-@c Note: -*-texinfo-*-
+@c -*- coding: latin-1; mode: texinfo; -*-
@c This file is part of lilypond.tely
@c A menu is needed before every deeper *section nesting of @node's; run
@chapter Notation manual
This chapter describes all the different types of notation supported
-by LilyPond. It is intended as a reference for users that are already
+by LilyPond. It is intended as a reference for users who are already
somewhat familiar with LilyPond.
@menu
@section Note entry
@cindex Note entry
-This section is about basic notation elements notes, rests and
+This section is about basic notation elements like notes, rests, and
related constructs, such as stems, tuplets and ties.
@menu
to @code{b}. The pitch @code{c} is an octave below middle C and the
letters span the octave above that C
-@lilypond[fragment,verbatim,noindent]
+@lilypond[quote,fragment,verbatim]
\clef bass
a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
@end lilypond
ceses4
ces
c
-cis
+cis
cisis
@end lilypond
+In accordance with standard typsetting rules, a natural sign is printed
+before a sharp or flat if a previous accidental needs to be
+cancelled. To change this behaviour, use
+@code{\set Staff.extraNatural = ##f}
+
+@lilypond[fragment,quote,raggedright,verbatim,relative=2]
+ceses4 ces cis c
+\set Staff.extraNatural = ##f
+ceses4 ces cis c
+@end lilypond
+
There are predefined sets of note names for various other languages.
-To use them, include the language specific init file. For
+To use them, include the language specific init file. For
example: @code{\include "english.ly"}. The available language files
and the note names they define are
@anchor{note name}
@anchor{note names}
-@example
+@example
Note Names sharp flat
nederlands.ly c d e f g a bes b -is -es
english.ly c d e f g a bf b -s/-sharp -f/-flat
norsk.ly c d e f g a b h -iss/-is -ess/-es
svenska.ly c d e f g a b h -iss -ess
italiano.ly do re mi fa sol la sib si -d -b
-catalan.ly do re mi fa sol la sib si -d/-s -b
-espanol.ly do re mi fa sol la sib si -s -b
-
-@end example
+catalan.ly do re mi fa sol la sib si -d/-s -b
+espanol.ly do re mi fa sol la sib si -s -b
+@end example
@cindex @code{'}
@cindex @code{,}
Notes can be hidden and unhidden with the following commands
@cindex @code{\hideNotes}
-@code{\hideNotes},
+@code{\hideNotes},
@cindex @code{\unHideNotes}
@code{\unHideNotes}.
after the pitch. A cautionary accidental
@cindex cautionary accidental
@cindex parenthesized accidental
-(i.e. an accidental within parentheses) can be obtained by adding the
+(i.e., an accidental within parentheses) can be obtained by adding the
question mark `@code{?}' after the pitch.
@lilypond[quote,raggedright,fragment,verbatim]
{ ceseh ceh cih cisih }
@end lilypond
-Micro tones are also exported to the MIDI file
+Micro tones are also exported to the MIDI file
@refbugs
commands. For example, the following results in an empty staff.
@lilypond[quote,raggedright,verbatim]
-{ s4 }
+{ s4 }
@end lilypond
The fragment @code{@{ \skip 4 @} } would produce an empty page.
notes longer than a whole you must use the variables @code{\longa} and
@code{\breve}
-@example
-c'\breve
+@example
+c'\breve
c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
-r\longa r\breve
-r1 r2 r4 r8 r16 r32 r64 r64
-@end example
+r\longa r\breve
+r1 r2 r4 r8 r16 r32 r64 r64
+@end example
-@lilypond[quote,noindent]
+@lilypond[quote]
\score {
\relative c'' {
- a\breve*1/2 \autoBeamOff
- a1 a2 a4 a8 a16 a32 a64 a64
+ a\breve*1/2 \autoBeamOff
+ a1 a2 a4 a8 a16 a32 a64 a64
\bar "empty"
\break
- r\longa*1/4 r\breve *1/2
- r1 r2 r4 r8 r16 r32 r64 r64
+ r\longa*1/4 r\breve *1/2
+ r1 r2 r4 r8 r16 r32 r64 r64
}
\layout {
raggedright = ##t
\context {
\Staff
\remove "Clef_engraver"
- \override StaffSymbol #'transparent = ##t
+ \override StaffSymbol #'transparent = ##t
\override TimeSignature #'transparent = ##t
\override BarLine #'transparent = ##t
\consists "Pitch_squash_engraver"
duration. The default for the first note is a quarter note.
@lilypond[quote,raggedright,verbatim,fragment]
-{
-a a a2 a a4 a a1 a
-}
+{ a a a2 a a4 a a1 a }
@end lilypond
direction manually
@cindex @code{\dotsUp}
-@code{\dotsUp},
+@code{\dotsUp},
@cindex @code{\dotsDown}
-@code{\dotsDown},
+@code{\dotsDown},
@cindex @code{\dotsNeutral}
@code{\dotsNeutral}.
@seealso
-Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
+Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
@node Scaling durations
@subsection Scaling durations
This manual: @ref{Tuplets}
-@c TODO: I'm not certain that Stems belong here in the manual. -gp
+@c TODO: I'm not certain that Stems belong here in the manual. -gp
@node Stems
@subsection Stems
@refcommands
@cindex @code{\stemUp}
-@code{\stemUp},
+@code{\stemUp},
@cindex @code{\stemDown}
-@code{\stemDown},
+@code{\stemDown},
@cindex @code{\stemNeutral}
-@code{\stemNeutral}.
+@code{\stemNeutral}.
@node Ties
@lilypond[fragment,quote,raggedright]
\relative {
- r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
+ r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
}
@end lilypond
@cindex @code{\tieUp}
-@code{\tieUp},
+@code{\tieUp},
@cindex @code{\tieDown}
-@code{\tieDown},
+@code{\tieDown},
@cindex @code{\tieNeutral}
-@code{\tieNeutral},
+@code{\tieNeutral},
@cindex @code{\tieDotted}
-@code{\tieDotted},
+@code{\tieDotted},
@cindex @code{\tieSolid}
@code{\tieSolid}.
-@seealso
+@seealso
In this manual: @ref{Automatic note splitting}.
Switching staves when a tie is active will not produce a slanted tie.
Formatting of ties is a difficult subject. The results are often not
-optimal.
+optimal.
@node Tuplets
@subsection Tuplets
@cindex @code{tupletNumberFormatFunction}
-@cindex tuplet formatting
+@cindex tuplet formatting
@refcommands
@cindex @code{\tupletUp}
-@code{\tupletUp},
+@code{\tupletUp},
@cindex @code{\tupletDown}
-@code{\tupletDown},
+@code{\tupletDown},
@cindex @code{\tupletNeutral}
@code{\tupletNeutral}.
Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
-Examples: @inputfileref{input/regression,tuplet-nest.ly}.
+Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
@refbugs
Nested tuplets are not formatted automatically. In this case, outer
tuplet brackets should be moved manually, which is demonstrated in
-@inputfileref{input/regression,tuplet-nest.ly}.
+@inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
@cindex @code{\relative}
@example
- \relative @var{startpitch} @var{musicexpr}
+\relative @var{startpitch} @var{musicexpr}
@end example
+
+@noindent
or
+
@example
- \relative @var{musicexpr}
+\relative @var{musicexpr}
@end example
-
+
The octave of notes that appear in @var{musicexpr} are calculated as
follows: if no octave changing marks are used, the basic interval
between this and the last note is always taken to be a fourth or
Here is the relative mode shown in action
@lilypond[quote,fragment,raggedright,verbatim]
\relative c'' {
- b c d c b c bes a
+ b c d c b c bes a
}
@end lilypond
@lilypond[quote,raggedright,fragment,verbatim]
\relative c' {
- c <c e g>
+ c <c e g>
<c' e g>
<c, e' g>
}
@subsection Octave check
-Octave checks make octave errors easier to correct: a note may be
+Octave checks make octave errors easier to correct: a note may be
followed by @code{=}@var{quotes} which indicates what its absolute
octave should be. In the following example,
@example
-\relative c'' @{ c='' b=' d,='' @}
+\relative c'' @{ c='' b=' d,='' @}
@end example
@noindent
check passes successfully, so the check could be deleted without changing
the output of the piece.
-@lilypond[quote,raggedright,verbatim,fragment]
+@lilypond[quote,raggedright,verbatim,fragment]
\relative c' {
e
\octave b
- a
+ a
}
@end lilypond
does not, a warning is printed. In the next example, the second bar
check will signal an error
@example
-\time 3/4 c2 e4 | g2 |
+\time 3/4 c2 e4 | g2 |
@end example
-Bar checks can also be used in lyrics, for example
+Bar checks can also be used in lyrics, for example
@example
\lyricmode @{
\time 2/4
Twin -- kle | Twin -- kle
-@}
+@}
@end example
pipeSymbol = \bar "||"
{ c'2 c' | c'2 c }
-@end lilypond
+@end lilypond
@node Skipping corrected music
In the following examples, notes crossing the bar line are split and tied.
-@lilypond[quote,fragment,verbatim,relative=1,raggedright]
+@lilypond[quote,fragment,verbatim,relative=1,linewidth=12\cm]
\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
} {
- c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
+ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
}
@end lilypond
@seealso
-Examples: @inputfileref{input/regression,completion-heads.ly}.
+Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
@noindent
@cindex adjusting staff symbol
-Notes, dynamic signs, etc. are grouped
+Notes, dynamic signs, etc., are grouped
with a set of horizontal lines, into a staff (plural `staves'). In our
system, these lines are drawn using a separate layout object called
-staff symbol.
+staff symbol.
@cindex staff lines, setting number of
@cindex staff lines, setting thickness of
-@cindex thickness of staff lines, setting
-@cindex number of staff lines, setting
+@cindex thickness of staff lines, setting
+@cindex number of staff lines, setting
@seealso
Program reference: @internalsref{StaffSymbol}.
-Examples: @inputfileref{input/test,staff-lines.ly},
-@inputfileref{input/test,staff-size.ly}.
+Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
+@inputfileref{input/@/test,staff@/-size@/.ly}.
@refbugs
Setting or changing the key signature is done with the @code{\key}
command
@example
- @code{\key} @var{pitch} @var{type}
+@code{\key} @var{pitch} @var{type}
@end example
@cindex @code{\minor}
@internalsref{Staff}.@code{keySignature}. Non-standard key signatures
can be specified by setting this property directly.
+A natural sign is printed to cancel any previous accidentals. This
+can be suppressed by setting the @code{Staff.printKeyCancellation}
+property.
+
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+{
+ \key d \major
+ a b cis d
+ \key g \minor
+ a bes c d
+ \set Staff.printKeyCancellation = ##f
+ \key d \major
+ a b cis d
+ \key g \minor
+ a bes c d
+}
+@end lilypond
+
Accidentals and key signatures often confuse new users, because
unaltered notes get natural signs depending on the key signature. For
more information, see @ref{More about pitches}.
@item treble, violin, G, G2
G clef on 2nd line
@item alto, C
-@cindex alto clef
+@cindex alto clef
C clef on 3rd line
@item tenor
-@cindex tenor clef
- C clef on 4th line.
+@cindex tenor clef
+ C clef on 4th line.
@item bass, F
@cindex bass clef
F clef on 4th line
example,
-@cindex choral tenor clef
+@cindex choral tenor clef
@lilypond[quote,raggedright,verbatim,fragment,relative=1]
\clef "G_8" c4
@end lilypond
This command is equivalent to setting @code{clefGlyph},
@code{clefPosition} (which controls the Y position of the clef),
-@code{centralCPosition} and @code{clefOctavation}. A clef is printed
+@code{middleCPosition} and @code{clefOctavation}. A clef is printed
when any of these properties are changed. The following example shows
possibilities when setting properties manually.
-@lilypond[raggedright,verbatim]
+@ignore
+should to be fixed very quickly -gp
+
+@lilypond[quote,raggedright,verbatim]
{
- \set Staff.clefGlyph = #"clefs-F"
+ \set Staff.clefGlyph = #"clefs.F"
\set Staff.clefPosition = #2
c'4
- \set Staff.clefGlyph = #"clefs-G"
+ \set Staff.clefGlyph = #"clefs.G"
c'4
- \set Staff.clefGlyph = #"clefs-C"
+ \set Staff.clefGlyph = #"clefs.C"
c'4
- \set Staff.clefOctavation = #7
+ \set Staff.clefOctavation = #7
c'4
- \set Staff.clefOctavation = #0
+ \set Staff.clefOctavation = #0
\set Staff.clefPosition = #0
c'4
\clef "bass"
c'4
+ \set Staff.middleCPosition = #4
+ c'4
}
@end lilypond
+@end ignore
@seealso
\relative c''' {
a2 b
#(set-octavation 1)
- a b
+ a b
#(set-octavation 0)
a b
}
The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
(for 15ma) as arguments. Internally the function sets the properties
-@code{ottavation} (e.g. to @code{"8va"}) and
+@code{ottavation} (e.g., to @code{"8va"}) and
@code{centralCPosition}. For overriding the text of the bracket, set
@code{ottavation} after invoking @code{set-octavation}, i.e.,
Program reference: @internalsref{OttavaBracket}.
-Examples: @inputfileref{input/regression,ottava.ly},
-@inputfileref{input/regression,ottava-broken.ly}.
+Examples: @inputfileref{input/@/regression,ottava@/.ly},
+@inputfileref{input/@/regression,ottava@/-broken@/.ly}.
@refbugs
The time signature is set or changed by the @code{\time}
command
@lilypond[quote,raggedright,fragment,verbatim]
-\time 2/4 c'2 \time 3/4 c'2.
+\time 2/4 c'2 \time 3/4 c'2.
@end lilypond
The symbol that is printed can be customized with the @code{style}
\score {
\relative c'' {
#(set-time-signature 9 8 '(2 2 2 3))
- g8[ g] d[ d] g[ g] a8[( bes g]) |
+ g8[ g] d[ d] g[ g] a8[( bes g]) |
#(set-time-signature 5 8 '(3 2))
a4. g4
}
Partial measures, for example in upsteps, are entered using the
@code{\partial} command
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
-\partial 16*5 c16 cis d dis e | a2. c,4 | b2
+\partial 16*5 c16 cis d dis e | a2. c,4 | b2
@end lilypond
-The syntax for this command is
+The syntax for this command is
@example
- \partial @var{duration}
+\partial @var{duration}
@end example
This is internally translated into
@example
- \set Timing.measurePosition = -@var{length of duration}
+\set Timing.measurePosition = -@var{length of duration}
@end example
@cindex @code{|}
The property @code{measurePosition} contains a rational number
@lilypond[verbatim,quote,raggedright,relative,fragment]
{
- \grace f16
+ \grace f16
\partial 4
g4
- a2 g2
+ a2 g2
}
@end lilypond
@cindex @code{\bar}
Bar lines and bar numbers are calculated automatically. For unmetered
-music (e.g. cadenzas), this is not desirable. By setting
+music (cadenzas, for example), this is not desirable. By setting
@code{Score.timing} to false, this automatic timing can be switched
off. Empty bar lines,
@example
- \bar ""
+\bar ""
@end example
@noindent
@refcommands
@cindex @code{\cadenzaOn}
-@code{\cadenzaOn},
+@code{\cadenzaOn},
@cindex @code{\cadenzaOff}
@code{\cadenzaOff}.
For allowing line breaks, there is a special command,
@example
- \bar ""
-@end example
+\bar ""
+@end example
This will insert an invisible bar line, and allow line breaks at this
point.
@seealso
-In this manual: @ref{Repeats}, @ref{System start delimiters}
+In this manual: @ref{Repeats}, @ref{System start delimiters}.
Program reference: @internalsref{BarLine} (created at
-Examples: @inputfileref{input/test,bar-lines.ly},
+Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
@node Time administration
@table @code
@item currentBarNumber
- the measure number
+The measure number.
+
@item measureLength
- the length of the measures in the current time signature. For a 4/4
- time this is 1, and for 6/8 it is 3/4.
+The length of the measures in the current time signature. For a 4/4
+time this is@tie{}1, and for 6/8 it is 3/4.
+
@item measurePosition
- the point within the measure where we currently are. This quantity
- is reset to 0 whenever it exceeds @code{measureLength}. When that happens,
- @code{currentBarNumber} is incremented.
+The point within the measure where we currently are. This quantity
+is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
+happens, @code{currentBarNumber} is incremented.
+
@item timing
- if set to true, the above variables are updated for every time
- step. When set to false, the engraver stays in the current measure
- indefinitely.
+If set to true, the above variables are updated for every time
+step. When set to false, the engraver stays in the current measure
+indefinitely.
@end table
Timing can be changed by setting any of these variables explicitly.
In the next example, the 4/4 time signature is printed, but
@code{measureLength} is set to 5/4. After a while, the measure is
-shortened by 1/8, by setting @code{measurePosition} to -3/8 at 2/4 in
-the measure, so the next bar line will fall at 2/4 + 3/8.
-
-@lilypond[raggedright,verbatim,relative,fragment]
- \set Score.measureLength = #(ly:make-moment 5 4)
- c1 c4
- c1 c4
- c4 c4
- \set Score.measurePosition = #(ly:make-moment -3 8)
- b8 b b
- c4 c1
+shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
+in the measure, so the next bar line will fall at 2/4 + 3/8. The
+3/8 arises because 5/4 normally has 10/8, but we have manually
+set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
+
+@lilypond[quote,raggedright,verbatim,relative,fragment]
+\set Score.measureLength = #(ly:make-moment 5 4)
+c1 c4
+c1 c4
+c4 c4
+\set Score.measurePosition = #(ly:make-moment 7 8)
+b8 b b
+c4 c1
@end lilypond
@node Controlling formatting of prefatory matter
@subsection Controlling formatting of prefatory matter
-TODO Somebody needs to explain this example, but I don't know what
-they're trying to do, so it won't be me. -gp
+@c This section will be moved to somewhere else soon. -gp
+This example demonstrates how to place prefatory matter
+(such as the clef and key signature) at the end of a line.
-@lilypond[verbatim]
+@lilypond[quote,verbatim]
\transpose c c' {
- \override Staff.Clef #'break-visibility = #end-of-line-visible
- \override Staff.KeySignature #'break-visibility = #end-of-line-visible
- \set Staff.explicitClefVisibility = #end-of-line-visible
- \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
-
- % We want the time sig to take space, otherwise there is not
- % enough white at the start of the line.
- %
-
- \override Staff.TimeSignature #'transparent = ##t
- \set Score.defaultBarType = #"empty"
-
- c1 d e f g a b c
- \key d \major
- \break
+ \override Staff.Clef
+ #'break-visibility = #end-of-line-visible
+ \override Staff.KeySignature
+ #'break-visibility = #end-of-line-visible
+ \set Staff.explicitClefVisibility = #end-of-line-visible
+ \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
- % see above.
- \time 4/4
-
- d e fis g a b cis d
- \key g \major
- \break
- \time 4/4
+ % We want the time sig to take space, otherwise there is not
+ % enough white at the start of the line.
+
+ \override Staff.TimeSignature #'transparent = ##t
+ \set Score.defaultBarType = #"empty"
+
+ c1 d e f g a b c
+ \key d \major
+ \break
+
+ % see above.
+ \time 4/4
+
+ d e fis g a b cis d
+ \key g \major
+ \break
+ \time 4/4
}
@end lilypond
one voice on the same staff.
