@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
and the @context{Voice} is inserted afterwards
@example
-\new Staff = down
+\context Staff = down
\new Voice @{ @dots{} \change Staff = up @dots{} @}
@end example
@cindex staff switching
@cindex cross staff
-@cindex @code{followVoice}
+@funindex 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}
+@funindex \showStaffSwitch
@code{\showStaffSwitch},
-@cindex @code{\hideStaffSwitch}
+@funindex \hideStaffSwitch
@code{\hideStaffSwitch}.
@end lilypond
@cindex modifiers, in chords.
-@cindex @code{aug}
-@cindex @code{dim}
-@cindex @code{maj}
-@cindex @code{sus}
-@cindex @code{m}
+@funindex aug
+@funindex dim
+@funindex maj
+@funindex sus
+@funindex 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{/}
+@funindex /
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{/+}
+@funindex /+
A bass note can be added instead transposed out of the chord,
by using @code{/+}@var{pitch}.
\consists "Volta_engraver"
}
\chordmode { \repeat volta 2 {
- f1:maj f:7 bes:7
- c:maj
+ f1:maj7 f:7 bes:7
+ c:maj7
} \alternative {
es e
}
following properties
@table @code
-@cindex @code{chordNameExceptions}
+@funindex chordNameExceptions
@item chordNameExceptions
This is a list that contains the chords that have special formatting.
@cindex exceptions, chord names.
-@cindex @code{majorSevenSymbol}
+@funindex 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}
+@funindex 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}
+@funindex 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}
+@funindex 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}
+@funindex 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}
+@funindex \germanChords
@code{\germanChords},
-@cindex @code{\semiGermanChords}
+@funindex \semiGermanChords
@code{\semiGermanChords}.
-@cindex @code{\italianChords}
+@funindex \italianChords
@code{\italianChords}.
-@cindex @code{\frenchChords}
+@funindex \frenchChords
@code{\frenchChords}.
@menu
* Setting simple songs::
* Entering lyrics::
-* Hyphens and extenders::
+* Hyphens and extenders::
* The Lyrics context::
* Melismata::
-* Another way of entring lyrics::
-* Flexibility in alignment::
-* More stanzas::
+* 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
-
-
-The command @code{\addlyrics} cannot handle polyphony settings. For these cases you should use @code{\lyricsto} and @code{\lyricmode}.
+The command @code{\addlyrics} cannot handle polyphony settings. For these
+cases you should use @code{\lyricsto} and @code{\lyricmode}.
@subsection Entering lyrics
@cindex lyrics
-@cindex @code{\lyricmode}
+@funindex \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 or syllable of lyrics 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}
+@funindex \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{_}
+@funindex _
@cindex spaces, in lyrics
@cindex quotes, in lyrics
+@cindex ties, in lyrics
-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.
+In order to assign more than one syllable to a single note, you can
+surround them with quotes or use a @code{_} character, to get spaces
+between syllables, or use tilde symbol (@code{~}) to get a lyric tie.
@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 }
+\addlyrics { pu- ro~yho- nes- to }
@end lilypond
+The lyric ties is implemented with the Unicode character U+203F, so be
+sure to have a font (Like DejaVuLGC) installed that includes this
+glyph.
+
+
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,
-@c FIXME: make this a real example. -gp
-@code{\lyricmode @{ "\"I" am so "lonely"\", said she @}}, would
-render: "I am so lonely", said she.
-
+@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
@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 the context called
+@internalsref{Lyrics}.
@example
\new Lyrics \lyricmode @dots{}
@end example
@cindex automatic syllable durations
-@cindex @code{\lyricsto}
+@funindex \lyricsto
@cindex lyrics and melodies
This will place the lyrics according to the durations that were
@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 entring lyrics.
+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
+ 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 Sav -- our reigns. }
+ \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}.
-To define indentifiers containing lyrics, the function @code{lyricsmode}
-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
-
-The @code{\addlyrics} command is actually just a convienient way
+The @code{\addlyrics} command is actually just a convenient way
to write a more complicated LilyPond structure that sets up the
-lyrics.
