version that you are working on. See TRANSLATION for details.
@end ignore
-@c \version "2.11.38"
+@c \version "2.11.51"
@node Fundamental concepts
@chapter Fundamental concepts
but more complex scores.
@menu
-* How LilyPond input files work::
-* Voices contain music::
-* Contexts and engravers::
-* Extending the templates::
+* How LilyPond input files work::
+* Voices contain music::
+* Contexts and engravers::
+* Extending the templates::
@end menu
description of the input format, see @ruser{File structure}.
@menu
-* Introduction to the LilyPond file structure::
-* Score is a (single) compound musical expression::
-* Nesting music expressions::
-* On the un-nestedness of brackets and ties::
+* Introduction to the LilyPond file structure::
+* Score is a (single) compound musical expression::
+* Nesting music expressions::
+* On the un-nestedness of brackets and ties::
@end menu
@node Introduction to the LilyPond file structure
@subsection Introduction to the LilyPond file structure
+@cindex input format
+@cindex file structure
+
A basic example of a LilyPond input file is
@example
There are many variations of this basic pattern, but this
example serves as a useful starting place.
+@funindex \book
+@funindex \score
+@cindex book
+@cindex score
+
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
+adds the extra commands which are needed when you give it simple
input. LilyPond treats input like this:
@example
In other words, if the input contains a single music expression,
LilyPond will interpret the file as though the music expression
-was wrapped up inside the commands shown above. For now, though,
-let us return to the first example and examine the @code{\score}
-command, leaving the others to default.
+was wrapped up inside the commands shown above.
+
+@cindex implicit contexts
+
+@strong{A word of warning!} Many of the examples in the LilyPond
+documentation will omit the @code{\new Staff} and @code{\new Voice}
+commands, leaving them to be created implicitly. For simple
+examples this works well, but for more complex examples, especially
+when additional commands are used, the implicit creation of contexts
+can give surprising results, maybe creating extra unwanted staves.
+The way to create contexts explicitly is explained in
+@ref{Contexts and engravers}.
+
+@warning{When entering more than a few lines of music it is
+advisable to always create staves and voices explicitly.}
+
+For now, though, let us return to the first example and examine the
+@code{\score} command, leaving the others to default.
-A @code{\score} block must always contain just one music
-expression, and
-this must appear immediately after the @code{\score} command.
+A @code{\score} block must always contain just one music expression,
+and 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
@}
@end example
+@funindex \header
+@funindex \layout
+@funindex \midi
+@cindex header
+@cindex layout
+@cindex midi
+
@noindent
Note that these three commands -- @code{\header}, @code{\layout}
and @code{\midi} -- are special: unlike all other commands which
Notation Reference -- @ruser{Score layout} and
@ruser{Creating MIDI files}.
+@cindex scores, multiple
+
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
When LilyPond looks at this file, it takes the value of
@code{melody} (everything after the equals sign) and inserts it
whenever it sees @code{\melody}. There's nothing special about
-the names -- it could be @code{melody}, @code{global},
+the names -- it could be @code{melody}, @code{global},
@code{TimeKey},
@code{pianorighthand}, or @code{foofoobarbaz}. For more details,
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
-limitations on variable names are detailed in
+limitations on variable names are detailed in
@ruser{File structure}.
@node Score is a (single) compound musical expression
@subsection Score is a (single) compound musical expression
+@funindex \score
+@cindex score
@cindex Compound music expression
@cindex Music expression, compound
@end quotation
@noindent
-You may find it useful to review
+To understand what is meant by a music expression and a compound
+music expression you may find it useful to review
@ref{Music expressions explained}. In that section, we saw how to
build big music expressions from small pieces -- we started from
notes, then chords, etc. Now we're going to start from a big
A whole Wagner opera would easily double the length of this
manual, so let's just add a singer and piano. We don't need a
@code{GrandStaff} for this ensemble, which simply groups a number
-of staves together with a brace at the left, so we shall remove
+of staves together with a brace at the left, so we shall remove
it. We @emph{do} need a singer and a piano, though.
@example
part at the same time, not one after the other! However, the
@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
+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.
