@c -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond.tely
-@c A menu is needed before every deeper *section nesting of @node's; run
+@c A menu is needed before every deeper *section nesting of @node's; run
@c M-x texinfo-all-menus-update
@c to automatically fill in these menus before saving changes
@cindex staff switching
@cindex cross staff
-@cindex @code{followVoice}
+@findex followVoice
Whenever a voice switches to another staff, a line connecting the notes
can be printed automatically. This is switched on by setting
@refcommands
-@cindex @code{\showStaffSwitch}
+@findex \showStaffSwitch
@code{\showStaffSwitch},
-@cindex @code{\hideStaffSwitch}
+@findex \hideStaffSwitch
@code{\hideStaffSwitch}.
@end lilypond
@cindex modifiers, in chords.
-@cindex @code{aug}
-@cindex @code{dim}
-@cindex @code{maj}
-@cindex @code{sus}
-@cindex @code{m}
+@findex aug
+@findex dim
+@findex maj
+@findex sus
+@findex m
Since an unaltered 11 does not sound good when combined with an
unaltered 3, the 11 is removed in this case (unless it is added
\chordmode { c:13 c:13.11 c:m13 }
@end lilypond
-@cindex @code{/}
+@findex /
An inversion (putting one pitch of the chord on the bottom), as well
as bass notes, can be specified by appending
@lilypond[quote,ragged-right,fragment,verbatim]
\chordmode { c1 c/g c/f }
@end lilypond
-@cindex @code{/+}
+@findex /+
A bass note can be added instead transposed out of the chord,
by using @code{/+}@var{pitch}.
following properties
@table @code
-@cindex @code{chordNameExceptions}
+@findex chordNameExceptions
@item chordNameExceptions
This is a list that contains the chords that have special formatting.
@cindex exceptions, chord names.
-@cindex @code{majorSevenSymbol}
+@findex majorSevenSymbol
@item majorSevenSymbol
This property contains the markup object used for the 7th step, when
it is major. Predefined options are @code{whiteTriangleMarkup} and
@code{blackTriangleMarkup}. See
@inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
-@cindex @code{chordNameSeparator}
+@findex chordNameSeparator
@item chordNameSeparator
Different parts of a chord name are normally separated by a
slash. By setting @code{chordNameSeparator}, you can specify other
}
@end lilypond
-@cindex @code{chordRootNamer}
+@findex chordRootNamer
@item chordRootNamer
The root of a chord is usually printed as a letter with an optional
alteration. The transformation from pitch to letter is done by this
function. Special note names (for example, the German ``H'' for a
B-chord) can be produced by storing a new function in this property.
-@cindex @code{chordNoteNamer}
+@findex chordNoteNamer
@item chordNoteNamer
The default is to print single pitch, e.g., the bass note, using the
@code{chordRootNamer}. The @code{chordNoteNamer} property can be set
to a specialized function to change this behavior. For example, the
base can be printed in lower case.
-@cindex @code{chordPrefixSpacer}
+@findex chordPrefixSpacer
@item chordPrefixSpacer
-The ``m'' for minor chords is usually printed right after the root of
-the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
+The ``m'' for minor chords is usually printed right after the root of
+the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
between the root and ``m''. The spacer is not used when the root
is altered.
@end table
The predefined variables @code{\germanChords},
-@code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
+@code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
set these variables. The effect is
demonstrated here,
@refcommands
-@cindex @code{\germanChords}
+@findex \germanChords
@code{\germanChords},
-@cindex @code{\semiGermanChords}
+@findex \semiGermanChords
@code{\semiGermanChords}.
-@cindex @code{\italianChords}
+@findex \italianChords
@code{\italianChords}.
-@cindex @code{\frenchChords}
+@findex \frenchChords
@code{\frenchChords}.
@node Vocal music
@section Vocal music
-There are three different issues when printing vocal music
+Since LilyPond input files are text, there are two issues to
+consider when working with vocal music:
@itemize @bullet
@item
input@tie{}@code{d} should be interpreted as a one letter syllable, not the
note@tie{}D.
-@item
-Song texts must be printed as text, not as notes.
-
@item
Song texts must be aligned with the notes of their melody.
@end itemize
-The simplest solution for printing music uses the @code{\addlyrics}
-function to solve all these problems at once. However, these
-three functions can be controlled separately, which is necessary
-for complex vocal music.
-
+There are a few different ways to define lyrics; the simplest
+way is to use the @code{\addlyrics} function.
