somewhat familiar with LilyPond.
@menu
-* Note entry::
-* Easier music entry::
-* Staff notation::
-* Polyphony::
-* Beaming::
-* Accidentals::
-* Expressive marks::
-* Repeats::
-* Rhythmic music::
-* Piano music::
-* Vocal music::
-* Other instrument specific notation::
-* Tablatures::
-* Popular music::
-* Orchestral music::
-* Ancient notation::
-* Contemporary notation::
-* Educational use::
+* Note entry::
+* Easier music entry::
+* Staff notation::
+* Polyphony::
+* Beaming::
+* Accidentals::
+* Expressive marks::
+* Repeats::
+* Rhythmic music::
+* Piano music::
+* Vocal music::
+* Other instrument specific notation::
+* Tablatures::
+* Popular music::
+* Orchestral music::
+* Ancient notation::
+* Contemporary notation::
+* Educational use::
@end menu
@c FIXME: Note entry vs Music entry at top level menu is confusing.
related constructs, such as stems, tuplets and ties.
@menu
-* Notes::
-* Pitches::
-* Chromatic alterations::
-* Micro tones::
-* Chords::
-* Rests::
-* Skips::
-* Durations::
-* Augmentation dots::
-* Scaling durations::
-* Stems::
-* Ties::
-* Tuplets::
+* Notes::
+* Pitches::
+* Chromatic alterations::
+* Micro tones::
+* Chords::
+* Rests::
+* Skips::
+* Durations::
+* Augmentation dots::
+* Scaling durations::
+* Stems::
+* Ties::
+* Tuplets::
@end menu
ceses4
ces
c
-cis
+cis
cisis
@end lilypond
There are predefined sets of note names for various other languages.
-To use them, include the language specific init file. For
+To use them, include the language specific init file. For
example: @code{\include "english.ly"}. The available language files
and the note names they define are
@anchor{note name}
@anchor{note names}
-@example
+@example
Note Names sharp flat
nederlands.ly c d e f g a bes b -is -es
english.ly c d e f g a bf b -s/-sharp -f/-flat
norsk.ly c d e f g a b h -iss/-is -ess/-es
svenska.ly c d e f g a b h -iss -ess
italiano.ly do re mi fa sol la sib si -d -b
-catalan.ly do re mi fa sol la sib si -d/-s -b
-espanol.ly do re mi fa sol la sib si -s -b
-
-@end example
+catalan.ly do re mi fa sol la sib si -d/-s -b
+espanol.ly do re mi fa sol la sib si -s -b
+@end example
@cindex @code{'}
@cindex @code{,}
Notes can be hidden and unhidden with the following commands
@cindex @code{\hideNotes}
-@code{\hideNotes},
+@code{\hideNotes},
@cindex @code{\unHideNotes}
@code{\unHideNotes}.
after the pitch. A cautionary accidental
@cindex cautionary accidental
@cindex parenthesized accidental
-(i.e. an accidental within parentheses) can be obtained by adding the
+(i.e., an accidental within parentheses) can be obtained by adding the
question mark `@code{?}' after the pitch.
@lilypond[quote,raggedright,fragment,verbatim]
{ ceseh ceh cih cisih }
@end lilypond
-Micro tones are also exported to the MIDI file
+Micro tones are also exported to the MIDI file
@refbugs
commands. For example, the following results in an empty staff.
@lilypond[quote,raggedright,verbatim]
-{ s4 }
+{ s4 }
@end lilypond
The fragment @code{@{ \skip 4 @} } would produce an empty page.
notes longer than a whole you must use the variables @code{\longa} and
@code{\breve}
-@example
-c'\breve
+@example
+c'\breve
c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
-r\longa r\breve
-r1 r2 r4 r8 r16 r32 r64 r64
-@end example
+r\longa r\breve
+r1 r2 r4 r8 r16 r32 r64 r64
+@end example
@lilypond[quote]
\score {
\relative c'' {
- a\breve*1/2 \autoBeamOff
- a1 a2 a4 a8 a16 a32 a64 a64
+ a\breve*1/2 \autoBeamOff
+ a1 a2 a4 a8 a16 a32 a64 a64
\bar "empty"
\break
- r\longa*1/4 r\breve *1/2
- r1 r2 r4 r8 r16 r32 r64 r64
+ r\longa*1/4 r\breve *1/2
+ r1 r2 r4 r8 r16 r32 r64 r64
}
\layout {
raggedright = ##t
\context {
\Staff
\remove "Clef_engraver"
- \override StaffSymbol #'transparent = ##t
+ \override StaffSymbol #'transparent = ##t
\override TimeSignature #'transparent = ##t
\override BarLine #'transparent = ##t
\consists "Pitch_squash_engraver"
duration. The default for the first note is a quarter note.
