-@c -*- coding: latin-1; mode: texinfo; -*-
+@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
* Vocal music::
* Rhythmic music::
* Guitar::
+* Bagpipe::
* Ancient notation::
* Other instrument specific notation::
@end menu
handle this cross-staffing behavior. In this section we discuss the
@internalsref{PianoStaff} and some other pianistic peculiarities.
-
@menu
* Automatic staff changes::
* Manual staff switches::
+* Laissez vibrer ties::
* Pedals::
* Staff switch lines::
* Cross staff stems::
@end example
+@node Laissez vibrer ties
+@subsection Laissez vibrer ties
+@cindex Laissez vibrer
+@cindex Ties, laissez vibrer
+
+L.v. ties (laissez vibrer) indicate that notes must not be damped at the
+end. It is used in notation for piano, harp and other string and
+percussion instruments. They can be entered using @code{\laissezVibrer},
+
+@lilypond[fragment,raggedright,verbatim,relative=1]
+<c f g>\laissezVibrer
+@end lilypond
+
+@seealso
+
+Program reference:
+@internalsref{LaissezVibrerTie}
+@internalsref{LaissezVibrerTieColumn}
+
+Example files:
+@inputfileref{input/regression,laissez-vibrer-tie.ly}
+
@node Pedals
@subsection Pedals
@cindex Pedals
c\sostenutoDown d e c, f g a\sostenutoUp
@end lilypond
+@seealso
+
+In this manual: @ref{Laissez vibrer ties}
+
@node Staff switch lines
@subsection Staff switch lines
@end lilypond
+
@node Chord names
@section Chord names
be intelligent. The last chord (@code{f bes d}) is not interpreted as
an inversion.
+Note that the duration of chords must be specified outside the
+@code{<>}.
+
+@example
+<c e g>2
+@end example
+
@node Chords mode
@subsection Chords mode
@code{< .. >} syntax.
+
@node Vocal music
@section Vocal music
@end example
There is a difference between @code{\addlyrics} and
-@code{\lyricmode}. @code{\addlyrics} and @code {\lyricsto}
+@code{\lyricmode}. @code{\addlyrics} and @code{\lyricsto}
ignore all durations and aligns syllables to notes; @code{\lyricmode}
uses the durations specified.
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. Quoted words can also be used in Lyrics mode to
-specify words that cannot be written with the above rules. The
-following example incorporates double quotes
+without using quotes.
-@example
-\lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
-@end example
+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.
-This example is slightly academic, since it gives better looking
-results using single quotes, @code{``} and @code{''}
@example
-\lyricmode @{ He said: ``Let my peo ple go'' @}
+\lyricmode @{ He said: “Let my peo ple go”. @}
@end example
-
The full definition of a word start in Lyrics mode is somewhat more
complex.
@seealso
-Program reference: events @internalsref{LyricEvent}, and
-@internalsref{LyricText}.
+Program reference: @internalsref{LyricText}.
@refbugs
@cindex hyphens
-Centered hyphens are entered as `@code{-}@code{-}' between syllables.
+Centered hyphens are entered as `@code{--}' between syllables.
The hyphen will have variable length depending on the space between
the syllables and it will be centered between the syllables.
When a lyric is sung over many notes (this is called a melisma), this is
indicated with a horizontal line centered between a syllable and the
next one. Such a line is called an extender line, and it is entered as
-@code{__}.
-
-@ignore
-FIXME: check that this compiles and displays correctly. I don't want
-to commit this part blindly.
+`@code{__}'.
In tighly engraved music, hyphens can be removed. In some languages
(e.g. German and Hungarian), hyphens should not disappear, since
forced to remain by overriding @code{minimum-length} of
the @code{LyricHyphen} grob.
-(code from 2.2)
+@lilypond[quote,verbatim,raggedright]
\score {
-<< \notes \new Staff \relative c'' { \time 1/4 c16[ c c c]
-\time 1/4
-c16[ c c c]
-\time 1/4
-c16[ c c c]
-
-}
- \lyrics \new Lyrics \with {
- % Otherwise lyrics are so far apart that hyphens don't disappear
- \override SeparationItem #'padding = #0.0
- }{ bla -- bla -- bla -- bla --
- bla -- bla -- bla -- bla --
-
- \override LyricHyphen #'minimum-length = #0.7
- \override LyricHyphen #'spacing-procedure =
- #Hyphen_spanner::set_spacing_rods
-
- bla -- bla -- bla -- bla
- }>>
- \paper {
- indent = 0.0 \cm
- linewidth = 3.4 \cm
-
- \context {
- \StaffContext \remove "Time_signature_engraver"
- }
-
+ <<
+ \new Staff \relative c'' {
+ \time 1/4 c16 c c c c16 c c c c16 c c c
+ }
+ \lyricmode { \new Lyrics
+ \with {
+ \override SeparationItem #'padding = #0.0
+ % Otherwise lyrics are so far apart that hyphens don't disappear
+ }
+ {
+ An -- ti -- cons -- ti --
+ tu -- tion -- nel -- le --
+ \override LyricHyphen #'minimum-length = #0.7
+ \override LyricHyphen #'spacing-procedure =
+ #Hyphen_spanner::set_spacing_rods
+ men -- taire -- ment. ouf~!