@menu
* Setting simple songs::
* Entering lyrics::
* Hyphens and extenders::
* The Lyrics context::
-* Flexibility in alignment::
-* More stanzas::
+* Melismata::
+* Another way of entering lyrics::
+* Flexibility in placement::
+* Spacing lyrics::
+* More about stanzas::
* Ambitus::
* Other vocal issues::
@end menu
@commonprop
-Checking to make sure that text scripts and lyrics are within the margins is a relatively large computational task. To speed up processing, lilypond does not perform such calculations by default; to enable it, use
+Checking to make sure that text scripts and lyrics are within the margins is
+a relatively large computational task. To speed up processing, lilypond does
+not perform such calculations by default; to enable it, use
@example
-\override Score.PaperColumn #'keep-inside-line = ##t
+\override Score.PaperColumn #'keep-inside-line = ##t
@end example
To make lyrics avoid barlines as well, use
\addlyrics { joue le jeu }
@end lilypond
-Sometimes it is appropriate to have one stanza set
-to the music, and the rest added in verse form at
-the end of the piece. This can be accomplished by adding
-the extra verses into a @code{\markup} section outside
-of the main score block. Notice that there are two
-different ways to force linebreaks when using
-@code{\markup}.
-
-@lilypond[ragged-right,verbatim,quote]
-melody = \relative c' {
-e d c d | e e e e |
-d d e d | c1 |
-}
-
-text = \lyricmode {
-\set stanza = "1." Ma- ry had a lit- tle lamb,
-its fleece was white as snow.
-}
-
-\book{
- \score{ <<
- \new Voice = "one" { \melody }
- \new Lyrics \lyricsto "one" \text
- >>
- \layout { }
- }
- \markup { \column{
- \line{ Verse 2. }
- \line{ All the children laughed and played }
- \line{ To see a lamb at school. }
- }
- }
- \markup{
- \wordwrap-string #"
- Verse 3.
-
- Mary took it home again,
-
- It was against the rule."
- }
-}
-@end lilypond
-
-
-@c TODO - this isn't such a great place for this note, but I can't
-@c find a better place without rearranging a lot of lyric stuff.
-@c It's yet another thing to look at post-3.0.
-
-The @code{\addlyrics} command is actually just a convienient way
-to write a more complicated LilyPond structure that sets up the
-lyrics. You should use @code{\addlyrics} unless you need to do
-fancy things, in which case you should investigate
-@code{\lyricsto} or @code{\lyricmode}.
+The command @code{\addlyrics} cannot handle polyphony settings. For these
+cases you should use @code{\lyricsto} and @code{\lyricmode}.
-@example
-@{ MUSIC @}
-\addlyrics @{ LYRICS @}
-@end example
-
-@noindent
-is the same as
-
-@example
-\new Voice = "blah" @{ music @}
-\new Lyrics \lyricsto "blah" @{ LYRICS @}
-@end example
-
-@refbugs
-
-@code{\addlyrics} cannot handle polyphony.
@node Entering lyrics
@subsection Entering lyrics
@cindex lyrics
-@cindex @code{\lyricmode}
+@findex \lyricmode
@cindex punctuation
Lyrics are entered in a special input mode. This mode is introduced
the lyrics to a melody or other voice of music, using @code{\addlyrics}
or @code{\lyricsto}. For more details see @ref{The Lyrics context}.
-A word lyrics mode begins with an alphabetic character, and ends with
+A word or syllable of lyrics begins with an alphabetic character, and ends
+with
any space or digit. The following characters can be any character
that is not a digit or white space. One important consequence of this
is that a word can end with @code{@}}. The following example is
-usually a mistake in the input file. The syllable includes a @code{@}}, so the
+usually a mistake in the input file. The syllable includes a @code{@}}, so
+the
opening brace is not balanced
@example
\lyricmode @{ twinkle@}
@end example
-@cindex @code{\property}, in @code{\lyricmode}
+@findex \property in \lyricmode
+
@noindent
Similarly, a period which follows an alphabetic sequence is included in
the resulting string. As a consequence, spaces must be inserted around
\override Score . LyricText #'font-shape = #'italic
@end example
-@cindex @code{_}
+@findex _
@cindex spaces, in lyrics
@cindex quotes, in lyrics
-Any @code{_} character that appears in an unquoted word is converted
-to a space. This provides a mechanism for introducing spaces into words
-without using quotes.