@lilypond[quote,raggedright,verbatim,fragment]
-{ a a a2 a a4 a a1 a }
+{ a a a2 a a4 a a1 a }
@end lilypond
direction manually
@cindex @code{\dotsUp}
-@code{\dotsUp},
+@code{\dotsUp},
@cindex @code{\dotsDown}
-@code{\dotsDown},
+@code{\dotsDown},
@cindex @code{\dotsNeutral}
@code{\dotsNeutral}.
@seealso
-Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
+Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
@node Scaling durations
@subsection Scaling durations
This manual: @ref{Tuplets}
-@c TODO: I'm not certain that Stems belong here in the manual. -gp
+@c TODO: I'm not certain that Stems belong here in the manual. -gp
@node Stems
@subsection Stems
@refcommands
@cindex @code{\stemUp}
-@code{\stemUp},
+@code{\stemUp},
@cindex @code{\stemDown}
-@code{\stemDown},
+@code{\stemDown},
@cindex @code{\stemNeutral}
-@code{\stemNeutral}.
+@code{\stemNeutral}.
@node Ties
@lilypond[fragment,quote,raggedright]
\relative {
- r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
+ r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
}
@end lilypond
@cindex @code{\tieUp}
-@code{\tieUp},
+@code{\tieUp},
@cindex @code{\tieDown}
-@code{\tieDown},
+@code{\tieDown},
@cindex @code{\tieNeutral}
-@code{\tieNeutral},
+@code{\tieNeutral},
@cindex @code{\tieDotted}
-@code{\tieDotted},
+@code{\tieDotted},
@cindex @code{\tieSolid}
@code{\tieSolid}.
-@seealso
+@seealso
In this manual: @ref{Automatic note splitting}.
Switching staves when a tie is active will not produce a slanted tie.
Formatting of ties is a difficult subject. The results are often not
-optimal.
+optimal.
@node Tuplets
@subsection Tuplets
@cindex @code{tupletNumberFormatFunction}
-@cindex tuplet formatting
+@cindex tuplet formatting
@refcommands
@cindex @code{\tupletUp}
-@code{\tupletUp},
+@code{\tupletUp},
@cindex @code{\tupletDown}
-@code{\tupletDown},
+@code{\tupletDown},
@cindex @code{\tupletNeutral}
@code{\tupletNeutral}.
@menu
-* Relative octaves::
-* Octave check::
-* Bar check::
-* Skipping corrected music::
-* Automatic note splitting::
+* Relative octaves::
+* Octave check::
+* Bar check::
+* Skipping corrected music::
+* Automatic note splitting::
@end menu
@example
\relative @var{musicexpr}
@end example
-
+
The octave of notes that appear in @var{musicexpr} are calculated as
follows: if no octave changing marks are used, the basic interval
between this and the last note is always taken to be a fourth or
Here is the relative mode shown in action
@lilypond[quote,fragment,raggedright,verbatim]
\relative c'' {
- b c d c b c bes a
+ b c d c b c bes a
}
@end lilypond
@lilypond[quote,raggedright,fragment,verbatim]
\relative c' {
- c <c e g>
+ c <c e g>
<c' e g>
<c, e' g>
}
@subsection Octave check
-Octave checks make octave errors easier to correct: a note may be
+Octave checks make octave errors easier to correct: a note may be
followed by @code{=}@var{quotes} which indicates what its absolute
octave should be. In the following example,
@example
-\relative c'' @{ c='' b=' d,='' @}
+\relative c'' @{ c='' b=' d,='' @}
@end example
@noindent
check passes successfully, so the check could be deleted without changing
the output of the piece.