+lyrics.
@example
@{ MUSIC @}
@refcommands
@code{\melisma}, @code{\melismaEnd}
-@cindex @code{\melismaEnd}
-@cindex @code{\melisma}
+@funindex \melismaEnd
+@funindex \melisma
@seealso
inserted by hand.
-@node Another way of entring lyrics
-@subsection Another way of entring lyrics
+@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,
@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
@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,quote]
{ \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
+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
+
+@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
}
-\addlyrics
- { Ky -- _ _ ri __ _ _ _ e }
+
+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
-@subsubsection Spacing lyrics
+
+@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}.
+@code{vocalName}. A short version may be entered as @code{shortVocalName}.
@lilypond[fragment,ragged-right,quote,verbatim,relative=2]
}
@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
+When a piece of music has many verses, they are often printed in
+multiple columns across the page. An outdented verse number often
+introduces each verse. The following example shows how to produce such
+output in Lilypond.
-You can use this trick to display different lyrics for a repeated
-section.
+@lilypond[ragged-right,quote,verbatim]
+melody = \relative c' {
+ c c c c | d d d d
+}
+
+text = \lyricmode {
+ \set stanza = "1." This is verse one.
+ It has two lines.
+}
-@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 }
->>
+ \new Voice = "one" { \melody }
+ \new Lyrics \lyricsto "one" \text
+ >>
+ \layout { }
+}
+
+\markup {
+ \fill-line {
+ \hspace #0.1 % moves the column off the left margin; can be removed if
+ % space on the page is tight
+ \column {
+ \line { \bold "2."
+ \column {
+ "This is verse two."
+ "It has two lines."
+ }
+ }
+ \hspace #0.1 % adds vertical spacing between verses
+ \line { \bold "3."
+ \column {
+ "This is verse three."
+ "It has two lines."
+ }
+ }
+ }
+ \hspace #0.1 % adds horizontal spacing between columns; if they are
+ % still too close, add more " " pairs until the result
+ % looks good
+ \column {
+ \line { \bold "4."
+ \column {
+ "This is verse four."
+ "It has two lines."
+ }
+ }
+ \hspace #0.1 % adds vertical spacing between verses
+ \line { \bold "5."
+ \column {
+ "This is verse five."
+ "It has two lines."
+ }
+ }
+ }
+ \hspace #0.1 % gives some extra space on the right margin; can
+ % be removed if page space is tight
+ }
}
@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
* Non-guitar tablatures::
* Banjo tablatures::
* Fret diagrams::
+* Right hand fingerings::
* 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}
+@funindex minimumFret
@cindex fret
When no string is specified, the first string that does not give a
\set TabStaff.stringTunings = #bass-tuning
@end example
-The default string tuning is @code{guitar-tuning} (the standard EADGBE tuning).
+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.
+The file @file{scm/@/output@/-lib@/.scm} contains the predefined string
+tunings.
Program reference: @internalsref{Tab_note_heads_engraver}.