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. These were introduced at the end
-of the previous section, remember? So, adding a few notes, we
+of the previous section, remember? So, adding a few notes, we
now have a piece of real music:
@lilypond[verbatim,quote,ragged-right]
@node Nesting music expressions
@subsection Nesting music expressions
-It is not essential to declare all staves at the beginning;
+@cindex staves, temporary
+@cindex ossias
+
+It is not essential to declare all staves at the beginning;
they may be introduced temporarily at any point. This is
-particularly useful for creating ossia sections
+particularly useful for creating ossia sections
(see @rglos{ossia}). Here is a simple example showing how
to introduce a new staff temporarily for the duration of
three notes:
\new Staff {
\relative g' {
r4 g8 g c4 c8 d |
- e4 r8
+ e4 r8
<<
{ f c c }
\new Staff {
at the beginning of the line. This is usual for clefs printed
in the middle of a line.
+@cindex staff, positioning
+
The ossia section may be placed above the staff
as follows:
}
@end lilypond
-This example uses @code{\with}, which will be explained more
+This example uses @code{\with}, which will be explained more
fully later. It is a means of modifying the default behavior
-of a single Staff. Here it says that the new staff should be
-placed above the staff called @qq{main} instead of the default
+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
@node On the un-nestedness of brackets and ties
@subsection On the un-nestedness of brackets and ties
+@cindex brackets, nesting
+
You have already met a number of different types of bracket in
writing the input file to LilyPond. These obey different rules
-which can be confusing at first. Before we explain the rules
+which can be confusing at first. Before we explain the rules
let's first review the different types of bracket.
@c attempt to force this onto a new page
@section Voices contain music
Singers need voices to sing, and so does LilyPond.
-The actual music for all instruments in a score
-is contained in Voices -- the most fundamental
+The actual music for all instruments in a score
+is contained in Voices -- the most fundamental
of all LilyPond's concepts.
@menu
-* I'm hearing Voices::
-* Explicitly instantiating voices::
-* Voices and vocals::
+* I'm hearing Voices::
+* Explicitly instantiating voices::
+* Voices and vocals::
@end menu
@node I'm hearing Voices
@cindex polyphony
@cindex layers
+@cindex multiple voices
@cindex Voice context
+@cindex context, Voice
+@cindex simultaneous music
+@cindex concurrent music
-The lowest, most fundamental or innermost layers in a LilyPond
+The lowest, most fundamental or innermost layers in a LilyPond
score are called @q{Voice contexts} or just @q{Voices} for short.
-Voices are sometimes called @q{layers} in other notation
+Voices are sometimes called @q{layers} in other notation
packages.
In fact, a Voice layer or context is the only one which can
contain 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
+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.
+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
<d g>4 <d fis> <d a'> <d g>
@end lilypond
-This can be expressed using just the single angle bracket chord
-symbols, @code{< ... >}, and for this just a single voice is
+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
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.
+of polyphony.
Here's how we split the chords above into two voices and add both
the passing note and a slur:
}
@end lilypond
+@funindex \voiceOneStyle
+@funindex \voiceTwoStyle
+@funindex \voiceThreeStyle
+@funindex \voiceFourStyle
+@funindex \voiceNeutralStyle
+
The commands @code{\voiceXXXStyle} are mainly intended for use in
educational documents such as this one. They modify the color
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.
-See @ref{Visibility and color of objects}
-TODO Add link to using variables for tweaks
+here) to magenta crosses; @code{\voiceNeutralStyle} (also not
+used here) reverts the style back to the default.
+We shall see later how commands like these may be created by the
+user.
+See @ref{Visibility and color of objects} and
+@ref{Using variables for tweaks}.
Polyphony does not change the relationship of notes within a
@code{\relative @{ @}} block. Each note is still calculated
\relative c' @{ noteE ... @}
@end example
-Let us finally analyze the voices in a more complex piece of
+Let us finally analyze 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
<<
{ % Voice one
\voiceOneStyle
- c2 aes4. bes8
+ c2 aes4. bes8
}
\\ % Voice two
{ \voiceTwoStyle
- aes2 f4 fes
+ aes2 f4 fes
}
\\ % No Voice three (we want stems down)
\\ % Voice four
\once \override NoteColumn #'force-hshift = #0
<ees c>2
\once \override NoteColumn #'force-hshift = #0.5
- des2
+ des2
}
>> |
<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
+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
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 force-hshift property in @ref{Fixing overlapping
+(see the force-hshift property in @ref{Fixing overlapping
notation} )
@node Explicitly instantiating voices
@funindex \voiceTwo
@funindex \voiceThree
@funindex \voiceFour
+@funindex \oneVoice
+@funindex \new Voice
+@cindex Voice contexts, creating
Voice contexts can also be created manually
inside a @code{<< >>} block to create polyphonic music, using
@end example
@noindent
-is equivalent to
+is equivalent to
@example
\new Staff <<
notes, and fingerings. @code{\voiceOne} and @code{\voiceThree}
make these objects point upwards, while @code{\voiceTwo} and
@code{\voiceFour} make them point downwards. These commands also
-generate a horizontal shift for each voice when this is required
-to avoid clashes of note heads. The command @code{\oneVoice}
+generate a horizontal shift for each voice when this is required
+to avoid clashes of note heads. The command @code{\oneVoice}
reverts the settings back to the normal values for a single voice.