-@lilypond[quote,raggedright,verbatim,fragment]
+@lilypond[quote,raggedright,verbatim,fragment]
\relative c' {
e
\octave b
- a
+ a
}
@end lilypond
does not, a warning is printed. In the next example, the second bar
check will signal an error
@example
-\time 3/4 c2 e4 | g2 |
+\time 3/4 c2 e4 | g2 |
@end example
-Bar checks can also be used in lyrics, for example
+Bar checks can also be used in lyrics, for example
@example
\lyricmode @{
\time 2/4
Twin -- kle | Twin -- kle
-@}
+@}
@end example
pipeSymbol = \bar "||"
{ c'2 c' | c'2 c }
-@end lilypond
+@end lilypond
@node Skipping corrected music
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
} {
- c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
+ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
}
@end lilypond
@cindex Staff notation
@menu
-* Staff symbol::
-* Key signature::
-* Clef::
-* Ottava brackets::
-* Time signature::
-* Partial measures::
-* Unmetered music::
-* Bar lines::
-* Time administration::
-* Controlling formatting of prefatory matter::
+* Staff symbol::
+* Key signature::
+* Clef::
+* Ottava brackets::
+* Time signature::
+* Partial measures::
+* Unmetered music::
+* Bar lines::
+* Time administration::
+* Controlling formatting of prefatory matter::
@end menu
@node Staff symbol
@cindex adjusting staff symbol
-Notes, dynamic signs, etc. are grouped
+Notes, dynamic signs, etc., are grouped
with a set of horizontal lines, into a staff (plural `staves'). In our
system, these lines are drawn using a separate layout object called
-staff symbol.
+staff symbol.
@cindex staff lines, setting number of
@cindex staff lines, setting thickness of
-@cindex thickness of staff lines, setting
-@cindex number of staff lines, setting
+@cindex thickness of staff lines, setting
+@cindex number of staff lines, setting
@seealso
Setting or changing the key signature is done with the @code{\key}
command
@example
- @code{\key} @var{pitch} @var{type}
+@code{\key} @var{pitch} @var{type}
@end example
@cindex @code{\minor}
@item treble, violin, G, G2
G clef on 2nd line
@item alto, C
-@cindex alto clef
+@cindex alto clef
C clef on 3rd line
@item tenor
-@cindex tenor clef
- C clef on 4th line.
+@cindex tenor clef
+ C clef on 4th line.
@item bass, F
@cindex bass clef
F clef on 4th line
example,
-@cindex choral tenor clef
+@cindex choral tenor clef
@lilypond[quote,raggedright,verbatim,fragment,relative=1]
\clef "G_8" c4
@end lilypond
c'4
\set Staff.clefGlyph = #"clefs-C"
c'4
- \set Staff.clefOctavation = #7
+ \set Staff.clefOctavation = #7
c'4
- \set Staff.clefOctavation = #0
+ \set Staff.clefOctavation = #0
\set Staff.clefPosition = #0
c'4
\clef "bass"
\relative c''' {
a2 b
#(set-octavation 1)
- a b
+ a b
#(set-octavation 0)
a b
}
The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
(for 15ma) as arguments. Internally the function sets the properties
-@code{ottavation} (e.g. to @code{"8va"}) and
+@code{ottavation} (e.g., to @code{"8va"}) and
@code{centralCPosition}. For overriding the text of the bracket, set
@code{ottavation} after invoking @code{set-octavation}, i.e.,
The time signature is set or changed by the @code{\time}
command
@lilypond[quote,raggedright,fragment,verbatim]
-\time 2/4 c'2 \time 3/4 c'2.
+\time 2/4 c'2 \time 3/4 c'2.