}
-
+ }
+ >>
+ \layout {
+ indent = 0.0 \cm
+ linewidth = 3.4 \cm
+ \context {
+ \Staff \remove "Time_signature_engraver"
+ }
+ }
}
-@end ignore
-
+@end lilypond
@seealso
-Program reference: @internalsref{HyphenEvent},
-@internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
-@internalsref{LyricExtender}
+Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
@node Flexibility in alignment
@subsection Flexibility in alignment
-
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
+
+
One possibility is that the text has a melisma in one stanza, but
multiple syllables in another one. One solution is to make the faster
voice ignore the melisma. This is done by setting
}
@end lilypond
+
+@subsection 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
+@subsection 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.
+
+@lilypond[relative=1,verbatim,fragment]
+{ \set melismaBusyProperties = #'()
+ c d( e) f f( e) e e }
+\addlyrics
+ { Ky -- _ _ ri __ _ _ _ e }
+@end lilypond
+
+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]
+{
+ \set melismaBusyProperties = #'()
+ c d( e) f f( e) e e
+}
+\addlyrics
+ { Ky -- _ _ ri __ _ _ _ e }
+@end lilypond
+
+@subsubsection Spacing lyrics
+
+@cindex Spacing lyrics
+@cindex Lyrics, increasing space between
+
+To increase the space between lyrics, use the @code{SeparationItem}
+property.
+
+@lilypond[relative,verbatim,fragment,quote,raggedright]
+{
+ c c c c
+ \override Score.SeparationItem #'padding = #5
+ c c c c
+}
+\addlyrics {
+ longtext longtext longtext longtext
+ longtext longtext longtext longtext
+}
+@end lilypond
+
+
@node More stanzas
@subsection More stanzas
}
@end lilypond
+You can display alternate (or divisi) lyrics by naming voice
+contexts and attaching lyrics to those specific contexts.
+
+@lilypond[verbatim,raggedright,quote]
+\score{ <<
+ \context Voice = "melody" {
+ \relative c' {
+ c4
+ <<
+ { \voiceOne c8 e }
+ \context 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,raggedright,quote]
+\score{ <<
+ \context Voice = melody \relative c' {
+ c2 e | g e | c1 |
+ \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
+ a2 b | c1}
+ \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
+ do mi sol mi do
+ la si do }
+ \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
+ do re mi fa sol }
+ \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
+ dodo rere mimi fafa solsol }
+>>
+}
+@end lilypond
+
+
@seealso
-Program reference: Layout objects @internalsref{LyricText} and
-@internalsref{VocalName}. Music expressions
-@internalsref{LyricEvent}.
+Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber}, @internalsref{VocalName}.
There is no collision handling in the case of multiple per-voice
ambitus.
+
@node Other vocal issues
@subsection Other vocal issues
examples, and that might get them more involved in the docs. -gp
@end ignore
-You can display alternate (or divisi) lyrics by naming voice
-contexts and attaching lyrics to those specific contexts.
-
-@lilypond[verbatim,raggedright,quote]
-\score{ <<
- \context Voice = "melody" {
- \relative c' {
- c4
- <<
- { \voiceOne c8 e }
- \context Voice = splitpart { \voiceTwo c4 }
- >>
- \oneVoice c4 c | c
- }
- }
- \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
- \new Lyrics \lyricsto "splitpart" { shall }
->> }
-@end lilypond
-
-
-You can use this trick to display different lyrics for a repeated
-section.
-
-@lilypond[verbatim,raggedright,quote]
-\score{ <<
- \context Voice = melody \relative c' {
- c2 e | g e | c1 |
- \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
- a2 b | c1}
- \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
- do mi sol mi do
- la si do }
- \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
- do re mi fa sol }
- \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
- dodo rere mimi fafa solsol }
->>
-}
-@end lilypond
-
-
-To notate ``parlato'' (spoken without pitch but still with
-rhythm) sections,
-
-@lilypond[raggedright,verbatim,quote,fragment,relative=2]
-c4 d
-\override NoteHead #'style = #'cross
-e f
-\revert NoteHead #'style
-e d
-@end lilypond
+``Parlato'' is spoken without pitch but still with rhythm; it is
+notated by cross noteheads. This is demonstrated in
+@ref{Special noteheads}.