-Let us see in some simple examples exactly what effect
+Let us see in some simple examples exactly what effect
@code{\oneVoice}, @code{\voiceOne} and @code{voiceTwo} have on
markup, ties, slurs, and dynamics:
}
@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
+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 the
-example from the previous section. The red diamond-shaped notes
+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.
@cindex nesting music expressions
@cindex nesting simultaneous constructs
+@cindex voices, temporary
+@cindex voices, nesting
+
More deeply nested polyphony constructs are possible, and if a
voice appears only briefly this might be a more natural way to
-typeset the music.
+typeset the music:
@lilypond[quote,ragged-right,verbatim]
\new Staff \relative c' {
}
@end lilypond
+@cindex spacing notes
This method of nesting new voices briefly is useful
when only small sections of the music
}
% Initiate second voice
\new Voice {
- % set stems, etc down
+ % Set stems, etc, down
\voiceTwo
s4 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2 |
}
% Initiate third voice
\new Voice {
- % set stems, etc up
+ % Set stems, etc, up
\voiceThree
s1 | s4 b4 c2 |
}
>>
@end lilypond
+@subsubheading Note columns
+
@cindex note column
@cindex shift commands
@funindex \shiftOff
Vocal music presents a special difficulty: we need to combine two
expressions -- notes and lyrics.
+@funindex \new Lyrics
+@funindex \lyricsto
+@cindex Lyrics context, creating
+@cindex lyrics, linking to voice
+
You have already seen the @code{\addlyrics@{@}} command, which
handles simple scores well. However, this technique is
quite limited. For more complex music, you must introduce the
>>
@end lilypond
+Note that the lyrics must be linked to a @code{Voice} context,
+@emph{not} a @code{Staff} context. This is a case where it is
+necessary to create @code{Staff} and @code{Voice} contexts
+explicitly.
+
+@cindex lyrics and beaming
+@cindex beaming and lyrics
+@funindex \autoBeamOff
+
The automatic beaming which LilyPond uses by default works well
for instrumental music, but not so well for music with lyrics,
where beaming is either not required at all or is used to indicate
melismata in the lyrics. In the example above we use the command
@code{\autoBeamOff} to turn off the automatic beaming.
+@funindex \new ChoirStaff
+@funindex \lyricmode
+@cindex vocal score structure
+
Let us reuse the earlier example from Judas Maccabæus to
illustrate this more flexible technique. We first recast
it to use variables so the music and lyrics can be separated
and the variables containing the music can easily be placed
in separate files should they become too long.
+@cindex hymn structure
+
Here is a example of the first line of a hymn with four
verses, set for SATB. In this case the words for all four
-parts are the same.
+parts are the same. Note how we use variables to separate the
+music notation and words from the staff structure. See too
+how a variable, which we have chosen to call @q{TimeKey}, is used
+to hold several commands for use within the two staves. In other
+examples this is often called @q{global}.
@lilypond[quote,verbatim]
TimeKey = { \time 4/4 \partial 4 \key c \major}
}
@end lilypond
+@cindex verse and refrain
+
We end with an example to show how we might code a solo verse which
continues into a two-part refrain in two staves. The
positioning of the sequential and simultaneous sections to achieve
\score {
\new ChoirStaff {
\new Staff <<
- \context Voice = "verse" {
+ \new Voice = "verse" {
\versenotes \break
<<
\refrainnotesA
@node Contexts explained
@subsection Contexts explained
-When music is printed, many notational elements which do not
+@cindex contexts explained
+
+When music is printed, many notational elements which do not
appear explicitly in the input file must be added to the
-output. For example, compare the input and output of the
+output. For example, compare the input and output of the
following example:
@lilypond[quote,verbatim,relative=2,fragment]
cis4 cis2. g4
@end lilypond
-The input is rather sparse, but in the output, bar lines,
-accidentals, clef, and time signature have been added. When
-LilyPond @emph{interprets} the input the musical information
-is inspected in time order, similar to reading a score from left
-to right. While reading the input, the program remembers where
-measure boundaries are, and which pitches require explicit
-accidentals. This information must be held on several levels.