@end lilypond
The symbol that is printed can be customized with the @code{style}
\score {
\relative c'' {
#(set-time-signature 9 8 '(2 2 2 3))
- g8[ g] d[ d] g[ g] a8[( bes g]) |
+ g8[ g] d[ d] g[ g] a8[( bes g]) |
#(set-time-signature 5 8 '(3 2))
a4. g4
}
Partial measures, for example in upsteps, are entered using the
@code{\partial} command
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
-\partial 16*5 c16 cis d dis e | a2. c,4 | b2
+\partial 16*5 c16 cis d dis e | a2. c,4 | b2
@end lilypond
-The syntax for this command is
+The syntax for this command is
@example
- \partial @var{duration}
+\partial @var{duration}
@end example
This is internally translated into
@example
- \set Timing.measurePosition = -@var{length of duration}
+\set Timing.measurePosition = -@var{length of duration}
@end example
@cindex @code{|}
The property @code{measurePosition} contains a rational number
@lilypond[verbatim,quote,raggedright,relative,fragment]
{
- \grace f16
+ \grace f16
\partial 4
g4
- a2 g2
+ a2 g2
}
@end lilypond
@cindex @code{\bar}
Bar lines and bar numbers are calculated automatically. For unmetered
-music (e.g. cadenzas), this is not desirable. By setting
+music (cadenzas, for example), this is not desirable. By setting
@code{Score.timing} to false, this automatic timing can be switched
off. Empty bar lines,
@example
- \bar ""
+\bar ""
@end example
@noindent
@refcommands
@cindex @code{\cadenzaOn}
-@code{\cadenzaOn},
+@code{\cadenzaOn},
@cindex @code{\cadenzaOff}
@code{\cadenzaOff}.
For allowing line breaks, there is a special command,
@example
- \bar ""
-@end example
+\bar ""
+@end example
This will insert an invisible bar line, and allow line breaks at this
point.
@seealso
-In this manual: @ref{Repeats}, @ref{System start delimiters}
+In this manual: @ref{Repeats}, @ref{System start delimiters}.
Program reference: @internalsref{BarLine} (created at
@table @code
@item currentBarNumber
- the measure number
+The measure number.
+
@item measureLength
- the length of the measures in the current time signature. For a 4/4
- time this is 1, and for 6/8 it is 3/4.
+The length of the measures in the current time signature. For a 4/4
+time this is@tie{}1, and for 6/8 it is 3/4.
+
@item measurePosition
- the point within the measure where we currently are. This quantity
- is reset to 0 whenever it exceeds @code{measureLength}. When that happens,
- @code{currentBarNumber} is incremented.
+The point within the measure where we currently are. This quantity
+is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
+happens, @code{currentBarNumber} is incremented.
+
@item timing
- if set to true, the above variables are updated for every time
- step. When set to false, the engraver stays in the current measure
- indefinitely.
+If set to true, the above variables are updated for every time
+step. When set to false, the engraver stays in the current measure
+indefinitely.
@end table
Timing can be changed by setting any of these variables explicitly.
In the next example, the 4/4 time signature is printed, but
@code{measureLength} is set to 5/4. After a while, the measure is
shortened by 1/8, by setting @code{measurePosition} to -3/8 at 2/4 in
-the measure, so the next bar line will fall at 2/4 + 3/8.
+the measure, so the next bar line will fall at 2/4 + 3/8.
-@lilypond[raggedright,verbatim,relative,fragment]
- \set Score.measureLength = #(ly:make-moment 5 4)
- c1 c4
- c1 c4
- c4 c4
- \set Score.measurePosition = #(ly:make-moment -3 8)
- b8 b b
- c4 c1
+@lilypond[quote,raggedright,verbatim,relative,fragment]
+\set Score.measureLength = #(ly:make-moment 5 4)
+c1 c4
+c1 c4
+c4 c4
+\set Score.measurePosition = #(ly:make-moment -3 8)
+b8 b b
+c4 c1
@end lilypond
@node Controlling formatting of prefatory matter
@subsection Controlling formatting of prefatory matter
-TODO Somebody needs to explain this example, but I don't know what
+TODO: Somebody needs to explain this example, but I don't know what
they're trying to do, so it won't be me. -gp
-@lilypond[verbatim]
+@lilypond[quote,verbatim]
\transpose c c' {
- \override Staff.Clef #'break-visibility = #end-of-line-visible
- \override Staff.KeySignature #'break-visibility = #end-of-line-visible
- \set Staff.explicitClefVisibility = #end-of-line-visible
- \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
-
- % We want the time sig to take space, otherwise there is not
- % enough white at the start of the line.
- %
-
- \override Staff.TimeSignature #'transparent = ##t
- \set Score.defaultBarType = #"empty"
-
- c1 d e f g a b c
- \key d \major
- \break
-
- % see above.
