* Rhythmic music::
* Piano music::
* Vocal music::
+* Other instrument specific notation::
* Tablatures::
-* Chord names::
+* Popular music::
* Orchestral music::
+* Formatting cue notes::
* Ancient notation::
* Contemporary notation::
-* Special notation::
+* Educational use::
* Sound::
@end menu
@cindex pitches
@cindex entering notes
-The most common syntax for pitch entry is used in @code{\chords} and
-@code{\notes} mode. In these modes, pitches may be designated by
+The most common syntax for pitch entry is used in standard notes and
+@code{\chords} mode. In these modes, pitches may be designated by
names. The notes are specified by the letters @code{a} through
@code{g}, while the octave is formed with notes ranging from @code{c}
to @code{b}. The pitch @code{c} is an octave below middle C and the
@cindex quarter tones
@cindex semi-flats, semi-sharps
-@lilypond[quote,verbatim,relative=3]
+@lilypond[fragment,quote,verbatim,relative=3]
ceses4
ceseh
ces
@code{>}. A chord may be followed by a duration, and a set of
articulations, just like simple notes.
-@lilypond[quote,relative=1]
+@lilypond[fragment,quote,relative=1]
<c e g>4 <c>8 <>8
@end lilypond
Rests are entered like notes, with the note name @code{r}
-@lilypond[quote,raggedright,verbatim]
+@lilypond[fragment,quote,raggedright,verbatim]
r1 r2 r4 r8
@end lilypond
formatting in polyphonic music easier. Rest collision testing will
leave these rests alone
-@lilypond[quote,raggedright,verbatim]
+@cindex @code{\rest}
+
+@lilypond[fragment,quote,raggedright,verbatim]
a'4\rest d'4\rest
@end lilypond
An invisible rest (also called a `skip') can be entered like a note
with note name `@code{s}' or with @code{\skip @var{duration}}
-@lilypond[quote,raggedright,verbatim]
+@lilypond[fragment,quote,raggedright,verbatim]
a2 s4 a4 \skip 1 a4
@end lilypond
other situations, you should use the @code{\skip} command
@lilypond[quote,raggedright,verbatim]
-\score {
\new Staff <<
{ \time 4/8 \skip 2 \time 4/4 }
- \notes\relative c'' { a2 a1 }
+ \relative c'' { a2 a1 }
>>
-}
@end lilypond
The skip command is merely an empty musical placeholder. It does not
commands. For example, the following results in an empty staff.
@lilypond[quote,raggedright,verbatim]
-\score { \notes { s4 } }
+ { s4 }
@end lilypond
The same fragment using @code{\skip} results in an empty page.
@cindex duration
+@cindex @code{\longa}
+@cindex @code{\breve}
+@cindex @code{\maxima}
In Note, Chord, and Lyrics mode, durations are designated by numbers
@lilypond[quote]
\score {
- \notes \relative c'' {
+ \relative c'' {
a\breve*1/2 \autoBeamOff
a1 a2 a4 a8 a16 a32 a64 a64
r\longa*1/4 r\breve *1/2
\paper {
raggedright = ##t
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\override StaffSymbol #'transparent = ##t
\override TimeSignature #'transparent = ##t
@seealso
+User manual: @ref{Changing context properties on the fly} for the
+@code{\set} command.
+
+
Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
Examples: @inputfileref{input/regression,tuplet-nest.ly}.
<c, e' g>
}
@end lilypond
-@cindex @code{\notes}
-The pitch after the @code{\relative} contains a note name. To parse
-the note name as a pitch, it must surrounded by @code{\notes}
+The pitch after the @code{\relative} contains a note name.
+
The relative conversion will not affect @code{\transpose},
@code{\chords} or @code{\relative} sections in its argument. If you
-There is also a syntax that is separate from the notes.
+There is also a syntax that is separate from the notes. The syntax
+
@example
\octave @var{pitch}
@end example
-This checks that @var{pitch} (without octave) yields @var{pitch} (with
-octave) in \relative mode. If not, a warning is printed, and the
+This checks that @var{pitch} (without quotes) yields @var{pitch} (with
+quotes) in \relative mode. If not, a warning is printed, and the
octave is corrected, for example, the first check is passed
successfully. The second check fails with an error message. The
octave is adjusted so the following notes are in the correct octave
@end example
-@cindex skipTypesetting
+@cindex @code{skipTypesetting}
Failed bar checks are caused by entering incorrect
durations. Incorrect durations often completely garble up the score,
@lilypond
pipeSymbol = \bar "||"
-\score {
- \notes { c'2 c'2 | c'2 c'2 | }
-}
+{ c'2 c'2 | c'2 c'2 | }
@end lilypond
* Partial measures::
* Unmetered music::
* Bar lines::
+* Time administration::
+* Controlling formatting of prefatory matter::
@end menu
@node Staff symbol
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
-when any of these properties are changed.
+when any of these properties are changed. The following example shows
+possibilities when setting properties manually.
+
+@lilypond[verbatim]
+{
+ \set Staff.clefGlyph = #"clefs-F"
+ \set Staff.clefPosition = #2
+ c'4
+ \set Staff.clefGlyph = #"clefs-G"
+ c'4
+ \set Staff.clefGlyph = #"clefs-C"
+ c'4
+ \set Staff.clefOctavation = #7
+ c'4
+ \set Staff.clefOctavation = #0
+ \set Staff.clefPosition = #0
+ c'4
+ \clef "bass"
+ c'4
+}
+@end lilypond
+
@seealso
-Program reference: the object for this symbol is @internalsref{Clef}.
+Program reference: @internalsref{Clef}.
@code{set-octavation} will get confused when clef changes happen
during an octavation bracket.
+
+
+
@node Time signature
@subsection Time signature
@cindex Time signature
The symbol that is printed can be customized with the @code{style}
property. Setting it to @code{#'()} uses fraction style for 4/4 and
-2/2 time. There are many more options for its layout. See
-@inputfileref{input/test,time.ly} for more examples.
+2/2 time,
+
+@lilypond[fragment,verbatim]
+\time 4/4 c'1
+\time 2/2 c'1
+\override TimeSignature #'style = #'()
+\time 4/4 c'1
+\time 2/2 c'1
+@end lilypond
+
+
+
+There are many more options for its layout. See @ref{Ancient time
+signatures} for more examples.
This command sets the property @code{timeSignatureFraction},
@lilypond[quote,raggedright,verbatim]
\score {
- \notes \relative c'' {
+ \relative c'' {
#(set-time-signature 9 8 '(2 2 2 3))
g8[ g] d[ d] g[ g] a8[( bes g]) |
#(set-time-signature 5 8 '(3 2))
}
\paper {
\context {
- \StaffContext
+ \Staff
\consists "Measure_grouping_engraver"
}
}
@node Unmetered music
@subsection Unmetered music
+@cindex @code{\bar}
+
Bar lines and bar numbers are calculated automatically. For unmetered
music (e.g. cadenzas), this is not desirable. By setting
@code{Score.timing} to false, this automatic timing can be switched
@noindent
indicate where line breaks can occur.
-
-
@refcommands
@cindex @code{\cadenzaOn}
@cindex @code{\cadenzaOff}
@code{\cadenzaOff}.
+
+
+
@node Bar lines
@subsection Bar lines
@cindex Bar lines
@code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
is set to a string, a bar line of that type is created.
-@cindex whichBar
-@cindex repeatCommands
-@cindex defaultBarType
+@cindex @code{whichBar}
+@cindex @code{repeatCommands}
+@cindex @code{defaultBarType}
You are encouraged to use @code{\repeat} for repetitions. See
@ref{Repeats}.
Examples: @inputfileref{input/test,bar-lines.ly},
+
+@node Time administration
+@subsection Time administration
+
+Time is administered by the @internalsref{Time_signature_engraver},
+which usually lives in the @internalsref{Score} context.
+The bookkeeping deals with the following variables
+
+@table @code
+@item currentBarNumber
+ 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.
+@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.
+@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.
+@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[verbatim]
+{
+ \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
+}
+@end lilypond
+
+
+@node Controlling formatting of prefatory matter
+@subsection Controlling formatting of prefatory matter
+
+TODO
+
+@lilypond[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
+
+ % see above.
+ \time 4/4
+
+ d e fis g a b cis d
+ \key g \major
+ \break
+ \time 4/4
+}
+@end lilypond
+
+
@node Polyphony
@section Polyphony
@cindex polyphony
is to split chords using the separator @code{\\}. You can use it for
small, short-lived voices or for single chords
+@cindex @code{\\}
+
@lilypond[quote,verbatim,fragment]
\context Staff \relative c'' {
c4 << { f d e } \\ { b c2 } >>
c8 c4. } \\ { c2 c2 } >>
@end lilypond
-LilyPond also vertically shifts rests that are opposite of a stem
-
+LilyPond also vertically shifts rests that are opposite of a stem,
+for example
@lilypond[quote,raggedright,fragment,verbatim]
\context Voice << c''4 \\ r4 >>
@menu
* Manual beams::
* Setting automatic beam behavior::
+* Beam formatting::
@end menu
@node Manual beams
@code{beatLength} property.