+The input is rather sparse, but in the output, bar lines,
+accidentals, clef, and time signature have been added. When
+LilyPond @emph{interprets} the input the musical information
+is inspected in time order, similar to reading a score from left
+to right. While reading the input, the program remembers where
+measure boundaries are, and which pitches require explicit
+accidentals. This information must be held on several levels.
For example, the effect of an accidental is limited
-to a single staff, while a bar line must be synchronized across
+to a single staff, while a bar line must be synchronized across
the entire score.
Within LilyPond, these rules and bits of information are grouped
-in @emph{Contexts}. We have already met the
-@code{Voice} context.
-Others are the @code{Staff} and @code{Score} contexts.
-Contexts are hierarchical to reflect the hierarchical nature of
-a musical score.
-For example: a @code{Staff} context can contain many
-@code{Voice} contexts, and a @code{Score} context can
+in @emph{Contexts}. We have already met the
+@code{Voice} context.
+Others are the @code{Staff} and @code{Score} contexts.
+Contexts are hierarchical to reflect the hierarchical nature of
+a musical score.
+For example: a @code{Staff} context can contain many
+@code{Voice} contexts, and a @code{Score} context can
contain many @code{Staff} contexts.
@quotation
accidental and then the @code{Staff} context maintains the rule to
show or suppress the accidental for the remainder of the measure.
-As another example, the synchronization of bar lines is, by default,
+As another example, the synchronization of bar lines is, by default,
handled in the @code{Score} context.
However, in some music we may not want the bar lines to be
synchronized -- consider a polymetric score in 4/4 and 3/4 time.
-In such cases, we must modify the default settings of the
+In such cases, we must modify the default settings of the
@code{Score} and @code{Staff} contexts.
For very simple scores, contexts are created implicitly, and you need
with specialized notation, it is usual to modify existing, or
even to define totally new, contexts.
-In addition to the @code{Score,} @code{Staff} and
+In addition to the @code{Score,} @code{Staff} and
@code{Voice} contexts there are contexts which fit between
the score and staff levels to control staff groups, such as the
@code{PianoStaff} and @code{ChoirStaff} contexts. There
lyrics, percussion, fret boards, figured bass, etc.
The names of all context types are formed from one or more
-words, each word being capitalized and joined immediately to the
-preceding word with no hyphen or underscore, e.g.,
+words, each word being capitalized and joined immediately to the
+preceding word with no hyphen or underscore, e.g.,
@code{GregorianTranscriptionStaff}.
@node Creating contexts
@subsection Creating contexts
-There can be only one top level context: the
-@code{Score}
-context. This is created with the @code{\score} command,
+@funindex \new
+@cindex new contexts
+@cindex creating contexts
+@cindex contexts, creating
+
+There can be only one top level context: the
+@code{Score}
+context. This is created with the @code{\score} command,
or, in simple scores, it is created automatically.
-For scores with only one voice and one staff, the
-@code{Voice} and @code{Staff} contexts may be left to be
-created automatically, but for more complex scores it is
-necessary to create them by hand.
-The simplest command that does this is @code{\new}.
+For scores with only one voice and one staff, the
+@code{Voice} and @code{Staff} contexts may be left to be
+created automatically, but for more complex scores it is
+necessary to create them by hand.
+The simplest command that does this is @code{\new}.
It is prepended to a music expression, for example
-@funindex \new
-@cindex new contexts
-@cindex Context, creating
-
@example
\new @var{type} @var{music-expression}
@end example
interpreting the @var{music-expression} within that context.
Note that there is no @code{\new Score} command;
-the single top-level @code{Score} context is introduced
-with @code{\score}.
+the single top-level @code{Score} context is introduced
+with @code{\score}.