@menu
-* Writing polyphonic music::
+* Writing polyphonic music::
@end menu
@node Writing polyphonic music
@lilypond[quote,raggedright,verbatim,fragment]
\context Staff \relative c'' {
- c4 << { f d e } \\ { b c2 } >>
- c4 << g' \\ b, \\ f' \\ d >>
+ c4 << { f d e } \\ { b c2 } >>
+ c4 << g' \\ b, \\ f' \\ d >>
}
@end lilypond
voices are sometimes called ``layers'' in other notation packages}
@cindex layers
to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
-each of these contexts, vertical direction of slurs, stems, etc. is set
-appropriately.
+each of these contexts, vertical direction of slurs, stems, etc., is set
+appropriately. Specifically,
+
+@example
+<< \upper \\ \lower >>
+@end example
+
+@noindent
+is equivalent to
+
+@example
+<<
+ \context Voice = "1" @{ \voiceOne \upper @}
+ \context Voice = "2" @{ \voiceTwo \lower @}
+>>
+@end example
@cindex @code{\voiceOne}
@cindex @code{\voiceFour}
@lilypond[quote,raggedright,verbatim]
\relative c''
\context Staff <<
- \new Voice { \voiceOne cis2 b }
- \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
- \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
+ \new Voice { \voiceOne cis2 b }
+ \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
+ \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
@end lilypond
@noindent
The command @code{\oneVoice} will revert back to the normal setting.
@cindex @code{\oneVoice}
+Defining voices (either with the separator @code{\\} or with
+@code{\voiceXXX}) will set the direction of stems, slurs, ties,
+articulations, text annotations, augmentation dots of dotted
+notes, and fingerings. @code{\voiceOne} makes these objects
+point upwards, while @code{\voiceTwo} makes them point down.
Normally, note heads with a different number of dots are not merged, but
when the object property @code{merge-differently-dotted} is set in
the @internalsref{NoteCollision} object, they are merged
@lilypond[quote,verbatim,fragment,raggedright,relative=2]
\context Voice << {
- g8 g8
- \override Staff.NoteCollision
+ g8 g8
+ \override Staff.NoteCollision
#'merge-differently-dotted = ##t
g8 g8
} \\ { g8.[ f16] g8.[ f16] } >>
for example
@lilypond[quote,raggedright,fragment,verbatim]
-\context Voice << c''4 \\ r4 >>
+\context Voice << c''4 \\ r4 >>
@end lilypond
@cindex @code{\oneVoice}
-@code{\oneVoice},
+@code{\oneVoice},
@cindex @code{\voiceOne}
-@code{\voiceOne},
+@code{\voiceOne},
@cindex @code{\voiceTwo}
-@code{\voiceTwo},
+@code{\voiceTwo},
@cindex @code{\voiceThree}
-@code{\voiceThree},
+@code{\voiceThree},
@cindex @code{\voiceFour}
@code{\voiceFour}.
@cindex @code{\shiftOn}
-@code{\shiftOn},
+@code{\shiftOn},
@cindex @code{\shiftOnn}
-@code{\shiftOnn},
+@code{\shiftOnn},
@cindex @code{\shiftOnnn}
-@code{\shiftOnnn},
+@code{\shiftOnnn},
@cindex @code{\shiftOff}
@code{\shiftOff}: these commands specify in what chords of the current
voice should be shifted. The outer voices (normally: voice one and
property of the @internalsref{NoteColumn} object and pitched rests can
be used to override typesetting decisions.
-@lilypond[verbatim,raggedright]
+@lilypond[quote,verbatim,raggedright]
\relative <<
{
<d g>
<d g>
} \\ {
<b f'>
- \once \override NoteColumn #'force-hshift = #1.7
+ \once \override NoteColumn #'force-hshift = #1.7
<b f'>
-} >>
+} >>
@end lilypond
Program reference: the objects responsible for resolving collisions are
@internalsref{NoteCollision} and @internalsref{RestCollision}.
-Examples:
-@inputfileref{input/regression,collision-dots.ly},
-@inputfileref{input/regression,collision-head-chords.ly},
-@inputfileref{input/regression,collision-heads.ly},
-@inputfileref{input/regression,collision-mesh.ly}, and
-@inputfileref{input/regression,collisions.ly}.
+Examples:
+@inputfileref{input/@/regression,collision@/-dots@/.ly},
+@inputfileref{input/@/regression,collision@/-head-chords@/.ly},
+@inputfileref{input/@/regression,collision@/-heads@/.ly},
+@inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
+@inputfileref{input/@/regression,collisions@/.ly}.
@refbugs
@cindex Automatic beams
@menu
-* Automatic beams::
+* Automatic beams::
* Manual beams::
* Setting automatic beam behavior::
* Beam formatting::
LilyPond inserts beams automatically
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
-\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
+\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
@end lilypond
When these automatic decisions are not good enough, beaming can be
@seealso
-Program reference: @internalsref{Beam}.
+Program reference: @internalsref{Beam}.
@node Manual beams
@code{beatLength} property.
-@lilypond[fragment,raggedright,quote,relative=2,verbatim,noindent]
+@lilypond[fragment,quote,relative=2,verbatim]
c16[ c c c c c c c]
\set subdivideBeams = ##t
c16[ c c c c c c c]
@node Setting automatic beam behavior
-@subsection Setting automatic beam behavior
+@subsection Setting automatic beam behavior
@cindex @code{autoBeamSettings}
@cindex @code{(end * * * *)}
only end in a few positions within the measure: beams can end on a beat,
or at durations specified by the properties in
@code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
-are defined in @file{scm/auto-beam.scm}.
+are defined in @file{scm/@/auto@/-beam@/.scm}.
-The value of @code{autoBeamSettings} is changed with two functions,
+The value of @code{autoBeamSettings} is changed with three functions,
@example
- #(override-auto-beam-setting
- '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
- [@var{context}])
- #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
+#(override-auto-beam-setting
+ '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
+ [@var{context}])
+#(score-override-auto-beam-setting
+ '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b})
+#(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m})
+ [@var{context}])
@end example
Here, @var{be} is the symbol @code{begin} or @code{end}, and
@var{context} is an optional context (default: @code{'Voice}). It
designate all time signatures), @var{a}/@var{b} is a duration. By
default, this command changes settings for the current voice. It is
also possible to adjust settings at higher contexts, by adding a
-@var{context} argument.
+@var{context} argument. @code{score-override-auto-beam-setting} is
+equal to @code{override-auto-beam-setting} with the argument
+@var{context} set to @code{'Score}.
For example, if automatic beams should end on every quarter note, use
the following
@example
- #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
+#(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
@end example
Since the duration of a quarter note is 1/4 of a whole note, it is
entered as @code{(ly:make-moment 1 4)}.
The same syntax can be used to specify beam starting points. In this
example, automatic beams can only end on a dotted quarter note
@example
- #(override-auto-beam-setting '(end * * * *) 3 8)
+#(override-auto-beam-setting '(end * * * *) 3 8)
@end example
In 4/4 time signature, this means that automatic beams could end only on
3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
replacing the second asterisks by @var{N} and @var{M}. For example, a
rule for 6/8 time exclusively looks like
@example
- #(override-auto-beam-setting '(begin * * 6 8) @dots{})
+#(override-auto-beam-setting '(begin * * 6 8) @dots{})
@end example
If a rule should be to applied only to certain types of beams, use the
@refcommands
@cindex @code{\autoBeamOff}
-@code{\autoBeamOff},
+@code{\autoBeamOff},
@cindex @code{\autoBeamOn}
@code{\autoBeamOn}.
@lilypond[quote,raggedright,relative=2,fragment,verbatim]
{
- b8[ b]
- \override Beam #'neutral-direction = #-1
- b[ b]
- \override Beam #'neutral-direction = #1
- b[ b]
+ b8[ b]
+ \override Beam #'neutral-direction = #-1
+ b[ b]
+ \override Beam #'neutral-direction = #1
+ b[ b]
}
@end lilypond
+
@node Accidentals
@section Accidentals
inserted automatically before notes.
@menu
-* Automatic accidentals::
+* Automatic accidentals::
@end menu
@node Automatic accidentals
@subsection Automatic accidentals
@cindex Automatic accidentals
-Common rules for typesetting accidents have been placed in a
+Common rules for typesetting accidentals have been placed in a
function. This function is called as follows
@cindex @code{set-accidental-style}
@end example
The function can take two arguments: the name of the accidental style,
-and an optional argument that denotes the context which should be
+and an optional argument that denotes the context that should be
changed. If no context name is supplied, @code{Staff} is the default,
but you may wish to apply the accidental style to a single @code{Voice}
instead.
The @code{voice} option should be used if the voices
are to be read solely by individual musicians. If the staff is to be
-used by one musician (e.g. a conductor) then
+used by one musician (e.g., a conductor) then
@code{modern} or @code{modern-cautionary}
should be used instead.
This rule is the same as @code{modern-voice}, but with the extra
accidentals (the ones not typeset by @code{voice}) typeset
as cautionaries. Even though all accidentals typeset by
-@code{default} @emph{are} typeset by this variable then
+@code{default} @emph{are} typeset by this variable,
some of them are typeset as cautionaries.
@item piano
@item piano-cautionary
@cindex @code{#(set-accidental-style 'piano-cautionary)}
-As @code{#(set-accidental-style 'piano)} but with the extra accidentals
-typeset as cautionaries.
+Same as @code{#(set-accidental-style 'piano)} but with the extra
+accidentals typeset as cautionaries.
@item no-reset
@cindex @code{no-reset} accidental style
are not remembered at all---and hence all accidentals are
typeset relative to the key signature, regardless of what was
before in the music
-
+
@lilypond[quote,raggedright,fragment,verbatim,relative=1]
#(set-accidental-style 'forget)
\key d\major c4 c cis cis d d dis dis
This is a problem when accidentals in a chord depend on each other,
which does not happen for the default accidental style. The problem
-can be solved by manually inserting @code{!} and @code{?} for the
+can be solved by manually inserting @code{!} and @code{?} for the
problematic notes.
They are entered using parentheses
@lilypond[quote,raggedright,relative=2,fragment,verbatim]
- f( g a) a8 b( a4 g2 f4)
- <c e>2( <b d>2)
+f( g a) a8 b( a4 g2 f4)
+<c e>2( <b d>2)
@end lilypond
The direction of a slur can be set with the
generic commands
@example
- \override Slur #'direction = #UP
- \slurUp % shortcut for the previous line
+\override Slur #'direction = #UP
+\slurUp % shortcut for the previous line
@end example
@noindent
However, there is a convenient shorthand for forcing slur
directions. By adding @code{_} or @code{^} before the opening
-parentheses, the direction is also set. For example,
+parentheses, the direction is also set. For example,
@lilypond[relative=2,raggedright,quote,verbatim,fragment]
- c4_( c) c^( c)
+c4_( c) c^( c)
@end lilypond
Some composers write two slurs when they want legato chords. This can
be achieved in LilyPond by setting @code{doubleSlurs},
@lilypond[verbatim,raggedright,relative,fragment,quote]
- \set doubleSlurs = ##t
- <c e>4 ( <d f> <c e> <d f> )
-@end lilypond
+\set doubleSlurs = ##t
+<c e>4 ( <d f> <c e> <d f> )
+@end lilypond
+
-
@refcommands
@cindex @code{\slurUp}
-@code{\slurUp},
+@code{\slurUp},
@cindex @code{\slurDown}
-@code{\slurDown},
+@code{\slurDown},
@cindex @code{\slurNeutral}
-@code{\slurNeutral},
+@code{\slurNeutral},
@cindex @code{\slurDotted}
-@code{\slurDotted},
+@code{\slurDotted},
@cindex @code{\slurSolid}
@code{\slurSolid}.
respectively
@lilypond[quote,raggedright,fragment,verbatim,relative=1]
- \time 6/4 c'\( d( e) f( e) d\)
+\time 6/4 c'\( d( e) f( e) d\)
@end lilypond
Typographically, the phrasing slur behaves almost exactly like a
@refcommands
@cindex @code{\phrasingSlurUp}
-@code{\phrasingSlurUp},
+@code{\phrasingSlurUp},
@cindex @code{\phrasingSlurDown}
-@code{\phrasingSlurDown},
+@code{\phrasingSlurDown},
@cindex @code{\phrasingSlurNeutral}
@code{\phrasingSlurNeutral}.
@lilypond[quote,raggedright,fragment,relative=1,verbatim]
- c'4 \breathe d4
+c'4 \breathe d4
@end lilypond
The glyph of the breath mark can be tuned by overriding the
@code{text} property of the @code{BreathingSign} layout object with
any markup text. For example,
@lilypond[quote,raggedright,fragment,verbatim,relative=1]
- c'4
- \override BreathingSign #'text
- = #(make-musicglyph-markup "scripts-rvarcomma")
- \breathe
- d4
+c'4
+\override BreathingSign #'text
+ = #(make-musicglyph-markup "scripts-rvarcomma")
+\breathe
+d4
@end lilypond
-@seealso
+@seealso
Program reference: @internalsref{BreathingSign},
@internalsref{BreathingSignEvent}.
-Examples: @inputfileref{input/regression,breathing-sign.ly}.
+Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
@node Metronome marks
@cindex metronome marking
Metronome settings can be entered as follows
-@example
- \tempo @var{duration} = @var{per-minute}
+@example
+\tempo @var{duration} = @var{per-minute}
@end example
In the MIDI output, they are interpreted as a tempo change. In the
layout output, a metronome marking is printed
@cindex @code{\tempo}
@lilypond[quote,raggedright,verbatim,fragment]
- \tempo 8.=120 c''1
+\tempo 8.=120 c''1
@end lilypond
@seealso
Program reference: @internalsref{MetronomeChangeEvent}.
-
+
@node Text scripts
@subsection Text scripts
@code{c^"text"}. By default, these indications do not influence the
note spacing, but by using the command @code{\fatText}, the widths
will be taken into account
-@c
+
@lilypond[quote,fragment,raggedright,verbatim,relative=1]
- c4^"longtext" \fatText c4_"longlongtext" c4
+c4^"longtext" \fatText c4_"longlongtext" c4
@end lilypond
More complex formatting may also be added to a note by using the
markup command,
@lilypond[fragment,raggedright,verbatim,quote]
- c'4^\markup { bla \bold bla }
+c'4^\markup { bla \bold bla }
@end lilypond
The @code{\markup} is described in more detail in
@ref{Text markup}.
-
+
@refcommands
@cindex @code{\fatText}
-@code{\fatText},
+@code{\fatText},
@cindex @code{\emptyText}
@code{\emptyText}.
@subsection Text spanners
@cindex Text spanners
-Some performance indications, e.g. @i{rallentando} or @i{accelerando},
+Some performance indications, e.g., @i{rallentando} or @i{accelerando},
are written as text and are extended over many measures with dotted
lines. Such texts are created using text spanners; attach
@code{\startTextSpan} and @code{\stopTextSpan} to the first and last
properties
@lilypond[quote,raggedright,fragment,relative=1,verbatim]
- c1
- \override TextSpanner #'direction = #-1
- \override TextSpanner #'edge-text = #'("rall " . "")
- c2\startTextSpan b c\stopTextSpan a
+c1
+\override TextSpanner #'direction = #-1
+\override TextSpanner #'edge-text = #'("rall " . "")
+c2\startTextSpan b c\stopTextSpan a
@end lilypond
Internals @internalsref{TextSpanEvent},
@internalsref{TextSpanner}.
-Examples: @inputfileref{input/regression,text-spanner.ly}.
+Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
@node Analysis brackets
@lilypond[quote,raggedright,verbatim]
\score {
- \relative c'' {
+ \relative c'' {
c4\startGroup\startGroup
c4\stopGroup
c4\startGroup
Program reference: @internalsref{HorizontalBracket},
@internalsref{NoteGroupingEvent}.
-Examples: @inputfileref{input/regression,note-group-bracket.ly}.
+Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
@node Articulations
@lilypondfile[quote,raggedright]{script-abbreviations.ly}
The meanings of these shorthands can be changed. See
-@file{ly/script-init.ly} for examples.
+@file{ly/@/script@/-init@/.ly} for examples.
The script is automatically placed, but the direction can be forced as
@lilypond[quote,raggedright,fragment,verbatim]
- c''4^^ c''4_^
+c''4^^ c''4_^
@end lilypond
Other symbols can be added using the syntax
@var{note}@code{\}@var{name}. Again, they
can be forced up or down using @code{^} and @code{_},
-e.g.
+e.g.,
@lilypond[quote,raggedright,verbatim,fragment,relative=2]
- c\fermata c^\fermata c_\fermata
+c\fermata c^\fermata c_\fermata
@end lilypond
@cindex accent
@cindex marcato
@cindex staccatissimo
+@cindex espressivo
@cindex fermata
@cindex stopped
@cindex staccato
will be put to the note. In this example, the
@internalsref{TextScript} (the sharp symbol) first has the lowest
priority, so it is put lowest in the first example. In the second, the
-prall trill (the @internalsref{Script}) has the lowest, so it on the
+prall trill (the @internalsref{Script}) has the lowest, so it is on the
inside. When two objects have the same priority, the order in which
they are entered decides which one comes first.
@lilypond[verbatim,relative=3,raggedright,fragment,quote]
- \once \override TextScript #'script-priority = #-100
- a4^\prall^\markup { \sharp }
-
- \once \override Script #'script-priority = #-100
- a4^\prall^\markup { \sharp }
+\once \override TextScript #'script-priority = #-100
+a4^\prall^\markup { \sharp }
+
+\once \override Script #'script-priority = #-100
+a4^\prall^\markup { \sharp }
@end lilypond
-@node Running trills
+@node Running trills
@subsection Running trills
Long running trills are made with @code{\startTrillSpan} and
Fingering instructions can be entered using
@example
- @var{note}-@var{digit}
+@var{note}-@var{digit}
@end example
For finger changes, use markup texts
-@c
+
@lilypond[quote,verbatim,raggedright,fragment,relative=1]
- c4-1 c-2 c-3 c-4
- c^\markup { \finger "2-3" }
+c4-1 c-2 c-3 c-4
+c^\markup { \finger "2-3" }
@end lilypond
@cindex finger change
@cindex subscript
You can use the thumb-script to indicate that a note should be
-played with the thumb (e.g. in cello music)
-
+played with the thumb (e.g., in cello music)
@lilypond[quote,verbatim,raggedright,fragment,relative=2]
-
<a_\thumb a'-3>8 <b_\thumb b'-3>
+<a_\thumb a'-3>8 <b_\thumb b'-3>
@end lilypond
Fingerings for chords can also be added to individual notes
of the chord by adding them after the pitches
@lilypond[quote,verbatim,raggedright,fragment,relative=2]
- < c-1 e-2 g-3 b-5 >4
+< c-1 e-2 g-3 b-5 >4
@end lilypond
@noindent
to note heads
@lilypond[quote,verbatim,raggedright,fragment,relative=1]
- \set fingeringOrientations = #'(left down)
- <c-1 es-2 g-4 bes-5 > 4
- \set fingeringOrientations = #'(up right down)
- <c-1 es-2 g-4 bes-5 > 4
+\set fingeringOrientations = #'(left down)
+<c-1 es-2 g-4 bes-5 > 4
+\set fingeringOrientations = #'(up right down)
+<c-1 es-2 g-4 bes-5 > 4
@end lilypond
Using this feature, it is also possible to put fingering instructions
very close to note heads in monophonic music,
@lilypond[verbatim,raggedright,quote,fragment]
- \set fingeringOrientations = #'(right)
- <es'-2>4
+\set fingeringOrientations = #'(right)
+<es'-2>4
@end lilypond
-
+
@seealso
Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
-Examples: @inputfileref{input/regression,finger-chords.ly}.
+Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
@cindex acciaccatura
@lilypond[quote,raggedright,relative=2,verbatim,fragment]
- b4 \acciaccatura d8 c4 \appoggiatura e8 d4
- \acciaccatura { g16[ f] } e4
+b4 \acciaccatura d8 c4 \appoggiatura e8 d4
+\acciaccatura { g16[ f] } e4
@end lilypond
Both are special forms of the @code{\grace} command. By prefixing this
printed in a smaller font and takes up no logical time in a measure.
@lilypond[quote,raggedright,relative=2,verbatim,fragment]
- c4 \grace c16 c4
- \grace { c16[ d16] } c2 c4
+c4 \grace c16 c4
+\grace { c16[ d16] } c2 c4
@end lilypond
@noindent
@code{\grace} command does not start a slur.
Internally, timing for grace notes is done using a second, `grace'
-time. Every point in time consists of two rational numbers: one
+timing. Every point in time consists of two rational numbers: one
denotes the logical time, one denotes the grace timing. The above
example is shown here with timing tuples
@lilypond[quote,raggedright]
<<
- \relative c''{
- c4 \grace c16 c4 \grace {
- c16[ d16] } c2 c4
+ \relative c''{
+ c4 \grace c16 c4 \grace {
+ c16[ d16] } c2 c4
}
\new Lyrics \lyricmode {
\override LyricText #'font-family = #'typewriter
-
+
\markup { (0,0) } 4
\grace { \markup {
- ( \fraction 1 4 , \fraction -1 16 ) } 16 }
+ ( \fraction 1 4 , \fraction -1 16 ) } 16 }
\markup { (\fraction 1 4 , 0 ) } 4
\grace {
\markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
\markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
- }
+ }
\markup { ( \fraction 2 4 , 0 ) }
}
>>
The placement of grace notes is synchronized between different staves.
-In the following example, there are two sixteenth graces notes for
+In the following example, there are two sixteenth grace notes for
every eighth grace note
-@lilypond[quote,raggedright,relative=2,verbatim,fragment]
+@lilypond[quote,raggedright,relative=2,verbatim,fragment]
<< \new Staff { e4 \grace { c16[ d e f] } e4 }
\new Staff { c4 \grace { g8[ b] } c4 } >>
@end lilypond
-If you want to end a note with a grace, the standard trick is to put
-the grace notes after a ``space note''
+If you want to end a note with a grace, use the @code{\afterGrace}
+command. It takes two arguments: the main note, and the grace notes
+following the main note.
+
+@lilypond[raggedright, verbatim,relative=2,fragment]
+c1 \afterGrace d1 { c16[ d] } c4
+@end lilypond
+
+This will put the grace notes after a ``space'' lasting 3/4 of the
+length of the main note. The fraction 3/4 can be changed by setting
+@code{afterGraceFraction}, ie.
+
+@example
+afterGraceFraction = #(cons 7 8)
+@end example
+
+@noindent
+will put the grace note at 7/8 of the main note.
+
+
+The same effect can be achieved manually by doing
+
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\context Voice {
the space between the main-note and the grace is adjusted.
+
+
A @code{\grace} section will introduce special typesetting settings,
for example, to produce smaller type, and set directions. Hence, when
introducing layout tweaks, they should be inside the grace section,
@example
\new Staff @{
- #(add-grace-property 'Voice 'Stem 'direction '())
- @dots{}
+ #(add-grace-property 'Voice 'Stem 'direction '())
+ @dots{}
@}
@end example
@code{stopGraceMusic}, @code{startAcciaccaturaMusic},
@code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
@code{stopAppoggiaturaMusic}. More information is in the file
-@file{ly/grace-init.ly}.
+@file{ly/@/grace@/-init@/.ly}.
@seealso
@refbugs
A score that starts with a @code{\grace} section needs an explicit
-@code{\context Voice} declaration, otherwise the main note and grace
+@code{\context Voice} declaration, otherwise the main note and the grace
note end up on different staves.
Grace note synchronization can also lead to surprises. Staff notation,
-such as key signatures, bar lines, etc. are also synchronized. Take
+such as key signatures, bar lines, etc., are also synchronized. Take
care when you mix staves with grace notes and staves without, for example,
@lilypond[quote,raggedright,relative=2,verbatim,fragment]
<< \new Staff { e4 \bar "|:" \grace c16 d4 }
- \new Staff { c4 \bar "|:" d4 } >>
+ \new Staff { c4 \bar "|:" d4 } >>
@end lilypond
@noindent
This can be remedied by inserting grace skips, for the above example
@example
-\new Staff @{ c4 \bar "|:" \grace s16 d4 @}
+\new Staff @{ c4 \bar "|:" \grace s16 d4 @}
@end example
Grace sections should only be used within sequential music
@node Glissando
@subsection Glissando
-@cindex Glissando
+@cindex Glissando
@cindex @code{\glissando}
A glissando is a smooth change in pitch. It is denoted by a line or a
-wavy line between two notes. It is requested by attaching
+wavy line between two notes. It is requested by attaching
@code{\glissando} to a note
@lilypond[quote,raggedright,fragment,relative=2,verbatim]
Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
-Example files: @file{input/regression/glissando.ly}.
+Example files: @file{input/@/regression/@/glissando@/.ly}.
+
-
@refbugs
@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
@lilypond[quote,verbatim,raggedright,fragment,relative=2]
- c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
- c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
+c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
+c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
@end lilypond
@cindex @code{\<}
A crescendo mark is started with @code{\<} and terminated with
@code{\!}. A decrescendo is started with @code{\>} and also terminated
-with @code{\!}. Because these marks are bound to notes, if you must
-use spacer notes if multiple marks are needed during one note
+with @code{\!}. Because these marks are bound to notes, you must
+use spacer notes if multiple marks are needed during one note
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
- c\< c\! d\> e\!
- << f1 { s4 s4\< s4\! \> s4\! } >>
+c\< c\! d\> e\!
+<< f1 { s4 s4\< s4\! \> s4\! } >>
@end lilypond
This may give rise to very short hairpins. Use @code{minimum-length}
in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
example
@example
- \override Staff.Hairpin #'minimum-length = #5
+\override Staff.Hairpin #'minimum-length = #5
@end example
You can also use a text saying @emph{cresc.} instead of hairpins. Here
is an example how to do it
@lilypond[quote,raggedright,fragment,relative=2,verbatim]
- \setTextCresc
- c \< d e f\!
- \setHairpinCresc
- e\> d c b\!
+\setTextCresc
+c\< d e f\!
+\setHairpinCresc
+e\> d c b\!
+\setTextDecresc
+c\> d e f\!
+\setTextDim
+e\> d c b\!
@end lilypond
@cindex crescendo
You can also supply your own texts
@lilypond[quote,raggedright,fragment,relative=1,verbatim]
- \set crescendoText = \markup { \italic "cresc. poco" }
- \set crescendoSpanner = #'dashed-line
- a'2\< a a a\!\mf
+\set crescendoText = \markup { \italic "cresc. poco" }
+\set crescendoSpanner = #'dashed-line
+a'2\< a a a\!\mf
@end lilypond
@cindex diminuendo
+To create new dynamic marks or text that should be aligned
+with dynamics, see @ref{New dynamic marks}.
+
@refcommands
@cindex @code{\dynamicUp}
-@code{\dynamicUp},
+@code{\dynamicUp},
@cindex @code{\dynamicDown}
-@code{\dynamicDown},
+@code{\dynamicDown},
@cindex @code{\dynamicNeutral}
@code{\dynamicNeutral}.
for repetitions.
@menu
-* Repeat types::
+* Repeat types::
* Repeat syntax::
* Repeats and MIDI::
* Manual repeat commands::
@item fold
Alternative endings are written stacked. This has limited use but may be
used to typeset two lines of lyrics in songs with repeats, see
-@inputfileref{input,star-spangled-banner.ly}.
+@inputfileref{input,star-spangled-banner@/.ly}.
@end ignore
@c tremolo, beamed
Make tremolo beams. These are not played in MIDI output by default.
@item percent
-Make beat or measure repeats. These look like percent signs. These are not played
-in MIDI output by default.
+Make beat or measure repeats. These look like percent signs. These
+are not played in MIDI output by default. Percent repeats must be
+declared within a Voice context.
-@end table
+@end table
@node Repeat syntax
@subsection Repeat syntax
repeats. The syntax is
@example
- \repeat @var{variant} @var{repeatcount} @var{repeatbody}
+\repeat @var{variant} @var{repeatcount} @var{repeatbody}
@end example
If you have alternative endings, you may add
@cindex @code{\alternative}
@example
- \alternative @code{@{} @var{alternative1}
- @var{alternative2}
- @var{alternative3} @dots{} @code{@}}
+\alternative @{ @var{alternative1}
+ @var{alternative2}
+ @var{alternative3} @dots{} @}
@end example
where each @var{alternative} is a music expression. If you do not
give enough alternatives for all of the repeats, the first alternative
With alternative endings
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
c1
-\repeat volta 2 {c4 d e f}
+\repeat volta 2 {c4 d e f}
\alternative { {d2 d} {f f,} }
@end lilypond
It is possible to shorten volta brackets
by setting @code{voltaSpannerDuration}. In the next example, the
-bracket only lasts one measure, which is a duration of 3/4.
+bracket only lasts one measure, which is a duration of 3/4.
@lilypond[verbatim,raggedright,quote]
\relative c''{
- \time 3/4
- c c c
- \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
- \repeat "volta" 5 { d d d }
- \alternative { { e e e f f f }
- { g g g } }
+ \time 3/4
+ c c c
+ \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
+ \repeat "volta" 5 { d d d }
+ \alternative { { e e e f f f }
+ { g g g } }
}
@end lilypond
-
+
@seealso
Brackets for the repeat are normally only printed over the topmost
staff. This can be adjusted by setting the @code{voltaOnThisStaff}
-property @inputfileref{input/regression,volta-multi-staff.ly},
-@inputfileref{input/regression,volta-chord-names.ly}
+property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
+
+@c not necessary
+@c @inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}.
@refbugs
A nested repeat like
-@example
+@example
\repeat @dots{}
\repeat @dots{}
-\alternative
-@end example
+\alternative
+@end example
@noindent
is ambiguous, since it is is not clear to which @code{\repeat} the
@code{\unfoldrepeats} music function. This functions changes all
repeats to unfold repeats.
-@lilypond[verbatim,raggedright,fragment]
+@lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
\unfoldrepeats {
\repeat tremolo 8 {c'32 e' }
\repeat percent 2 { c''8 d'' }
- \repeat volta 2 {c'4 d' e' f'}
+ \repeat volta 2 {c'4 d' e' f'}
\alternative {
{ g' a' a' g' }
{f' e' d' c' }
percent repeats). For example,
@example
- \score @{
- @var{..music..}
- \layout @{ .. @}
- @}
- \score @{
- \unfoldrepeats @var{..music..}
- \midi @{ .. @}
- @}
+\score @{
+ @var{..music..}
+ \layout @{ .. @}
+@}
+\score @{
+ \unfoldrepeats @var{..music..}
+ \midi @{ .. @}
+@}
@end example
@node Manual repeat commands
@cindex @code{repeatCommands}
The property @code{repeatCommands} can be used to control the layout of
-repeats. Its value is a Scheme list of repeat commands, where each repeat
-command can be
+repeats. Its value is a Scheme list of repeat commands.
@table @asis
-@item @code{start-repeat},
- which prints a @code{|:} bar line;
-@item @code{end-repeat},
- which prints a @code{:|} bar line;
-@item @code{(volta @var{text})},
- which prints a volta bracket saying @var{text}: The text can be specified as
+@item @code{start-repeat}
+Print a @code{|:} bar line.
+
+@item @code{end-repeat}
+Print a @code{:|} bar line.
+
+@item @code{(volta @var{text})}
+Print a volta bracket saying @var{text}: The text can be specified as
a text string or as a markup text, see @ref{Text markup}. Do not
forget to change the font, as the default number font does not contain
alphabetic characters;
-@item @code{(volta #f)}, which
- stops a running volta bracket.
+
+@item @code{(volta #f)}
+Stop a running volta bracket.
@end table
@lilypond[quote,raggedright,verbatim,fragment,relative=2]
@lilypond[quote,verbatim,raggedright]
\new Voice \relative c' {
\repeat "tremolo" 8 { c16 d16 }
- \repeat "tremolo" 4 { c16 d16 }
+ \repeat "tremolo" 4 { c16 d16 }
\repeat "tremolo" 2 { c16 d16 }
}
@end lilypond
Tremolo marks can also be put on a single note. In this case, the
note should not be surrounded by braces.
@lilypond[quote,verbatim,raggedright]
- \repeat "tremolo" 4 c'16
+\repeat "tremolo" 4 c'16
@end lilypond
Similar output is obtained using the tremolo subdivision, described in
tremolos are @internalsref{StemTremolo} objects. The music expression is
@internalsref{TremoloEvent}.
-Example files: @inputfileref{input/regression,chord-tremolo.ly},
-@inputfileref{input/regression,stem-tremolo.ly}.
+Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
+@inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
@node Tremolo subdivisions
@subsection Tremolo subdivisions
used
@lilypond[quote,raggedright,verbatim,fragment]
- c'2:8 c':32 | c': c': |
+c'2:8 c':32 | c': c': |
@end lilypond
-@c [TODO : stok is te kort bij 32en]
-@c somebody want to translate that into English? :)
+@c [TODO: stok is te kort bij 32en]
+@c somebody want to translate that into English?
+@c `Stem is too short for 32nds' (wl)
@refbugs
In the @code{percent} style, a note pattern can be repeated. It is
printed once, and then the pattern is replaced with a special sign.
Patterns of one and two measures are replaced by percent-like signs,
-patterns that divide the measure length are replaced by slashes
+patterns that divide the measure length are replaced by slashes.
+Percent repeats must be declared within a @code{Voice} context.
@lilypond[quote,verbatim,raggedright]
\new Voice \relative c' {
- \repeat "percent" 4 { c4 }
+ \repeat "percent" 4 { c4 }
\repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
}
@end lilypond
Program reference: @internalsref{RhythmicStaff}.
-Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
+Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
@node Entering percussion
@end lilypond
The complete list of drum names is in the init file
-@file{ly/drumpitch-init.ly}.
+@file{ly/@/drumpitch@/-init@/.ly}.
@c TODO: properly document this.
@seealso
@cindex drums
A percussion part for more than one instrument typically uses a
-multi line staff where each position in the staff refers to one piece
+multiline staff where each position in the staff refers to one piece
of percussion.
To typeset the music, the notes must be interpreted in a
@internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
-@c
@lilypond[quote,raggedright,verbatim]
up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
down = \drummode { bassdrum4 snare8 bd r bd sn4 }
\new DrumStaff <<
- \new DrumVoice { \voiceOne \up }
- \new DrumVoice { \voiceTwo \down }
+ \new DrumVoice { \voiceOne \up }
+ \new DrumVoice { \voiceTwo \down }
>>
@end lilypond
The above example shows verbose polyphonic notation. The short
polyphonic notation, described in @ref{Polyphony}, can also be used if
-the @internalsref{DrumVoices} are instantiated by hand first. For example,
+the @internalsref{DrumVoices} are instantiated by hand first. For example,
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\new DrumStaff <<
- \context DrumVoice = "1" { s1 *2 }
- \context DrumVoice = "2" { s1 *2 }
+ \context DrumVoice = "1" { s1 *2 }
+ \context DrumVoice = "2" { s1 *2 }
\drummode {
bd4 sn4 bd4 sn4
<<
\\
{ bd4 sn4 bd4 sn4 }
>>
- }
+ }
>>
@end lilypond
@item drums-style
This is the default. It typesets a typical drum kit on a five-line staff
-@lilypond[quote,raggedright,noindent]
-nam = \lyricmode { cymc cyms cymr hh hhc hho hhho hhp cb hc
- bd sn ss tomh tommh tomml toml tomfh tomfl }
-mus = \drummode { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
- bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
+@lilypond[quote,linewidth=10.0\cm]
+nam = \lyricmode {
+ cymc cyms cymr hh hhc hho hhho hhp
+ cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
+mus = \drummode {
+ cymc cyms cymr hh hhc hho hhho hhp \break
+ cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
\score {
- << \new DrumStaff\with {
- \remove Bar_engraver
- \remove Time_signature_engraver
- \override Stem #'transparent = ##t
- \override Stem #'Y-extent-callback = ##f
- minimumVerticalExtent = #'(-4.0 . 5.0)
- } \mus
- \context Lyrics \nam
- >>
- \layout {
- %% need to do this, because of indented @itemize
- linewidth= 9 \cm
- \context { \Score
- \override LyricText #'font-family = #'typewriter
- \override BarNumber #'transparent =##T
-}}}
+ << \new DrumStaff \with {
+ \remove Bar_engraver
+ \remove Time_signature_engraver
+ \override Stem #'transparent = ##t
+ \override Stem #'Y-extent-callback = ##f
+ minimumVerticalExtent = #'(-4.0 . 5.0)
+ } \mus
+ \context Lyrics \nam
+ >>
+ \layout {
+ \context {
+ \Score
+ \override LyricText #'font-family = #'typewriter
+ \override BarNumber #'transparent =##T
+ }
+ }
+}
@end lilypond
-The drum scheme supports six different toms. When there fewer toms, simply
-select the toms that produce the desired result, i.e. to get toms on
-the three middle lines you use @code{tommh}, @code{tomml} and
+The drum scheme supports six different toms. When there are fewer toms,
+simply select the toms that produce the desired result, i.e., to get toms
+on the three middle lines you use @code{tommh}, @code{tomml}, and
@code{tomfh}.
@item timbales-style
@lilypond[quote,raggedright]
nam = \lyricmode { timh ssh timl ssl cb }
-mus = \drummode { timh ssh timl ssl cb s16 }
+mus = \drummode { timh ssh timl ssl cb s16 }
<<
- \context DrumStaff \with {
- \remove Bar_engraver
- \remove Time_signature_engraver
- \override Stem #'transparent = ##t
- \override Stem #'Y-extent-callback = ##f
- \override StaffSymbol #'line-count = #2
- \override StaffSymbol #'staff-space = #2
- minimumVerticalExtent = #'(-3.0 . 4.0)
- drumStyleTable = #timbales-style
- } \mus
- \context Lyrics {
- \override LyricText #'font-family = #'typewriter
-
- \nam }
+ \context DrumStaff \with {
+ \remove Bar_engraver
+ \remove Time_signature_engraver
+ \override Stem #'transparent = ##t
+ \override Stem #'Y-extent-callback = ##f
+ \override StaffSymbol #'line-count = #2
+ \override StaffSymbol #'staff-space = #2
+ minimumVerticalExtent = #'(-3.0 . 4.0)
+ drumStyleTable = #timbales-style
+ } \mus
+ \context Lyrics {
+ \override LyricText #'font-family = #'typewriter
+ \nam
+ }
>>
@end lilypond
+
@item congas-style
This typesets congas on a two line staff
@lilypond[quote,raggedright]
nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
-mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
+mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
+
<<
- \context DrumStaff\with {
- \remove Bar_engraver
- \remove Time_signature_engraver
- drumStyleTable = #congas-style
- \override StaffSymbol #'line-count = #2
-
- %% this sucks; it will lengthen stems.
