Other chords may be entered by suffixing a colon and introducing a
modifier (which may include a number if desired)
+
@lilypond[quote,fragment,verbatim]
\chordmode { e1:m e1:7 e1:m7 }
@end lilypond
+
The first number following the root is taken to be the @q{type} of the
chord, thirds are added to the root until it reaches the specified
-number
+number. The exception is @code{c:13}, for which the 11 is omitted.
+
@lilypond[quote,fragment,verbatim]
-\chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
+\chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 c:13 }
@end lilypond
@cindex root of chord
More complex chords may also be constructed adding separate steps
to a chord. Additions are added after the number following
the colon and are separated by dots
+
@lilypond[quote,verbatim,fragment]
\chordmode { c:5.6 c:3.7.8 c:3.6.13 }
@end lilypond
+
Chord steps can be altered by suffixing a @code{-} or @code{+} sign
to the number
+
@lilypond[quote,verbatim,fragment]
\chordmode { c:7+ c:5+.3- c:3-.5-.7- }
@end lilypond
+
Removals are specified similarly and are introduced by a caret. They
must come after the additions
+
@lilypond[quote,verbatim,fragment]
\chordmode { c^3 c:7^5 c:9^3.5 }
@end lilypond
\addlyrics { pu- ro~y~ho- nes- to }
@end lilypond
-The lyric ties is implemented with the Unicode character U+203F, so be
+The lyric tie is implemented with the Unicode character U+203F, so be
sure to have a font (Like DejaVuLGC) installed that includes this
glyph.
The alignment to a melody can be specified with the
@code{associatedVoice} property,
- @example
+@example
\set associatedVoice = #"lala"
- @end example
+@end example
- @noindent
+@noindent
The value of the property (here: @code{"lala"}) should be the name of
a @internalsref{Voice} context. Without this setting, extender lines
will not be formatted properly.
} >>
@end lilypond
-The following example is a comparison of the 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, as shown with the
-third stanza, would be to use @code{\lyricsto}.
-
@seealso
Program reference: @internalsref{Lyrics}.
@cindex melisma
@cindex melismata
+@cindex phrasing, in lyrics
Sometimes, particularly in Medieval music, several notes are to be sung on one
single syllable; such vocalises are called melismas, or melismata.
@}
@end example
-@c TODO: Move the following section to
-@c "Working with lyrics and identifiers"
-
For different or more complex orderings, the best way is to setup the
hierarchy of staves and lyrics first, e.g.,
@example
Program reference: @internalsref{LyricCombineMusic},
@internalsref{Lyrics}.
+
@node Flexibility in placement
@subsection Flexibility in placement
* 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
multiple syllables in another one. One solution is to make the faster
voice ignore the melisma. This is done by setting
@node More about stanzas
@subsection More about stanzas
-@c what's this doing here?
-@cindex phrasing, in lyrics
-
@cindex stanza number
@subsubsection Adding stanza numbers
Hi, my name is Bert.
} \addlyrics {
\set stanza = "2. "
- Oh, che -- ri, je t'aime
+ Oh, ché -- ri, je t'aime
}
@end lilypond
string selector may easily select the same string to two notes in a
chord.
+In order to handle @code{\partcombine}, a @code{TabStaff} must use
+specially-created voices:
+
+@lilypond[quote,ragged-right,verbatim]
+melodia = \partcombine { e4 g g g }{ e4 e e e }
+<<
+ \new TabStaff <<
+ \new TabVoice = "one" s1
+ \new TabVoice = "two" s1
+ \new TabVoice = "shared" s1
+ \new TabVoice = "solo" s1
+ { \melodia }
+ >>
+>>
+@end lilypond
+
@node Non-guitar tablatures
@subsection Non-guitar tablatures
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
+open string. The numbers specified for @code{stringTunings} are the
numbers of semitones to subtract or add, starting the specified pitch
by default middle C, in string order. LilyPond automatically calculates
-the number of strings by looking at @code{stringTuning}.
+the number of strings by looking at @code{stringTunings}.
In the next example,
@code{stringTunings} is set for the pitches e, a, d, and g
@seealso
-Internalls: @internalsref{StrokeFinger}
+Program reference: @internalsref{StrokeFinger}
\clef "G_8"
b16 d16 g16 b16 e16
\textSpannerDown
-\override TextSpanner #'bound-details #'left #'text = "XII "
+\override TextSpanner #'bound-details #'left #'text = #"XII "
g16\startTextSpan
b16 e16 g16 e16 b16 g16\stopTextSpan
e16 b16 g16 d16
@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
+notes in the appropriate octaves, so you do not need to worry about
@code{\relative} or @code{\transpose}.
@lilypond[ragged-right,verbatim,quote,notime]
@ref{Figured bass}
@end itemize
-Here are all suptopics at a glance:
+Here are all subtopics at a glance:
@menu
* Ancient note heads::
@refbugs
Some articulations are vertically placed too closely to the
-correpsonding note heads.
+corresponding note heads.
The episem line is not displayed in many cases. If it is displayed,
the right end of the episem line is often too far to the right.