-@lilypond[quote,relative=2,verbatim,noindent]
+@lilypond[fragment,quote,relative=2,verbatim,noindent]
c16[ c c c c c c c]
\set subdivideBeams = ##t
c16[ c c c c c c c]
\set Score.beatLength = #(ly:make-moment 1 8)
c16[ c c c c c c c]
@end lilypond
-@cindex subdivideBeams
+@cindex @code{subdivideBeams}
Kneed beams are inserted automatically, when a large gap is detected
between the note heads. This behavior can be tuned through the object
@cindex auto-knee-gap
+@seealso
+
+User manual: @ref{Changing context properties on the fly} for the
+@code{\set} command
+
@refbugs
Automatically kneed cross-staff beams cannot be used together with
hidden staves.
+Beams do not avoid collisions with symbols around the notes, such as
+texts and accidentals.
different parts of a measure. This means that it is not possible to use
automatic beaming in irregular meters such as @code{5/8}.
+@node Beam formatting
+@subsection Beam formatting
+
+
+When a beam falls in the middle of the staff, the beams point normally
+down. However, this behaviour can be altered with the
+@code{neutral-direction} property.
+
+
+@lilypond
+\relative c'' {
+ b8[ b]
+ \override Beam #'neutral-direction = #-1
+ b[ b]
+ \override Beam #'neutral-direction = #1
+ b[ b]
+}
+@end lilypond
+
@node Accidentals
@section Accidentals
@cindex Accidentals
* Text spanners::
* Analysis brackets::
* Articulations::
+* Running trills::
* Fingering instructions::
* Text scripts::
* Grace notes::
<c e>2( <b d>2)
@end lilypond
+The direction of a slur can be set with the
+generic commands
-@c TODO: should explain that ^( and _( set directions
-@c should set attachments with ^ and _ ?
-
-Slurs avoid crossing stems, and are generally attached to note heads.
-However, in some situations with beams, slurs may be attached to stem
-ends. If you want to override this layout you can do this through the
-object property @code{attachment} of @internalsref{Slur}. Its value
-is a pair of symbols, specifying the attachment type of the left and
-right end points
-
-@lilypond[quote,fragment,relative=1,verbatim]
-\slurUp
-\override Stem #'length = #5.5
-g'8(g g4)
-\override Slur #'attachment = #'(stem . stem)
-g8( g g4)
-@end lilypond
+@example
+ \override Slur #'direction = #UP
+ \slurUp % shortcut for the previous line
+@end example
-If a slur would strike through a stem or beam, the slur will be moved
-away upward or downward. If this happens, attaching the slur to the
-stems might look better
+@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,
-@lilypond[quote,fragment,relative=1,verbatim]
-\stemUp \slurUp
-d32( d'4 d8..)
-\override Slur #'attachment = #'(stem . stem)
-d,32( d'4 d8..)
+@lilypond[relative=2,fragment]
+ c4_( c) c^( c)
@end lilypond
-
+
@refcommands
Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
-@refbugs
-
-Producing nice slurs is a difficult problem, and LilyPond
-uses a simple, empiric method to produce slurs. In some cases, its
-results are ugly.
-
@cindex Adjusting slurs
@refbugs
-Phrasing slurs have the same limitations in their formatting as normal
-slurs. Putting phrasing slurs over rests leads to spurious warnings.
+Putting phrasing slurs over rests leads to spurious warnings.
@node Breath marks
@subsection Breath marks
@lilypond[quote,raggedright,verbatim]
\score {
- \notes \relative c'' {
+ \relative c'' {
c4\startGroup\startGroup
c4\stopGroup
c4\startGroup
}
\paper {
\context {
- \StaffContext \consists "Horizontal_bracket_engraver"
+ \Staff \consists "Horizontal_bracket_engraver"
}}}
@end lilypond
@lilypondfile[quote,raggedright]{script-chart.ly}
+
+The vertical ordering of scripts is controlled with the
+@code{script-priority} property. The lower this number, the closer it
+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
+inside. When two objects have the same priority, the order in which
+they are entered decides which one comes first.
+
+
+@lilypond[verbatim]
+\relative g''{
+ \once \override TextScript #'script-priority = #-100
+ a4^\prall^\markup { \sharp }
+
+ \once \override Script #'script-priority = #-100
+ a4^\prall^\markup { \sharp }
+}
+@end lilypond
+
+
+
@refcommands
@cindex @code{\scriptUp}
effect on the MIDI rendering of the music.
+
+@node Running trills
+@subsection Running trills
+
+Long running trills are made with @code{\startTrillSpan} and
+@code{\stopTrillSpan},
+
+
+@lilypond[verbatim]
+\relative \new Voice {
+ << { c1 \startTrillSpan }
+ { s2. \grace { d16[\stopTrillSpan e] } } >>
+ c4 }
+@end lilypond
+
+@refcommands
+
+@code{\startTrillSpan},
+@cindex @code{\startTrillSpan}
+@code{\stopTrillSpan}.
+@cindex @code{\stopTrillSpan}
+
+@seealso
+
+Program reference: @internalsref{TrillSpanner},
+@internalsref{TrillSpanEvent}.
+
@node Fingering instructions
@subsection Fingering instructions
@noindent
Another option is to change the variables @code{startGraceMusic},
-@code{stopGraceMusic}, @code{startAccacciaturaMusic},
-@code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
+@code{stopGraceMusic}, @code{startAcciaccaturaMusic},
+@code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
@code{stopAppoggiaturaMusic}. More information is in the file
@file{ly/grace-init.ly}.
}
@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}
+
+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.
+
+
+
+@lilypond[verbatim,raggedright]
+\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 } }
+}
+@end lilypond
+
@refbugs
A nested repeat like
For clarity, it is advisable to use braces in such situations.
@cindex ambiguity
-@node Repeats and MIDI
-@subsection Repeats and MIDI
-
-@cindex expanding repeats
-
-For instructions on how to expand repeats for MIDI output, see the
-example file @inputfileref{input/test,unfold-all-repeats.ly}.
-
-@refbugs
Timing information is not remembered at the start of an alternative,
so after a repeat timing information must be reset by hand, for
@code{\partial}. Similarly, slurs or ties are also not repeated.
+
+
+@node Repeats and MIDI
+@subsection Repeats and MIDI
+
+@cindex expanding repeats
+
+An advantage of the unified syntax for repeats, is that all repeats
+may be played out for the MIDI output. This is achieved by
+applying the @code{\unfoldrepeats} music function.
+
+@lilypond[verbatim,raggedright]
+\new Staff
+ \unfoldrepeats {
+ \repeat tremolo 8 {c'32 e' }
+ \repeat percent 2 { c''8 d'' }
+ \repeat volta 2 {c'4 d' e' f'}
+ \alternative {
+ { g' a' a' g' }
+ {f' e' d' c' }
+ }
+ \bar "|."
+ }
+@end lilypond
+
+When creating a score file using @code{\unfoldrepeats} for midi, then
+it is necessary to make two @code{\score} blocks. One for MIDI, with
+unfolded repeats, and one for notation, eg.