- \override StaffSymbol #'staff-space = #2
- \override Stem #'transparent = ##t
- \override Stem #'Y-extent-callback = ##f
- } \mus
- \context Lyrics {
- \override LyricText #'font-family = #'typewriter
-\nam }
+ \context DrumStaff \with {
+ \remove Bar_engraver
+ \remove Time_signature_engraver
+ drumStyleTable = #congas-style
+ \override StaffSymbol #'line-count = #2
+
+ %% this sucks; it will lengthen stems.
+ \override StaffSymbol #'staff-space = #2
+ \override Stem #'transparent = ##t
+ \override Stem #'Y-extent-callback = ##f
+ } \mus
+ \context Lyrics {
+ \override LyricText #'font-family = #'typewriter
+ \nam
+ }
>>
@end lilypond
+
@item bongos-style
This typesets bongos on a two line staff
@lilypond[quote,raggedright]
nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
-mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
+mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
+
<<
- \context DrumStaff\with {
- \remove Bar_engraver
- \remove Time_signature_engraver
- \override StaffSymbol #'line-count = #2
- drumStyleTable = #bongos-style
-
- %% this sucks; it will lengthen stems.
- \override StaffSymbol #'staff-space = #2
- \override Stem #'transparent = ##t
- \override Stem #'Y-extent-callback = ##f
- } \mus
- \context Lyrics {
- \override LyricText #'font-family = #'typewriter
-\nam }
+ \context DrumStaff\with {
+ \remove Bar_engraver
+ \remove Time_signature_engraver
+ \override StaffSymbol #'line-count = #2
+ drumStyleTable = #bongos-style
+
+ %% this sucks; it will lengthen stems.
+ \override StaffSymbol #'staff-space = #2
+ \override Stem #'transparent = ##t
+ \override Stem #'Y-extent-callback = ##f
+ } \mus
+ \context Lyrics {
+ \override LyricText #'font-family = #'typewriter
+ \nam
+ }
>>
@end lilypond
@item percussion-style
-to typeset all kinds of simple percussion on one line staves
+To typeset all kinds of simple percussion on one line staves.
+
@lilypond[quote,raggedright]
nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
-mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
+mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
+
<<
- \context DrumStaff\with{
- \remove Bar_engraver
- drumStyleTable = #percussion-style
- \override StaffSymbol #'line-count = #1
- \remove Time_signature_engraver
- \override Stem #'transparent = ##t
- \override Stem #'Y-extent-callback = ##f
- } \mus
- \context Lyrics {
- \override LyricText #'font-family = #'typewriter
- \nam
- }
+ \context DrumStaff\with{
+ \remove Bar_engraver
+ drumStyleTable = #percussion-style
+ \override StaffSymbol #'line-count = #1
+ \remove Time_signature_engraver
+ \override Stem #'transparent = ##t
+ \override Stem #'Y-extent-callback = ##f
+ } \mus
+ \context Lyrics {
+ \override LyricText #'font-family = #'typewriter
+ \nam
+ }
>>
@end lilypond
@end table
@lilypond[quote,raggedright,verbatim]
#(define mydrums '(
- (bassdrum default #f -1)
- (snare default #f 0)
- (hihat cross #f 1)
- (pedalhihat xcircle "stopped" 2)
- (lowtom diamond #f 3)))
+ (bassdrum default #f -1)
+ (snare default #f 0)
+ (hihat cross #f 1)
+ (pedalhihat xcircle "stopped" 2)
+ (lowtom diamond #f 3)))
up = \drummode { hh8 hh hh hh hhp4 hhp }
down = \drummode { bd4 sn bd toml8 toml }
\new DrumStaff <<
- \set DrumStaff.drumStyleTable
- = #(alist->hash-table mydrums)
- \new DrumVoice { \voiceOne \up }
- \new DrumVoice { \voiceTwo \down }
+ \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
+ \new DrumVoice { \voiceOne \up }
+ \new DrumVoice { \voiceTwo \down }
>>
@end lilypond
@seealso
-Init files: @file{ly/drumpitch-init.ly}.
+Init files: @file{ly/@/drumpitch@/-init@/.ly}.
Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
Piano staves are two normal staves coupled with a brace. The staves
are largely independent, but sometimes voices can cross between the
two staves. The same notation is also used for harps and other key
+@c Is this `harp' or `harpsichord'?
instruments. The @internalsref{PianoStaff} is especially built to
handle this cross-staffing behavior. In this section we discuss the
@internalsref{PianoStaff} and some other pianistic peculiarities.
* Arpeggio::
* Staff switch lines::
* Cross staff stems::
-@end menu
+@end menu
@refbugs
The distance between the two staves is the same for all systems in the
score. It is possible to override this per system, but it does require
an arcane command incantation. See
-@inputfileref{input/test,piano-staff-distance.ly}.
+@inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
@node Automatic staff changes
@quotation
@example
- \autochange @dots{}@var{music}@dots{}
+\autochange @dots{}@var{music}@dots{}
@end example
@end quotation
@end quotation
-The autochanger switches on basis of pitch (middle C is the turning
+The autochanger switches on basis of the pitch (middle C is the turning
point), and it looks ahead skipping over rests to switch in
advance. Here is a practical example
-
+
@lilypond[quote,verbatim,raggedright]
\context PianoStaff
\autochange \relative c'
quality output, staff switches should be specified manually.
-@code{\autochange} cannot be inside @code{\times}.
+@code{\autochange} cannot be inside @code{\times}.
Internally, the @code{\partcombine} interprets both arguments as
@code{Voice}s named @code{one} and @code{two}, and then decides when
@example
<<
\context Staff = up @{
- \skip 1 * 10 %@emph{ keep staff alive}
+ \skip 1 * 10 % @emph{keep staff alive}
@}
\context Staff = down @{
- \skip 1 * 10 %@emph{idem}
+ \skip 1 * 10 % @emph{idem}
@}
>>
-@end example
+@end example
and the @context{Voice} is inserted afterwards
note or chord
@lilypond[quote,raggedright,fragment,verbatim]
- c'4\sustainDown c'4\sustainUp
+c'4\sustainDown c'4\sustainUp
@end lilypond
What is printed can be modified by setting @code{pedal@var{X}Strings},
@code{pedalSustainStyle} property to bracket objects
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
- \set Staff.pedalSustainStyle = #'bracket
- c\sustainDown d e
- b\sustainUp\sustainDown
- b g \sustainUp a \sustainDown \bar "|."
+\set Staff.pedalSustainStyle = #'bracket
+c\sustainDown d e
+b\sustainUp\sustainDown
+b g \sustainUp a \sustainDown \bar "|."
@end lilypond
A third style of pedal notation is a mixture of text and brackets,
-obtained by setting the @code{pedalSustainStyle} style property to
+obtained by setting the @code{pedalSustainStyle} property to
@code{mixed}
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
- \set Staff.pedalSustainStyle = #'mixed
- c\sustainDown d e
- b\sustainUp\sustainDown
- b g \sustainUp a \sustainDown \bar "|."
+\set Staff.pedalSustainStyle = #'mixed
+c\sustainDown d e
+b\sustainUp\sustainDown
+b g \sustainUp a \sustainDown \bar "|."
@end lilypond
The default `*Ped.' style for sustain and damper pedals corresponds to
default.
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
- c\sostenutoDown d e c, f g a\sostenutoUp
+c\sostenutoDown d e c, f g a\sostenutoUp
@end lilypond
-For fine-tuning of the appearance of a pedal bracket, the properties
+For fine-tuning the appearance of a pedal bracket, the properties
@code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
@code{PianoPedalBracket} objects (see
-@internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
-bracket may be extended to the right edge of the note head
+@internalsref{PianoPedalBracket} in the Program reference) can be
+modified. For example, the bracket may be extended to the right edge
+of the note head
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
- \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
- c\sostenutoDown d e c, f g a\sostenutoUp
+\override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
+c\sostenutoDown d e c, f g a\sostenutoUp
@end lilypond
@node Arpeggio
@lilypond[quote,raggedright,fragment,relative=1,verbatim]
- <c e g c>\arpeggio
+<c e g c>\arpeggio
@end lilypond
When an arpeggio crosses staves, you attach an arpeggio to the chords
@lilypond[quote,raggedright,fragment,relative=1,verbatim]
\context PianoStaff <<
\set PianoStaff.connectArpeggios = ##t
- \new Staff { <c' e g c>\arpeggio }
- \new Staff { \clef bass <c,, e g>\arpeggio }
+ \new Staff { <c' e g c>\arpeggio }
+ \new Staff { \clef bass <c,, e g>\arpeggio }
>>
@end lilypond
@c todo: ugh, lousy typography. Look for real example. --hwn
@lilypond[quote,raggedright,fragment,relative=1,verbatim]
- \arpeggioBracket
- <c' e g c>\arpeggio
+\arpeggioBracket
+<c' e g c>\arpeggio
@end lilypond
@refcommands
@cindex @code{followVoice}
-Whenever a voice switches to another staff a line connecting the notes
+Whenever a voice switches to another staff, a line connecting the notes
can be printed automatically. This is switched on by setting
@code{PianoStaff.followVoice} to true
b2 a
}
\context Staff=two { \clef bass \skip 1*2 }
->>
+>>
@end lilypond
@seealso
@refcommands
@cindex @code{\showStaffSwitch}
-@code{\showStaffSwitch},
+@code{\showStaffSwitch},
@cindex @code{\hideStaffSwitch}
@code{\hideStaffSwitch}.
@node Cross staff stems
@subsection Cross staff stems
-The chords which cross staves may be produced by increasing the length
-of the stem in the lower stave, so it reaches the stem in the upper
-stave, or vice versa.
+Chords that cross staves may be produced by increasing the length
+of the stem in the lower staff, so it reaches the stem in the upper
+staff, or vice versa.
@lilypond[raggedright,verbatim,quote]
stemExtend = \once \override Stem #'length = #22
@itemize @bullet
@item
- Song texts must be entered as texts, not notes. For example, the
-input @code{d} should be interpreted as a one letter syllable, not the note D.
+Song texts must be entered as text, not notes. For example, the
+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.
+Song texts must be printed as text, not as notes.
+
@item
- Song texts must be aligned with the notes of their melody
+Song texts must be aligned with the notes of their melody.
@end itemize
-The simplest solution to printing music uses the @code{\addlyrics}
+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.
+for complex vocal music.
@menu
* Flexibility in alignment::
* More stanzas::
* Ambitus::
+* Other vocal issues::
@end menu
@node Setting simple songs
The easiest way to add lyrics to a melody is to append
@cindex \addlyrics
@example
- \addlyrics @{ @var{the lyrics} @}
+\addlyrics @{ @var{the lyrics} @}
@end example
@noindent
to a melody. Here is an example,
@lilypond[raggedright,verbatim,fragment,quote]
- \time 3/4
- \relative { c2 e4 g2. }
- \addlyrics { play the game }
+\time 3/4
+\relative { c2 e4 g2. }
+\addlyrics { play the game }
@end lilypond
More stanzas can be added by adding more
-@code{\addlyrics} sections
+@code{\addlyrics} sections
@lilypond[raggedright,verbatim,fragment,quote]
- \time 3/4
- \relative { c2 e4 g2. }
- \addlyrics { play the game }
- \addlyrics { speel het spel }
- \addlyrics { joue le jeu }
+\time 3/4
+\relative { c2 e4 g2. }
+\addlyrics { play the game }
+\addlyrics { speel het spel }
+\addlyrics { joue le jeu }
@end lilypond
@c TODO - this isn't such a great place for this note, but I can't
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
+lyrics. You should use @code{\addlyrics} unless you need to do
fancy things, in which case you should investigate
@code{\lyricsto} or @code{\lyricmode}.
@example
- @{ MUSIC @}
- \addlyrics @{ LYRICS @}
+@{ MUSIC @}
+\addlyrics @{ LYRICS @}
@end example
+@noindent
is the same as
@example
- \context Voice = blah @{ music @}
- \lyricsto "blah" \lyricsmode \new lyrics @{ LYRICS @}
+\context Voice = blah @{ music @}
+\lyricsto "blah" \new lyrics @{ LYRICS @}
@end example
+@refbugs
+
+@code{\addlyrics} cannot handle polyphony.
+
@node Entering lyrics
@subsection Entering lyrics
@cindex @code{\lyricmode}
@cindex punctuation
-Lyrics are entered in a special input mode. This mode is is introduced
+Lyrics are entered in a special input mode. This mode is introduced
by the keyword @code{\lyricmode}, or by using @code{addlyrics} or
@code{lyricsto}. In this mode you can enter lyrics,
with punctuation and accents, and the input @code{d} is not parsed as
a pitch, but rather as a one letter syllable. Syllables are entered
like notes, but with pitches replaced by text. For example,
@example
- \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
+\lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
@end example
usually a mistake in the input file. The syllable includes a @code{@}}, so the
opening brace is not balanced
@example
- \lyricmode @{ twinkle@}
+\lyricmode @{ twinkle@}
@end example
@cindex @code{\property}, in @code{\lyricmode}
the resulting string. As a consequence, spaces must be inserted around
property commands
@example
- \override Score . LyricText #'font-shape = #'italic
+\override Score . LyricText #'font-shape = #'italic
@end example
@cindex @code{_}
@cindex spaces, in lyrics
@cindex quotes, in lyrics
-Any @code{_} character which appears in an unquoted word is converted
+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
@example
- \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
+\lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
@end example
This example is slightly academic, since it gives better looking
-results to use single quotes, @code{``} and @code{''}
+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
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.
+
+In tighly engraved music, hyphens can be removed. In some languages
+(e.g. German and Hungarian), hyphens should not disappear, since
+spelling depends on hyphenation. For that purpose, hyphens can be
+forced to remain by overriding @code{minimum-length} of
+the @code{LyricHyphen} grob.
+
+(code from 2.2)
+\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"
+ }
+
+ }
+
+}
+@end ignore
+
@seealso
-Program reference: @internalsref{HyphenEvent},
+Program reference: @internalsref{HyphenEvent},
@internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
@internalsref{LyricExtender}
-Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
-
@node The Lyrics context
-@subsection The Lyrics context
+@subsection The Lyrics context
Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
@example
- \context Lyrics \lyricmode @dots{}
+\context Lyrics \lyricmode @dots{}
@end example
@cindex automatic syllable durations
correct duration for each syllable. This is achieved by combining the
melody and the lyrics with the @code{\lyricsto} expression
@example
-\lyricsto @var{name} \new Lyrics @dots{}
+\lyricsto @var{name} \new Lyrics @dots{}
@end example
This aligns the lyrics to the
-@c
notes of the @internalsref{Voice} context called @var{name}, which has
to exist. Therefore, normally the @code{Voice} is specified first, and
then the lyrics are specified with @code{\lyricsto}. The command
@code{\lyricmode} keyword may be omitted.
For different or more complex orderings, the best way is to setup the
-hierarchy of staves and lyrics first, e.g.
+hierarchy of staves and lyrics first, e.g.,
@example
-\context ChoirStaff <<
+\context ChoirStaff <<
\context Lyrics = sopranoLyrics @{ s1 @}
\context Voice = soprano @{ @emph{music} @}
\context Lyrics = tenorLyrics @{ s1 @}
@end example
and then combine the appropriate melodies and lyric lines
@example
- \lyricsto "soprano" \context Lyrics = sopranoLyrics
- @emph{the lyrics}
+\lyricsto "soprano" \context Lyrics = sopranoLyrics
+ @emph{the lyrics}
@end example
@noindent
The final input would resemble
@example
-<<\context ChoirStaff << @emph{setup the music} >>
+<<\context ChoirStaff << @emph{setup the music} >>
\lyricsto "soprano" @emph{etc}
\lyricsto "alto" @emph{etc}
@emph{etc}
>>
-@end example
+@end example
The @code{\lyricsto} command detects melismata: it only puts one
syllable under a tied or slurred group of notes. If you want to force
an unslurred group of notes to be a melisma, insert @code{\melisma}
after the first note of the group, and @code{\melismaEnd} after the
-last one, e.g.
+last one, e.g.,
@lilypond[quote,relative=2,raggedright,fragment,verbatim]
<<
\context Voice = "lala" {
\time 3/4
f4 g8
- \melisma
+ \melisma
f e f
\melismaEnd
e2
}
\lyricsto "lala" \new Lyrics {
- la di __ daah
+ la di __ daah
}
>>
@end lilypond
@end ignore
Lyrics can also be entered without @code{\lyricsto}. In this case the
-durations of each syllable must be entered explicitly, for example,
+duration of each syllable must be entered explicitly, for example,
-@verbatim
- play2 the4 game2.
- sink2 or4 swim2.
-@end verbatim
+@example
+play2 the4 game2.
+sink2 or4 swim2.
+@end example
The alignment to a melody can be specified with the
@code{associatedVoice} property,
-@verbatim
- \set associatedVoice = #"lala"
-@end verbatim
+@example
+\set associatedVoice = #"lala"
+@end example
@noindent
The value of the property (here: @code{"lala"}) should be the name of
<< \context Voice = melody {
\time 3/4
c2 e4 g2.
- }
+ }
\new Lyrics \lyricmode {
\set associatedVoice = #"melody"
play2 the4 game2.
@cindex choral score
A complete example of a SATB score setup is in section
-@ref{Small ensembles}.
+@ref{Vocal ensembles}.
@refcommands
Program reference: @internalsref{LyricCombineMusic},
@internalsref{Lyrics}, @internalsref{Melisma_translator}.
-Examples: @ref{Small ensembles},
-@inputfileref{input/regression,lyric-combine-new.ly},
-@c TODO: make separate section for melismata
-@inputfileref{input/test,lyrics-melisma-variants.ly}.
-@inputfileref{input/test,lyrics-melisma-faster.ly}.
-
+
+@inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
+@c TODO: make separate section for melismata
+
+@c I can't find these examples in 2.0 or 2.2; remove. -gp
+@c @inputfileref{input/@/test,lyrics@/-melisma@/-variants@/.ly}.
+@c @inputfileref{input/@/test,lyrics@/-melisma@/-faster@/.ly}.
+
@refbugs
Melismata are not detected automatically, and extender lines must be
@lilypond[verbatim,raggedright,quote]
<<
\relative \context Voice = "lahlah" {
- \set Staff.autoBeaming = ##f
+ \set Staff.autoBeaming = ##f
c4
\slurDotted
f8.[( g16])
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
+done by setting the @code{associatedVoice} property. In the example
@lilypond[raggedright,quote]
-
<<
\relative \context Voice = "lahlah" {
- \set Staff.autoBeaming = ##f
+ \set Staff.autoBeaming = ##f
c4
<<
\context Voice = alternative {
}
\new Lyrics \lyricsto "lahlah" {
% Tricky: need to set associatedVoice
- % one syllable too soon!
+ % one syllable too soon!
\set associatedVoice = alternative % applies to "ran"
Ty --
- ran --
+ ran --
no --
\set associatedVoice = lahlah % applies to "rus"
sau -- rus Rex
@noindent
the text for the first stanza is set to a melody called ``lahlah'',
-@verbatim
-\new Lyrics \lyricsto "lahlah" {
+@example
+\new Lyrics \lyricsto "lahlah" @{
Ju -- ras -- sic Park
-}
-@end verbatim
+@}
+@end example
The second stanza initially is set to the @code{lahlah} context, but
for the syllable ``ran'', it switches to a different melody.
This is achieved with
@example
- \set associatedVoice = alternative
+\set associatedVoice = alternative
@end example
@noindent
Again, the command must be one syllable too early, before ``Ty'' in
this case.