- \time 4/4
-
- d e fis g a b cis d
- \key g \major
- \break
- \time 4/4
+ \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
@lilypond[quote,raggedright,verbatim,fragment]
\context Staff \relative c'' {
- c4 << { f d e } \\ { b c2 } >>
- c4 << g' \\ b, \\ f' \\ d >>
+ c4 << { f d e } \\ { b c2 } >>
+ c4 << g' \\ b, \\ f' \\ d >>
}
@end lilypond
voices are sometimes called ``layers'' in other notation packages}
@cindex layers
to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
-each of these contexts, vertical direction of slurs, stems, etc. is set
+each of these contexts, vertical direction of slurs, stems, etc., is set
appropriately.
@cindex @code{\voiceOne}
@lilypond[quote,raggedright,verbatim]
\relative c''
\context Staff <<
- \new Voice { \voiceOne cis2 b }
- \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
- \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
+ \new Voice { \voiceOne cis2 b }
+ \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
+ \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
@end lilypond
@noindent
the @internalsref{NoteCollision} object, they are merged
@lilypond[quote,verbatim,fragment,raggedright,relative=2]
\context Voice << {
- g8 g8
- \override Staff.NoteCollision
+ g8 g8
+ \override Staff.NoteCollision
#'merge-differently-dotted = ##t
g8 g8
} \\ { g8.[ f16] g8.[ f16] } >>
for example
@lilypond[quote,raggedright,fragment,verbatim]
-\context Voice << c''4 \\ r4 >>
+\context Voice << c''4 \\ r4 >>
@end lilypond
@cindex @code{\oneVoice}
-@code{\oneVoice},
+@code{\oneVoice},
@cindex @code{\voiceOne}
-@code{\voiceOne},
+@code{\voiceOne},
@cindex @code{\voiceTwo}
-@code{\voiceTwo},
+@code{\voiceTwo},
@cindex @code{\voiceThree}
-@code{\voiceThree},
+@code{\voiceThree},
@cindex @code{\voiceFour}
@code{\voiceFour}.
@cindex @code{\shiftOn}
-@code{\shiftOn},
+@code{\shiftOn},
@cindex @code{\shiftOnn}
-@code{\shiftOnn},
+@code{\shiftOnn},
@cindex @code{\shiftOnnn}
-@code{\shiftOnnn},
+@code{\shiftOnnn},
@cindex @code{\shiftOff}
@code{\shiftOff}: these commands specify in what chords of the current
voice should be shifted. The outer voices (normally: voice one and
property of the @internalsref{NoteColumn} object and pitched rests can
be used to override typesetting decisions.
-@lilypond[verbatim,raggedright]
+@lilypond[quote,verbatim,raggedright]
\relative <<
{
<d g>
<d g>
} \\ {
<b f'>
- \once \override NoteColumn #'force-hshift = #1.7
+ \once \override NoteColumn #'force-hshift = #1.7
<b f'>
-} >>
+} >>
@end lilypond
Program reference: the objects responsible for resolving collisions are
@internalsref{NoteCollision} and @internalsref{RestCollision}.
-Examples:
+Examples:
@inputfileref{input/@/regression,collision@/-dots@/.ly},
@inputfileref{input/@/regression,collision@/-head-chords@/.ly},
@inputfileref{input/@/regression,collision@/-heads@/.ly},
@cindex Automatic beams
@menu
* Automatic beams::
-* Manual beams::
-* Setting automatic beam behavior::
-* Beam formatting::
+* Manual beams::
+* Setting automatic beam behavior::
+* Beam formatting::
@end menu
@node Automatic beams
LilyPond inserts beams automatically
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
-\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
+\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
@end lilypond
When these automatic decisions are not good enough, beaming can be
@seealso
-Program reference: @internalsref{Beam}.
+Program reference: @internalsref{Beam}.