+
+@example
+ \score @{
+ @var{..music..}
+ \paper @{ .. @}
+ @}
+ \score @{
+ \unfoldrepeats @var{..music..}
+ \midi @{ .. @}
+ @}
+@end example
+
@node Manual repeat commands
@subsection Manual repeat commands
@end lilypond
+
@seealso
Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
To place tremolo marks between notes, use @code{\repeat} with tremolo
style
@lilypond[quote,verbatim,raggedright]
-\score {
- \context Voice \notes\relative c' {
+ \context Voice \relative c' {
\repeat "tremolo" 8 { 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
@lilypond[quote,raggedright,verbatim]
up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
down = \drums { bassdrum4 snare8 bd r bd sn4 }
-\score {
\new DrumStaff <<
\new DrumVoice { \voiceOne \up }
\new DrumVoice { \voiceTwo \down }
>>
-}
@end lilypond
The above example shows verbose polyphonic notation. The short
\paper {
%% need to do this, because of indented @itemize
linewidth= 9 \cm
- \context { \ScoreContext
+ \context { \Score
\override LyricText #'font-family = #'typewriter
\override BarNumber #'transparent =##T
}}}
@lilypond[quote,raggedright]
nam = \lyrics { timh ssh timl ssl cb }
mus = \drums { timh ssh timl ssl cb s16 }
-\score {
- <<
+
+<<
\context DrumStaff \with {
\remove Bar_engraver
\remove Time_signature_engraver
\override LyricText #'font-family = #'typewriter
\nam }
- >>
-}
+>>
@end lilypond
@item congas-style
to typeset congas on a two line staff
@lilypond[quote,raggedright]
nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
-\score {
- <<
+<<
\context DrumStaff\with {
\remove Bar_engraver
\remove Time_signature_engraver
\context Lyrics {
\override LyricText #'font-family = #'typewriter
\nam }
- >>
-}
+>>
@end lilypond
@item bongos-style
to typeset bongos on a two line staff
@lilypond[quote,raggedright]
nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
-\score {
- <<
+<<
\context DrumStaff\with {
\remove Bar_engraver
\remove Time_signature_engraver
\context Lyrics {
\override LyricText #'font-family = #'typewriter
\nam }
- >>
-}
+>>
@end lilypond
@item percussion-style
@lilypond[quote,raggedright]
nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
-\score {
- <<
+<<
\context DrumStaff\with{
\remove Bar_engraver
drumStyleTable = #percussion-style
\override Stem #'Y-extent-callback = ##f
} \mus
\context Lyrics {
- \nam
- \override LyricText #'font-family = #'typewriter
-}
- >>
-}
+ \nam
+ \override LyricText #'font-family = #'typewriter
+ }
+>>
@end lilypond
@end table
(lowtom diamond #f 3)))
up = \drums { hh8 hh hh hh hhp4 hhp }
down = \drums { bd4 sn bd toml8 toml }
-\score {
- \new DrumStaff <<
+
+\new DrumStaff <<
\set DrumStaff.drumStyleTable
= #(alist->hash-table mydrums)
\new DrumVoice { \voiceOne \up }
\new DrumVoice { \voiceTwo \down }
- >>
-}
+>>
@end lilypond
* Pedals::
* Arpeggio::
* Staff switch lines::
+* Cross staff stems::
@end menu
@refbugs
-There is no support for putting chords across staves. You can get
-this result by increasing the length of the stem in the lower stave so
-it reaches the stem in the upper stave, or vice versa. An example is
-included with the distribution as
-@inputfileref{input/test,stem-cross-staff.ly}.
-
Dynamics are not centered, but kludges do exist. See
@inputfileref{input/template,piano-dynamics.ly}.
advance. Here is a practical example
@lilypond[quote,verbatim,raggedright]
-\score { \notes \context PianoStaff <<
+\context PianoStaff <<
\context Staff = "up" {
\autochange \new Voice \relative c' {
g4 a b c d r4 a g } }
\context Staff = "down" {
\clef bass
s1*2
-} >> }
+} >>
@end lilypond
@noindent
@cindex @code{\arpeggioUp}
@code{\arpeggioUp},
@cindex @code{\arpeggioDown}
-@code{\arpeggioUp},
+@code{\arpeggioDown},
@cindex @code{\arpeggioBoth}
@code{\arpeggioBoth},
@cindex @code{\arpeggioBracket}
@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.
+
+@lilypond[raggedright,verbatim]
+stemExtend = \once \override Stem #'length = #22
+noFlag = \once \override Stem #'flag-style = #'no-flag
+\context PianoStaff <<
+ \new Staff {
+ \stemDown \stemExtend
+ f'4
+ \stemExtend \noFlag
+ f'8
+ }
+ \new Staff {
+ \clef bass
+ a4 a8
+ }
+>>
+@end lilypond
+
+
@node Vocal music
@section Vocal music
-This section discusses how to enter and print lyrics.
+
+The easiest way to add lyrics to a melody, is by appending
+
+
+@cindex \newlyrics
+@example
+ \newlyrics @{ @var{the lyrics} @}
+@end example
+
+to a melody. Here is an example,
+
+@lilypond[raggedright,verbatim]
+ \relative { \time 3/4 c2 e4 g2. }
+ \newlyrics { play the game }
+@end lilypond
+
+More stanzas can be added by adding more
+@code{\newlyrics} sections
+
+@lilypond[raggedright,verbatim]
+ \relative { \time 3/4 c2 e4 g2. }
+ \newlyrics { play the game }
+ \newlyrics { speel het spel }
+ \newlyrics { joue le jeu }
+@end lilypond
+
+The @code{\newlyrics} keyword has three functions: it interprets the
+following words as texts instead of notes, it sets up a context for
+printing texts (the @code{Lyrics} context), and it couples the melody
+with the lyrics, so the durations of both are aligned.
+
+These three functions can be controlled separately, and that is what
+the following sections are about.
@menu
* Entering lyrics::
* The Lyrics context::
+* Flexibility in alignment::
* More stanzas::
* Ambitus::
@end menu
@cindex punctuation
Lyrics are entered in a special input mode. This mode is is introduced
-by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
-punctuation and accents without any hassle. Syllables are entered like
-notes, but with pitches replaced by text. For example,
+by the keyword @code{\lyrics}. In this mode you can enter lyrics,
+with punctuation and accents without any hassle. Syllables are
+entered like notes, but with pitches replaced by text. For example,
@example
\lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
@end example
Any @code{_} character which 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
+specify words that cannot be written with the above rules. The
+following example incorporates double quotes
@example
\lyrics @{ He said: "\"Let" my peo ple "go\"" @}
@end example
-However, at least for english texts, you should use
+
+This example is slightly academic, since it gives better looking
+results to use matched single quotes, @code{``} and @code{''}
@example
\lyrics @{ He said: ``Let my peo ple go'' @}
@end example
-to get the correct shape of the starting and ending quote.
@cindex hyphens
@node The Lyrics context
@subsection The Lyrics context
+
Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
@example
\context Lyrics \lyrics @dots{}
@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}.
+then the lyrics are specified with @code{\lyricsto}. The command
+@code{\lyricsto} switches to @code{\lyrics} mode automatically, so the
+@code{\lyrics} 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.
@example
-\context ChoirStaff \notes <<
+\context ChoirStaff <<
\context Lyrics = sopranoLyrics @{ s1 @}
\context Voice = soprano @{ @emph{music} @}
\context Lyrics = tenorLyrics @{ s1 @}
The final input would resemble
@example
- << \context ChoirStaff \notes << @emph{setup the music} >>
+ << \context ChoirStaff << @emph{setup the music} >>
\lyricsto "soprano" @emph{etc}
\lyricsto "alto" @emph{etc}
@emph{etc}
\melismaEnd
e2
}
- \lyricsto "lala" \new Lyrics \lyrics {
+ \lyricsto "lala" \new Lyrics {
la di __ daah
}
>>
} >>
@end lilypond
-
-
-
-When multiple stanzas are put on the same melody, it can happen that
-two stanzas have melismata in different locations. This can be
-remedied by switching off melismata for one
-@internalsref{Lyrics}. This is achieved by setting
-the @code{ignoreMelismata} property to @code{#t}. An example is shown
-in @inputfileref{input/regression,lyric-combine-new.ly}.
-
@cindex SATB
@cindex choral score
Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
Examples: @inputfileref{input/template,satb.ly},
-@inputfileref{input/regression,lyric-combine-new.ly}.
+@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}.
@refbugs
For proper processing of extender lines, the
-@internalsref{Lyrics} and @internalsref{Voice} should be
+ @internalsref{Lyrics} and @internalsref{Voice} should be
linked. This can be achieved either by using @code{\lyricsto} or by
setting corresponding names for both contexts. The latter is explained
in @ref{More stanzas}.
-@node More stanzas
-@subsection More stanzas
-
-@cindex phrasing, in lyrics
-
-
-The lyrics should be aligned with the note heads of the melody. To
-achieve this, each line of lyrics should be marked to correspond with
-the melodic line. This is done automatically when @code{\lyricsto},
-but it can also be done manually.
+@c TODO: document \new Staff << Voice \lyricsto >> bug
-To this end, give the @internalsref{Voice} context an identity
-@example
-\context Voice = duet @{
- \time 3/4
- g2 e4 a2 f4 g2. @}
-@end example
+@node Flexibility in alignment
+@subsection Flexibility in alignment
-Then set the @internalsref{Lyrics} contexts to names starting with
-that identity followed by a dash. In the preceding example, the
-@internalsref{Voice} identity is @code{duet}, so the identities of the
-@internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}
-@example
- \context Lyrics = "duet-1" @{
- Hi, my name is Bert. @}
- \context Lyrics = "duet-2" @{
- Ooooo, ch\'e -- ri, je t'aime. @}
-@end example
-The complete example is shown here
-@lilypond[quote,raggedright,verbatim]
-\score {
- <<
- \notes \relative c'' \context Voice = duet {
- \time 3/4
- g2 e4 a2 f4 g2. }
- <<
- \lyricsto "duet" \new Lyrics \lyrics {
- \set vocalName = "Bert"
- Hi, my name is Bert. }
- \lyricsto "duet" \new Lyrics \lyrics {
- \set vocalName = "Ernie"
- Ooooo, ch\'e -- ri, je t'aime. }
- >>
- >>
-}
-@end lilypond
+Often, different stanzas of one song are put to one melody in slightly
+differing ways. Such variations can still be captured with
+@code{\lyricsto}.