-@verbatim
-\new Lyrics \lyricsto "lahlah" {
+@example
+\new Lyrics \lyricsto "lahlah" @{
\set associatedVoice = alternative % applies to "ran"
Ty --
- ran --
+ ran --
no --
\set associatedVoice = lahlah % applies to "rus"
sau -- rus Rex
-}
-@end verbatim
+@}
+@end example
@noindent
The underlay is switched back to the starting situation by assigning
@cindex stanza number
@cindex singer's names
-@cindex name of singer
+@cindex name of singer
-Stanza numbers can be added by setting @code{stanza}, e.g.
+Stanza numbers can be added by setting @code{stanza}, e.g.,
@lilypond[quote,raggedright,verbatim,relative=2,fragment]
\new Voice {
@cindex ambitus
The term @emph{ambitus} denotes a range of pitches for a given voice
-in a part of music. It also may denote the pitch range that a musical
+in a part of music. It may also denote the pitch range that a musical
instrument is capable of playing. Ambits are printed on vocal parts,
so performers can easily determine it meets their capabilities.
-It denoted at the beginning of a piece near the initial clef. The
-range is graphically specified by two note heads, that represent the
+Ambits are denoted at the beginning of a piece near the initial clef.
+The range is graphically specified by two note heads that represent the
minimum and maximum pitch. To print such ambits, add the
@internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
for example,
@example
- \layout @{
- \context @{
- \Voice
- \consists Ambitus_engraver
- @}
+\layout @{
+ \context @{
+ \Voice
+ \consists Ambitus_engraver
@}
+@}
@end example
This results in the following output
}
@end lilypond
-If you have multiple voices in a single staff, and you want a single
+If you have multiple voices in a single staff and you want a single
ambitus per staff rather than per each voice, add the
@internalsref{Ambitus_engraver} to the @internalsref{Staff} context
rather than to the @internalsref{Voice} context. Here is an example,
@lilypond[verbatim,raggedright,quote]
-\new Staff <<
+\new Staff \with {
+ \consists "Ambitus_engraver"
+}
+<<
\new Voice \with {
- \consists "Ambitus_engraver"
+ \remove "Ambitus_engraver"
} \relative c'' {
\override Ambitus #'X-offset-callbacks
= #(list (lambda (grob axis) -1.0))
c4 a d e f2
}
\new Voice \with {
- \consists "Ambitus_engraver"
+ \remove "Ambitus_engraver"
} \relative c' {
\voiceTwo
es4 f g as b2
This example uses one advanced feature,
@example
- \override Ambitus #'X-offset-callbacks
- = #(list (lambda (grob axis) -1.0))
+\override Ambitus #'X-offset-callbacks
+ = #(list (lambda (grob axis) -1.0))
@end example
@noindent
This code moves the ambitus to the left. The same effect could have
been achieved with @code{extra-offset}, but then the formatting system
-would not reserve space for the moved object.
+would not reserve space for the moved object.
@seealso
@internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
@internalsref{AmbitusAccidental}.
-Examples: @inputfileref{input/regression,ambitus.ly}.
+Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
@refbugs
There is no collision handling in the case of multiple per-voice
ambitus.
+@node Other vocal issues
+@subsection Other vocal issue
+
+@ignore
+yeah, I'm giving up somewhat by stuffing a bunch of things in
+here. But at least they're in the manual now; it's easier to
+move them around in the manual once they're already here.
+
+Besides, if users complain about everything stuffed in here, I
+can ask them for specific instructions about where to move these
+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
+
+
@node Other instrument specific notation, Tablatures, Vocal music, Notation manual
@section Other instrument specific notation
* Harmonic notes::
@end menu
-@node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
+@node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
@subsection Harmonic notes
@cindex artificial harmonics
@cindex harmonics
Artificial harmonics are notated with a different notehead style. They
-are entered by
-marking the harmonic pitch with @code{\harmonic}.
+are entered by marking the harmonic pitch with @code{\harmonic}.
@lilypond[raggedright,verbatim,quote,fragment]
- <c' g'\harmonic>4
+<c' g'\harmonic>4
@end lilypond
@cindex Tablatures basic
The string number associated to a note is given as a backslash
-followed by a number, e.g. @code{c4\3} for a C quarter on the third
+followed by a number, e.g., @code{c4\3} for a C quarter on the third
string. By default, string 1 is the highest one, and the tuning
defaults to the standard guitar tuning (with 6 strings). The notes
are printed as tablature, by using @internalsref{TabStaff} and
@internalsref{TabVoice} contexts
@lilypond[quote,raggedright,fragment,verbatim]
- \context TabStaff {
+\context TabStaff {
a,4\5 c'\2 a\3 e'\1
e\4 c'\2 a\3 e'\1
}
\set TabStaff.minimumFret = #8
e16 fis gis a b4
@end example
-@lilypond[quote,noindent,raggedright]
-frag = {
+@lilypond[quote,raggedright]
+frag = {
\key e \major
e16 fis gis a b4
\set TabStaff.minimumFret = #8
chord.
-@node Non-guitar tablatures, , Tablatures basic, Tablatures
+@node Non-guitar tablatures, , Tablatures basic, Tablatures
@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}.
+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
@code{stringTunings} is set for the pitches e, a, d, and g
@lilypond[quote,raggedright,fragment,verbatim]
- \context TabStaff <<
- \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
-
- {
- a,4 c' a e' e c' a e'
- }
- >>
+\context TabStaff <<
+ \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
+ {
+ a,4 c' a e' e c' a e'
+ }
+>>
@end lilypond
@refbugs
@node Popular music, Orchestral music, Tablatures, Notation manual
-@section Popular music
+@section Popular music
This section discusses issues that arise when writing popular music.
* Chord names::
* Chords mode::
* Printing chord names::
+* Fret diagrams::
* Improvisation::
@end menu
@subsection Chord names
@cindex Chords
-LilyPond has support for both printing chord names. Chords may be
-entered in musical chord notation, i.e. @code{< .. >}, but they can
-also be entered by name. Internally, the chords are represented as a
-set of pitches, so they can be transposed
+LilyPond has support for printing chord names. Chords may be entered
+in musical chord notation, i.e., @code{< .. >}, but they can also be
+entered by name. Internally, the chords are represented as a set of
+pitches, so they can be transposed
@lilypond[quote,raggedright,verbatim,raggedright]
<f bes d'>
}
- << \context ChordNames \twoWays
- \context Voice \twoWays >>
+<< \context ChordNames \twoWays
+ \context Voice \twoWays >>
@end lilypond
This example also shows that the chord printing routines do not try to
@c this menu isn't needed.
@ignore
@menu
-* Chords mode::
-* Printing chord names::
+* Chords mode::
+* Printing chord names::
@end menu
@end ignore
names. A chord is entered by the root, which is entered like a
normal pitch
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
- \chordmode { es4. d8 c2 }
+@lilypond[quote,raggedright,fragment,verbatim]
+\chordmode { es4. d8 c2 }
@end lilypond
@noindent
Other chords may be entered by suffixing a colon and introducing a
modifier (which may include a number if desired)
-@c
@lilypond[quote,fragment,verbatim]
- \chordmode { e1:m e1:7 e1:m7 }
+\chordmode { e1:m e1:7 e1:m7 }
@end lilypond
The first number following the root is taken to be the `type' of the
chord, thirds are added to the root until it reaches the specified
number
@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 }
@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
-@c
+the colon and are separated by dots
@lilypond[quote,verbatim,fragment]
- \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
+\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- }
+\chordmode { c:7+ c:5+.3- c:3-.5-.7- }
@end lilypond
-Removals are specified similarly, and are introduced by a caret. They
+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 }
+\chordmode { c^3 c:7^5 c:9^3.5 }
@end lilypond
Modifiers can be used to change pitches. The following modifiers are
supported
+
@table @code
@item m
- is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
+The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
+
@item dim
- is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
- the 7th step.
+The diminished chord. This modifier lowers the 3rd, 5th and (if present)
+the 7th step.
+
@item aug
- is the augmented chord. This modifier raises the 5th step.
+The augmented chord. This modifier raises the 5th step.
+
@item maj
- is the major 7th chord. This modifier raises the 7th step if present.
+The major 7th chord. This modifier raises the 7th step if present.
+
@item sus
- is the suspended 4th or 2nd. This modifier removes the 3rd
+The suspended 4th or 2nd. This modifier removes the 3rd
step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
the chord.
@end table
+
Modifiers can be mixed with additions
@lilypond[quote,verbatim,fragment]
- \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
+ \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
@end lilypond
-@cindex modifiers, in chords.
+@cindex modifiers, in chords.
@cindex @code{aug}
@cindex @code{dim}
@cindex @code{maj}
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
explicitly)
-@c
@lilypond[quote,raggedright,fragment,verbatim]
- \chordmode { c:13 c:13.11 c:m13 }
+\chordmode { c:13 c:13.11 c:m13 }
@end lilypond
@cindex @code{/}
as bass notes, can be specified by appending
@code{/}@var{pitch} to the chord
@lilypond[quote,raggedright,fragment,verbatim]
- \chordmode { c1 c/g c/f }
+\chordmode { c1 c/g c/f }
@end lilypond
@cindex @code{/+}
-A bass note can be added instead of transposed out of the chord,
-by using @code{/+}@var{pitch}.
+A bass note can be added instead transposed out of the chord,
+by using @code{/+}@var{pitch}.
@lilypond[quote,raggedright,fragment,verbatim]
\chordmode { c1 c/+g c/+f }
@end lilypond
-Chords is a mode similar to @code{\lyricmode} etc. Most
+Chords is a mode similar to @code{\lyricmode}, etc. Most
of the commands continue to work, for example, @code{r} and
@code{\skip} can be used to insert rests and spaces, and property
commands may be used to change various settings.
@lilypond[quote,verbatim,raggedright]
harmonies = {
- \chordmode {a1 b c} <d' f' a'> <e' g' b'>
+ \chordmode {a1 b c} <d' f' a'> <e' g' b'>
}
<<
\context ChordNames \harmonies
display chord names when there is a change in the chords scheme and at
the start of a new line
-@c originally this had linewidth=9\cm, but I though that raggedright would be better
@lilypond[quote,verbatim,raggedright]
harmonies = \chordmode {
c1:m c:m \break c:m c:m d
voltaOnThisStaff = ##t
\consists Bar_engraver
\consists "Volta_engraver"
-}
+}
\repeat volta 2 \chordmode {
f1:maj f:7 bes:7
- c:maj
+ c:maj
} \alternative {
es e
}
@cindex @code{chordNameExceptions}
@item chordNameExceptions
This is a list that contains the chords that have special formatting.
-For an example of tuning this property, see
-@inputfileref{input/regression,chord-name-exceptions.ly}.
-@cindex exceptions, chord names.
+
+The exceptions list should be encoded as
+@example
+@{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
+@end example
+
+To get this information into @code{chordNameExceptions} takes a little
+manoeuvring. The following code transforms @code{chExceptionMusic}
+(which is a sequential music) into a list of exceptions.
+@example
+(sequential-music-to-chord-exceptions chExceptionMusic #t)
+@end example
+Then,
+@example
+(append
+ (sequential-music-to-chord-exceptions chExceptionMusic #t)
+ ignatzekExceptions)
+@end example
+adds the new exceptions to the default ones, which are defined in
+@file{ly/@/chord@/-modifier@/-init@/.ly}.
+
+For an example of tuning this property, see also
+@inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
+@cindex exceptions, chord names.
@cindex @code{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.
+@inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
@cindex @code{chordNameSeparator}
@item chordNameSeparator
Different parts of a chord name are normally separated by a
slash. By setting @code{chordNameSeparator}, you can specify other
-separators, e.g.
+separators, e.g.,
@lilypond[quote,raggedright,fragment,verbatim]
\context ChordNames \chordmode {
c:7sus4
@cindex @code{chordNoteNamer}
@item chordNoteNamer
-The default is to print single pitch, e.g. the bass note, using the
+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.
@code{\semiGermanChords} set these variables. The effect is
demonstrated here,
-@lilypondfile[raggedright,]{chord-names-german.ly}
+@lilypondfile[raggedright]{chord-names-german.ly}
There are also two other chord name schemes implemented: an alternate
Jazz chord notation, and a systematic scheme called Banter chords. The
-alternate jazz notation is also shown on the chart in @ref{Chord name
+alternate Jazz notation is also shown on the chart in @ref{Chord name
chart}. Turning on these styles is described in the input file
-@inputfileref{input/test,chord-names-jazz.ly}.
+@inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
@cindex Banter
@cindex jazz chords
-@cindex chords, jazz
+@cindex chords, jazz
@refcommands
@cindex @code{\germanChords}
-@code{\germanChords},
+@code{\germanChords},
@cindex @code{\semiGermanChords}
@code{\semiGermanChords}.
@seealso
-Examples: @inputfileref{input/regression,chord-name-major7.ly},
-@inputfileref{input/regression,chord-name-exceptions.ly},
-@inputfileref{input/test,chord-names-jazz.ly},
-@inputfileref{input/test,chords-without-melody.ly}.
+Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
+@inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
+@inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
-Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
+Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
+@file{scm/@/chord@/-entry@/.scm}.
@refbugs
@code{< .. >} syntax.
+@node Fret diagrams
+@subsection Fret diagrams
+@cindex fret diagrams
+@cindex chord diagrams
+
+Fret diagrams can be added to music as a markup to the desired note. The
+markup contains information about the desired fret diagram, as shown in the
+following example
+
+@lilypond[verbatim, raggedright, quote]
+\context Voice {
+ 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) {
+ \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)
+ (place-fret 3 3 2) (place-fret 2 2 1)
+ (place-fret 1 2 1))
+ }
+ }
+ fis' fis' fis'
+ 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-);"
+ }
+ }
+ }
+ c' c' c'
+}
+@end lilypond
+
+
+There are three different fret-diagram markup interfaces: standard, terse,
+and verbose. The three interfaces produce equivalent markups, but have
+varying amounts of information in the markup string. Details about the
+markup interfaces are found at @ref{Overview of text markup commands}.
+
+You can set a number of graphical properties according to your preference.
+Details about the property interface to fret diagrams are found at
+@internalsref{fret-diagram-interface}.
+
+
+@seealso
+
+Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
+
+
@node Improvisation
@subsection Improvisation
following command
@example
- \set squashedPosition = #0
- \override NoteHead #'style = #'slash
+\set squashedPosition = #0
+\override NoteHead #'style = #'slash
@end example
@noindent
@node Orchestral music
@section Orchestral music
-@cindex Writing parts
+@cindex Writing parts
Orchestral music involves some special notation, both in the full
score and the individual parts. This section explains how to tackle
@end menu
@node System start delimiters
-@subsection System start delimiters
+@subsection System start delimiters
Polyphonic scores consist of many staves. These staves can be
constructed in three different ways
\new Staff { c1 c }
\new Staff { c c }
>>
-@end lilypond
+@end lilypond
-@item The group is started with a bracket, and bar lines are connected. This is done with the
+@item The group is started with a bracket, and bar lines are connected.
+This is done with the
@internalsref{StaffGroup} context
@lilypond[verbatim,raggedright,quote]
\new Staff { c1 c }
\new Staff { c c }
>>
-@end lilypond
+@end lilypond
@item The group is started with a vertical line. Bar lines are not
\new Staff { c1 c }
\new Staff { c c }
>>
-@end lilypond
+@end lilypond
@end itemize
In an orchestral context, cadenzas present a special problem:
when constructing a score that includes a cadenza, all other
instruments should skip just as many notes as the length of the
-cadenza, otherwise they will start too soon or too late.
+cadenza, otherwise they will start too soon or too late.
A solution to this problem are the functions @code{mmrest-of-length}
-and @code{skip-of-length}. These Scheme functions take a piece music
-as argument, and generate a @code{\skip} or multi rest, exactly as
+and @code{skip-of-length}. These Scheme functions take a piece of music
+as argument, and generate a @code{\skip} or multi-rest, exactly as
long as the piece. The use of @code{mmrest-of-length} is demonstrated
-in the following example.
+in the following example.
@lilypond[verbatim,raggedright,quote]
-cadenza = \relative c' {
+cadenza = \relative c' {
c4 d8 << { e f g } \\ { d4. } >>
g4 f2 g4 g
}
-
+
\new GrandStaff <<
- \new Staff { \cadenza c'4 }
+ \new Staff { \cadenza c'4 }
\new Staff {
#(ly:export (mmrest-of-length cadenza))
c'4
To print a rehearsal mark, use the @code{\mark} command
-@lilypond[quote,raggedright,fragment,verbatim,relative=1]
- c1 \mark \default
- c1 \mark \default
- c1 \mark #8
- c1 \mark \default
- c1 \mark \default
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+c1 \mark \default
+c1 \mark \default
+c1 \mark #8
+c1 \mark \default
+c1 \mark \default
@end lilypond
@noindent
-(The letter I is skipped in accordance with engraving traditions.)
-@c umm, is the manual the right place for feature requests? :) -gp
+(The letter@tie{}`I' is skipped in accordance with engraving traditions.)
+@c umm, is the manual the right place for feature requests? :) -gp
@c FIXME - should make that tunable.
The mark is incremented automatically if you use @code{\mark
function taking the current mark (an integer) and the current context
as argument. It should return a markup object. In the following
example, @code{markFormatter} is set to a canned procedure. After a
-few measures, it is set to function that produces a boxed number.
+few measures, it is set to function that produces a boxed number.
-@c fragproblem? -gp
-@lilypond[quote,raggedright,verbatim,relative=2]
-{
- \set Score.markFormatter = #format-mark-numbers
- c1 \mark \default
- c1 \mark \default
- \set Score.markFormatter
- = #(lambda (mark context)
- (make-bold-markup
- (make-box-markup (number->string mark))))
- c1 \mark \default
- c1 \mark \default
-}
+@lilypond[fragment,quote,raggedright,verbatim,relative=2]
+\set Score.markFormatter = #format-mark-numbers
+c1 \mark \default
+c1 \mark \default
+\set Score.markFormatter = #format-mark-box-numbers
+c1 \mark \default
+c1 \mark \default
+c1
@end lilypond
-The file @file{scm/translation-functions.scm} contains the definitions
-of @code{format-mark-numbers} (the default format) and
-@code{format-mark-letters}. These can be used as inspiration for other
-formatting functions.
+The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
+of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
+@code{format-mark-letters} and @code{format-mark-box-letters}.
+These can be used as inspiration for other formatting functions.
@cindex coda on bar line
@cindex bar lines, symbols on
The @code{\mark} command can also be used to put signs like coda,
-segno and fermatas on a bar line. Use @code{\markup} to
-to access the appropriate symbol
+segno, and fermata on a bar line. Use @code{\markup} to
+access the appropriate symbol
-@c fragproblem? -gp
-@lilypond[quote,raggedright,verbatim,relative=2]
-{
- c1 \mark \markup { \musicglyph #"scripts-ufermata" }
- c1
-}
+@lilypond[fragment,quote,raggedright,verbatim,relative=2]
+c1 \mark \markup { \musicglyph #"scripts-ufermata" }
+c1
@end lilypond
-In the case of a line break, marks must also be printed at the end of
-the line, and not at the beginning. Use the following to force that
-behavior
+If the mark occurs at a line break, the mark will be printed at the
+beginning of the next line.
+@c IMO this is a bug; hopefully it'll be fixed soon, so I can
+@c delete this sentence. -gp
+If there is no next line, then the mark will not be printed at all.