+In order to assign more than one syllable to a single note, you must
+surround them with quotes or use a @code{_} character between the syllables.
+
+@lilypond[quote,relative=2,ragged-right,fragment,verbatim]
+\time 3/4
+\relative { c2 e4 g2 e4 }
+\addlyrics { gran- de_a- mi- go }
+\addlyrics { pu- "ro y ho-" nes- to }
+@end lilypond
To enter lyrics with characters from non-English languages, or with
non-ascii characters (such as the heart symbol or slanted quotes),
simply insert the characters directly into the input file and save
it with utf-8 encoding. See @ref{Text encoding} for more info.
-@example
-\lyricmode @{ He said: “Let my peo ple go”. @}
-@end example
+@lilypond[quote,ragged-right,fragment,verbatim]
+\relative { e4 f e d e f e2 }
+\addlyrics { He said: “Let my peo ple go”. }
+@end lilypond
+
+To use normal quotes in lyrics, add a backslash before the
+quotes. For example,
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+\relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
+\addlyrics { "\"I" am so lone- "ly\"" said she }
+@end lilypond
The full definition of a word start in Lyrics mode is somewhat more
complex.
combination of a backslash followed by one of @code{`}, @code{'},
@code{"}, or @code{^}.
+To define indentifiers containing lyrics, the function @code{lyricmode}
+must be used.
+
+@example
+verseOne = \lyricmode @{ Joy to the world the Lord is come @}
+\score @{
+ <<
+ \new Voice = "one" \relative c'' @{
+ \autoBeamOff
+ \time 2/4
+ c4 b8. a16 g4. f8 e4 d c2
+ @}
+ \addlyrics @{ \verseOne @}
+ >>
+@}
+@end example
@seealso
Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
-@refbugs
-The definition of lyrics mode is too complex.
@node Hyphens and extenders
@subsection Hyphens and extenders
@node The Lyrics context
@subsection The Lyrics context
+Lyrics are printed by interpreting them in the context caleld
+@internalsref{Lyrics}.
-Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
@example
\new Lyrics \lyricmode @dots{}
@end example
@cindex automatic syllable durations
-@cindex @code{\lyricsto}
+@findex \lyricsto
@cindex lyrics and melodies
This will place the lyrics according to the durations that were
automatically. In this case, it is no longer necessary to enter the
correct duration for each syllable. This is achieved by combining the
melody and the lyrics with the @code{\lyricsto} expression
+
@example
\new Lyrics \lyricsto @var{name} @dots{}
@end example
This aligns the lyrics to the
-notes of the @internalsref{Voice} context called @var{name}, which has
-to exist. Therefore, normally the @code{Voice} is specified first, and
+notes of the @internalsref{Voice} context called @var{name}, which must
+already exist. Therefore normally the @code{Voice} is specified first, and
then the lyrics are specified with @code{\lyricsto}. The command
@code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
@code{\lyricmode} keyword may be omitted.
+The following example uses different commands for entering lyrics.
+
+@lilypond[quote,fragment,ragged-right,verbatim]
+<<
+ \new Voice = "one" \relative c'' {
+ \autoBeamOff
+ \time 2/4
+ c4 b8. a16 g4. f8 e4 d c2
+ }
+ \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
+ \new Lyrics \lyricmode { Joy to the earth! the Sa -- viour reigns. }
+ \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
+>>
+@end lilypond
+
+The second stanza is not properly aligned because the durations
+were not specified. A solution for that would be to use @code{\lyricsto}.
+
+The @code{\addlyrics} command is actually just a convenient way
+to write a more complicated LilyPond structure that sets up the
+lyrics.
+
+@example
+@{ MUSIC @}
+\addlyrics @{ LYRICS @}
+@end example
+
+@noindent
+is the same as
+
+@example
+\new Voice = "blah" @{ music @}
+\new Lyrics \lyricsto "blah" @{ LYRICS @}
+@end example
+
For different or more complex orderings, the best way is to setup the
hierarchy of staves and lyrics first, e.g.,
@example
\new ChoirStaff <<
- \new Lyrics = "sopranoLyrics" @{ s1 @}
\new Voice = "soprano" @{ @emph{music} @}
+ \new Lyrics = "sopranoLyrics" @{ s1 @}
\new Lyrics = "tenorLyrics" @{ s1 @}
\new Voice = "tenor" @{ @emph{music} @}
>>
@end example
+
and then combine the appropriate melodies and lyric lines
+
@example
\context Lyrics = sopranoLyrics \lyricsto "soprano"
@emph{the lyrics}
>>
@end example
+@seealso
+
+Program reference: @internalsref{LyricCombineMusic},
+@internalsref{Lyrics}.