-@cindex stanza number
-@cindex singer's names
-@cindex name of singer
+One possibility is that the text has a melisma in one stanza, but
+multiple syllables in another one. One solution is to make the faster
+voice ignore the melisma. This is done by setting
+@code{ignoreMelismata} in the Lyrics context.
-Stanza numbers can be added by setting @code{stanza}, e.g.
+There has one tricky aspect. The setting for @code{ignoreMelismata}
+must be set one syllable @emph{before} the non-melismatic syllable
+in the text, as shown here,
-@lilypond[quote,verbatim,relative=2]
+@lilypond[verbatim,raggedright]
<<
- \context Voice = duet {
- \time 3/4 g2 e4 a2 f4 g2. }
- \lyricsto "duet" \new Lyrics \lyrics {
- \set stanza = "1. "
- Hi, my name is Bert. }
+ \relative \context Voice = "lahlah" {
+ \set Staff.autoBeaming = ##f
+ c4
+ \slurDotted
+ f8.[( g16])
+ a4
+ }
+ \new Lyrics \lyricsto "lahlah" {
+ more slow -- ly
+ }
+ \new Lyrics \lyricsto "lahlah" {
+ \set ignoreMelismata = ##t % applies to "fas"
+ go fas -- ter
+ \unset ignoreMelismata
+ still
+ }
>>
@end lilypond
-This example also demonstrates how names of the singers can be added
-using @code{vocalName} analogous to instrument annotations for staves.
-A short version may be entered as @code{vocNam}.
-To make empty spaces in lyrics, use @code{\skip}.
+The @code{ignoreMelismata} applies to the syllable ``fas'', so it
+should bev entered before ``go''.
+The reverse is also possible: making a lyric line slower than the
+standard. This can be achieved by insert @code{\skip}s into the
+lyrics. For every @code{\skip}, the text will be delayed another note.
+For example,
-@seealso
+@lilypond[verbatim,raggedright]
+\relative { c c g' }
+\newlyrics {
+ twin -- \skip 4
+ kle
+}
+@end lilypond
-Program reference: Layout objects @internalsref{LyricText} and
-@internalsref{VocalName}. Music expressions
-@internalsref{LyricEvent}.
+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
-@refbugs
+@lilypond[raggedright]
+<<
+ \relative \context Voice = "lahlah" {
+ \set Staff.autoBeaming = ##f
+ c4
+ <<
+ \context Voice = alternative {
+ \voiceOne
+ \times 2/3 {
+
+ % show associations clearly.
+ \override NoteColumn #'force-hshift = #-3
+ f8 f g
+ }
+ }
+ {
+ \voiceTwo
+ f8.[ g16]
+ \oneVoice
+ } >>
+ a8( b) c
-@cindex ambiguity
+ }
+ \new Lyrics \lyricsto "lahlah" {
+ Ju -- ras -- sic Park
+ }
+ \new Lyrics \lyricsto "lahlah" {
-Input for lyrics introduces a syntactical ambiguity
-
-@example
-foo = bar
-@end example
+ % Tricky: need to set associatedVoice
+ % one syllable too soon!
+ \set associatedVoice = alternative % applies to "ran"
+ Ty --
+ ran --
+ no --
+ \set associatedVoice = lahlah % applies to "rus"
+ sau -- rus Rex
+ } >>
+@end lilypond
@noindent
-is interpreted as assigning a string identifier @code{\foo} such that
-it contains @code{"bar"}. However, it could also be interpreted as
-making or a music identifier @code{\foo} containing the syllable
-`bar'. The force the latter interpretation, use
+the text for the first stanza is set to a melody called ``lahlah'',
+
+@verbatim
+ \new Lyrics \lyricsto "lahlah" {
+ Ju -- ras -- sic Park
+ }
+@end verbatim
+
+
+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
-foo = \lyrics bar4
+ \set associatedVoice = alternative
@end example
+@noindent
+Here, @code{alternative} is the name of the @code{Voice} context
+containing the triplet.
-@node Ambitus
-@subsection Ambitus
-@cindex ambitus
+Again, the command must be one syllable too early, before ``Ty'' in
+this case.
+
+@verbatim
+ \new Lyrics \lyricsto "lahlah" {
+ \set associatedVoice = alternative % applies to "ran"
+ Ty --
+ ran --
+ no --
+ \set associatedVoice = lahlah % applies to "rus"
+ sau -- rus Rex
+ }
+@end verbatim
+
+@noindent
+The underlay is switched back to the starting situation by assigning
+@code{lahlah} to @code{associatedVoice}.
+
+
+
+
+@node More stanzas
+@subsection More stanzas
+
+@cindex phrasing, in lyrics
+
+
+@cindex stanza number
+@cindex singer's names
+@cindex name of singer
+
+Stanza numbers can be added by setting @code{stanza}, e.g.
+
+@lilypond[quote,verbatim,relative=2]
+\context Voice {
+ \time 3/4 g2 e4 a2 f4 g2.
+} \newlyrics {
+ \set stanza = "1. "
+ Hi, my name is Bert.
+} \newlyrics {
+ \set stanza = "2. "
+ Oh, che -- ri, je t'aime
+}
+@end lilypond
+
+These numbers are put just before the start of first syllable.
+
+Names of singers can also be added. They are printed at the start of
+the line, just like instrument names. They are created by setting
+@code{vocalName}. A short version may be entered as @code{vocNam}.
+
+
+@lilypond[quote,verbatim,relative=2]
+\context Voice {
+ \time 3/4 g2 e4 a2 f4 g2.
+} \newlyrics {
+ \set vocalName = "Bert "
+ Hi, my name is Bert.
+} \newlyrics {
+ \set vocalName = "Ernie "
+ Oh, che -- ri, je t'aime
+}
+@end lilypond
+
+@seealso
+
+Program reference: Layout objects @internalsref{LyricText} and
+@internalsref{VocalName}. Music expressions
+@internalsref{LyricEvent}.
+
+
+
+@node Ambitus
+@subsection Ambitus
+@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
@example
\paper @{
\context @{
- \VoiceContext
+ \Voice
\consists Ambitus_engraver
@}
@}
This results in the following output
@lilypond[quote,raggedright]
-\score {
+ \paper {
+ \context {
+ \Staff
+ \consists Ambitus_engraver
+ }
+ }
+
\context ChoirStaff
- \notes \relative c' <<
+ \relative c' <<
\new Staff {
as'' c e2 cis,2
}
es4 b c f as g
}
>>
- \paper {
- \context {
- \StaffContext
- \consists Ambitus_engraver
- }
- }
-}
@end lilypond
If you have multiple voices in a single staff, and you want a single
@seealso
-Program reference: @internalsref{Ambitus}.
+Program reference: @internalsref{Ambitus},
+@internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
+@internalsref{AmbitusAccidental}.
Examples: @inputfileref{input/regression,ambitus.ly},
@inputfileref{input/test,ambitus-mixed.ly}.
There is no collision handling in the case of multiple per-voice
ambitus.
+@node Other instrument specific notation
+@section Other instrument specific notation
+
+@menu
+* Harmonic notes::
+@end menu
+
+@node Harmonic notes
+@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}.
+
+@lilypond[raggedright,verbatim]
+{
+ <c' g'\harmonic>4
+}
+@end lilypond
+
+
@node Tablatures
@section Tablatures
+@cindex tablature
+@cindex guitar tablature
+
Tablature notation is used for notating music for plucked string
instruments. It notates pitches not by using note heads, but by
indicating on which string and fret a note must be played. LilyPond
@internalsref{TabVoice} contexts
@lilypond[quote,fragment,verbatim]
-\notes \context TabStaff {
+ \context TabStaff {
a,4\5 c'\2 a\3 e'\1
e\4 c'\2 a\3 e'\1
}
@end lilypond
-@cindex minimumFret
+@cindex @code{minimumFret}
+@cindex fret
When no string is specified, the first string that does not give a
fret number less than @code{minimumFret} is selected. The default
e16 fis gis a b4
@end example
@lilypond[quote,noindent,raggedright]
-frag = \notes {
+frag = {
\key e \major
e16 fis gis a b4
\set TabStaff.minimumFret = #8
e16 fis gis a b4
}
-\score {
\context StaffGroup <<
\context Staff { \clef "G_8" \frag }
\context TabStaff { \frag }
>>
-}
@end lilypond
@seealso
\context TabStaff <<
\set TabStaff.stringTunings = #'(-5 -10 -15 -20)
- \notes {
+ {
a,4 c' a e' e c' a e'
}
>>
Program reference: @internalsref{Tab_note_heads_engraver}.