@node Rhythmic music
-
@node Guitar
@section Guitar
@seealso
-Program reference: @internalsref{StringNumber},
-@internalsref{StringNumberEvent}
+Program reference: @internalsref{StringNumber}.
@node Tablatures basic
@seealso
-Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
-@internalsref{StringNumberEvent}.
+Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
@refbugs
@lilypond[verbatim, raggedright, quote]
\context Voice {
- d' ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
+ d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
d' d' d'
- fis' ^\markup \override #'(size . 0.75) {
+ fis'^\markup \override #'(size . 0.75) {
\override #'(finger-code . below-string) {
\fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
(place-fret 5 4 3) (place-fret 4 4 4)
}
}
fis' fis' fis'
- c' ^\markup \override #'(dot-radius . 0.35) {
+ c'^\markup \override #'(dot-radius . 0.35) {
\override #'(finger-code . in-dot) {
\override #'(dot-color . white) {
\fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
@node Other guitar issues
@subsection Other guitar issues
-FIXME: insert guitar fret number example here.
+This example demonstrates how to include guitar position and
+barring indications.
+
+@lilypond[quote,raggedright,fragment,verbatim,relative=0]
+\clef "G_8"
+b16 d16 g16 b16 e16
+\textSpannerDown
+\override TextSpanner #'edge-text = #'("XII " . "")
+ g16\startTextSpan
+ b16 e16 g16 e16 b16 g16\stopTextSpan
+e16 b16 g16 d16
+@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
+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}.
+
+
+@node Bagpipe
+@section Bagpipe
+
+@cindex Bagpipe
+
+@menu
+* Bagpipe definitions::
+* Bagpipe example::
+@end menu
+
+
+@node Bagpipe definitions
+@subsection Bagpipe definitions
+
+LilyPond contains special definitions for music for the Scottish
+highland bagpipe; to use them, add
+
+@example
+\include "bagpipe.ly"
+@end example
+
+@noindent
+at the top of your input file. This lets you add the special gracenotes
+common to bagpipe music with short commands. For example, you could
+write @code{\taor} instead of
+
+@example
+\grace @{ \small G32[ d G e] @}
+@end example
+
+@code{bagpipe.ly} also contains pitch definitions for the bagpipe
+notes in the appropiate octaves, so you do not need to worry about
+@code{\relative} or @code{\transpose}.
+
+@lilypond[raggedright,verbatim,quote,notime]
+\include "bagpipe.ly"
+{ \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
+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
+music.
+
+
+@node Bagpipe example
+@subsection Bagpipe example
+
+This is what the well known tune Amazing Grace looks like in bagpipe
+notation.
+
+@lilypond[verbatim,quote]
+\include "bagpipe.ly"
+\layout {
+ indent = 0.0\cm
+ \context { \Score \remove "Bar_number_engraver" }
+}
+
+\header {
+ title = "Amazing Grace"
+ meter = "Hymn"
+ arranger = "Trad. arr."
+}
+
+{
+ \hideKeySignature
+ \time 3/4
+ \grg \partial 4 a8. d16
+ \slurd d2 \grg f8[ e32 d16.]
+ \grg f2 \grg f8 e
+ \thrwd d2 \grg b4
+ \grG a2 \grg a8. d16
+ \slurd d2 \grg f8[ e32 d16.]
+ \grg f2 \grg e8. f16
+ \dblA A2 \grg A4
+ \grg A2 f8. A16
+ \grg A2 \hdblf f8[ e32 d16.]
+ \grg f2 \grg f8 e
+ \thrwd d2 \grg b4
+ \grG a2 \grg a8. d16
+ \slurd d2 \grg f8[ e32 d16.]
+ \grg f2 e4
+ \thrwd d2.
+ \slurd d2
+ \bar "|."
+}
+@end lilypond
@node Ancient notation
* Ligatures::
* Gregorian Chant contexts::
* Mensural contexts::
+* Musica ficta accidentals::
* Figured bass::
@end menu
+
@node Ancient note heads
@subsection Ancient note heads
For ancient notation, a note head style other than the @code{default}
style may be chosen. This is accomplished by setting the @code{style}
property of the @internalsref{NoteHead} object to @code{baroque},
-@code{neomensural} or @code{mensural}. The @code{baroque} style
-differs from the @code{default} style only in using a square shape
-for @code{\breve} note heads. The @code{neomensural} style differs from
-the @code{baroque} style in that it uses rhomboidal heads for whole notes
-and all smaller durations. Stems are centered on the note heads.