@refbugs
@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
+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]
Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
+@node Right hand fingerings
+@subsection Right hand fingerings
+
+Right hand fingerings in chords can be entered using
+@code{@var{note}-\rightHandFinger @var{finger}}
+
+@lilypond[verbatim,fragment,relative=2]
+ <c-\rightHandFinger #1 e-\rightHandFinger #2 >
+@end lilypond
+
+for brevity, you can abbreviate @code{\rightHandFinger} to something
+short, for example @code{RH},
+
+@example
+#(define RH rightHandFinger)
+@end example
+
+@cindex fingerings, right hand, for guitar
+@cindex right hand fingerings for guitar
+
+@commonprop
+
+You may exercise greater control over right handing fingerings by
+setting @code{strokeFingerOrientations},
+
+@lilypond[quote,verbatim,ragged-right,fragment,relative=1]
+#(define RH rightHandFinger)
+{
+ \set strokeFingerOrientations = #'(up down)
+ <c-\RH #1 es-\RH #2 g-\RH #4 > 4
+ \set strokeFingerOrientations = #'(up right down)
+ <c-\RH #1 es-\RH #2 g-\RH #4 > 4
+}
+@end lilypond
+
+The letters used for the fingerings are contained in the property
+@code{digit-names}, but they can also be set individually by supplying
+@code{\rightHandFinger} with a string argument, as in the following example
+
+
+@lilypond[quote,verbatim,ragged-right,fragment,relative=1]
+#(define RH rightHandFinger)
+{
+ \set strokeFingerOrientations = #'(right)
+ \override StrokeFinger #'digit-names = ##("x" "y" "z" "!" "@")
+ <c-\RH #5 >4
+ <c-\RH "@">4
+}
+@end lilypond
+
+@seealso
+
+Internalls: @internalsref{StrokeFinger}
+
+
+
@node Other guitar issues
@subsection Other guitar issues
@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
@node Ancient note heads
@subsection Ancient note heads
-@cindex note heads
-
+@cindex note heads, ancient
For ancient notation, a note head style other than the @code{default}
style may be chosen. This is accomplished by setting the @code{style}
@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
\include "gregorian-init.ly"
\score {
\new VaticanaVoice {
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
\override TextScript #'font-family = #'typewriter
\override TextScript #'font-shape = #'upright
\override Script #'padding = #-0.1
- a4\ictus_"ictus" s1
- a4\circulus_"circulus" s1
- a4\semicirculus_"semicirculus" s1 s
- a4\accentus_"accentus" s1
- \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
+ a\ictus_"ictus" \break
+ a\circulus_"circulus" \break
+ a\semicirculus_"semicirculus" \break
+ a\accentus_"accentus" \break
+ \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
}
}
@end lilypond
Some articulations are vertically placed too closely to the
correpsonding 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.
+
@node Custodes
@subsection Custodes
@refcommands
-@cindex @code{\virgula}
+@funindex \virgula
@code{\virgula},
-@cindex @code{\caesura}
+@funindex \caesura
@code{\caesura},
-@cindex @code{\divisioMinima}
+@funindex \divisioMinima
@code{\divisioMinima},
-@cindex @code{\divisioMaior}
+@funindex \divisioMaior
@code{\divisioMaior},
-@cindex @code{\divisioMaxima}
+@funindex \divisioMaxima
@code{\divisioMaxima},
-@cindex @code{\finalis}
+@funindex \finalis
@code{\finalis}.
@seealso
Accidentals must not be printed within a ligature, but instead need to
be collected and printed in front of it.
-Augmentum dots within ligatures are not handled correctly.
-
The syntax still uses the deprecated infix style @code{\[ music expr
\]}. For consistency reasons, it will eventually be changed to
postfix style @code{note\[ ... note\]}. Alternatively, the file
\override Staff.TimeSignature #'style = #'neomensural
\clef "petrucci-g"
\[ c'\maxima g \]
-s4
\[ d\longa c\breve f e d \]
-s4
\[ c'\maxima d'\longa \]
-s4
\[ e'1 a g\breve \]
@end example
@lilypond[quote,ragged-right]
\override Staff.TimeSignature #'style = #'neomensural
\clef "petrucci-g"
\[ c'\maxima g \]
- s4
\[ d\longa c\breve f e d \]
- s4
\[ c'\maxima d'\longa \]
- s4
\[ e'1 a g\breve \]
}
\layout {
\override Staff.TimeSignature #'style = #'neomensural
\clef "petrucci-g"
\[ c'\maxima g \]
- s4
\[ d\longa c\breve f e d \]
- s4
\[ c'\maxima d'\longa \]
- s4
\[ e'1 a g\breve \]
}
@end lilypond
@refbugs
-The invisible rests (@code{s4}) in the example are used to compensate
-for the poor horizontal spacing.
+Horizontal spacing is poor.
@node Gregorian square neumes ligatures
@subsubsection Gregorian square neumes ligatures
@c even more Gregorian ligatures, and add a link to this document
@c here.