+@node Popular music
+@section Popular music
+
+
+
+@menu
+* Chord names::
+* Chords mode::
+* Printing chord names::
+* Improvisation::
+@end menu
+
@node Chord names
-@section Chord names
+@subsection Chord names
@cindex Chords
LilyPond has support for both printing chord names. Chords may be
@lilypond[quote,verbatim,raggedright]
-twoWays = \notes \transpose c c' {
+twoWays = \transpose c c' {
\chords {
c1 f:sus4 bes/f
}
<f bes d'>
}
-\score {
<< \context ChordNames \twoWays
- \context Voice \twoWays >> }
+ \context Voice \twoWays >>
@end lilypond
This example also shows that the chord printing routines do not try to
@cindex @code{m}
Since an unaltered 11 does not sound good when combined with an
-unaltered 13, the 11 is removed in this case (unless it is added
+unaltered 3, the 11 is removed in this case (unless it is added
explicitly)
@c
@lilypond[quote,fragment,verbatim]
\chords { c1 c/+g c/+f }
@end lilypond
-Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
+Chords is a mode similar to @code{\lyrics} 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.
described above, or directly using @code{<} and @code{>}
@lilypond[quote,verbatim,raggedright]
-scheme = \notes {
+scheme = {
\chords {a1 b c} <d' f' a'> <e' g' b'>
}
-\score {
- \notes <<
+
+ <<
\context ChordNames \scheme
\context Staff \scheme
- >>
-}
+>>
@end lilypond
You can make the chord changes stand out by setting
scheme = \chords {
c1:m c:m \break c:m c:m d
}
-\score {
- \notes <<
+ <<
\context ChordNames {
\set chordChanges = ##t
\scheme }
\context Staff \transpose c c' \scheme
- >>
+>>
+@end lilypond
+
+The previous examples all show chords over a staff. This is not
+necessary. Chords may also be printed separately. It may be necessary
+to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
+for showing repeats.
+
+@lilypond[raggedright,verbatim]
+\new ChordNames \with {
+ \override BarLine #'bar-size = #4
+ \consists Bar_engraver
+ \consists "Volta_engraver"
+}
+\repeat volta 2 \chords {
+ f1:maj f:7 bes:7
+ c:maj es
}
@end lilypond
+
The default chord name layout is a system for Jazz music, proposed by
Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
following properties
@table @code
-@cindex chordNameExceptions
+@cindex @code{chordNameExceptions}
@item chordNameExceptions
This is a list that contains the chords that have special formatting.
For an example, see
@cindex exceptions, chord names.
-@cindex majorSevenSymbol
+@cindex @code{majorSevenSymbol}
@item majorSevenSymbol
This property contains the markup object used for the 7th step, when
it is major. Predefined options are @code{whiteTriangleMarkup} and
@code{blackTriangleMarkup}. See
@inputfileref{input/regression,chord-name-major7.ly} for an example.
-@cindex chordNameSeparator
+@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
}
@end lilypond
-@cindex chordRootNamer
+@cindex @code{chordRootNamer}
@item chordRootNamer
The root of a chord is usually printed as a letter with an optional
alteration. The transformation from pitch to letter is done by this
function. Special note names (for example, the German ``H'' for a
B-chord) can be produced by storing a new function in this property.
-The predefined variables @code{\germanChords},
-@code{\semiGermanChords} set these variables.
-
-
-@cindex chordNoteNamer
+@cindex @code{chordNoteNamer}
@item chordNoteNamer
The default is to print single pitch, e.g. the bass note, using the
@code{chordRootNamer}. The @code{chordNoteNamer} property can be set
@end table
+The predefined variables @code{\germanChords},
+@code{\semiGermanChords} set these variables. The effect is
+demonstrated here,
+
+@lilypondfile[notexidoc]{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
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,chord-names-german.ly}.
+@inputfileref{input/test,chords-without-melody.ly}.
+
Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
@code{< .. >} syntax.
+@node Improvisation
+@subsection Improvisation
+
+Improvisation is sometimes denoted with slashed note heads. Such note
+heads can be created by adding a @internalsref{Pitch_squash_engraver}
+to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
+following command
+
+@example
+ \set squashedPosition = #0
+ \override NoteHead #'style = #'slash
+@end example
+
+@noindent
+switches on the slashes.
+
+There are shortcuts @code{\improvisationOn} (and an accompanying
+@code{\improvisationOff}) for this command sequence. They are used in
+the following example
+
+@lilypond[verbatim,raggedright]
+\new Staff \with {
+ \consists Pitch_squash_engraver
+} \transpose c c' {
+ e8 e g a a16(bes)(a8) g \improvisationOn
+ e8
+ ~e2~e8 f4 fis8
+ ~fis2 \improvisationOff a16(bes) a8 g e
+}
+@end lilypond
+
@node Orchestral music
@menu
* Multiple staff contexts::
+* Aligning to cadenzas::
* Rehearsal marks::
* Bar numbers::
* Instrument names::
@cindex staff group
+@node Aligning to cadenzas
+@subsection Aligning to cadenzas
+
+
+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.
+
+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
+long as the piece. The use of @code{mmrest-of-length} is demonstrated
+in the following example.
+
+@lilypond[raggedright]
+cadenza = \relative c' {
+ c4 d8 << { e f g } \\ { d4. } >>
+ g4 f2 g4 g
+}
+
+\new GrandStaff <<
+ \new Staff { \cadenza c'4 }
+ \new Staff {
+ #(ly:export (mmrest-of-length cadenza))
+ c'4
+ }
+>>
+@end lilypond
+
+
+
@node Rehearsal marks
@cindex bar numbers
@cindex measure numbers
-@cindex currentBarNumber
+@cindex @code{currentBarNumber}
Bar numbers are printed by default at the start of the line. The
-number itself is stored in the
-@code{currentBarNumber} property,
-which is normally updated automatically for every measure.
+number itself is stored in the @code{currentBarNumber} property, which
+is normally updated automatically for every measure.
Bar numbers can be typeset at regular intervals instead of at the
beginning of each line. This is illustrated in the following example,
the start of the staff. For the first start, @code{instrument} is
used, for the next ones @code{instr} is used.
-@lilypond[quote,verbatim,raggedright,relative=1]
+@lilypond[quote,verbatim,raggedright,relative=1,fragment]
\set Staff.instrument = "Ploink "
\set Staff.instr = "Plk "
c1
names, for example
@lilypond[quote,fragment,verbatim,raggedright]
-\notes {
+ {
\set Staff.instrument = \markup {
\column < "Clarinetti" { "in B"
\smaller \flat } > }
}
@end lilypond
+For longer instrument names, it may be useful to increase the
+@code{indent} setting in the @code{\paper} block.
+
@seealso
Program reference: @internalsref{InstrumentName}.
\transpose a c @dots{}
@end example
-Since @var{from} and @var{to} are pitches, so @code{\transpose} must be
-inside a @code{\notes} section. @code{\transpose} distinguishes
-between enharmonic pitches: both @code{\transpose c cis} or
-@code{\transpose c des} will transpose up half a tone. The first
-version will print sharps and the second version will print flats
+@code{\transpose} distinguishes between enharmonic pitches: both
+@code{\transpose c cis} or @code{\transpose c des} will transpose up
+half a tone. The first version will print sharps and the second
+version will print flats
@lilypond[quote,raggedright,verbatim]
-mus =\notes { \key d \major cis d fis g }
-\score { \notes \context Staff {
+mus = { \key d \major cis d fis g }
+\context Staff {
\clef "F" \mus
\clef "G"
\transpose c g' \mus
\transpose c f' \mus
-}}
+}
@end lilypond
\transposition bes %% B-flat clarinet
@end example
-This command sets the property @code{instrumentTuning}. The value of
+This command sets the property @code{instrumentTransposition}. The value of
this property is used for MIDI output and quotations. It does not
affect how notes are printed in the current staff.
@lilypond[quote,verbatim]
-\score {
- \notes \relative c' <<
- \new Staff { e4 f g a \break c1 }
- \new Staff { c4 d e f \break R1 }
- >>
\paper {
linewidth = 6.\cm
\context { \RemoveEmptyStaffContext }
}
+
+{
+ \relative c' <<
+ \new Staff { e4 f g a \break c1 }
+ \new Staff { c4 d e f \break R1 }
+ >>
}
@end lilypond
@example
\simultaneous @{
@var{the music}
- \apply #(remove-tag 'score) @var{the music}
- \apply #(remove-tag 'part) @var{the music}
+ \applymusic #(remove-tag 'score) @var{the music}
+ \applymusic #(remove-tag 'part) @var{the music}
@}
@end example
would yield
of music. This is an example of @code{\addquote}
@verbatim
-\addquote clarinet \notes\relative c' {
+\addquote clarinet \relative c' {
f4 fis g gis
}
@end verbatim
instruments, if they are specified using the @code{\transposition} command.
@lilypond[quote,raggedright,verbatim]
-\addquote clarinet \notes\relative c' {
+\addquote clarinet \relative c' {
\transposition bes
f4 fis g gis
}
-\score {
- \notes {
+
+{
e'8 f'8 \quote clarinet 2
-} }
+}
@end lilypond
@refbugs
Program reference: @internalsref{QuoteMusic}.