+
+
+@node Melismata
+@subsection Melismata
The @code{\lyricsto} command detects melismata: it only puts one
syllable under a tied or slurred group of notes. If you want to force
beamed, and automatic beaming (see @ref{Setting automatic beam
behavior}) is switched off.
-@ignore
+@cindex SATB
+@cindex choral score
-@c nonformation:
+A complete example of a SATB score setup is in section
+@ref{Vocal ensembles}.
-The criteria for deciding melismata can
-be tuned with the property @code{melismaBusyProperties}. See
-@internalsref{Melisma_translator} in the program reference for more
-information.
-@end ignore
+@refcommands
+
+@code{\melisma}, @code{\melismaEnd}
+@findex \melismaEnd
+@findex \melisma
+
+@seealso
+
+Program reference: @internalsref{Melisma_translator}.
+
+
+@inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
+
+@refbugs
+
+Melismata are not detected automatically, and extender lines must be
+inserted by hand.
+
+
+@node Another way of entering lyrics
+@subsection Another way of entering lyrics
Lyrics can also be entered without @code{\lyricsto}. In this case the
duration of each syllable must be entered explicitly, for example,
} >>
@end lilypond
-@cindex SATB
-@cindex choral score
-
-A complete example of a SATB score setup is in section
-@ref{Vocal ensembles}.
-
-
-@refcommands
-
-@code{\melisma}, @code{\melismaEnd}
-@cindex @code{\melismaEnd}
-@cindex @code{\melisma}
-
-@seealso
-
-Program reference: @internalsref{LyricCombineMusic},
-@internalsref{Lyrics}, @internalsref{Melisma_translator}.
-
-
-@inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
-@c TODO: make separate section for melismata
-
-@refbugs
-
-Melismata are not detected automatically, and extender lines must be
-inserted by hand.
-
@c TODO: document \new Staff << Voice \lyricsto >> bug
-@node Flexibility in alignment
-@subsection Flexibility in alignment
+@node Flexibility in placement
+@subsection Flexibility in placement
Often, different stanzas of one song are put to one melody in slightly
differing ways. Such variations can still be captured with
@code{\lyricsto}.
-@subsubsection Lyrics to multiple notes of a melisma
+@menu
+* Lyrics to multiple notes of a melisma::
+* Divisi lyrics::
+* Switching the melody associated with a lyrics line::
+* Specifying melismata within the lyrics::
+* Lyrics independent of notes::
+@end menu
+
+@node Lyrics to multiple notes of a melisma
+@subsubsection Lyrics to multiple notes of a melisma
One possibility is that the text has a melisma in one stanza, but
voice ignore the melisma. This is done by setting
@code{ignoreMelismata} in the Lyrics context.
-There has one tricky aspect. The setting for @code{ignoreMelismata}
+There is one tricky aspect: the setting for @code{ignoreMelismata}
must be set one syllable @emph{before} the non-melismatic syllable
in the text, as shown here,
@end lilypond
-@subsection Switching the melody associated with a lyrics line
+@node Divisi lyrics
+@subsubsection Divisi lyrics
+
+You can display alternate (or divisi) lyrics by naming voice
+contexts and attaching lyrics to those specific contexts.
+
+@lilypond[verbatim,ragged-right,quote]
+\score{ <<
+ \new Voice = "melody" {
+ \relative c' {
+ c4
+ <<
+ { \voiceOne c8 e }
+ \new Voice = "splitpart" { \voiceTwo c4 }
+ >>
+ \oneVoice c4 c | c
+ }
+ }
+ \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
+ \new Lyrics \lyricsto "splitpart" { will }
+>> }
+@end lilypond
+
+
+You can use this trick to display different lyrics for a repeated
+section.
+@lilypond[verbatim,ragged-right,quote]
+\score{ <<
+ \new Voice = "melody" \relative c' {
+ c2 e | g e | c1 |
+ \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
+ a2 b | c1}
+ \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
+ do mi sol mi do
+ la si do }
+ \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
+ do re mi fa sol }
+ \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
+ dodo rere mimi fafa solsol }
+>>
+}
+@end lilypond
+
+@node Switching the melody associated with a lyrics line
+@subsubsection Switching the melody associated with a lyrics line
+
More complex variations in text underlay are possible. It is possible
to switch the melody for a line of lyrics during the text. This is
done by setting the @code{associatedVoice} property. In the example
@code{lahlah} to @code{associatedVoice}.