@node Manual beams
@node Setting automatic beam behavior
-@subsection Setting automatic beam behavior
+@subsection Setting automatic beam behavior
@cindex @code{autoBeamSettings}
@cindex @code{(end * * * *)}
The value of @code{autoBeamSettings} is changed with two functions,
@example
- #(override-auto-beam-setting
- '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
- [@var{context}])
- #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
+#(override-auto-beam-setting
+ '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
+ [@var{context}])
+#(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
@end example
Here, @var{be} is the symbol @code{begin} or @code{end}, and
@var{context} is an optional context (default: @code{'Voice}). It
For example, if automatic beams should end on every quarter note, use
the following
@example
- #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
+#(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
@end example
Since the duration of a quarter note is 1/4 of a whole note, it is
entered as @code{(ly:make-moment 1 4)}.
The same syntax can be used to specify beam starting points. In this
example, automatic beams can only end on a dotted quarter note
@example
- #(override-auto-beam-setting '(end * * * *) 3 8)
+#(override-auto-beam-setting '(end * * * *) 3 8)
@end example
In 4/4 time signature, this means that automatic beams could end only on
3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
replacing the second asterisks by @var{N} and @var{M}. For example, a
rule for 6/8 time exclusively looks like
@example
- #(override-auto-beam-setting '(begin * * 6 8) @dots{})
+#(override-auto-beam-setting '(begin * * 6 8) @dots{})
@end example
If a rule should be to applied only to certain types of beams, use the
@refcommands
@cindex @code{\autoBeamOff}
-@code{\autoBeamOff},
+@code{\autoBeamOff},
@cindex @code{\autoBeamOn}
@code{\autoBeamOn}.
@lilypond[quote,raggedright,relative=2,fragment,verbatim]
{
- b8[ b]
- \override Beam #'neutral-direction = #-1
- b[ b]
- \override Beam #'neutral-direction = #1
- b[ b]
+ b8[ b]
+ \override Beam #'neutral-direction = #-1
+ b[ b]
+ \override Beam #'neutral-direction = #1
+ b[ b]
}
@end lilypond
+
@node Accidentals
@section Accidentals
The @code{voice} option should be used if the voices
are to be read solely by individual musicians. If the staff is to be
-used by one musician (e.g. a conductor) then
+used by one musician (e.g., a conductor) then
@code{modern} or @code{modern-cautionary}
should be used instead.
are not remembered at all---and hence all accidentals are
typeset relative to the key signature, regardless of what was
before in the music
-
+
@lilypond[quote,raggedright,fragment,verbatim,relative=1]
#(set-accidental-style 'forget)
\key d\major c4 c cis cis d d dis dis
This is a problem when accidentals in a chord depend on each other,
which does not happen for the default accidental style. The problem
-can be solved by manually inserting @code{!} and @code{?} for the
+can be solved by manually inserting @code{!} and @code{?} for the
problematic notes.
notes and rhythms.
@menu
-* Slurs::
-* Phrasing slurs::
-* Breath marks::
-* Metronome marks::
-* Text scripts::
-* Text spanners::
-* Analysis brackets::
-* Articulations::
-* Running trills::
-* Fingering instructions::
-* Grace notes::
-* Glissando::
-* Dynamics::
+* Slurs::
+* Phrasing slurs::
+* Breath marks::
+* Metronome marks::
+* Text scripts::
+* Text spanners::
+* Analysis brackets::
+* Articulations::
+* Running trills::
+* Fingering instructions::
+* Grace notes::
+* Glissando::
+* Dynamics::
@end menu
@node Slurs
They are entered using parentheses
@lilypond[quote,raggedright,relative=2,fragment,verbatim]
- f( g a) a8 b( a4 g2 f4)
- <c e>2( <b d>2)
+f( g a) a8 b( a4 g2 f4)
+<c e>2( <b d>2)
@end lilypond
The direction of a slur can be set with the
generic commands
@example
- \override Slur #'direction = #UP
- \slurUp % shortcut for the previous line
+\override Slur #'direction = #UP
+\slurUp % shortcut for the previous line
@end example
@noindent
However, there is a convenient shorthand for forcing slur
directions. By adding @code{_} or @code{^} before the opening
-parentheses, the direction is also set. For example,
+parentheses, the direction is also set. For example,
@lilypond[relative=2,raggedright,quote,verbatim,fragment]
- c4_( c) c^( c)
+c4_( c) c^( c)
@end lilypond
Some composers write two slurs when they want legato chords. This can
be achieved in LilyPond by setting @code{doubleSlurs},
@lilypond[verbatim,raggedright,relative,fragment,quote]
- \set doubleSlurs = ##t
- <c e>4 ( <d f> <c e> <d f> )
-@end lilypond
+\set doubleSlurs = ##t
+<c e>4 ( <d f> <c e> <d f> )
+@end lilypond
+
-
@refcommands
@cindex @code{\slurUp}
-@code{\slurUp},
+@code{\slurUp},
@cindex @code{\slurDown}
-@code{\slurDown},
+@code{\slurDown},
@cindex @code{\slurNeutral}
-@code{\slurNeutral},
+@code{\slurNeutral},
@cindex @code{\slurDotted}
-@code{\slurDotted},
+@code{\slurDotted},
@cindex @code{\slurSolid}
@code{\slurSolid}.