-This style is particularly useful when transcribing mensural music,
-e.g., for the incipit. The @code{mensural} style finally produces note
-heads that mimic the look of note heads in historic printings of the
-16th century.
+@code{neomensural}, @code{mensural} or @code{petrucci}. The
+@code{baroque} style differs from the @code{default} style only in
+using a square shape for @code{\breve} note heads. The
+@code{neomensural} style differs from the @code{baroque} style in that
+it uses rhomboidal heads for whole notes and all smaller durations.
+Stems are centered on the note heads. This style is particularly
+useful when transcribing mensural music, e.g., for the incipit. The
+@code{mensural} style produces note heads that mimic the look of note
+heads in historic printings of the 16th century. Finally, the
+@code{petrucci} style also mimicks historic printings, but uses bigger
+note heads.
The following example demonstrates the @code{neomensural} style
@node Ancient rests
@subsection Ancient rests
-@cindex rests
+@cindex rests, ancient
Use the @code{style} property of grob @internalsref{Rest} to select
{
\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
In this manual: @ref{Breath marks}.
-Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
+Program reference: @internalsref{BreathingSign}.
Examples: @inputfileref{input/@/test,divisiones@/.ly}.
}
@end lilypond
+@node Musica ficta accidentals
+@subsection Musica ficta accidentals
+
+In European music from before about 1600, singers were often expected
+to chromatically alter notes at their own initiative. This is called
+``Musica Ficta''. In modern transcriptions, these accidentals are
+usually printed over the note.
+
+@cindex Musica ficta
+
+Support for such suggested accidentals is included, and can be
+switched on by setting @code{suggestAccidentals} to true.
+
+@cindex @code{suggestAccidentals}
+
+@lilypond[verbatim,fragment,relative=1]
+fis gis
+\set suggestAccidentals = ##t
+ais bis
+@end lilypond
+
+@seealso
+
+Program reference: @internalsref{Accidental_engraver} engraver and the
+@internalsref{AccidentalSuggestion} object.
@node Figured bass
@subsection Figured bass
@c TODO: musicological blurb about FB
-LilyPond has limited support for figured bass
+LilyPond has support for figured bass
@lilypond[quote,raggedright,verbatim,fragment]
<<
\figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ + \number 6 } > }
@end lilypond
+It is also possible to use continuation lines for repeated figures,
+
+@lilypond[verbatim,relative=1]
+<<
+ \new Staff { c4 c }
+ \figures {
+ \set useBassFigureExtenders = ##t
+ <4 6> <3 6> <3 7>
+ }
+>>
+@end lilypond
Although the support for figured bass may superficially resemble chord
-support, it works much simpler. The @code{\figuremode} mode simply
-stores the numbers and @internalsref{FiguredBass} context prints
-them as entered. There is no conversion to pitches and no
-realizations of the bass are played in the MIDI file.
+support, it is much simpler. The @code{\figuremode} mode simply
+stores the numbers and @internalsref{FiguredBass} context prints them
+as entered. There is no conversion to pitches and no realizations of
+the bass are played in the MIDI file.
Internally, the code produces markup texts. You can use any of the
markup text properties to override formatting. For example, the
@seealso
-Program reference: @internalsref{BassFigureEvent} music,
-@internalsref{BassFigure} object, and @internalsref{FiguredBass} context.
+Program reference: @internalsref{NewBassFigure},
+@internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
+@internalsref{BassFigureBracket}, and
+@internalsref{BassFigureContinuation} objects and
+@internalsref{FiguredBass} context.
@refbugs
@menu
* Artificial harmonics (strings)::
-* Stopped notes (guitar)::
@end menu
@node Artificial harmonics (strings)
<c g'\harmonic>4
@end lilypond
-
-@node Stopped notes (guitar)
-@subsection Stopped notes (guitar)
-
-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.
-
-Finger stopped technique is extremely important for rhythm and rock-heavy
-metal guitarists; the former often uses barré based stopped chords to
-intermix harmony with rythm, the latters use finger stopping to mute power
-chords, or charge them with more expression in close-tied power chord stums.
-
-It is also used (even if rarely) in classic guitar music, generally in the
-melodic line, to provide some rithmic pattern right in the melody.
-
-@lilypond[raggedright,verbatim,quote,fragment,relative=2]
-c4 d
-\override NoteHead #'style = #'cross
-e f
-\revert NoteHead #'style
-e d
-@end lilypond
-
-
projects / lilypond.git / blobdiff