-
-@subsection Specifying melismata within the lyrics
+@node Specifying melismata within the lyrics
+@subsubsection Specifying melismata within the lyrics
It is also possible to define melismata entirely in the lyrics. This
can be done by entering @code{_} for every note that is part of the
-melisma.
+melisma.
-@lilypond[relative=1,verbatim,fragment]
+@lilypond[relative=1,verbatim,fragment]
{ \set melismaBusyProperties = #'()
c d( e) f f( e) e e }
\addlyrics
In this case, you can also have ties and slurs in the melody, if you
set @code{melismaBusyProperties}, as is done in the example above.
-@lilypond[relative=1,verbatim,fragment]
+@lilypond[relative=1,verbatim,fragment,quote]
{
\set melismaBusyProperties = #'()
c d( e) f f( e) e e
{ Ky -- _ _ ri __ _ _ _ e }
@end lilypond
-@subsubsection Spacing lyrics
+
+@node Lyrics independent of notes
+@subsubsection Lyrics independent of notes
+
+In some complex vocal music, it may be desirable to place
+lyrics completely independently of notes. Music defined
+inside @code{lyricrhythm} disappears into the
+@code{Devnull} context, but the rhythms can still be used
+to place the lyrics.
+
+@lilypond[quote,verbatim,ragged-right]
+voice = {
+ c''2
+ \tag #'music { c''2 }
+ \tag #'lyricrhythm { c''4. c''8 }
+ d''1
+}
+
+lyr = \lyricmode { I like my cat! }
+
+<<
+ \new Staff \keepWithTag #'music \voice
+ \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
+ \new Lyrics \lyricsto "nowhere" \lyr
+ \new Staff { c'8 c' c' c' c' c' c' c'
+ c' c' c' c' c' c' c' c' }
+>>
+@end lilypond
+
+
+@node Spacing lyrics
+@subsection Spacing lyrics
@cindex Spacing lyrics
@cindex Lyrics, increasing space between
LyricSpace.
@lilypond[relative,verbatim,fragment,quote,ragged-right]
-{
+{
c c c c
\override Lyrics.LyricSpace #'minimum-distance = #1.0
c c c c
}
@end lilypond
-To make this change for all lyrics in the score, set the property in the layout.
+To make this change for all lyrics in the score, set the property in the
+layout.
@lilypond[relative,verbatim,quote,ragged-right]
\score {
@end lilypond
-@node More stanzas
-@subsection More stanzas
+@node More about stanzas
+@subsection More about stanzas
@cindex phrasing, in lyrics
These numbers are put just before the start of first syllable.
+Sometimes it is appropriate to have one stanza set
+to the music, and the rest added in verse form at
+the end of the piece. This can be accomplished by adding
+the extra verses into a @code{\markup} section outside
+of the main score block. Notice that there are two
+different ways to force linebreaks when using
+@code{\markup}.
+
+@lilypond[ragged-right,verbatim,quote]
+melody = \relative c' {
+e d c d | e e e e |
+d d e d | c1 |
+}
+
+text = \lyricmode {
+\set stanza = "1." Ma- ry had a lit- tle lamb,
+its fleece was white as snow.
+}
+
+\book{
+ \score{ <<
+ \new Voice = "one" { \melody }
+ \new Lyrics \lyricsto "one" \text
+ >>
+ \layout { }
+ }
+ \markup { \column{
+ \line{ Verse 2. }
+ \line{ All the children laughed and played }
+ \line{ To see a lamb at school. }
+ }
+ }
+ \markup{
+ \wordwrap-string #"
+ Verse 3.
+
+ Mary took it home again,
+
+ It was against the rule."
+ }
+}
+@end lilypond
+
+
Names of singers can also be added. They are printed at the start of
the line, just like instrument names. They are created by setting
@code{vocalName}. A short version may be entered as @code{vocNam}.
}
@end lilypond
-You can display alternate (or divisi) lyrics by naming voice
-contexts and attaching lyrics to those specific contexts.