+Augmentum dots, also called @emph{morae}, are added with the music
+function @code{\augmentum}. Note that @code{\augmentum} is
+implemented as a unary music function rather than as head prefix. It
+applies to the immediately following music expression only. That is,
+@code{\augmentum \virga c} will have no visible effect. Instead, say
+@code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
+note that you can say @code{\augmentum @{a g@}} as a shortcut for
+@code{\augmentum a \augmentum g}.
+
+@lilypond[quote,ragged-right,verbatim]
+\include "gregorian-init.ly"
+\score {
+ \new VaticanaVoice {
+ \[ \augmentum a \flexa \augmentum g \]
+ \augmentum g
+ }
+}
+@end lilypond
+
@refcommands
The following head prefixes are supported
-@cindex @code{\virga}
+@funindex \virga
@code{\virga},
-@cindex @code{\stropha}
+@funindex \stropha
@code{\stropha},
-@cindex @code{\inclinatum}
+@funindex \inclinatum
@code{\inclinatum},
-@cindex @code{\auctum}
+@funindex \auctum
@code{\auctum},
-@cindex @code{\descendens}
+@funindex \descendens
@code{\descendens},
-@cindex @code{\ascendens}
+@funindex \ascendens
@code{\ascendens},
-@cindex @code{\oriscus}
+@funindex \oriscus
@code{\oriscus},
-@cindex @code{\quilisma}
+@funindex \quilisma
@code{\quilisma},
-@cindex @code{\deminutum}
+@funindex \deminutum
@code{\deminutum},
-@cindex @code{\cavum}
+@funindex \cavum
@code{\cavum},
-@cindex @code{\linea}
+@funindex \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}
+@funindex \pes
+@funindex \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.
+@funindex \augmentum
+Use the unary music function @code{\augmentum} to add augmentum dots.
+
+@refbugs
+
+When an @code{\augmentum} dot appears at the end of the last staff
+within a ligature, it is sometimes vertically placed wrong. As a
+workaround, add an additional skip note (e.g. @code{s8}) as last note
+of the staff.
+@code{\augmentum} should be implemented as a head prefix rather than a
+unary music function, such that @code{\augmentum} can be intermixed
+with head prefixes in arbitrary order.
@node Gregorian Chant contexts
@subsection Gregorian Chant contexts
\score {
<<
\new VaticanaVoice = "cantus" {
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Score.BarNumber #'transparent = ##t {
- \[ c'\melisma c' \flexa a \]
- \[ a \flexa \deminutum g\melismaEnd \]
- f \divisioMinima
- \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
- c' \divisioMinima \break
- \[ c'\melisma c' \flexa a \]
- \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
- }
+ \[ c'\melisma c' \flexa a \]
+ \[ a \flexa \deminutum g\melismaEnd \]
+ f \divisioMinima
+ \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
+ c' \divisioMinima \break
+ \[ c'\melisma c' \flexa a \]
+ \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
}
\new Lyrics \lyricsto "cantus" {
San- ctus, San- ctus, San- ctus
``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}
+@funindex 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
markup text properties to override formatting. For example, the
vertical spacing of the figures may be set with @code{baseline-skip}.
+
+Figured bass can also be added to @code{Staff} contexts
+directly. In this case, their vertical position is adjusted
+automatically.
+
+@lilypond[ragged-right,fragment,quote]
+<<
+ \new Staff = someUniqueName
+ \relative c'' {
+ c4 c'8 r8 c,4 c'
+ }
+
+ %% send to existing Staff.
+ \context Staff = someUniqueName
+ \figuremode {
+ <4>4 <6 10>8 s8
+
+ \set Staff.useBassFigureExtenders = ##t
+ <4 6>4 <4 6>
+ }
+>>
+@end lilypond
+
+
+@refbugs
+
+When using figured bass above the staff with extender lines and
+@code{implicitBassFigures} the lines may become swapped around.
+Maintaining order consistently will be impossible when multiple figures
+have overlapping extender lines. To avoid this problem, plese
+use @code{stacking-dir} on @code{BassFigureAlignment}.
+
+
@seealso
Program reference: @internalsref{NewBassFigure},
projects / lilypond.git / blobdiff