+To print the mark at the end of the current line, use
+
@example
- \override Score.RehearsalMark
- #'break-visibility = #begin-of-line-invisible
+\override Score.RehearsalMark
+ #'break-visibility = #begin-of-line-invisible
@end example
@cindex fermatas
@cindex coda
@cindex segno
-@cindex bar lines, putting symbols on
+@cindex bar lines, putting symbols on
@seealso
Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
-Init files: @file{scm/translation-functions.scm} contains the
+Init files: @file{scm/@/translation@/-functions@/.scm} contains the
definition of @code{format-mark-numbers} and
@code{format-mark-letters}. They can be used as inspiration for other
formatting functions.
-Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
+Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
-@inputfileref{input/regression,rehearsal-mark-number.ly}.
+@inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
@node Bar numbers
@subsection Bar numbers
-@cindex bar numbers
+@cindex Bar numbers
@cindex measure numbers
@cindex @code{currentBarNumber}
Bar numbers can be typeset at regular intervals instead of at the
beginning of each line. This is illustrated in the following example,
whose source is available as
-@inputfileref{input/test,bar-number-regular-interval.ly}
+@inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
@lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
+Bar numbers can be typeset manually by tweaking the
+@code{markFormatter} property
+
+@lilypond[verbatim,raggedright,quote]
+\relative c' {
+ \set Score.markFormatter
+ = #(lambda (mark context)
+ (make-bold-markup
+ (make-box-markup
+ (number->string (ly:context-property context
+ 'currentBarNumber)))))
+
+ c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
+}
+@end lilypond
+
+Bar numbers can be manually changed by setting the
+@code{Staff.currentBarNumber} property
+
+@lilypond[verbatim,raggedright,quote]
+\relative c' {
+ \repeat unfold 4 {c4 c c c} \break
+ \set Score.currentBarNumber = #50
+ \repeat unfold 4 {c4 c c c}
+}
+@end lilypond
+
@seealso
Program reference: @internalsref{BarNumber}.
-Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
-and @inputfileref{input/test,bar-number-regular-interval.ly}.
+Examples:
+@inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
+and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
@refbugs
@node Instrument names
@subsection Instrument names
-In an orchestral score, instrument names are printed left side of the
-staves.
+In an orchestral score, instrument names are printed at the left side
+of the staves.
This can be achieved by setting @internalsref{Staff}.@code{instrument}
and @internalsref{Staff}.@code{instr}. This will print a string before
-the start of the staff. For the first start, @code{instrument} is
-used, for the next ones @code{instr} is used.
+the start of the staff. For the first staff, @code{instrument} is
+used, for the following ones, @code{instr} is used.
@lilypond[quote,verbatim,raggedright,relative=1,fragment]
- \set Staff.instrument = "Ploink "
- \set Staff.instr = "Plk "
- c1
- \break
- c''
+\set Staff.instrument = "Ploink "
+\set Staff.instr = "Plk "
+c1
+\break
+c''
@end lilypond
You can also use markup texts to construct more complicated instrument
names, for example
@lilypond[quote,fragment,verbatim,raggedright]
- \set Staff.instrument = \markup {
- \column < "Clarinetti" { "in B"
- \smaller \flat } > }
-{ c''1 }
+\set Staff.instrument = \markup {
+ \column { "Clarinetti"
+ \line { "in B" \smaller \flat } } }
+c''1
@end lilypond
For longer instrument names, it may be useful to increase the
@refbugs
-When you put a name on a grand staff or piano staff the width of the
+When you put a name on a grand staff or piano staff, the width of the
brace is not taken into account. You must add extra spaces to the end of
the name to avoid a collision.
A music expression can be transposed with @code{\transpose}. The
syntax is
@example
- \transpose @var{from} @var{to} @var{musicexpr}
+\transpose @var{from} @var{to} @var{musicexpr}
@end example
This means that @var{musicexpr} is transposed by the interval between
is changed to @code{to}.
-For example, consider a piece written in the key of D major. If
+For example, consider a piece written in the key of D-major. If
this piece is a little too low for its performer, it can be
-transposed up to E major with
+transposed up to E-major with
@example
- \transpose d e @dots{}
+\transpose d e @dots{}
@end example
Consider a part written for violin (a C instrument). If
transposition will produce the appropriate part
@example
- \transpose a c @dots{}
-@end example
+\transpose a c @dots{}
+@end example
@code{\transpose} distinguishes between enharmonic pitches: both
@code{\transpose c cis} or @code{\transpose c des} will transpose up
@subsection Instrument transpositions
The key of a transposing instrument can also be specified. This
-applies to many wind instruments, for example, clarinets (B-flat, A and
-E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
+applies to many wind instruments, for example, clarinets (B-flat, A, and
+E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
The transposition is entered after the keyword @code{\transposition}
@example
- \transposition bes %% B-flat clarinet
+\transposition bes %% B-flat clarinet
@end example
@noindent
affect how notes are printed in the current staff.
The pitch to use for @code{\transposition} should correspond to the
-transposition of the notes. For example, when entering a score in
-concert pitch, typically all voices are entered in C, so
+transposition of the notes. For example, when entering a score in
+concert pitch, typically all voices are entered in C, so
they should be entered as
@example
- clarinet = @{
- \transposition c'
- ...
- @}
- saxophone = @{
- \transposition c'
- ..
- @}
+clarinet = @{
+ \transposition c'
+ ...
+@}
+saxophone = @{
+ \transposition c'
+ ...
+@}
@end example
The command @code{\transposition} should be used when the music is
entered from a (transposed) orchestral part. For example, in
classical horn parts, the tuning of the instrument is often changed
-during a piece. When copying the notes from the part, use
-@code{\transposition}, e.g.
+during a piece. When copying the notes from the part, use
+@code{\transposition}, e.g.,
@example
- \transposition d'
- c'4^"in D"
- ...
- \transposition g'
- c'4^"in G"
- ...
+\transposition d'
+c'4^"in D"
+...
+\transposition g'
+c'4^"in G"
+...
@end example
-
+
@cindex transposition, MIDI
@cindex @code{R}
-Multi measure rests are entered using `@code{R}'. It is specifically
+Multi-measure rests are entered using `@code{R}'. It is specifically
meant for full bar rests and for entering parts: the rest can expand
to fill a score with rests, or it can be printed as a single
-multimeasure rest. This expansion is controlled by the property
+multi-measure rest. This expansion is controlled by the property
@code{Score.skipBars}. If this is set to true, empty measures will not
be expanded, and the appropriate number is added automatically
@lilypond[quote,raggedright,fragment,verbatim]
- \time 4/4 r1 | R1 | R1*2
- \set Score.skipBars = ##t R1*17 R1*4
+\time 4/4 r1 | R1 | R1*2
+\set Score.skipBars = ##t R1*17 R1*4
@end lilypond
The @code{1} in @code{R1} is similar to the duration notation used for
durations. This can be done with augmentation dots or fractions
@lilypond[quote,raggedright,fragment,verbatim]
- \set Score.skipBars = ##t
- \time 3/4
- R2. | R2.*2
- \time 13/8
- R1*13/8
- R1*13/8*12 |
- \time 10/8 R4*5*4 |
+\set Score.skipBars = ##t
+\time 3/4
+R2. | R2.*2
+\time 13/8
+R1*13/8
+R1*13/8*12 |
+\time 10/8 R4*5*4 |
@end lilypond
An @code{R} spanning a single measure is printed as either a whole rest
rest, use @code{MultiMeasureRest.expand-limit}.
@lilypond[quote,raggedright,fragment,verbatim]
- \set Score.skipBars = ##t
- R1*2 | R1*5 | R1*9
- \override MultiMeasureRest #'expand-limit = 1
- R1*2 | R1*5 | R1*9
+\set Score.skipBars = ##t
+R1*2 | R1*5 | R1*9
+\override MultiMeasureRest #'expand-limit = 1
+R1*2 | R1*5 | R1*9
@end lilypond
@cindex fermata on multi-measure rest
Texts can be added to multi-measure rests by using the
-@var{note}-@code{markup} syntax (see @ref{Text markup}).
+@var{note}-@code{markup} syntax (see @ref{Text markup}).
A variable (@code{\fermataMarkup}) is provided for
adding fermatas
-
@lilypond[quote,raggedright,verbatim,fragment]
- \set Score.skipBars = ##t
- \time 3/4
- R2.*10^\markup { "Ad lib" }
- R2.^\fermataMarkup
+\set Score.skipBars = ##t
+\time 3/4
+R2.*10^\markup { \italic "ad lib." }
+R2.^\fermataMarkup
@end lilypond
-If you want to have a text on the left end of a multi-measure rest,
-attach the text to a zero-length skip note, i.e.
+If you want to have text on the left end of a multi-measure rest,
+attach the text to a zero-length skip note, i.e.,
@example
- s1*0^"Allegro"
- R1*4
+s1*0^"Allegro"
+R1*4
@end example
-@cindex whole rests for a full measure
+@cindex whole rests for a full measure
@seealso
@refbugs
-It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
-over multi-measure rests.
+It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
+over multi-measure rests. And the pitch of multi-measure rests (or
+staff-centered rests) can not be influenced.
@cindex condensing rests
There is no way to automatically condense multiple rests into a single
-multimeasure rest. Multi measure rests do not take part in rest
+multi-measure rest. Multi-measure rests do not take part in rest
collisions.
-Be careful when entering multimeasure rests followed by whole
+Be careful when entering multi-measure rests followed by whole
notes. The following will enter two notes lasting four measures each
@example
- R1*4 cis cis
+R1*4 cis cis
@end example
When @code{skipBars} is set, the result will look OK, but the bar
numbering will be off.
The syntax for part combining is
@example
- \partcombine @var{musicexpr1} @var{musicexpr2}
+\partcombine @var{musicexpr1} @var{musicexpr2}
@end example
@end lilypond
The first @code{g} appears only once, although it was
-specified twice (once in each part). Stem, slur and tie directions are
+specified twice (once in each part). Stem, slur, and tie directions are
set automatically, depending whether there is a solo or unisono. The
first part (with context called @code{one}) always gets up stems, and
-`solo', while the second (called @code{two}) always gets down stems and
+`Solo', while the second (called @code{two}) always gets down stems and
`Solo II'.
If you just want the merging parts, and not the textual markings, you
>>
@end lilypond
+To change the text that is printed for solos or merging, you may
+set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
+properties.
+
+@lilypond[quote,verbatim,raggedright,fragment,relative=2]
+\new Staff <<
+ \set Score.soloText = #"ichi"
+ \set Score.soloIIText = #"ni"
+ \set Score.aDueText = #"tachi"
+ \partcombine
+ \relative g' { g4 g a( b) r }
+ \relative g' { g4 g r r f }
+>>
+@end lilypond
Both arguments to @code{\partcombine} will be interpreted as
@internalsref{Voice} contexts. If using relative octaves,
-@code{\relative} should be specified for both music expressions, i.e.
+@code{\relative} should be specified for both music expressions, i.e.,
@example
\partcombine
same notes on and off, the part combiner may typeset @code{a2} more
than once in a measure.
-@code{\partcombine} cannot be inside @code{\times}.
+@code{\partcombine} cannot be inside @code{\times}.
-@code{\partcombine} cannot be inside @code{\relative}.
+@code{\partcombine} cannot be inside @code{\relative}.
Internally, the @code{\partcombine} interprets both arguments as
@code{Voice}s named @code{one} and @code{two}, and then decides when
In orchestral scores, staff lines that only have rests are usually
removed. This saves some space. This style is called `French Score'.
-For @internalsref{Lyrics},
+For @internalsref{Lyrics},
@internalsref{ChordNames} and @internalsref{FiguredBass}, this is
-switched on by default. When these line of these contexts turn out
+switched on by default. When the lines of these contexts turn out
empty after the line-breaking process, they are removed.
For normal staves, a specialized @internalsref{Staff} context is
available, which does the same: staves containing nothing (or only
-multi measure rests) are removed. The context definition is stored in
+multi-measure rests) are removed. The context definition is stored in
@code{\RemoveEmptyStaffContext} variable. Observe how the second staff
in this example disappears in the second line
-
@lilypond[quote,raggedright,verbatim]
\layout {
\context { \RemoveEmptyStaffContext }
removed from the first system too, set @code{remove-first} to false in
@internalsref{RemoveEmptyVerticalGroup}.
-Another application is making ossia sections, i.e. alternative
+Another application is making ossia sections, i.e., alternative
melodies on a separate piece of staff, with help of a Frenched
-staff. See @inputfileref{input/test,ossia.ly} for an example.
+staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
@node Different editions from one source
@subsection Different editions from one source
+@cindex tag
The @code{\tag} command marks music expressions with a name. These
tagged expressions can be filtered out later. With this mechanism it
is possible to make different versions of the same music source.
for the full score, and one with cue notes for the instrumental part
@example
- c1
- <<
- \tag #'part <<
- R1 \\
- @{
- \set fontSize = #-1
- c4_"cue" f2 g4 @}
- >>
- \tag #'score R1
+c1
+<<
+ \tag #'part <<
+ R1 \\
+ @{
+ \set fontSize = #-1
+ c4_"cue" f2 g4 @}
>>
- c1
+ \tag #'score R1
+>>
+c1
@end example
The same can be applied to articulations, texts, etc.: they are
made by prepending
@example
- -\tag #@var{your-tag}
+-\tag #@var{your-tag}
@end example
-to an articulation, for example,
+to an articulation, for example,
@example
- c1-\tag #'part ^4
+c1-\tag #'part ^4
@end example
This defines a note with a conditional fingering indication.
-By applying the @code{\keepWithTag} command, tagged expressions
-can be filtered. For example,
+@cindex keepWithTag
+@cindex removeWithTag
+By applying the @code{\keepWithTag} and @code{\removeWithTag}
+commands, tagged expressions can be filtered. For example,
@example
<<
@var{the music}
The argument of the @code{\tag} command should be a symbol, or a list
of symbols, for example,
@example
- \tag #'(original-part transposed-part) @dots{}
+\tag #'(original-part transposed-part) @dots{}
@end example
+
+
@seealso
-Examples: @inputfileref{input/regression,tag-filter.ly}.
+Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
@refbugs
Multiple rests are not merged if you create the score with both tagged
sections.
+
@node Quoting other voices
@subsection Quoting other voices
With quotations, fragments of other parts can be inserted into a part
directly. Before a part can be quoted, it must be marked especially as
-quotable. This is done with code @code{\addquote} command.
+quotable. This is done with the @code{\addquote} command.
@example
- \addquote @var{name} @var{music}
+\addquote @var{name} @var{music}
@end example
@noindent
Here, @var{name} is an identifying string. The @var{music} is any kind
-of music. This is an example of @code{\addquote}
+of music. Here is an example of @code{\addquote}
-@verbatim
-\addquote clarinet \relative c' {
+@example
+\addquote clarinet \relative c' @{
f4 fis g gis
-}
-@end verbatim
+@}
+@end example
-This command must be entered at toplevel, i.e. outside any music
+This command must be entered at toplevel, i.e., outside any music
blocks.
After calling @code{\addquote}, the quotation may then be done with
-@code{\quote},
+@code{\quoteDuring} or @code{\cueDuring},
@example
- \quote @var{name} @var{duration}
+\quoteDuring #@var{name} @var{music}
@end example
-During a part, a piece of music can be quoted with the @code{\quote}
-command.
-
+During a part, a piece of music can be quoted with the @code{\quoteDuring}
+command.
+
@example
-\quote clarinet 2.
+\quoteDuring #"clarinet" @{ s2. @}
@end example
-This would cite three quarter notes (@code{2.} is a dotted half note)
-of the previously added @code{clarinet} voice.
+This would cite three quarter notes (the duration of @code{s2.}) of
+the previously added @code{clarinet} voice.
+
More precisely, it takes the current time-step of the part being
printed, and extracts the notes at the corresponding point of the
@code{\addquote}d voice. Therefore, the argument to @code{\addquote}
should be the entire part of the voice to be quoted, including any
-rests at the beginning.
+rests at the beginning.
Quotations take into account the transposition of both source and target
instruments, if they are specified using the @code{\transposition} command.
}
{
- e'8 f'8 \quote clarinet 2
+ e'8 f'8 \quoteDuring #"clarinet" { s2 }
}
@end lilypond
The type of events that are present in cue notes can be trimmed with
-the @code{quotedEventTypes} property. The default value is
-@code{(note-event rest-event)}, which means that only notes of and
-rests of the cued voice end up in the @code{\quote}.
+the @code{quotedEventTypes} property. The default value is
+@code{(note-event rest-event)}, which means that only notes and
+rests of the cued voice end up in the @code{\quoteDuring}.
Setting
@example
- \set Staff.quotedEventTypes = #'(note-event articulation-event dynamic-event)
+\set Staff.quotedEventTypes =
+ #'(note-event articulation-event dynamic-event)
@end example
@noindent
will quote notes (but no rests), together with scripts and dynamics.
-
+
@refbugs
Only the contents of the first @internalsref{Voice} occurring in an
@var{music} can not contain @code{\new} and @code{\context Voice}
statements that would switch to a different Voice.
+Quoting grace notes is broken and can even cause LilyPond to crash.
@seealso
In this manual: @ref{Instrument transpositions}.
-Examples: @inputfileref{input/regression,quote.ly}
-@inputfileref{input/regression,quote-transposition.ly}
+Examples: @inputfileref{input/@/regression,quote@/.ly}
+@inputfileref{input/@/regression,quote@/-transposition@/.ly}
Program reference: @internalsref{QuoteMusic}.
@node Formatting cue notes
@subsection Formatting cue notes
+The previous section deals with inserting notes from another voice.
+There is a more advanced music function called @code{\cueDuring},
+which makes formatting cue notes easier.
+
+The syntax is
+
+@example
+ \cueDuring #@var{name} #@var{updown} @var{music}
+@end example
-The previous section deals with inserting notes from another
-voice. When making a part, these notes need to be specially formatted.
-Here is an example of formatted cue notes
+This will insert notes from the part @var{name} into a
+@internalsref{Voice} called @code{cue}. This happens simultaneously
+with @var{music}, which usually is a rest. When the cue notes start,
+the staff in effect becomes polyphonic for a moment. The argument
+@var{updown} determines whether the cue notes should be notated as a
+first or second voice.
-@c TODO: This should be done with \quote stuff, not manually.
-@lilypond[raggedright,verbatim]
+@lilypond[verbatim,raggedright]
smaller = {
- \set fontSize = #-1
- \override Stem #'length = #5.5
- \override Beam #'thickness = #0.384
- \override Beam #'space-function =
+ \set fontSize = #-2
+ \override Stem #'length = #5.5
+ \override Beam #'thickness = #0.384
+ \override Beam #'space-function =
#(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
}
-{
- \set Staff.instrument = #"Horn in F"
+\addquote clarinet \relative {
+ R1*20
+ r2 r8 c f f
+}
+
+\new Staff \relative <<
+
+ % setup a context for cue notes.
+ \context Voice = cue { \smaller \skip 1*21 }
+
\set Score.skipBars = ##t
- R1*21
- << {
- \once \override Staff.MultiMeasureRest #'staff-position = #-6
- R1
- }
+
\new Voice {
- s2
- \clef tenor
- \smaller
- r8^"Bsn." c'8 f'8[ f'8]
- \clef treble
+ R1*20
+ \cueDuring #"clarinet" #1 {
+ R1
+ }
+ g4 g2.
}
- >>
- c'8^"Horn" cis'
- eis'4 fis'4
-}
-@end lilypond
+>>
+@end lilypond
-There are a couple of points to take care of:
+Here are a couple of hints for successful cue notes
@itemize @bullet
@item
-The multi rest of the original part should be moved up or down during
-the cue.