-
-@lilypond[verbatim,ragged-right,quote]
-\score{ <<
- \new Voice = "melody" {
- \relative c' {
- c4
- <<
- { \voiceOne c8 e }
- \new Voice = "splitpart" { \voiceTwo c4 }
- >>
- \oneVoice c4 c | c
- }
- }
- \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
- \new Lyrics \lyricsto "splitpart" { will }
->> }
-@end lilypond
-
-
-You can use this trick to display different lyrics for a repeated
-section.
-
-@lilypond[verbatim,ragged-right,quote]
-\score{ <<
- \new Voice = "melody" \relative c' {
- c2 e | g e | c1 |
- \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
- a2 b | c1}
- \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
- do mi sol mi do
- la si do }
- \new Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
- do re mi fa sol }
- \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
- dodo rere mimi fafa solsol }
->>
-}
-@end lilypond
-
@seealso
-Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber}, @internalsref{VocalName}.
+Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber},
+@internalsref{VocalName}.
* Showing melody rhythms::
* Entering percussion::
* Percussion staves::
+* Ghost notes::
@end menu
@end lilypond
The above example shows verbose polyphonic notation. The short
-polyphonic notation, described in @ref{Polyphony}, can also be used if
+polyphonic notation, described in @ref{Basic polyphony}, can also be used if
the @internalsref{DrumVoice}s are instantiated by hand first. For example,
@lilypond[quote,ragged-right,fragment,verbatim]
for this purpose instead.
+@c FIXME: check name -gp
+@node Ghost notes
+@subsection Ghost notes
+
+Ghost notes for drums and percussion may be created using the
+@code{\parenthesize} command detailed in @ref{Parentheses}. However,
+the default @code{\drummode} does
+not include the @code{Parenthesis_engraver} plugin which allows
+this. You
+must add the plugin explicitly in the context definition as
+detailed in @ref{Changing context properties on the fly}.
+
+@lilypond[quote,ragged-right,verbatim,fragment]
+\new DrumStaff \with {
+ \consists "Parenthesis_engraver"
+} <<
+ \context DrumVoice = "1" { s1 *2 }
+ \context DrumVoice = "2" { s1 *2 }
+ \drummode {
+ <<
+ {
+ hh8[ hh] <hh sn> hh16
+ < \parenthesize sn > hh < \parenthesize
+ sn > hh8 <hh sn> hh
+ } \\ {
+ bd4 r4 bd8 bd r8 bd
+ }
+ >>
+ }
+>>
+@end lilypond
+
+@noindent
+Also note that you must add chords (@code{< >} brackets)
+around each @code{\parenthesize} statement.
+
@node Guitar
@section Guitar
* String number indications::
* Tablatures basic::
* Non-guitar tablatures::
+* Banjo tablatures::
* Fret diagrams::
* Other guitar issues::
@end menu
@cindex String numbers
String numbers can be added to chords, by indicating the string number
-with @code{\}@var{number},
+with @code{\}@var{number},
@lilypond[relative,relative=1,ragged-right,fragment]
<c\1 e\2 g\3>
}
@end lilypond
-@cindex @code{minimumFret}
+@findex minimumFret
@cindex fret
When no string is specified, the first string that does not give a
>>
@end lilypond
+
+@commonprop
+
+To print tablatures with stems down and horizontal beams,
+initialize the @code{TabStaff} with this code:
+
+@example
+\stemDown
+\override Beam #'damping = #100000
+@end example
+
@seealso
Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
@subsection Non-guitar tablatures
@cindex Non-guitar tablatures
-You can change the number of strings, by setting the number of lines
-in the @internalsref{TabStaff}.
-
You can change the tuning of the strings. A string tuning is given as
a Scheme list with one integer number for each string, the number
being the pitch (measured in semitones relative to middle C) of an
open string. The numbers specified for @code{stringTuning} are the
numbers of semitones to subtract or add, starting the specified pitch
-by default middle C, in string order. In the next example,
+by default middle C, in string order. LilyPond automatically calculates
+the number of strings by looking at @code{stringTuning}.
+
+In the next example,
@code{stringTunings} is set for the pitches e, a, d, and g
@lilypond[quote,ragged-right,fragment,verbatim]
>>
@end lilypond
+LilyPond comes with predefined string tunings for banjo, mandolin, guitar
+and bass guitar.
+
+@example
+\set TabStaff.stringTunings = #bass-tuning
+@end example
+
+The default string tuning is @code{guitar-tuning} (the standard EADGBE
+tuning).
