceThree}
-commands. This results in the following:
+of music. We can correct this simply by missing out voice three
+and placing the music in voice four:
@lilypond[quote,verbatim,fragment,ragged-right]
\new Staff \relative c'' {
\key aes \major
- <<
- { c2 aes4. bes8 } \\
- { aes2 f4 fes } \\
- { \voiceFour <ees c>2 des2 }
+ << % Voice one
+ { c2 aes4. bes8 }
+ \\ % Voice two
+ { aes2 f4 fes }
+ \\ % Omit Voice three
+ \\ % Voice four
+ { <ees c>2 des2 }
>> |
<c ees aes c>1 |
}
@end lilypond
@noindent
-and exposes a problem commonly encountered with multiple
-voices: the stems of notes can collide with noteheads
+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 a third voice are displaced to avoid the stems
-colliding. This often works well, but in this example the
-notes of the third voice are clearly not well placed by default.
+the notes from the third and fourth voices are displaced to 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 @ref{Fixing overlapping notation} )
+so we shall leave this problem until a later section
+(see the force-hshift property in @ref{Fixing overlapping
+notation} )
@node Explicitly instantiating voices
@subsection Explicitly instantiating voices
+@funindex \voiceOne
+@funindex \voiceTwo
+@funindex \voiceThree
+@funindex \voiceFour
+
Voice contexts can also be created manually
inside a @code{<< >>} block to create polyphonic music, using
@code{\voiceOne} ... @code{\voiceFour} to indicate the required
Both of the above would produce
@c The following example should not display the code
-FIXME: weird compiling bug! Leave for gp.
-@c @lilypond{ragged-right,quote]
-@c \relative c' {
-@c % << { e4 f g a } \\ { c,4 d e f } >>
-@c }
-@c @end lilypond
+@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 } }
+>>
+@end lilypond
The @code{\voiceXXX} commands set the direction of stems, slurs,
ties, articulations, text annotations, augmentation dots of dotted
markup, ties, slurs, and dynamics:
@lilypond[quote,ragged-right,verbatim]
-\relative c'{
- c-"default" d8 ~ d e4 ( f g a ) b-> c
+\relative c'{
+ % Default behaviour or behaviour after \oneVoice
+ c d8 ~ d e4 ( f g a ) b-> c
}
@end lilypond
Closely spaced notes in a chord, or notes occuring at the same
time in different voices, are arranged in two, occasionally more,
-columns to prevent the noteheads overlapping. These are called
+columns to prevent the note heads overlapping. These are called
note columns. There are separate columns for each voice, and
the currently specified voice-dependent shift is applied to the
-note column if there would otherwise be a collision.
+note column if there would otherwise be a collision. This can
+be seen in the example above. In bar 2 the C in voice two is
+shifted to the right relative to the D in voice one, and in the
+final chord the C in voice three is also shifted to the right
+relative to the other notes.
The @code{\shiftOn}, @code{\shiftOnn}, @code{\shiftOnnn}, and
@code{\shiftOff} commands specify the degree to which notes and
When a shift is applied, Voices one and three are shifted to
the right and voices two and four to the left.
-@code{\shiftOnn} and @code{\shiftOnnn} define further shift
-levels which may be specified temporarily to resolve collisions
-in complex situations -- see
-@c FIXME failed link
-@c @ref{Real music example}.
+@code{\shiftOnn} and @code{\shiftOnnn} define further shift
+levels which may be specified temporarily to resolve collisions
+in complex situations -- see @ref{Real music example}.
+A note column can contain just one note (or chord) from a voice
+with stems up and one note (or chord) from a voice with stems
+down. If notes from two voices which have their stems in the
+same direction are placed at the same position and both voices
+have no shift or the same shift specified, the error message
+@qq{Too many clashing note columns} will be produced.
@node Voices and vocals
@subsection Voices and vocals
>>
\new Staff <<
\new Voice = "SopTwo" {
+ \global
\SopTwoMusic
}
\new Lyrics \lyricsto "SopTwo" {
>>
\new Staff <<
\clef "bass"
- \new Voice = "Tenor" { \voiceOne \TenorMusic }
+ \new Voice = "Tenor" { \voiceOne \TimeKey \TenorMusic }
\new Voice = "Bass" { \voiceTwo \BassMusic }
>>
>>
contain many @code{Staff} contexts.