-The @code{\new} command may also give a identifying name to the
+You have seen many practical examples which created new
+@code{Staff} and @code{Voice} contexts in earlier sections, but
+to remind you how these commands are used in practice, here's an
+annotated real-music example:
+
+@lilypond[quote,verbatim,ragged-right]
+\score { % start of single compound music expression
+ << % start of simultaneous staves section
+ \time 2/4
+ \new Staff { % create RH staff
+ \key g \minor
+ \clef "treble"
+ \new Voice { % create voice for RH notes
+ \relative c'' { % start of RH notes
+ d4 ees16 c8. |
+ d4 ees16 c8. |
+ } % end of RH notes
+ } % end of RH voice
+ } % end of RH staff
+ \new Staff << % create LH staff; needs two simultaneous voices
+ \key g \minor
+ \clef "bass"
+ \new Voice { % create LH voice one
+ \voiceOne
+ \relative g { % 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
+ g4 ees |
+ g4 ees |
+ } % end of LH voice two notes
+ } % end of LH voice two
+ >> % end of LH staff
+ >> % end of simultaneous staves section
+} % end of single compound music expression
+@end lilypond
+
+(Note how all the statements which open a block with either a
+curly bracket, @code{@{}, or double angle brackets, @code{<<},
+are indented by two further spaces, and the corresponding
+closing bracket is indented by exactly the same amount. While
+this is not required, following this practice will greatly
+reduce the number of @q{unmatched bracket} errors, and is
+strongly recommended. It enables the structure of the music to
+be seen at a glance, and any unmatched brackets will be obvious.
+Note too how the LH staff is created using double angle brackets
+because it requires two voices for its music, whereas the RH staff
+is created with a single music expression surrounded by curly
+brackets because it requires only one voice.)
+
+@cindex contexts, naming
+@cindex naming contexts
+
+The @code{\new} command may also give a identifying name to the
context to distinguish it from other contexts of the same type,
@example
the identifying name of a particular instance of that type,
which can be any sequence of letters invented by the user.
The identifying name is used to refer back to that particular
-instance of a context. We saw this in use in the section on
+instance of a context. We saw this in use in the section on
lyrics in @ref{Voices and vocals}.
is produced by an @code{Engraver}. Thus there is an engraver
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
-about any.
+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
+about any.
Engravers live and operate in Contexts.
Engravers such as the @code{Metronome_mark_engraver}, whose
the highest level context -- the @code{Score} context.
The @code{Clef_engraver} and @code{Key_engraver} are to be
-found in every Staff Context, as different staves may require
+found in every Staff Context, as different staves may require
different clefs and keys.
The @code{Note_heads_engraver} and @code{Stem_engraver} live
associated with contexts, may be modified to change the
operation of the engraver or the appearance of those elements
in the printed score.
-
+
Engravers all have compound names formed from words which
-describe their function. Just the first word is capitalized,
+describe their function. Just the first word is capitalized,
and the remainder are joined to it with underscores. Thus
the @code{Staff_symbol_engraver} is responsible for creating the
lines of the staff, the @code{Clef_engraver} determines and sets
the pitch reference point on the staff by drawing a clef symbol.
Here are some of the most common engravers together with their
-function. You will see it is easy to guess the function from
-the name, or vice versa.
+function. You will see it is usually easy to guess the function
+from the name, or vice versa.
-@multitable @columnfractions .3 .7
+@multitable @columnfractions .3 .7
@headitem Engraver
@tab Function
@item Accidental_engraver
@tab Engraves beams
@item Clef_engraver
@tab Engraves clefs
+@item Completion_heads_engraver
+ @tab Splits notes which cross bar lines
@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
@item Key_engraver
@tab Creates the key signature
@item Metronome_mark_engraver
We shall see later how the output of LilyPond can be changed
by modifying the action of Engravers.
-
+
@node Modifying context properties
@subsection Modifying context properties
@cindex context properties
+@cindex context properties, modifying
+@cindex modifying context properties
@funindex \set
@funindex \unset
@end lilypond
We have now seen how to set the values of several different
-types of property. Note that integers and numbers are alway
+types of property. Note that integers and numbers are always
preceded by a hash sign, @code{#}, while a true or false value
is specified by ##t and ##f, with two hash signs. A text
property should be enclosed in double quotation signs, as above,
@funindex \with
+@cindex context properties, setting with \with
Context properties may also be set at the time the context is
created. Sometimes this is a clearer way of specifying a
@node Adding and removing engravers
@subsection Adding and removing engravers
-@cindex Engravers, adding
-@cindex Engravers, removing
+@cindex engravers, adding
+@cindex engravers, removing
@funindex \consists
@funindex \remove
d e
\set fontSize = #2.5 % make note heads larger
f g
- \unset fontSize % return to original size
+ \unset fontSize % return to default size
a b
}
@end lilypond
}
<<
\new Voice
- \relative c'' {
+ \relative c'' {
\voiceOne
- c a b g
+ c a b g
}
\new Voice
\relative c' {
@subsubheading Changing all contexts of the same type
+@funindex \layout
+
The examples above show how to remove or add engravers to
-individual contexts. It is also possible to remove or add
+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 an ambitus for every
@end lilypond
@noindent
-The default values of context properties may also be set
+The 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
-You've read the tutorial, you know how to write music, you
+You've read the tutorial, you know how to write music, you
understand the fundamental concepts. But how can you
-get the staves that you want? Well, you can find lots of
-templates (see @ref{Templates}) which may give you a start.