+Some other predefined tunings are @code{guitar-open-g-tuning},
+@code{mandolin-tuning} and @code{banjo-open-g-tuning}.
+
+@seealso
+
+The file @file{scm/@/output@/-lib@/.scm} contains the predefined string
+tunings.
+Program reference: @internalsref{Tab_note_heads_engraver}.
+
@refbugs
No guitar special effects have been implemented.
+
+
+@node Banjo tablatures
+@subsection Banjo tablatures
+@cindex Banjo tablatures
+
+LilyPond has basic support for five stringed banjo. When making tablatures
+for five stringed banjo, use the banjo tablature format function to get
+correct
+fret numbers for the fifth string:
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+\new TabStaff <<
+ \set TabStaff.tablatureFormat = #fret-number-tablature-format-banjo
+ \set TabStaff.stringTunings = #banjo-open-g-tuning
+ {
+ \stemDown
+ g8 d' g'\5 a b g e d' |
+ g4 d''8\5 b' a'\2 g'\5 e'\2 d' |
+ g4
+ }
+>>
+@end lilypond
+
+A number of common tunings for banjo are predefined in LilyPond:
+@code{banjo-c-tuning} (gCGBD), @code{banjo-modal-tuning} (gDGCD),
+@code{banjo-open-d-tuning} (aDF#AD) and @code{banjo-open-dm-tuning}
+(aDFAD).
+
+These tunings may be converted to four string banjo tunings using the
+@code{four-string-banjo} function:
+
+@example
+\set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning)
+@end example
+
@seealso
-Program reference: @internalsref{Tab_note_heads_engraver}.
+The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings.
@node Fret diagrams
@end lilypond
-Stopped (X) note heads are used in guitar music to signal a place where the
-guitarist must play a certain note or chord, with its fingers just
-touching the strings instead of fully pressing them. This gives the sound a
+Stopped (X) note heads are used in guitar music to signal a place where the
+guitarist must play a certain note or chord, with its fingers just
+touching the strings instead of fully pressing them. This gives the sound a
percussive noise-like sound that still maintains part of the original
pitch. It is notated with cross noteheads; this is
demonstrated in @ref{Special noteheads}.
{ \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
@end lilypond
-Bagpipe music nominally uses the key of D Major (even though that
-isn't really true). However, since that is the only key that can be used,
-the key signature is normally not written out. To set this up correctly,
-always start your music with @code{\hideKeySignature}. If you for some
+Bagpipe music nominally uses the key of D Major (even though that
+isn't really true). However, since that is the only key that can be used,
+the key signature is normally not written out. To set this up correctly,
+always start your music with @code{\hideKeySignature}. If you for some
reason want to show the key signature, you can use @code{\showKeySignature}
instead.
Some modern music use cross fingering on c and f to flatten those notes.
This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
-piobaireachd high g can be written @code{gflat} when it occurs in light
+piobaireachd high g can be written @code{gflat} when it occurs in light
music.
{
\hideKeySignature
\time 3/4
- \grg \partial 4 a8. d16
+ \grg \partial 4 a8. d16
\slurd d2 \grg f8[ e32 d16.]
\grg f2 \grg f8 e
\thrwd d2 \grg b4
@seealso
-In this manual: @ref{Rests} gives a general introduction into the use of rests.
+In this manual: @ref{Rests} gives a general introduction into the use of
+rests.