-@item
Cue notes have smaller font sizes.
@item
-When cued notes have a clef change relative to the original part, the
-clef should be restored after the cue section. This minimizes
-confusion for the reader,
+ the cued part is marked with the instrument playing the cue.
@item
-When the original part starts, this should be marked with the name of
-the instrument, in this case ``Horn.'' Of course, the cue part is
-marked with the instrument playing the cue.
+ when the original part takes over again, this should be marked with
+ the name of the original instrument.
+
+ @c really? Are you sure about that last point? I'll check after 3.0 -gp
+
+@c Yes, this is good practice. Otherwise, the start of the original
+@c part can only be seen from the font size. This is not good enough
+@c for sight-reading. It is possilbe to use other
+@c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
+@c finished.
+@c -hwn
+
+
+ any other changes introduced by the cued part should also be
+undone. For example, if the cued instrument plays in a different clef,
+the original clef should be stated once again.
+
@end itemize
-@c really? Are you sure about that last point? I'll check after 3.0 -gp
+
+
@node Ancient notation
By manipulating such a grob property, the typographical appearance of
the affected graphical objects can be accommodated for a specific
-notation flavor without need for introducing any new notational
+notation flavor without the need for introducing any new notational
concept.
In addition to the standard articulation signs described in section
@ref{Ancient articulations}
@end itemize
-Other aspects of ancient notation can not that easily be expressed as
+Other aspects of ancient notation can not that easily be expressed
in terms of just changing a style property of a graphical object or
adding articulation signs. Some notational concepts are introduced
specifically for ancient notation,
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 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
+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 in particular useful when transcribing mensural music,
-e.g. for the incipit. The @code{mensural} style finally produces note
+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.
The following example demonstrates the @code{neomensural} style
@lilypond[quote,fragment,raggedright,verbatim]
- \set Score.skipBars = ##t
- \override NoteHead #'style = #'neomensural
- a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
+\set Score.skipBars = ##t
+\override NoteHead #'style = #'neomensural
+a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
@end lilypond
When typesetting a piece in Gregorian Chant notation, the
@internalsref{Gregorian_ligature_engraver} will automatically select
-the proper note heads, such there is no need to explicitly set the
-note head style. Still, the note head style can be set e.g.@: to
+the proper note heads, so there is no need to explicitly set the
+note head style. Still, the note head style can be set, e.g., to
@code{vaticana_punctum} to produce punctum neumes. Similarly, a
@internalsref{Mensural_ligature_engraver} is used to automatically
assemble mensural ligatures. See @ref{Ligatures} for how ligature
@seealso
-Examples: @inputfileref{input/regression,note-head-style.ly} gives an
+Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
overview over all available note head styles.
Use the @code{style} property of grob @internalsref{Accidental} to
select ancient accidentals. Supported styles are
-@code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
+@code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
@lilypond[quote,raggedright,staffsize=26]
\score {
{
\fatText
s^\markup {
- \column <
- "vaticana"
- { " " \musicglyph #"accidentals-vaticana-1"
- " " \musicglyph #"accidentals-vaticana0" }
- >
- \column <
+ \column {
+ "vaticana"
+ \line { " " \musicglyph #"accidentals-vaticana-1"
+ " " \musicglyph #"accidentals-vaticana0" }
+ }
+ \column {
"medicaea"
- { " " \musicglyph #"accidentals-medicaea-1" }
- >
- \column <
+ \line { " " \musicglyph #"accidentals-medicaea-1" }
+ }
+ \column {
"hufnagel"
- { " " \musicglyph #"accidentals-hufnagel-1" }
- >
- \column <
+ \line { " " \musicglyph #"accidentals-hufnagel-1" }
+ }
+ \column {
"mensural"
- { " " \musicglyph #"accidentals-mensural-1"
- " " \musicglyph #"accidentals-mensural1" }
- >
+ \line { " " \musicglyph #"accidentals-mensural-1"
+ " " \musicglyph #"accidentals-mensural1" }
+ }
}
}
\layout {
As shown, not all accidentals are supported by each style. When
trying to access an unsupported accidental, LilyPond will switch to a
different style, as demonstrated in
-@inputfileref{input/test,ancient-accidentals.ly}.
+@inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
Similarly to local accidentals, the style of the key signature can be
controlled by the @code{style} property of the
@seealso
In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
-@ref{Accidentals} give a general introduction into the use of
-accidentals. @ref{Key signature} gives a general introduction into
+@ref{Accidentals} give a general introduction of the use of
+accidentals. @ref{Key signature} gives a general introduction of
the use of key signatures.
Program reference: @internalsref{KeySignature}.
-Examples: @inputfileref{input/test,ancient-accidentals.ly}.
+Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
@node Ancient rests
@subsection Ancient rests
Use the @code{style} property of grob @internalsref{Rest} to select
-ancient accidentals. Supported styles are @code{classical},
-@code{neomensural} and @code{mensural}. @code{classical} differs
+ancient rests. Supported styles are @code{classical},
+@code{neomensural}, and @code{mensural}. @code{classical} differs
from the @code{default} style only in that the quarter rest looks like
a horizontally mirrored 8th rest. The @code{neomensural} style suits
-well for e.g. the incipit of a transcribed mensural piece of music.
+well for, e.g., the incipit of a transcribed mensural piece of music.
The @code{mensural} style finally mimics the appearance of rests as
in historic prints of the 16th century.
The following example demonstrates the @code{neomensural} style
@lilypond[quote,fragment,raggedright,verbatim]
- \set Score.skipBars = ##t
- \override Rest #'style = #'neomensural
- r\longa r\breve r1 r2 r4 r8 r16
+\set Score.skipBars = ##t
+\override Rest #'style = #'neomensural
+r\longa r\breve r1 r2 r4 r8 r16
@end lilypond
There are no 32th and 64th rests specifically for the mensural or
neo-mensural style. Instead, the rests from the default style will be
-taken. See @inputfileref{input/test,rests.ly} for a chart of all
+taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
rests.
There are no rests in Gregorian Chant notation; instead, it uses
right side of each clef in the example column denotes the @code{c'}
with respect to that clef.
-@multitable @columnfractions .4 .4 .2
-
+@multitable @columnfractions .4 .4 .2
@item
-@b{Description} @tab
-@b{Supported Clefs} @tab
+@b{Description}
+@tab
+@b{Supported Clefs}
+@tab
@b{Example}
@item
-modern style mensural C clef @tab
-@code{neomensural-c1}, @code{neomensural-c2},
-@code{neomensural-c3}, @code{neomensural-c4} @tab
-@lilypond[fragment,raggedright,quote,relative=1,notime]
+modern style mensural C clef
+@tab
+@code{neomensural-c1}, @code{neomensural-c2},@*
+@code{neomensural-c3}, @code{neomensural-c4}
+@tab
+@lilypond[fragment,relative=1,notime]
\clef "neomensural-c2" c
@end lilypond
@item
petrucci style mensural C clefs, for use on different staff lines
-(the examples shows the 2nd staff line C clef).
-
+(the examples show the 2nd staff line C clef)
@tab
-@code{petrucci-c1}
-@code{petrucci-c2}
-@code{petrucci-c3}
-@code{petrucci-c4}
+@code{petrucci-c1}, @code{petrucci-c2},@*
+@code{petrucci-c3}, @code{petrucci-c4},@*
@code{petrucci-c5}
-
@tab
-@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
+@lilypond[fragment,relative=1,notime]
\clef "petrucci-c2" c
@end lilypond
@item
-petrucci style mensural F clef @tab
-@code{petrucci-f} @tab
-@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
+petrucci style mensural F clef
+@tab
+@code{petrucci-f}
+@tab
+@lilypond[fragment,relative=1,notime]
\clef "petrucci-f" c
@end lilypond
@item
-petrucci style mensural G clef @tab
-@code{petrucci-g} @tab
-@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
+petrucci style mensural G clef
+@tab
+@code{petrucci-g}
+@tab
+@lilypond[fragment,relative=1,notime]
\clef "petrucci-g" c
@end lilypond
@item
-historic style mensural C clef @tab
-@code{mensural-c1}, @code{mensural-c2}, @code{mensural-c3},
-@code{mensural-c4} @tab
-@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
+historic style mensural C clef
+@tab
+@code{mensural-c1}, @code{mensural-c2},@*
+@code{mensural-c3}, @code{mensural-c4}
+@tab
+@lilypond[fragment,relative=1,notime]
\clef "mensural-c2" c
@end lilypond
@item
-historic style mensural F clef @tab
-@code{mensural-f} @tab
-@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
+historic style mensural F clef
+@tab
+@code{mensural-f}
+@tab
+@lilypond[fragment,relative=1,notime]
\clef "mensural-f" c
@end lilypond
@item
-historic style mensural G clef @tab
-@code{mensural-g} @tab
-@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
+historic style mensural G clef
+@tab
+@code{mensural-g}
+@tab
+@lilypond[fragment,relative=1,notime]
\clef "mensural-g" c
@end lilypond
@item
-Editio Vaticana style do clef @tab
-@code{vaticana-do1}, @code{vaticana-do2}, @code{vaticana-do3} @tab
-@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
- \override Staff.StaffSymbol #'line-count = #4
+Editio Vaticana style do clef
+@tab
+@code{vaticana-do1}, @code{vaticana-do2},@*
+@code{vaticana-do3}
+@tab
+@lilypond[fragment,relative=1,notime]
+ \override Staff.StaffSymbol #'line-count = #4
\clef "vaticana-do2" c
@end lilypond
@item
-Editio Vaticana style fa clef @tab
-@code{vaticana-fa1}, @code{vaticana-fa2} @tab
-@lilypond[quote,relative=1,notime,indent=0.0\mm,fragment]
- \override Staff.StaffSymbol #'line-count = #4
+Editio Vaticana style fa clef
+@tab
+@code{vaticana-fa1}, @code{vaticana-fa2}
+@tab
+@lilypond[fragment,relative=1,notime]
+ \override Staff.StaffSymbol #'line-count = #4
\clef "vaticana-fa2" c
@end lilypond
@item
-Editio Medicaea style do clef @tab
-@code{medicaea-do1}, @code{medicaea-do2}, @code{medicaea-do3} @tab
-@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
- \override Staff.StaffSymbol #'line-count = #4
+Editio Medicaea style do clef
+@tab
+@code{medicaea-do1}, @code{medicaea-do2},@*
+@code{medicaea-do3}
+@tab
+@lilypond[fragment,relative=1,notime]
+ \override Staff.StaffSymbol #'line-count = #4
\clef "medicaea-do2" c
@end lilypond
@item
-Editio Medicaea style fa clef @tab
-@code{medicaea-fa1}, @code{medicaea-fa2} @tab
-@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
- \override Staff.StaffSymbol #'line-count = #4
+Editio Medicaea style fa clef
+@tab
+@code{medicaea-fa1}, @code{medicaea-fa2}
+@tab
+@lilypond[fragment,relative=1,notime]
+ \override Staff.StaffSymbol #'line-count = #4
\clef "medicaea-fa2" c
@end lilypond
@item
-historic style hufnagel do clef @tab
-@code{hufnagel-do1}, @code{hufnagel-do2}, @code{hufnagel-do3} @tab
-@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
- \override Staff.StaffSymbol #'line-count = #4
+historic style hufnagel do clef
+@tab
+@code{hufnagel-do1}, @code{hufnagel-do2},@*
+@code{hufnagel-do3}
+@tab
+@lilypond[fragment,relative=1,notime]
+ \override Staff.StaffSymbol #'line-count = #4
\clef "hufnagel-do2" c
@end lilypond
@item
-historic style hufnagel fa clef @tab
-@code{hufnagel-fa1}, @code{hufnagel-fa2} @tab
-@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
- \override Staff.StaffSymbol #'line-count = #4
+historic style hufnagel fa clef
+@tab
+@code{hufnagel-fa1}, @code{hufnagel-fa2}
+@tab
+@lilypond[fragment,relative=1,notime]
+ \override Staff.StaffSymbol #'line-count = #4
\clef "hufnagel-fa2" c
@end lilypond
@item
-historic style hufnagel combined do/fa clef @tab
-@code{hufnagel-do-fa} @tab
-@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
+historic style hufnagel combined do/fa clef
+@tab
+@code{hufnagel-do-fa}
+@tab
+@lilypond[fragment,relative=1,notime]
\clef "hufnagel-do-fa" c
@end lilypond
-
@end multitable
Use the @code{flag-style} property of grob @internalsref{Stem} to
select ancient flags. Besides the @code{default} flag style,
- only @code{mensural} style is supported
+only the @code{mensural} style is supported
@lilypond[quote,fragment,raggedright,verbatim]
- \override Stem #'flag-style = #'mensural
- \override Stem #'thickness = #1.0
- \override NoteHead #'style = #'mensural
- \autoBeamOff
- c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
- c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
+\override Stem #'flag-style = #'mensural
+\override Stem #'thickness = #1.0
+\override NoteHead #'style = #'mensural
+\autoBeamOff
+c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
+c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
@end lilypond
Note that the innermost flare of each mensural flag always is
incipit of transcriptions of mensural pieces. The @code{mensural}
style mimics the look of historical printings of the 16th century.
-The following examples shows the differences in style,
+The following examples show the differences in style,
@lilypond[raggedright,fragment,relative=1,quote]
{
\time 2/2
c1^\markup { \hspace #-2.0 \typewriter default }
- \override Staff.TimeSignature #'style = #'numbered
+ \override Staff.TimeSignature #'style = #'numbered
\time 2/2
c1^\markup { \hspace #-2.0 \typewriter numbered }
\override Staff.TimeSignature #'style = #'mensural
\time 2/2
c1^\markup { \hspace #-2.0 \typewriter mensural }
-
+
\override Staff.TimeSignature #'style = #'neomensural
\time 2/2
c1^\markup { \hspace #-2.0 \typewriter neomensural }
@seealso
-This manual: @ref{Time signature} gives a general introduction into
+This manual: @ref{Time signature} gives a general introduction to
the use of time signatures.
@refbugs
be made by hand, by setting
@example
- breveTP = #(ly:make-duration -1 0 3 2)
- @dots{}
- @{ c\breveTP f1 @}
+breveTP = #(ly:make-duration -1 0 3 2)
+@dots{}
+@{ c\breveTP f1 @}
@end example
@noindent
-This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
+This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
addressable with @code{\time}. Use a @code{\markup} instead
provided. These are specifically designed for use with notation in
Editio Vaticana style.
-@lilypond[quote,raggedright,verbatim,noindent]
+@lilypond[quote,raggedright,verbatim]
\include "gregorian-init.ly"
\score {
\context VaticanaVoice {
@end lilypond
The custos glyph is selected by the @code{style} property. The styles
-supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
+supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
@code{mensural}. They are demonstrated in the following fragment
@lilypond[quote,raggedright,fragment]
\new Lyrics \lyricmode {
- \markup { \column <
- \typewriter "vaticana"
- { " " \musicglyph #"custodes-vaticana-u0" }
- > }
- \markup { \column <
+ \markup { \column {
+ \typewriter "vaticana"
+ \line { " " \musicglyph #"custodes-vaticana-u0" }
+ } }
+ \markup { \column {
\typewriter "medicaea"
- { " " \musicglyph #"custodes-medicaea-u0" }
- >}
- \markup { \column <
+ \line { " " \musicglyph #"custodes-medicaea-u0" }
+ }}
+ \markup { \column {
\typewriter "hufnagel"
- { " " \musicglyph #"custodes-hufnagel-u0" }
- >}
- \markup { \column <
+ \line { " " \musicglyph #"custodes-hufnagel-u0" }
+ }}
+ \markup { \column {
\typewriter "mensural"
- { " " \musicglyph #"custodes-mensural-u0" }
- >}
+ \line { " " \musicglyph #"custodes-mensural-u0" }
+ }}
}
-
@end lilypond
@seealso
Program reference: @internalsref{Custos}.
-Examples: @inputfileref{input/regression,custos.ly}.
+Examples: @inputfileref{input/@/regression,custos@/.ly}.
@node Divisiones
A @emph{divisio} (plural: @emph{divisiones}; Latin word for
`division') is a staff context symbol that is used to structure
Gregorian music into phrases and sections. The musical meaning of
-@emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
-can be characterized as short, medium and long pause, somewhat like
+@emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
+can be characterized as short, medium, and long pause, somewhat like
the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
only marks the end of a chant, but is also frequently used within a
single antiphonal/responsorial chant to mark the end of each section.
-To use divisiones, include the file @code{gregorian-init.ly}. It
+To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
contains definitions that you can apply by just inserting
@code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
and @code{\finalis} at proper places in the input. Some editions use
@emph{virgula} or @emph{caesura} instead of divisio minima.
-Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
+Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
@code{\caesura}
@lilypondfile[quote,raggedright]{divisiones.ly}
Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
-Examples: @inputfileref{input/test,divisiones.ly}.
+Examples: @inputfileref{input/@/test,divisiones@/.ly}.
@node Ligatures
@subsection Ligatures
@cindex Mensural ligatures
@cindex White mensural ligatures
-There is limited support for white mensural ligatures.
+There is limited support for white mensural ligatures.
-To engrave white mensural ligatures, in the layout block the
-@internalsref{Mensural_ligature_engraver} has to be put into the
+To engrave white mensural ligatures, in the layout block put the
+@internalsref{Mensural_ligature_engraver} into the
@internalsref{Voice} context, and remove the
-@internalsref{Ligature_bracket_engraver}
+@internalsref{Ligature_bracket_engraver}, like this
@example
\layout @{
There is no additional input language to describe the shape of a
white mensural ligature. The shape is rather determined solely from
the pitch and duration of the enclosed notes. While this approach may
-take a new user a while to get accustomed, it has the great advantage
+take a new user a while to get accustomed to, it has the great advantage
that the full musical information of the ligature is known internally.
This is not only required for correct MIDI output, but also allows for
automatic transcription of the ligatures.
For example,
@example
- \set Score.timing = ##f
- \set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neomensural
- \override Staff.TimeSignature #'style = #'neomensural
- \clef "petrucci-g"
- \[ g\longa c\breve a\breve f\breve d'\longa \]
- s4
- \[ e1 f1 a\breve g\longa \]
+\set Score.timing = ##f
+\set Score.defaultBarType = "empty"
+\override NoteHead #'style = #'neomensural
+\override Staff.TimeSignature #'style = #'neomensural
+\clef "petrucci-g"
+\[ g\longa c\breve a\breve f\breve d'\longa \]
+s4
+\[ e1 f1 a\breve g\longa \]
@end example
@lilypond[quote,raggedright]
\score {
\set Score.timing = ##f
\set Score.defaultBarType = "empty"
\override NoteHead #'style = #'neomensural
- \override Staff.TimeSignature #'style = #'neomensural
+ \override Staff.TimeSignature #'style = #'neomensural
\clef "petrucci-g"
\[ g\longa c\breve a\breve f\breve d'\longa \]
s4
\set Score.timing = ##f
\set Score.defaultBarType = "empty"
\override NoteHead #'style = #'neomensural
- \override Staff.TimeSignature #'style = #'neomensural
+ \override Staff.TimeSignature #'style = #'neomensural
\clef "petrucci-g"
\[ g\longa c\breve a\breve f\breve d'\longa \]
s4
(following the style of the Editio Vaticana). Core ligatures can
already be typeset, but essential issues for serious typesetting are
still lacking, such as (among others) horizontal alignment of multiple
-ligatures, lyrics alignment and proper accidentals handling.
