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
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
@end lilypond
Let us see how this is done.
-@smallspace
@funindex \\
@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 } \\
+ { d2 e2 } % Voice 1 continues
+ \\
+ { c8 b16 a b8 g ~ g2 } % Voice 2 continues
+ \\
{
\voiceThreeStyle
s4 b4 c2
- }
+ }
>>
}
@end lilypond
\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
notes of the third 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 ... )
-
-TODO link.
+so we shall leave this problem until a later section
+(see @ref{Fixing overlapping notation} )
@node Explicitly instantiating voices
@subsection Explicitly instantiating voices
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
@lilypond[quote,ragged-right,verbatim]
\new Staff \relative c' {
\voiceOneStyle
- c16^( d e f % These notes are monophonic
- << % Start simultaneous section of three voices
- { g4 f e | d2 e2) } % Continue the main voice in parallel
- \new Voice { % Initiate second voice
- \voiceTwo % Set stems, etc, down
+ % The following notes are monophonic
+ c16^( d e f
+ % Start simultaneous section of three voices
+ <<
+ % Continue the main voice in parallel
+ { g4 f e | d2 e2) }
+ % Initiate second voice
+ \new Voice {
+ % Set stems, etc, down
+ \voiceTwo
r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
}
- \new Voice { % Initiate third voice
- \voiceThree % Set stems, etc, up
- s2. | s4 b4 c2
+ % Initiate third voice
+ \new Voice {
+ % Set stems, etc, up
+ \voiceThree
+ s2. | s4 b4 c2
}
>>
}
r8 e4 d c8 ~ |
<<
{c8 b16 a b8 g ~ g2}
- \new Voice {
+ \new Voice {
\voiceThree
s4 b4 c2
}
@end lilypond
-This method of nesting new voices briefly is useful
+This method of nesting new voices briefly is useful
when only small sections of the music
are polyphonic, but when the whole staff is largely polyphonic
-it can be clearer to use multiple voices throughout, using
-spacing notes to step over sections where the voice is silent,
+it can be clearer to use multiple voices throughout, using
+spacing notes to step over sections where the voice is silent,
as here:
@lilypond[quote,ragged-right,verbatim]
\new Staff \relative c' <<
- \new Voice { % Initiate first voice
+ % Initiate first voice
+ \new Voice {
\voiceOne
c16^( d e f g4 f e | d2 e2) |
}
- \new Voice { % Initiate second voice
- \voiceTwo % set stems, etc down
+ % Initiate second voice
+ \new Voice {
+ % set stems, etc down
+ \voiceTwo
s4 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2 |
}
- \new Voice { % Initiate third voice
- \voiceThree % set stems, etc up
+ % Initiate third voice
+ \new Voice {
+ % set stems, etc up
+ \voiceThree
s1 | s4 b4 c2 |
}
>>
@end lilypond
+@cindex note column
+@cindex shift commands
+@funindex \shiftOff
+@funindex \shiftOn
+@funindex \shiftOnn
+@funindex \shiftOnnn
+
+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
+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. 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
+chords of the voice should be shifted if a collision
+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 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 @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
quite limited. For more complex music, you must introduce the
lyrics in a @code{Lyrics} context using @code{\new Lyrics} and
explicitly link
-the lyrics to the notes with @code{\lyricsto@{@}}, using the
+the lyrics to the notes with @code{\lyricsto@{@}}, using the
name assigned to the Voice.
@lilypond[quote,verbatim,fragment]
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
@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
(@code{#}), in two different places -- as part of the Boolean
value before the @code{t} or @code{f}, and before @emph{value}
in the @code{\set} statement. So when a Boolean is being
-entered you need to code two hash signs, e.g., @code{##t}.
-
-@smallspace
+entered you need to code two hash signs, e.g., @code{##t}.
Before we can set any of these properties we need to know
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,relative=1,fragment]
c4
-\set fontSize = #-4 % make noteheads smaller
+% make noteheads smaller
+\set fontSize = #-4
d e
-\set fontSize = #2.5 % make noteheads larger
+% make noteheads larger
+\set fontSize = #2.5
f g
-\unset fontSize % return to original size
+% return to original size
+\unset fontSize
a b
@end lilypond
@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
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:
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:
projects / lilypond.git / blobdiff