@node Ancient clefs
{
\set Score.timing = ##f
\set Score.barAlways = ##t
- s_\markup { "\\time 4/4" }^\markup { " " \musicglyph #"timesig.neomensural44" }
+ s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
+#"timesig.neomensural44" }
s
- s_\markup { "\\time 2/2" }^\markup { " " \musicglyph #"timesig.neomensural22" }
+ s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
+#"timesig.neomensural22" }
s
- s_\markup { "\\time 6/4" }^\markup { " " \musicglyph #"timesig.neomensural64" }
+ s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
+#"timesig.neomensural64" }
s
- s_\markup { "\\time 6/8" }^\markup { " " \musicglyph #"timesig.neomensural68" }
+ s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
+#"timesig.neomensural68" }
\break
- s_\markup { "\\time 3/2" }^\markup { " " \musicglyph #"timesig.neomensural32" }
+ s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
+#"timesig.neomensural32" }
s
- s_\markup { "\\time 3/4" }^\markup { " " \musicglyph #"timesig.neomensural34" }
+ s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
+#"timesig.neomensural34" }
s
- s_\markup { "\\time 9/4" }^\markup { " " \musicglyph #"timesig.neomensural94" }
+ s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
+#"timesig.neomensural94" }
s
- s_\markup { "\\time 9/8" }^\markup { " " \musicglyph #"timesig.neomensural98" }
+ s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
+#"timesig.neomensural98" }
\break
- s_\markup { "\\time 4/8" }^\markup { " " \musicglyph #"timesig.neomensural48" }
+ s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
+#"timesig.neomensural48" }
s
- s_\markup { "\\time 2/4" }^\markup { " " \musicglyph #"timesig.neomensural24" }
+ s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
+#"timesig.neomensural24" }
}
@end lilypond
@refcommands
-@cindex @code{\virgula}
+@findex \virgula
@code{\virgula},
-@cindex @code{\caesura}
+@findex \caesura
@code{\caesura},
-@cindex @code{\divisioMinima}
+@findex \divisioMinima
@code{\divisioMinima},
-@cindex @code{\divisioMaior}
+@findex \divisioMaior
@code{\divisioMaior},
-@cindex @code{\divisioMaxima}
+@findex \divisioMaxima
@code{\divisioMaxima},
-@cindex @code{\finalis}
+@findex \finalis
@code{\finalis}.
@seealso
The following head prefixes are supported
-@cindex @code{\virga}
+@findex \virga
@code{\virga},
-@cindex @code{\stropha}
+@findex \stropha
@code{\stropha},
-@cindex @code{\inclinatum}
+@findex \inclinatum
@code{\inclinatum},
-@cindex @code{\auctum}
+@findex \auctum
@code{\auctum},
-@cindex @code{\descendens}
+@findex \descendens
@code{\descendens},
-@cindex @code{\ascendens}
+@findex \ascendens
@code{\ascendens},
-@cindex @code{\oriscus}
+@findex \oriscus
@code{\oriscus},
-@cindex @code{\quilisma}
+@findex \quilisma
@code{\quilisma},
-@cindex @code{\deminutum}
+@findex \deminutum
@code{\deminutum},
-@cindex @code{\cavum}
+@findex \cavum
@code{\cavum},
-@cindex @code{\linea}
+@findex \linea
@code{\linea}.
Head prefixes can be accumulated, though restrictions apply. For
example, either @code{\descendens} or @code{\ascendens} can be applied
to a head, but not both to the same head.
-@cindex @code{\pes}
-@cindex @code{\flexa}
+@findex \pes
+@findex \flexa
Two adjacent heads can be tied together with the @code{\pes} and
@code{\flexa} infix commands for a rising and falling line of melody,
respectively.
``Musica Ficta''. In modern transcriptions, these accidentals are
usually printed over the note.
+@cindex Accidental, musica ficta
@cindex Musica ficta
Support for such suggested accidentals is included, and can be
switched on by setting @code{suggestAccidentals} to true.
-@cindex @code{suggestAccidentals}
+@findex suggestAccidentals
@lilypond[verbatim,fragment,relative=1]
fis gis
\set suggestAccidentals = ##t
ais bis
-@end lilypond
+@end lilypond
@seealso
c4 c c
}
\figures {
- \set useBassFigureExtenders = ##t
+ \set useBassFigureExtenders = ##t
<4 6> <3 6> <3 7>
}
>>
@noindent
In this case, the extender lines always replace existing figures.
-
+
The @code{FiguredBass} context doesn't pay attention to the actual
bass line. As a consequence, you may have to insert extra figures to
get extender lines below all notes, and you may have to add @code{\!}
@lilypond[relative=1]
<<
- \new Voice
+ \new Voice
\figures {
- \set useBassFigureExtenders = ##t
+ \set useBassFigureExtenders = ##t
<6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
}
{
When using continuation lines, common figures are always put in the
same vertical position. When this is unwanted, you can insert a rest
with @code{r}. The rest will clear any previous alignment. For
-example, you can write
+example, you can write
@example
<4 6>8 r8
@end example
@noindent
-instead of
+instead of
@example
<4 6>4
@end example
Accidentals and plus signs can appear before or after the numbers,
-depending on the @code{figuredBassAlterationDirection} and @code{figuredBassPlusDirection}
+depending on the @code{figuredBassAlterationDirection} and
+@code{figuredBassPlusDirection}
properties
@lilypond
projects / lilypond.git / blobdiff