@quotation
-@image{context-example,5cm,,}
+@sourceimage{context-example,5cm,,}
@end quotation
Each context has the responsibility for enforcing some notation rules,
the score and staff levels to control staff groups, such as the
@code{PianoStaff} and @code{ChoirStaff} contexts. There
are also alternative staff and voice contexts, and contexts for
-lyrics, percussion, fret boards, figured bass, etc. A complete
-list is shown in the Notation Reference.
-TODO: Add link
+lyrics, percussion, fret boards, figured bass, etc.
-The names of all context types are formed from one or more
+The names of all context types are formed from one or more
words, each word being capitalised and joined immediately to the
preceding word with no hyphen or underscore, e.g.,
@code{GregorianTranscriptionStaff}.
Every mark on the printed output of a score produced by LilyPond
is produced by an @code{Engraver}. Thus there is an engraver
-to print staves, one to print noteheads, one for stems, one for
+to print staves, one to print note heads, one for stems, one for
beams, etc, etc. In total there are over 120 such engravers!
Fortunately, for most scores it is not necessary to know about
more than a few, and for simple scores you do not need to know
different clefs and keys.
The @code{Note_heads_engraver} and @code{Stem_engraver} live
-in each @code{Voice} context, the lowest level context of all.
+in every @code{Voice} context, the lowest level context of all.
Each engraver processes the particular objects associated
with its function, and maintains the properties that relate
@item Metronome_mark_engraver
@tab Engraves metronome marking
@item Note_heads_engraver
- @tab Engraves noteheads
+ @tab Engraves note heads
@item Rest_engraver
@tab Engraves rests
@item Staff_symbol_engraver
@c attempt to force this onto a new page
@need 50
-@multitable @columnfractions .25 .2 .4 .15
+@multitable @columnfractions .25 .15 .45 .15
@headitem propertyName
- @tab Value
+ @tab Type
@tab Function
- @tab Example
+ @tab Example Value
@item extraNatural
@tab Boolean
@tab If true, set extra natural signs before accidentals
@tab Set the text to print before the start of a verse
@tab @code{"2"}
@end multitable
+
@noindent
where a Boolean is either True (@code{#t}) or False (@code{#f}),
an Integer is a positive whole number, a Real is a positive
in which context they operate. Sometimes this is obvious,
but occasionally it can be tricky. If the wrong context
is specified, no error message is produced, but the expected
-action will not be taken. For example, the
+action will not take place. For example, the
@code{instrumentName} clearly lives in the Staff context, since
it is the staff that is to be named.
In this example the first staff is labelled, but not the second,
@lilypond[quote,verbatim,ragged-right]
<<
\new Staff \relative c'' {
- \set Staff.instrumentName = "Soprano"
+ \set Staff.instrumentName = #"Soprano"
c4 c
}
\new Staff \relative c' {
- \set instrumentName = "Alto" % Wrong!
+ \set instrumentName = #"Alto" % Wrong!
d4 d
}
>>
some properties can be set in more than one context.
For example, the property @code{extraNatural} is by
default set to ##t (true) for all staves.
-If it is set to ##f (false) in the @code{Staff} context
-it applies just to the accidentals on that staff.
+If it is set to ##f (false) in one particular @code{Staff}
+context it applies just to the accidentals on that staff.
If it is set to false in the @code{Score} context
it applies to all staves.
encountered until the end of the score or until the property is
@code{\set} or @code{\unset} again. Let's try changing the
font size, which affects the size of the note heads (among
-other things) several times.
+other things) several times. The change is from the default
+value, not the current value.
@lilypond[quote,verbatim,ragged-right,relative=1,fragment]
c4
-% make noteheads smaller
+% make note heads smaller
\set fontSize = #-4
d e
-% make noteheads larger
+% make note heads larger
\set fontSize = #2.5
f g
% return to original size
created. Sometimes this is a clearer way of specifying a
property value if it is to remain fixed for the duration of
the context. When a context is created with a @code{\new}
-command it may be immediately followed by a
+command it may be followed immediately by a
@code{\with @{ .. @}} block in which the property values are
set. For example, if we wish to suppress the printing of
extra naturals for the duration of a staff we would write:
+@example
+\new Staff \with @{ extraNatural = ##f @}
+@end example
+
+@noindent
+like this:
+
@lilypond[quote,verbatim,ragged-right]
-\new Staff \with {
- extraNatural = ##f
-}
-\relative c' {
- gis ges aes ais
-}
+<<
+ \new Staff
+ \relative c'' {
+ gis ges aes ais
+ }
+ \new Staff \with { extraNatural = ##f }
+ \relative c'' {
+ gis ges aes ais
+ }
+>>
@end lilypond
In effect this overrides the default value of the property. It
-may still be changed dynamically using @code{\set} and
-@code{\unset}.