+@node Formatting cue notes
+@section Formatting cue notes
+
+
+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
+
+@lilypond[verbatim]
+smaller = {
+ \set fontSize = #-1
+ \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"
+ \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
+ }
+ >>
+ c'8^"Horn" cis'
+ eis'4 fis'4
+}
+@end lilypond
+
+
+There are a couple of points to take care of:
+
+@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,
+@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.
+@end itemize
+
+
+
@node Ancient notation
@section Ancient notation
* Custodes::
* Divisiones::
* Ligatures::
-* Figured bass::
* Vaticana style contexts::
+* Figured bass::
@end menu
If this all is way too much of documentation for you, and you just
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 the desired value (@code{baroque},
-@code{neo_mensural} or @code{mensural}). The @code{baroque} style
+@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{neo_mensural} style differs from
+@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
produces note heads that mimic the look of note heads in historic
printings of the 16th century.
-The following example demonstrates the @code{neo_mensural} style
+The following example demonstrates the @code{neomensural} style
@lilypond[quote,fragment,raggedright,verbatim]
-\override NoteHead #'style = #'neo_mensural
+\override NoteHead #'style = #'neomensural
a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
@end lilypond
@lilypond[quote,raggedright,staffsize=26]
\score {
- \notes {
+ {
\fatText
s
^\markup {
raggedright = ##t
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context{
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Time_signature_engraver"
Use the @code{style} property of grob @internalsref{Rest} to select
ancient accidentals. Supported styles are @code{classical},
-@code{neo_mensural} and @code{mensural}. @code{classical} differs
+@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{neo_mensural} style suits
+a horizontally mirrored 8th rest. The @code{neomensural} style suits
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{neo_mensural} style
+The following example demonstrates the @code{neomensural} style
@lilypond[quote,fragment,raggedright,verbatim]
-\override Rest #'style = #'neo_mensural
+\override Rest #'style = #'neomensural
r\longa r\breve r1 r2 r4 r8 r16
@end lilypond
right side of each clef in the example column denotes the @code{c'}
with respect to that clef.
-@multitable @columnfractions .3 .3 .3 .1
+@multitable @columnfractions .4 .4 .2
@item
-@b{Glyph Name} @tab
@b{Description} @tab
@b{Supported Clefs} @tab
@b{Example}
@item
-@code{clefs-neo_mensural_c} @tab
modern style mensural C clef @tab
-@code{neo_mensural_c1}, @code{neo_mensural_c2},
-@code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
-@lilypond[quote,relative=1,notime]
+@code{neomensural_c1}, @code{neomensural_c2},
+@code{neomensural_c3}, @code{neomensural_c4} @tab
+@lilypond[fragment,quote,relative=1,notime]
\override Staff.TimeSignature #'transparent = ##t
-\clef "neo_mensural_c2" c
+\clef "neomensural_c2" c
@end lilypond
@item
-@code{clefs-petrucci_c1}
-@code{clefs-petrucci_c2}
-@code{clefs-petrucci_c3}
-@code{clefs-petrucci_c4}
-@code{clefs-petrucci_c5}
-
-@tab
petrucci style mensural C clefs, for use on different staff lines
(the examples shows the 2nd staff line C clef).
@code{petrucci_c5}
@tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
\override Staff.TimeSignature #'transparent = ##t
\clef "petrucci_c2" c
@end lilypond
@item
-@code{clefs-petrucci_f} @tab
petrucci style mensural F clef @tab
@code{petrucci_f} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
\override Staff.TimeSignature #'transparent = ##t
\clef "petrucci_f" c
@end lilypond
@item
-@code{clefs-petrucci_g} @tab
petrucci style mensural G clef @tab
@code{petrucci_g} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
\override Staff.TimeSignature #'transparent = ##t
\clef "petrucci_g" c
@end lilypond
@item
-@code{clefs-mensural_c} @tab
historic style mensural C clef @tab
@code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
@code{mensural_c4} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
\override Staff.TimeSignature #'transparent = ##t
\clef "mensural_c2" c
@end lilypond
@item
-@code{clefs-mensural_f} @tab
historic style mensural F clef @tab
@code{mensural_f} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
\override Staff.TimeSignature #'transparent = ##t
\clef "mensural_f" c
@end lilypond
@item
-@code{clefs-mensural_g} @tab
historic style mensural G clef @tab
@code{mensural_g} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
\override Staff.TimeSignature #'transparent = ##t
\clef "mensural_g" c
@end lilypond
@item
-@code{clefs-vaticana_do} @tab
Editio Vaticana style do clef @tab
@code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
\override Staff.StaffSymbol #'line-count = #4
\override Staff.TimeSignature #'transparent = ##t
\clef "vaticana_do2" c
@end lilypond
@item
-@code{clefs-vaticana_fa} @tab
Editio Vaticana style fa clef @tab
@code{vaticana_fa1}, @code{vaticana_fa2} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[quote,relative=1,notime,fragment]
\override Staff.StaffSymbol #'line-count = #4
\override Staff.TimeSignature #'transparent = ##t
\clef "vaticana_fa2" c
@end lilypond
@item
-@code{clefs-medicaea_do} @tab
Editio Medicaea style do clef @tab
@code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
\override Staff.StaffSymbol #'line-count = #4
\override Staff.TimeSignature #'transparent = ##t
\clef "medicaea_do2" c
@end lilypond
@item
-@code{clefs-medicaea_fa} @tab
Editio Medicaea style fa clef @tab
@code{medicaea_fa1}, @code{medicaea_fa2} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
\override Staff.StaffSymbol #'line-count = #4
\override Staff.TimeSignature #'transparent = ##t
\clef "medicaea_fa2" c
@end lilypond
@item
-@code{clefs-hufnagel_do} @tab
historic style hufnagel do clef @tab
@code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
\override Staff.StaffSymbol #'line-count = #4
\override Staff.TimeSignature #'transparent = ##t
\clef "hufnagel_do2" c
@end lilypond
@item
-@code{clefs-hufnagel_fa} @tab
historic style hufnagel fa clef @tab
@code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
\override Staff.StaffSymbol #'line-count = #4
\override Staff.TimeSignature #'transparent = ##t
\clef "hufnagel_fa2" c
@end lilypond
@item
-@code{clefs-hufnagel_do_fa} @tab
historic style hufnagel combined do/fa clef @tab
@code{hufnagel_do_fa} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
\override Staff.TimeSignature #'transparent = ##t
\clef "hufnagel_do_fa" c
@end lilypond
following table
@lilypond[quote]
-\score {
- \notes {
- \set Score.timing = ##f
- \set Score.barAlways = ##t
- s_\markup { "$\\backslash$time 4/4" }
- ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
- s
- s_\markup { "$\\backslash$time 2/2" }
- ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
- s
- s_\markup { "$\\backslash$time 6/4" }
- ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
- s
- s_\markup { "$\\backslash$time 6/8" }
- ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
- \break
- s_\markup { "$\\backslash$time 3/2" }
- ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
- s
- s_\markup { "$\\backslash$time 3/4" }
- ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
- s
- s_\markup { "$\\backslash$time 9/4" }
- ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
- s
- s_\markup { "$\\backslash$time 9/8" }
- ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
- \break
- s_\markup { "$\\backslash$time 4/8" }
- ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
- s
- s_\markup { "$\\backslash$time 2/4" }
- ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
- \break
- }
- \paper {
- indent = 0.0
- raggedright = ##t
- \context {
- \StaffContext
- \remove Staff_symbol_engraver
- \remove Clef_engraver
- \remove Time_signature_engraver
- }
+\paper {
+ indent = 0.0
+ raggedright = ##t
+ \context {
+ \Staff
+ \remove Staff_symbol_engraver
+ \remove Clef_engraver
+ \remove Time_signature_engraver
}
+} {
+ \set Score.timing = ##f
+ \set Score.barAlways = ##t
+ s_\markup { "$\\backslash$time 4/4" }
+ ^\markup { " " \musicglyph #"timesig-neomensural4/4" }
+ s
+ s_\markup { "$\\backslash$time 2/2" }
+ ^\markup { " " \musicglyph #"timesig-neomensural2/2" }
+ s
+ s_\markup { "$\\backslash$time 6/4" }
+ ^\markup { " " \musicglyph #"timesig-neomensural6/4" }
+ s
+ s_\markup { "$\\backslash$time 6/8" }
+ ^\markup { " " \musicglyph #"timesig-neomensural6/8" }
+ \break
+ s_\markup { "$\\backslash$time 3/2" }
+ ^\markup { " " \musicglyph #"timesig-neomensural3/2" }
+ s
+ s_\markup { "$\\backslash$time 3/4" }
+ ^\markup { " " \musicglyph #"timesig-neomensural3/4" }
+ s
+ s_\markup { "$\\backslash$time 9/4" }
+ ^\markup { " " \musicglyph #"timesig-neomensural9/4" }
+ s
+ s_\markup { "$\\backslash$time 9/8" }
+ ^\markup { " " \musicglyph #"timesig-neomensural9/8" }
+ \break
+ s_\markup { "$\\backslash$time 4/8" }
+ ^\markup { " " \musicglyph #"timesig-neomensural4/8" }
+ s
+ s_\markup { "$\\backslash$time 2/4" }
+ ^\markup { " " \musicglyph #"timesig-neomensural2/4" }
+ \break
}
@end lilypond
Use the @code{style} property of grob @internalsref{TimeSignature} to
select ancient time signatures. Supported styles are
-@code{neo_mensural} and @code{mensural}. The above table uses the
-@code{neo_mensural} style. This style is appropriate e.g. for the
+@code{neomensural} and @code{mensural}. The above table uses the
+@code{neomensural} style. This style is appropriate e.g. for the
incipit of transcriptions of mensural pieces. The @code{mensural}
style mimics the look of historical printings of the 16th century.