+get the staves that you want? Well, you can find lots of
+templates (see @ref{Templates}) which may give you a start.
But what
if you want something that isn't covered there? Read on.
TODO Add links to templates after they have been moved to LSR
@menu
-* Soprano and cello::
-* Four-part SATB vocal score::
-* Building a score from scratch::
+* Soprano and cello::
+* Four-part SATB vocal score::
+* Building a score from scratch::
@end menu
@node Soprano and cello
@subsection Soprano and cello
+@cindex template, modifying
+
Start off with the template that seems closest to what you want to end
up with. Let's say that you want to write something for soprano and
cello. In this case, we would start with @q{Notes and lyrics} (for the
@}
@end example
-We don't need two @code{\version} commands. We'll need 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}
+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
+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
+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
@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
+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
@noindent
underneath the soprano stuff. We also need to add @code{<<} and
@code{>>} around the music -- that tells LilyPond that there's
-more than one thing (in this case, two @code{Staves}) happening
+more than one thing (in this case, two @code{Staves}) happening
at once. The @code{\score} looks like this now
@c Indentation in this example is deliberately poor
@node Four-part SATB vocal score
@subsection Four-part SATB vocal score
+@cindex template, SATB
+@cindex SATB template
+
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
@c The following should appear as music without code
@lilypond[quote,ragged-right]
global = { \key d \major \time 4/4 }
-sopMusic = \relative c'' {
+sopranoMusic = \relative c'' {
\clef "treble"
r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
}
-sopWords = \lyricmode {
+sopranoWords = \lyricmode {
Wor -- thy is the lamb that was slain
}
altoMusic = \relative a' {
\clef "treble"
r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 |
}
-altoWords = \sopWords
+altoWords = \sopranoWords
tenorMusic = \relative c' {
\clef "G_8"
r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
}
-tenorWords = \sopWords
+tenorWords = \sopranoWords
bassMusic = \relative c' {
\clef "bass"
r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
}
-bassWords = \sopWords
+bassWords = \sopranoWords
upper = \relative a' {
\clef "treble"
\global
\new ChoirStaff <<
\new Staff = "sopranos" <<
\set Staff.instrumentName = "Soprano"
- \new Voice = "sopranos" { \global \sopMusic }
+ \new Voice = "sopranos" { \global \sopranoMusic }
>>
- \new Lyrics \lyricsto "sopranos" { \sopWords }
+ \new Lyrics \lyricsto "sopranos" { \sopranoWords }
\new Staff = "altos" <<
\set Staff.instrumentName = "Alto"
\new Voice = "altos" { \global \altoMusic }
>> % end ChoirStaff
\new PianoStaff <<
- \set PianoStaff.instrumentName = "Piano "
+ \set PianoStaff.instrumentName = "Piano"
\new Staff = "upper" \upper
\new Staff = "lower" \lower
>>
the piano reduction.
The order in which the contexts appear in the ChoirStaff of
-the template do not correspond with the order in the vocal
+the template do not correspond with the order in the vocal
score shown above. We need to rearrange them so there are
four staves with the words written directly underneath the
notes for each part.