+may still be changed dynamically using @code{\set} and returned
+to its (new) default value with @code{\unset}.
@node Adding and removing engravers
@subsection Adding and removing engravers
We have seen that contexts each contain several engravers, each
of which is responsible for producing a particular part of the
-output, like barlines, staves, note heads, stems, etc. If an
+output, like bar lines, staves, note heads, stems, etc. If an
engraver is removed from a context it can no longer produce its
output. This is a crude way of modifying the output, but it
-can sometimes be useful.
+can sometimes be useful.
+
+@subsubsection Changing a single context
-To remove an engraver we can use the @code{\with} command placed
-immediately after the context creation command, as in the
-previous section.
+To remove an engraver from a single context we use the
+@code{\with} command placed immediately after the context creation
+command, as in the previous section.
-As an
-illustration let's repeat an example from the previous
-section with the staff lines removed. Remember that the
+As an
+illustration let's repeat an example from the previous
+section with the staff lines removed. Remember that the
staff lines are produced by the Staff_symbol_engraver.
@lilypond[quote,verbatim,ragged-right]
}
\relative c' {
c4
- \set fontSize = #-4 % make noteheads smaller
+ \set fontSize = #-4 % make note heads smaller
d e
- \set fontSize = #2.5 % make noteheads larger
+ \set fontSize = #2.5 % make note heads larger
f g
\unset fontSize % return to original size
a b
@cindex ambitus engraver
-Engravers can also be added to contexts. The command
-to do this is
+Engravers can also be added to individual contexts.
+The command to do this is
@code{\consists @emph{Engraver_name}},
>>
@end lilypond
+@subsubsection Changing all contexts of the same type
+
+The examples above show how to remove or add engravers to
+individual contexts. It is also possible to remove or add
+engravers to every context of a specific type by placing the
+commands in the appropriate context in a @code{\layout}
+block. For example, If we wanted to show ambiti for every
+staff in a four-staff score we could write
+
+@lilypond[quote,verbatim,ragged-right]
+\score {
+ <<
+ \new Staff <<
+ \relative c'' { c a b g }
+ >>
+ \new Staff <<
+ \relative c' { c a b g }
+ >>
+ \new Staff <<
+ \clef "G_8"
+ \relative c' { c a b g }
+ >>
+ \new Staff <<
+ \clef "bass"
+ \relative c { c a b g }
+ >>
+ >>
+ \layout {
+ \context {
+ \Staff
+ \consists Ambitus_engraver
+ }
+ }
+}
+@end lilypond
+
+@noindent
+The default values of context properties may also be set
+for all contexts of a particular type by including the
+@code{\set} command in a @code{\context} block in the
+same way.
@node Extending the templates
@section Extending the templates
soprano part).
@example
-\version "2.11.23"
+\version "2.11.38"
melody = \relative c' @{
\clef treble
\key c \major
\time 4/4
-
a4 b c d
@}
Now we want to add a cello part. Let's look at the @q{Notes only} example:
@example
-\version "2.11.23"
+\version "2.11.38"
melody = \relative c' @{
\clef treble
\key c \major
\time 4/4
-
a4 b c d
@}
@}
@end example
-We don't need two @code{\version} commands. We'll need the @code{melody}
-section. We don't want two @code{\score} sections -- if we had two
-@code{\score}s, we'd get the two parts separately. We want them together,
-as a duet. Within the @code{\score} section, we don't need two
-@code{\layout} or @code{\midi}.