-@inputfileref{input/test,time.ly} gives an overview over all available
-ancient and modern styles.
+The following examples shows the differences in style,
+@lilypond[raggedright]
+{
+ \time 2/2
+ c1^\markup { \hspace #-2.0 \typewriter default }
+
+ \override TimeSignature #'style = #'numbered
+ \time 2/2
+ c1^\markup { \hspace #-2.0 \typewriter numbered }
+
+ \override TimeSignature #'style = #'mensural
+ \time 2/2
+ c1^\markup { \hspace #-2.0 \typewriter mensural }
+
+ \override TimeSignature #'style = #'neomensural
+ \time 2/2
+ c1^\markup { \hspace #-2.0 \typewriter neomensural }
+ \override TimeSignature #'style = #'single-digit
+ \time 2/2
+ c1^\markup { \hspace #-2.0 \typewriter single-digit }
+}
+@end lilypond
@seealso
-Program reference: @ref{Time signature} gives a general introduction into the use of time
-signatures.
+This manual: @ref{Time signature} gives a general introduction into
+the use of time signatures.
@refbugs
-Mensural signature glyphs are mapped to time fractions in a hard-wired
-way. This mapping is sensible, but still arbitrary: given a mensural
-time signature, the time fraction represents a modern meter that
-usually will be a good choice when transcribing a mensural piece of
-music. For a particular piece of mensural music, however, the mapping
-may be unsatisfactory. In particular, the mapping assumes a fixed
-transcription of durations (e.g. brevis = half note in 2/2, i.e. 4:1).
-Some glyphs (such as the alternate glyph for 6/8 meter) are not at all
-accessible through the @code{\time} command.
-
-Mensural time signatures are supported typographically, but not yet
-musically. The internal representation of durations is
-based on a purely binary system; a ternary division such as 1 brevis =
-3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
-prolatione maiori) is not correctly handled: event times in ternary
-modes will be badly computed, resulting e.g. in horizontally
-misaligned note heads, and bar checks are likely to erroneously fail.
-
-The syntax and semantics of the @code{\time} command for mensural
-music is subject to change.
+Ratios of note durations do not change with the time signature. For
+example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
+be made by hand, by setting
+
+@example
+ breveTP = #(ly:make-duration -1 0 3 2)
+@end example
+
+@noindent
+This sets 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
@node Custodes
@subsection Custodes
@example
\paper @{
\context @{
- \StaffContext
+ \Staff
\consists Custos_engraver
Custos \override #'style = #'mensural
@}
@lilypond[quote,raggedright]
\score {
- \notes {
+ {
a'1
\override Staff.Custos #'style = #'mensural
\break
}
\paper {
\context {
- \StaffContext
+ \Staff
\consists Custos_engraver
}
}
above the ligature
@lilypond[quote,raggedright,verbatim]
-\score {
- \notes \transpose c c' {
+\transpose c c' {
\[ g c a f d' \]
a g f
\[ e f a g \]
- }
}
@end lilypond
@example
\paper @{
\context @{
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Mensural_ligature_engraver
@}
@example
\set Score.timing = ##f
\set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neo_mensural
- \override Staff.TimeSignature #'style = #'neo_mensural
+ \override NoteHead #'style = #'neomensural
+ \override Staff.TimeSignature #'style = #'neomensural
\clef "petrucci_g"
\[ g\longa c\breve a\breve f\breve d'\longa \]
s4
@end example
@lilypond[quote,raggedright]
\score {
- \notes \transpose c c' {
+ \transpose c c' {
\set Score.timing = ##f
\set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neo_mensural
- \override Staff.TimeSignature #'style = #'neo_mensural
+ \override NoteHead #'style = #'neomensural
+ \override Staff.TimeSignature #'style = #'neomensural
\clef "petrucci_g"
\[ g\longa c\breve a\breve f\breve d'\longa \]
s4
}
\paper {
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Mensural_ligature_engraver
}
to the following
@lilypond[quote,raggedright]
-\score {
- \notes \transpose c c' {
+\transpose c c' {
\set Score.timing = ##f
\set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neo_mensural
- \override Staff.TimeSignature #'style = #'neo_mensural
+ \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 lilypond
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Punctum
\[ b \]
\noBreak s^\markup {"a"} \noBreak
\[ \inclinatum b \]
\noBreak s^\markup {"b"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Punctum Auctum Ascendens
\[ \auctum \ascendens b \]
\noBreak s^\markup {"c"} \noBreak
\[ \inclinatum \auctum b \]
\noBreak s^\markup {"e"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Punctum Inclinatum Parvum
\[ \inclinatum \deminutum b \]
\noBreak s^\markup {"f"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@item
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Virga
\[ \virga b \]
\noBreak s^\markup {"g"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Stropha
\[ \stropha b \]
\noBreak s^\markup {"h"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Stropha Aucta
\[ \stropha \auctum b \]
\noBreak s^\markup {"i"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Oriscus
\[ \oriscus b \]
\noBreak s^\markup {"j"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Clivis vel Flexa
\[ b \flexa g \]
s^\markup {"k"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Clivis Aucta Descendens
\[ b \flexa \auctum \descendens g \]
\noBreak s^\markup {"l"} \noBreak
\[ b \flexa \auctum \ascendens g \]
\noBreak s^\markup {"m"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Cephalicus
\[ b \flexa \deminutum g \]
s^\markup {"n"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@item
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Podatus vel Pes
\[ g \pes b \]
s^\markup {"o"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Pes Auctus Descendens
\[ g \pes \auctum \descendens b \]
\noBreak s^\markup {"p"} \noBreak
\[ g \pes \auctum \ascendens b \]
\noBreak s^\markup {"q"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Epiphonus
\[ g \pes \deminutum b \]
s^\markup {"r"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@item
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Pes Quassus
\[ \oriscus g \pes \virga b \]
s^\markup {"s"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Pes Quassus Auctus Descendens
\[ \oriscus g \pes \auctum \descendens b \]
s^\markup {"t"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Quilisma Pes
\[ \quilisma g \pes b \]
s^\markup {"u"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Quilisma Pes Auctus Descendens
\[ \quilisma g \pes \auctum \descendens b \]
s^\markup {"v"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Pes Initio Debilis
\[ \deminutum g \pes b \]
s^\markup {"w"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Pes Auctus Descendens Initio Debilis
\[ \deminutum g \pes \auctum \descendens b \]
s^\markup {"x"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Torculus
\[ a \pes b \flexa g \]
s^\markup {"y"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Torculus Auctus Descendens
\[ a \pes b \flexa \auctum \descendens g \]
s^\markup {"z"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Torculus Deminutus
\[ a \pes b \flexa \deminutum g \]
s^\markup {"A"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@item
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Torculus Initio Debilis
\[ \deminutum a \pes b \flexa g \]
s^\markup {"B"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Torculus Auctus Descendens Initio Debilis
\[ \deminutum a \pes b \flexa \auctum \descendens g \]
s^\markup {"C"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Torculus Deminutus Initio Debilis
\[ \deminutum a \pes b \flexa \deminutum g \]
s^\markup {"D"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@item
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Porrectus
\[ a \flexa g \pes b \]
s^\markup {"E"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Porrectus Auctus Descendens
\[ a \flexa g \pes \auctum \descendens b \]
- s^\markup {"F"}
- }
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
-@end lilypond
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \notes \transpose c c' {
- % Porrectus Deminutus
- \[ a \flexa g \pes \deminutum b \]
- s^\markup {"G"}
- }
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
+ s^\markup {"F"}
}
-}
+\paper { \neumeDemoPaper }}
+@end lilypond
+@tab
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+\include "gregorian-init.ly"
+\score {
+ \transpose c c' {
+ % Porrectus Deminutus
+ \[ a \flexa g \pes \deminutum b \]
+ s^\markup {"G"}
+ }
+\paper { \neumeDemoPaper }}
@end lilypond
@item
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Climacus
\[ \virga b \inclinatum a \inclinatum g \]
s^\markup {"H"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
+ \paper { \neumeDemoPaper }
}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Climacus Auctus
\[ \virga b \inclinatum a \inclinatum \auctum g \]
s^\markup {"I"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Climacus Deminutus
\[ \virga b \inclinatum a \inclinatum \deminutum g \]
s^\markup {"J"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@item
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Scandicus
\[ g \pes a \virga b \]
s^\markup {"K"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Scandicus Auctus Descendens
\[ g \pes a \pes \auctum \descendens b \]
s^\markup {"L"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Scandicus Deminutus
\[ g \pes a \pes \deminutum b \]
s^\markup {"M"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@item
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Salicus
\[ g \oriscus a \pes \virga b \]
s^\markup {"N"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Salicus Auctus Descendens
\[ g \oriscus a \pes \auctum \descendens b \]
s^\markup {"O"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
-}
+\paper { \neumeDemoPaper }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
+ \transpose c c' {
% Trigonus
\[ \stropha b \stropha b \stropha a \]
s^\markup {"P"}
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
- }
+ \paper { \neumeDemoPaper }
}
@end lilypond
@tab
<<
\context VaticanaVoice = "cantus" {
\override Score.BarNumber #'transparent = ##t
- \notes {
+ {
\[ c'\melisma c' \flexa a \]
\[ a \flexa \deminutum g\melismaEnd \]
f \divisioMinima
\[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
}
}
- \lyricsto "cantus" \new Lyrics \lyrics {
+ \lyricsto "cantus" \new Lyrics {
San- ctus, San- ctus, San- ctus
}
>>
@lilypond[quote,verbatim,fragment]
<<
- \context Voice \notes { \clef bass dis4 c d ais }
+ \context Voice { \clef bass dis4 c d ais }
\context FiguredBass \figures {
< 6 >4 < 7 >8 < 6+ [_!] >
< 6 >4 <6 5 [3+] >
@menu
+* Polymetric notation::
* Clusters::
* Fermatas::
+* Feathered beams::
@end menu
+@node Polymetric notation
+@subsection Polymetric notation
+
+Double time signatures are not supported explicitly, but they can be
+faked. In the next example, the markup for the time signature is
+created with a markup text. This markup text is inserted in the
+@internalsref{TimeSignature} grob.