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 in the template has not yet
-been encountered so we need to use the method with which we are
+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:
\new ChoirStaff <<
\new Staff = "sopranos" <<
\set Staff.instrumentName = "Soprano"
- \new Voice = "sopranos" @{ \global \sopMusic @}
+ \new Voice = "sopranos" @{ \global \sopranoMusic @}
>>
- \new Lyrics \lyricsto "sopranos" @{ \sopWords @}
+ \new Lyrics \lyricsto "sopranos" @{ \sopranoWords @}
\new Staff = "altos" <<
\set Staff.instrumentName = "Alto"
\new Voice = "altos" @{ \global \altoMusic @}
stacked one above the other:
@example
-<< % combine ChoirStaff and PianoStaff one above the other
+<< % combine ChoirStaff and PianoStaff one above the other
\new ChoirStaff <<
\new Staff = "sopranos" <<
- \new Voice = "sopranos" @{ \global \sopMusic @}
+ \new Voice = "sopranos" @{ \global \sopranoMusic @}
>>
- \new Lyrics \lyricsto "sopranos" @{ \sopWords @}
+ \new Lyrics \lyricsto "sopranos" @{ \sopranoWords @}
\new Staff = "altos" <<
\new Voice = "altos" @{ \global \altoMusic @}
>>
>> % end ChoirStaff
\new PianoStaff <<
- \set PianoStaff.instrumentName = "Piano "
+ \set PianoStaff.instrumentName = "Piano"
\new Staff = "upper" \upper
\new Staff = "lower" \lower
>>
@lilypond[quote,verbatim,ragged-right,addversion]
global = { \key d \major \time 4/4 }
-sopMusic = \relative c'' {
+sopranoMusic = \relative c'' {
\clef "treble"
r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
}
-sopWords = \lyricmode {
+sopranoWords = \lyricmode {
Wor -- thy is the lamb that was slain
}
altoMusic = \relative a' {
\clef "treble"
r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 |
}
-altoWords = \sopWords
+altoWords = \sopranoWords
tenorMusic = \relative c' {
\clef "G_8"
r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
}
-tenorWords = \sopWords
+tenorWords = \sopranoWords
bassMusic = \relative c' {
\clef "bass"
r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
}
-bassWords = \sopWords
+bassWords = \sopranoWords
upper = \relative a' {
\clef "treble"
\global
\new ChoirStaff <<
\new Staff = "sopranos" <<
\set Staff.instrumentName = "Soprano"
- \new Voice = "sopranos" { \global \sopMusic }
+ \new Voice = "sopranos" { \global \sopranoMusic }
>>
- \new Lyrics \lyricsto "sopranos" { \sopWords }
+ \new Lyrics \lyricsto "sopranos" { \sopranoWords }
\new Staff = "altos" <<
\set Staff.instrumentName = "Alto"
\new Voice = "altos" { \global \altoMusic }
>>
}
@end lilypond
-
+
@node Building a score from scratch
@subsection Building a score from scratch
+@cindex template, writing your own
+
After gaining some facility with writing LilyPond code you
may find that it is easier to build a score from scratch
rather than modifying one of the templates. You can also
develop your own style this way to suit the sort of music you
-like. Let's see how to put together the score for an organ
+like. Let's see how to put together the score for an organ
prelude as an example.
We begin with a header section. Here go the title, name
Next we need to add a staff for the pedal organ.
This goes underneath the PianoStaff, but it must
be simultaneous with it, so we need angle brackets
-round the two. Missing these out would generate
-an error in the log file. It's a common mistake
+around the two. Missing these out would generate
+an error in the log file. It's a common mistake
which you'll make sooner or later! Try copying
the final example at the end of this section,
remove these angle brackets, and compile it to
@end example
It is not strictly necessary to use the simultaneous construct
-@code{<< >>} for the manual two staff and the pedal organ staff,
+@code{<< .. >>} for the manual two staff and the pedal organ staff,
since they contain only one music expression, but it does no harm
and always using angle brackets after @code{\new Staff} is a good
-habit to cultivate in case there are multiple voices.
+habit to cultivate in case there are multiple voices. The opposite
+is true for Voices: these should habitually be followed by braces
+@code{@{ .. @}} in case your music is coded in several variables
+which need to run consecutively.
Let's add this structure to the score block, and adjust the
indenting. We also add the appropriate clefs, ensure the
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
+may vary. All that remains now
is to add the music, and combine all the parts together.
@lilypond[quote,verbatim,ragged-right,addversion]
g4 g f ees | d2 c2 |
}
ManualOneVoiceTwoMusic = \relative c' {
- ees16 d ees8~ ees16 f ees s c8 d~ d c~ |
+ ees16 d ees8~ ees16 f ees d c8 d~ d c~ |
c c4 b8 c8. g16 c b c d |
}
ManualTwoMusic = \relative c' {
projects / lilypond.git / blobdiff