-
-If we simply cut and paste the @code{melody} section, we would end up with
-two @code{melody} sections. So let's rename them. We'll call the section
-for the soprano @code{sopranoMusic} and the section for the cello
-@code{celloMusic}. While we're doing this, let's rename @code{text}
-to be @code{sopranoLyrics}. Remember to rename both instances of all
-these names -- both the initial definition (the
-@code{melody = relative c' @{ } part) and the name's use (in the
+We don't need two @code{\version} commands. We'll need the
+@code{melody} section. We don't want two @code{\score} sections
+-- if we had two @code{\score}s, we'd get the two parts separately.
+We want them together, as a duet. Within the @code{\score}
+section, we don't need two @code{\layout} or @code{\midi}.
+
+If we simply cut and paste the @code{melody} section, we would
+end up with two @code{melody} definitions. This would not generate
+an error, but the second one would be used for both melodies.
+So let's rename them to make them distinct. We'll call the
+section for the soprano @code{sopranoMusic} and the section for
+the cello @code{celloMusic}. While we're doing this, let's rename
+@code{text} to be @code{sopranoLyrics}. Remember to rename both
+instances of all these names -- both the initial definition (the
+@code{melody = \relative c' @{ } part) and the name's use (in the
@code{\score} section).
-While we're doing this, let's change the cello part's staff -- celli
-normally use bass clef. We'll also give the cello some different
-notes.
+While we're doing this, let's change the cello part's staff --
+celli normally use bass clef. We'll also give the cello some
+different notes.
@example
-\version "2.11.23"
+\version "2.11.38"
sopranoMusic = \relative c' @{
\clef treble
\key c \major
\time 4/4
-
a4 b c d
@}
\clef bass
\key c \major
\time 4/4
-
d4 g fis8 e d4
@}
easily fixed. Here's the complete soprano and cello template.
@lilypond[quote,verbatim,ragged-right]
-\version "2.11.23"
+\version "2.11.37"
sopranoMusic = \relative c' {
\clef treble
\key c \major
\time 4/4
-
a4 b c d
}
\clef bass
\key c \major
\time 4/4
-
d4 g fis8 e d4
}
@node Four-part SATB vocal score
@subsection Four-part SATB vocal score
-Most vocal scores of music written for four-part mixed choir
+Most vocal scores of music written for four-part mixed choir
with orchestral accompaniment such as Mendelssohn's Elijah or
Handel's Messiah have the choral music and words on four
staves, one for each of SATB, with a piano reduction of the
@c The following should appear as music without code
@lilypond[quote,ragged-right]
-\version "2.11.23"
+\version "2.11.38"
global = { \key d \major \time 4/4 }
sopMusic = \relative c'' {
\clef "treble"
}
altoMusic = \relative a' {
\clef "treble"
- r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 |
+ r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 |
}
altoWords = \sopWords
tenorMusic = \relative c' {
None of the templates provides this layout exactly. The
nearest is @q{SATB vocal score and automatic piano reduction},
-but we shall need to change the layout and add a piano
+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
four staves with the words written directly underneath the
notes for each part.
All the voices should be @code{\voiceOne}, which is
-the default, so the @code{\voiceXXX} commands can be removed.
+the default, so the @code{\voiceXXX} commands should be removed.
We also need to specify the tenor clef for the tenors.
-The way in which lyrics are specified has also been simplified
-as we have not yet encountered the method used in the template.
-We've also added the names of each staff.
+The way in which lyrics are specified in the template has not yet
+been encountered so we need to use the method with which we are
+familiar. We should also add the names of each staff.
Doing this gives for our ChoirStaff:
for the three bars of the example above gives:
@lilypond[quote,verbatim,ragged-right]
-\version "2.11.23"
+\version "2.11.38"
global = { \key d \major \time 4/4 }
sopMusic = \relative c'' {
\clef "treble"
We'll use the first two bars of Bach's prelude
based on @emph{Jesu, meine Freude} which is written for two
-manuals and pedal organ. The top manual part has two voices,
+manuals and pedal organ. You can see these two bars of music
+at the bottom of this section. The top manual part has two voices,
the lower and pedal organ one each. So we need four
music definitions and one to define the time signature
and key:
@example
-\version "2.11.23"
+\version "2.11.38"
\header @{
title = "Jesu, meine Freude"
composer = "J S Bach"
is to add the music, and combine all the parts together.
@lilypond[quote,verbatim,ragged-right]
-\version "2.11.23"
+\version "2.11.38"
\header {
title = "Jesu, meine Freude"
composer = "J S Bach"
+
+
+
+
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