+
+@lilypond[verbatim,raggedright]
+
+% create 2/4 + 5/8
+tsMarkup =\markup {
+ \number {
+ \column < "2" "4" >
+ \musicglyph #"scripts-stopped"
+ \bracket \column < "5" "8" >
+ }
+}
+
+{
+ \override Staff.TimeSignature #'print-function = #Text_item::print
+ \override Staff.TimeSignature #'text = #tsMarkup
+ \time 3/2
+ c'2 \bar ":" c'4 c'4.
+}
+@end lilypond
+
+Each staff can also have its own time signature. This is done by
+moving the @internalsref{Timing_engraver} to @internalsref{Staff}
+context.
+
+@verbatim
+\paper{
+ \context{
+ \Score
+ \remove "Timing_engraver"
+ }
+ \context{
+ \Staff
+ \consists "Timing_engraver"
+ }
+}
+@end verbatim
+
+
+Now, each staff has its own time signature.
+@verbatim
+<<
+ \new Staff {
+ \time 3/4
+ c4 c c | c c c |
+ }
+
+ \new Staff {
+ \time 2/4
+ c4 c | c c | c c
+ }
+ \new Staff {
+ \time 3/8
+ c4. c8 c c c4. c8 c c
+ }
+>>
+@end verbatim
+
+@lilypond[raggedright]
+\paper{
+ \context{
+ \Score
+ \remove "Timing_engraver"
+ }
+ \context{
+ \Staff
+ \consists "Timing_engraver"
+ }
+}
+
+\relative c' <<
+ \new Staff {
+ \time 3/4
+ c4 c c | c c c |
+ }
+
+ \new Staff {
+ \time 2/4
+ c4 c | c c | c c
+ }
+ \new Staff {
+ \time 3/8
+ c4. c8 c c c4. c8 c c
+ }
+>>
+@end lilypond
+
+
+A different form of polymetric notation is where note lengths have
+different values across staves.
+
+This notation can be created by setting a common time signature for
+each staff but replacing it manually using
+@code{timeSignatureFraction} to the desired fraction. Then the printed
+durations in each staff are scaled to the common time signature.
+The latter is done with @code{\compressmusic}, which is similar to
+@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
+multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
+
+@lilypond[raggedright,verbatim]
+\relative c' <<
+ \new Staff {
+ \time 3/4
+ c4 c c | c c c |
+ }
+ \new Staff {
+ \time 3/4
+ \set Staff.timeSignatureFraction = #'(9 . 8)
+ \compressmusic #'(2 . 3)
+ \repeat unfold 6 { c8[ c 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] }
+ | c4. c4. \times 2/3 { c8 c c } c4 }
+ }
+>>
+@end lilypond
+
+
+
+
+@refbugs
+
+When using different time signatures in parallel, the spacing is
+aligned vertically, but bar lines distort the regular spacing.
+
+
+
@node Clusters
@subsection Clusters
chords, e.g.
@c
@lilypond[quote,relative=2,verbatim]
-\apply #notes-to-clusters { <c e > <b f'> }
+\applymusic #notes-to-clusters { <c e > <b f'> }
@end lilypond
The following example (from
supported
@lilypond[quote,raggedright]
-\score {
- <<
- \addlyrics \notes {
+<<
+ \addlyrics {
b'
^\shortfermata
_\shortfermata
\override LyricText #'font-family = #'typewriter
"shortfermata" "fermata" "longfermata" "verylongfermata"
}
- >>
-}
+>>
@end lilypond
See @ref{Articulations} for general instructions how to apply scripts
-such as fermatas to a @code{\notes@{@}} block.
+such as fermatas to notes.
+
+@node Feathered beams
+@subsection Feathered beams
+Feathered beams are not supported natively, but they can be faked by
+forcing two beams to overlap. Here is an example,
-@node Special notation
-@section Special notation
+@lilypond[raggedright]
+\relative \new Staff <<
+ \new Voice
+ {
+ \stemUp
+ \once \override Voice.Beam #'positions = #'(0 . 0.5)
+ c8[ c c c c ]
+ }
+ \new Voice {
+ \stemUp
+ \once \override Voice.Beam #'positions = #'(0 . -0.5)
+ c[ c c c c]
+ }
+>>
+@end lilypond
+
+
+
+@node Educational use
+@section Educational use
@menu
* Balloon help::
+* Blank music paper::
+* Notation for excercises::
* Easy Notation note heads::
@end menu
@noindent
The function @code{add-balloon-text} takes the name of a grob, the
-label to print and where to put the label relative to the object. In
-the above example, the text ``heads or tails?'' ends 3 spaces below
-the `balloon.'
+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 the `balloon.'
@cindex balloon
@cindex notation, explaining
Examples: @inputfileref{input/regression,balloon.ly}.
+
+
+
+@node Blank music paper
+@subsection Blank music paper
+
+A blank music paper can be produced also by using invisible notes, and
+removing @code{Bar_number_engraver}.
+
+
+@lilypond
+emptymusic = {
+ \repeat unfold 2 % Change this for more lines.
+ { s1\break }
+ \bar "|."
+}
+\new Score \with {
+ \override TimeSignature #'transparent = ##t
+ defaultBarType = #""
+ \remove Bar_number_engraver
+} <<
+ \context Staff \emptymusic
+ \context TabStaff \emptymusic
+>>
+@end lilypond
+
+
+@node Notation for excercises
+@subsection Notation for excercises
+
+@cindex Blank Notes
+
+Invisible (or transparent) notes can be useful, when weird tricks are
+needed; especially, a slur cannot be attach to a rest or spacer rest.
+
+
+@lilypond
+blanknotes = { \override NoteHead #'transparent = ##t
+ \override Stem #'transparent = ##t }
+unblanknotes = { \revert NoteHead #'transparent
+ \revert Stem #'transparent }
+
+
+\relative c'' {
+ c4 d4
+ \blanknotes e4 f4 \unblanknotes
+ g4 a
+}
+@end lilypond
+
+
@node Easy Notation note heads
@subsection Easy Notation note heads
@cindex easy notation
@cindex Hal Leonard
-The `easy play' note head includes a name inside the head. It is
+The `easy play' note head includes a note name inside the head. It is
used in music for beginners
-@lilypond[quote,raggedright,verbatim,staffsize=26]
+@lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
\setEasyHeads
c'2 e'4 f' | g'1
@end lilypond
@refcommands
-@cindex \setEasyHeads
+@cindex @code{\setEasyHeads}
@code{\setEasyHeads}
@node Sound
settings. Hence, the MIDI file should not have more than 15 staves
(or 14 if you do not use drums). Other staves will remain silent.
+Not all MIDI players correctly handle tempo change in the MIDI
+output. Players that are known to work include
+@uref{http://timidity.sourceforge.net/,timidity}
+
@menu
* MIDI block::
projects / lilypond.git / blobdiff