+ligatures, lyrics alignment and proper handling of accidentals.
The following table contains the extended neumes table of the 2nd
@multitable @columnfractions .4 .2 .2 .2
@item
-@b{Neuma aut@*Neumarum Elementa} @tab
-@b{Figurae@*Rectae} @tab
-@b{Figurae@*Liquescentes Auctae} @tab
-@b{Figurae@*Liquescentes Deminutae}
+@b{Neuma aut@*
+Neumarum Elementa}
+@tab
+@b{Figurae@*
+Rectae}
+@tab
+@b{Figurae@*
+Liquescentes@*
+Auctae}
+@tab
+@b{Figurae@*
+Liquescentes@*
+Deminutae}
@c TODO: \layout block is identical in all of the below examples.
@c Therefore, it should somehow be included rather than duplicated all
@item
@code{1. Punctum}
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
+@lilypond[staffsize=26,linewidth=1.5\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
+@lilypond[staffsize=26,linewidth=2.5\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{2. Virga}
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{3. Apostropha vel Stropha}
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{4. Oriscus}
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{5. Clivis vel Flexa}
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
+@lilypond[staffsize=26,linewidth=2.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{6. Podatus vel Pes}
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
+@lilypond[staffsize=26,linewidth=2.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{7. Pes Quassus}
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{8. Quilisma Pes}
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{9. Podatus Initio Debilis}
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{10. Torculus}
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{11. Torculus Initio Debilis}
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{12. Porrectus}
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{13. Climacus}
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
}
@end lilypond
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{14. Scandicus}
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{15. Salicus}
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{16. Trigonus}
@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[staffsize=26,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
in each line of the below table indicates to which ligature in the
above table it refers. The second column gives the name of the
ligature. The third column shows the code fragment that produces this
-ligature, using @code{g}, @code{a} and @code{b} as example pitches.
-
-@multitable @columnfractions .1 .4 .5
+ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
+@multitable @columnfractions .02 .31 .67
@item
-@b{#} @tab
-@b{Name} @tab
+@b{#}
+@tab
+@b{Name}
+@tab
@b{Input Language}
@item
-a @tab
-Punctum @tab
+a
+@tab
+Punctum
+@tab
@code{\[ b \]}
@item
-b @tab
-Punctum Inclinatum @tab
+b
+@tab
+Punctum Inclinatum
+@tab
@code{\[ \inclinatum b \]}
@item
-c @tab
-Punctum Auctum Ascendens @tab
+c
+@tab
+Punctum Auctum@*
+Ascendens
+@tab
@code{\[ \auctum \ascendens b \]}
@item
-d @tab
-Punctum Auctum Descendens @tab
+d
+@tab
+Punctum Auctum@*
+Descendens
+@tab
@code{\[ \auctum \descendens b \]}
@item
-e @tab
-Punctum Inclinatum Auctum @tab
+e
+@tab
+Punctum Inclinatum@*
+Auctum
+@tab
@code{\[ \inclinatum \auctum b \]}
@item
-f @tab
-Punctum Inclinatum Parvum @tab
+f
+@tab
+Punctum Inclinatum@*
+Parvum @tab
@code{\[ \inclinatum \deminutum b \]}
@item
-g @tab
-Virga @tab
+g
+@tab
+Virga
+@tab
@code{\[ \virga b \]}
@item
-h @tab
-Stropha @tab
+h
+@tab
+Stropha
+@tab
@code{\[ \stropha b \]}
@item
-i @tab
-Stropha Aucta @tab
+i
+@tab
+Stropha Aucta
+@tab
@code{\[ \stropha \auctum b \]}
@item
-j @tab
-Oriscus @tab
+j
+@tab
+Oriscus
+@tab
@code{\[ \oriscus b \]}
@item
-k @tab
-Clivis vel Flexa @tab
+k
+@tab
+Clivis vel Flexa
+@tab
@code{\[ b \flexa g \]}
@item
-l @tab
-Clivis Aucta Descendens @tab
+l
+@tab
+Clivis Aucta@*
+Descendens
+@tab
@code{\[ b \flexa \auctum \descendens g \]}
@item
-m @tab
-Clivis Aucta Ascendens @tab
+m
+@tab
+Clivis Aucta@*
+Ascendens
+@tab
@code{\[ b \flexa \auctum \ascendens g \]}
@item
-n @tab
-Cephalicus @tab
+n
+@tab
+Cephalicus
+@tab
@code{\[ b \flexa \deminutum g \]}
@item
-o @tab
-Podatus vel Pes @tab
+o
+@tab
+Podatus vel Pes
+@tab
@code{\[ g \pes b \]}
@item
-p @tab
-Pes Auctus Descendens @tab
+p
+@tab
+Pes Auctus@*
+Descendens
+@tab
@code{\[ g \pes \auctum \descendens b \]}
@item
-q @tab
-Pes Auctus Ascendens @tab
+q
+@tab
+Pes Auctus@*
+Ascendens
+@tab
@code{\[ g \pes \auctum \ascendens b \]}
@item
-r @tab
-Epiphonus @tab
+r
+@tab
+Epiphonus
+@tab
@code{\[ g \pes \deminutum b \]}
@item
-s @tab
-Pes Quassus @tab
+s
+@tab
+Pes Quassus
+@tab
@code{\[ \oriscus g \pes \virga b \]}
@item
-t @tab
-Pes Quassus Auctus Descendens @tab
+t
+@tab
+Pes Quassus@*
+Auctus Descendens @tab
@code{\[ \oriscus g \pes \auctum \descendens b \]}
@item
-u @tab
-Quilisma Pes @tab
+u
+@tab
+Quilisma Pes
+@tab
@code{\[ \quilisma g \pes b \]}
@item
-v @tab
-Quilisma Pes Auctus Descendens @tab
+v
+@tab
+Quilisma Pes@*
+Auctus Descendens
+@tab
@code{\[ \quilisma g \pes \auctum \descendens b \]}
@item
-w @tab
-Pes Initio Debilis @tab
+w
+@tab
+Pes Initio Debilis
+@tab
@code{\[ \deminutum g \pes b \]}
@item
-x @tab
-Pes Auctus Descendens Initio Debilis @tab
+x
+@tab
+Pes Auctus Descendens@*
+Initio Debilis
+@tab
@code{\[ \deminutum g \pes \auctum \descendens b \]}
@item
-y @tab
-Torculus @tab
+y
+@tab
+Torculus
+@tab
@code{\[ a \pes b \flexa g \]}
@item
-z @tab
-Torculus Auctus Descendens @tab
+z
+@tab
+Torculus Auctus@*
+Descendens
+@tab
@code{\[ a \pes b \flexa \auctum \descendens g \]}
@item
-A @tab
-Torculus Deminutus @tab
+A
+@tab
+Torculus Deminutus
+@tab
@code{\[ a \pes b \flexa \deminutum g \]}
@item
-B @tab
-Torculus Initio Debilis @tab
+B
+@tab
+Torculus Initio Debilis
+@tab
@code{\[ \deminutum a \pes b \flexa g \]}
@item
-C @tab
-Torculus Auctus Descendens Initio Debilis @tab
+C
+@tab
+Torculus Auctus@*
+Descendens Initio Debilis
+@tab
@code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
@item
-D @tab
-Torculus Deminutus Initio Debilis @tab
+D
+@tab
+Torculus Deminutus@*
+Initio Debilis
+@tab
@code{\[ \deminutum a \pes b \flexa \deminutum g \]}
@item
-E @tab
-Porrectus @tab
+E
+@tab
+Porrectus
+@tab
@code{\[ a \flexa g \pes b \]}
@item
-F @tab
-Porrectus Auctus Descendens @tab
+F
+@tab
+Porrectus Auctus@*
+Descendens
+@tab
@code{\[ a \flexa g \pes \auctum \descendens b \]}
@item
-G @tab
-Porrectus Deminutus @tab
+G
+@tab
+Porrectus Deminutus
+@tab
@code{\[ a \flexa g \pes \deminutum b \]}
@item
-H @tab
-Climacus @tab
+H
+@tab
+Climacus
+@tab
@code{\[ \virga b \inclinatum a \inclinatum g \]}
@item
-I @tab
-Climacus Auctus @tab
+I
+@tab
+Climacus Auctus
+@tab
@code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
@item
-J @tab
-Climacus Deminutus @tab
+J
+@tab
+Climacus Deminutus
+@tab
@code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
@item
-K @tab
-Scandicus @tab
+K
+@tab
+Scandicus
+@tab
@code{\[ g \pes a \virga b \]}
@item
-L @tab
-Scandicus Auctus Descendens @tab
+L
+@tab
+Scandicus Auctus@*
+Descendens
+@tab
@code{\[ g \pes a \pes \auctum \descendens b \]}
@item
-M @tab
-Scandicus Deminutus @tab
+M
+@tab
+Scandicus Deminutus
+@tab
@code{\[ g \pes a \pes \deminutum b \]}
@item
-N @tab
-Salicus @tab
+N
+@tab
+Salicus
+@tab
@code{\[ g \oriscus a \pes \virga b \]}
@item
-O @tab
-Salicus Auctus Descendens @tab
+O
+@tab
+Salicus Auctus Descendens
+@tab
@code{\[ g \oriscus a \pes \auctum \descendens b \]}
@item
-P @tab
-Trigonus @tab
+P
+@tab
+Trigonus
+@tab
@code{\[ \stropha b \stropha b \stropha a \]}
-
@end multitable
@refcommands
proper values, so you can immediately go ahead entering the chant, as
the following excerpt demonstrates
-@lilypond[quote,raggedright,verbatim,noindent]
+@lilypond[quote,raggedright,verbatim]
\include "gregorian-init.ly"
\score {
<<
grob properties to proper values, so you can immediately go ahead
entering the chant, as the following excerpt demonstrates
-@lilypond[quote,raggedright,verbatim,noindent]
+@lilypond[quote,raggedright,verbatim]
\score {
<<
\context MensuralVoice = "discantus" \transpose c c' {
\override Score.BarNumber #'transparent = ##t {
- c'1\melisma bes a g\melismaEnd
- f\breve
- \[ f1\melisma a c'\breve d'\melismaEnd \]
- c'\longa
- c'\breve\melisma a1 g1\melismaEnd
- fis\longa^\signumcongruentiae
+ c'1\melisma bes a g\melismaEnd
+ f\breve
+ \[ f1\melisma a c'\breve d'\melismaEnd \]
+ c'\longa
+ c'\breve\melisma a1 g1\melismaEnd
+ fis\longa^\signumcongruentiae
}
}
\lyricsto "discantus" \new Lyrics {
@lilypond[quote,raggedright,verbatim,fragment]
<<
- \context Voice { \clef bass dis4 c d ais }
+ \context Voice { \clef bass dis4 c d ais g fis}
\context FiguredBass \figuremode {
< 6 >4 < 7 >8 < 6+ [_!] >
< 6 >4 <6 5 [3+] >
+ < _ >4 < 6 >4
}
>>
@end lilypond
\figuremode { <4 6> }
@end lilypond
-Accidentals are added when you append @code{-}, @code{!} and @code{+}
+Accidentals are added when you append @code{-}, @code{!}, and @code{+}
to the numbers
@example
<4- 6+ 7!>
@end example
@lilypond[quote,raggedright,fragment]
- \context FiguredBass
- \figuremode { <4- 6+ 7!> }
+\context FiguredBass
+\figuremode { <4- 6+ 7!> }
@end lilypond
Spaces or dashes may be inserted by using @code{_}. Brackets are
introduced with @code{[} and @code{]}
@example
-< [4 6] 8 [_! 12]>
+< [4 6] 8 [_! 12] >
@end example
@lilypond[quote,raggedright,fragment]
- \context FiguredBass
- \figuremode { < [4 6] 8 [_! 12]> }
+\context FiguredBass
+\figuremode { < [4 6] 8 [_! 12] > }
@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
+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
@seealso
-Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
-and @internalsref{FiguredBass} context.
+Program reference: @internalsref{BassFigureEvent} music,
+@internalsref{BassFigure} object, and @internalsref{FiguredBass} context.
@refbugs
@internalsref{TimeSignature} grob.
@lilypond[verbatim,raggedright]
-
% create 2/4 + 5/8
-tsMarkup =\markup {
- \number {
- \column < "2" "4" >
- \musicglyph #"scripts-stopped"
- \bracket \column < "5" "8" >
+tsMarkup =\markup {
+ \number {
+ \column { "2" "4" }
+ \musicglyph #"scripts-stopped"
+ \bracket \column { "5" "8" }
}
}
@end lilypond
Each staff can also have its own time signature. This is done by
-moving the @internalsref{Timing_engraver} to @internalsref{Staff}
+moving the @internalsref{Timing_engraver} to the @internalsref{Staff}
context.
-@verbatim
-\layout{
- \context{ \Score \remove "Timing_engraver" }
- \context{ \Staff \consists "Timing_engraver" }
-}
-@end verbatim
+@example
+\layout @{
+ \context @{ \Score \remove "Timing_engraver" @}
+ \context @{ \Staff \consists "Timing_engraver" @}
+@}
+@end example
Now, each staff has its own time signature.
-@verbatim
+@example
<<
- \new Staff {
+ \new Staff @{
\time 3/4
c4 c c | c c c |
- }
- \new Staff {
+ @}
+ \new Staff @{
\time 2/4
c4 c | c c | c c
- }
- \new Staff {
+ @}
+ \new Staff @{
\time 3/8
c4. c8 c c c4. c8 c c
- }
+ @}
>>
-@end verbatim
+@end example
@lilypond[quote,raggedright]
\layout{
\context{ \Score \remove "Timing_engraver" }
\context{ \Staff \consists "Timing_engraver" }
-}
+}
-\relative c' <<
+\relative c' <<
\new Staff {
\time 3/4
c4 c c | c c c |
@code{\times}, but does not create a tuplet bracket.
-In this example, music with the time signatures of 3/4, 9/8 and 10/8 are
-used in parallel. In the second staff, shown durations are multiplied by
-2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
+In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
+used in parallel. In the second staff, shown durations are multiplied by
+2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
-@lilypond[raggedright,verbatim,fragment]
+@lilypond[quote,raggedright,verbatim,fragment]
\relative c' { <<
\new Staff {
\time 3/4
\set Staff.timeSignatureFraction = #'(10 . 8)
\compressmusic #'(3 . 5) {
\repeat unfold 2 { c8[ c c] }
- \repeat unfold 2 { c8[ c] }
+ \repeat unfold 2 { c8[ c] }
| c4. c4. \times 2/3 { c8 c c } c4
}
}
A cluster indicates a continuous range of pitches to be played. They
can be denoted as the envelope of a set of notes. They are entered by
applying the function @code{makeClusters} to a sequence of
-chords, e.g.
-@c
+chords, e.g.,
@lilypond[quote,raggedright,relative=2,fragment,verbatim]
- \makeClusters { <c e > <b f'> }
+\makeClusters { <c e > <b f'> }
@end lilypond
The following example (from
-@inputfileref{input/regression,cluster.ly}) shows what the result
+@inputfileref{input/@/regression,cluster@/.ly}) shows what the result
looks like
@lilypondfile[raggedright,quote]{cluster.ly}
@internalsref{Cluster_spanner_engraver}, and
@internalsref{ClusterNoteEvent}.
-Examples: @inputfileref{input/regression,cluster.ly}.
+Examples: @inputfileref{input/@/regression,cluster@/.ly}.
@refbugs
@lilypond[quote,raggedright]
<<
- \oldaddlyrics {
+ \oldaddlyrics {
b'2
^\shortfermata
_\shortfermata
}
\context Lyrics \lyricmode {
\override LyricText #'font-family = #'typewriter
- "shortfermata" "fermata" "longfermata" "verylongfermata"
+ "shortfermata" "fermata" "longfermata" "verylongfermata"
}
>>
@end lilypond
Feathered beams are not supported natively, but they can be faked by
forcing two beams to overlap. Here is an example,
-@c don't change relative setting witout changing positions!
+@c don't change relative setting witout changing positions!
@lilypond[raggedright,relative=1,fragment,verbatim]
\new Staff <<
\new Voice
}
\new Voice {
\stemUp
- \once \override Voice.Beam #'positions = #'(0 . -0.5)
+ \once \override Voice.Beam #'positions = #'(0 . -0.5)
c[ c c c c]
}
>>
@menu
* Balloon help::
* Blank music sheet::
-* Hidden notes::
+* Hidden notes::
+* Shaped note heads ::
* Easy Notation note heads::
@end menu
@noindent
The function @code{add-balloon-text} takes the name of a grob, the
-label to print, and the position where to put the label relative to
-the object. In the above example, the text ``heads or tails?'' ends
+label to print, and the position where to put the label relative to
+the object. In the above example, the text ``heads or tails?'' ends
3 spaces below and 1 space to the right of the marked head.
@cindex balloon
Program reference: @internalsref{text-balloon-interface}.
-Examples: @inputfileref{input/regression,balloon.ly}.
+Examples: @inputfileref{input/@/regression,balloon@/.ly}.
removing @code{Bar_number_engraver}.
-@lilypond[]
-emptymusic = {
- \repeat unfold 2 % Change this for more lines.
+@lilypond[quote,verbatim]
+emptymusic = {
+ \repeat unfold 2 % Change this for more lines.
{ s1\break }
\bar "|."
}
or composition exercises.
@lilypond[quote,raggedright,verbatim,relative=2,fragment]
- c4 d4
- \hideNotes
- e4 f4
- \unHideNotes
- g4 a
+c4 d4
+\hideNotes
+e4 f4
+\unHideNotes
+g4 a
@end lilypond
Hidden notes are also great for performing weird tricks. For example,
-slurs cannot be attached to rests or spacer rests, but you may with
+slurs cannot be attached to rests or spacer rests, but you may wish
to include that in your score -- string instruments use this notation
when doing pizzicato to indicate that the note should ring for as long
as possible.
@lilypond[quote,raggedright,verbatim,relative=0,fragment]
- \clef bass
- << {
- c4^"pizz"( \hideNotes c)
- \unHideNotes c( \hideNotes c)
- } {
- s4 r s r
- } >>
+\clef bass
+<< {
+ c4^"pizz"( \hideNotes c)
+ \unHideNotes c( \hideNotes c)
+} {
+ s4 r s r
+} >>
+@end lilypond
+
+
+@node Shaped note heads
+@subsection Shaped note heads
+
+In shaped note head notation, the shape of the note head corresponds
+to the harmonic function of a note in the scale. This notation was
+popular in the 19th century American song books.
+
+Shaped note heads can be produced by setting @code{\aikenHeads} or
+@code{\sacredHarpHeads}, depending on the style desired.
+
+@lilypond[verbatim,relative=1,fragment]
+ \aikenHeads
+ c8 d4 e8 a2 g1
+ \sacredHarpHeads
+ c8 d4. e8 a2 g1
+@end lilypond
+
+Shapes are determined on the step in the scale, where the base of the
+scale is determined by the @code{\key} command
+
+@findex \key
+@findex shapeNoteStyles
+@findex \aikenHeads
+@findex \sacredHarpHeads
+
+Shaped note heads are implemented through the @code{shapeNoteStyles}
+property. Its value is a vector of symbols. The k-th element indicates
+the style to use for the k-th step of the scale. Arbitrary
+combinations are possible, eg.,
+
+
+@lilypond[verbatim,relative=1,fragment]
+ \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
+ c8 d4. e8 a2 g1
@end lilypond
projects / lilypond.git / blobdiff