respectively
@lilypond[quote,raggedright,fragment,verbatim,relative=1]
- \time 6/4 c'\( d( e) f( e) d\)
+\time 6/4 c'\( d( e) f( e) d\)
@end lilypond
Typographically, the phrasing slur behaves almost exactly like a
@refcommands
@cindex @code{\phrasingSlurUp}
-@code{\phrasingSlurUp},
+@code{\phrasingSlurUp},
@cindex @code{\phrasingSlurDown}
-@code{\phrasingSlurDown},
+@code{\phrasingSlurDown},
@cindex @code{\phrasingSlurNeutral}
@code{\phrasingSlurNeutral}.
@lilypond[quote,raggedright,fragment,relative=1,verbatim]
- c'4 \breathe d4
+c'4 \breathe d4
@end lilypond
The glyph of the breath mark can be tuned by overriding the
@code{text} property of the @code{BreathingSign} layout object with
any markup text. For example,
@lilypond[quote,raggedright,fragment,verbatim,relative=1]
- c'4
- \override BreathingSign #'text
- = #(make-musicglyph-markup "scripts-rvarcomma")
- \breathe
- d4
+c'4
+\override BreathingSign #'text
+ = #(make-musicglyph-markup "scripts-rvarcomma")
+\breathe
+d4
@end lilypond
-@seealso
+@seealso
Program reference: @internalsref{BreathingSign},
@internalsref{BreathingSignEvent}.
@cindex metronome marking
Metronome settings can be entered as follows
-@example
- \tempo @var{duration} = @var{per-minute}
+@example
+\tempo @var{duration} = @var{per-minute}
@end example
In the MIDI output, they are interpreted as a tempo change. In the
layout output, a metronome marking is printed
@cindex @code{\tempo}
@lilypond[quote,raggedright,verbatim,fragment]
- \tempo 8.=120 c''1
+\tempo 8.=120 c''1
@end lilypond
@seealso
Program reference: @internalsref{MetronomeChangeEvent}.
-
+
@node Text scripts
@subsection Text scripts
will be taken into account
@c
@lilypond[quote,fragment,raggedright,verbatim,relative=1]
- c4^"longtext" \fatText c4_"longlongtext" c4
+c4^"longtext" \fatText c4_"longlongtext" c4
@end lilypond
More complex formatting may also be added to a note by using the
markup command,
@lilypond[fragment,raggedright,verbatim,quote]
- c'4^\markup { bla \bold bla }
+c'4^\markup { bla \bold bla }
@end lilypond
The @code{\markup} is described in more detail in
@ref{Text markup}.
-
+
@refcommands
@cindex @code{\fatText}
-@code{\fatText},
+@code{\fatText},
@cindex @code{\emptyText}
@code{\emptyText}.
@subsection Text spanners
@cindex Text spanners
-Some performance indications, e.g. @i{rallentando} or @i{accelerando},
+Some performance indications, e.g., @i{rallentando} or @i{accelerando},
are written as text and are extended over many measures with dotted
lines. Such texts are created using text spanners; attach
@code{\startTextSpan} and @code{\stopTextSpan} to the first and last
properties
@lilypond[quote,raggedright,fragment,relative=1,verbatim]
- c1
- \override TextSpanner #'direction = #-1
- \override TextSpanner #'edge-text = #'("rall " . "")
- c2\startTextSpan b c\stopTextSpan a
+c1
+\override TextSpanner #'direction = #-1
+\override TextSpanner #'edge-text = #'("rall " . "")
+c2\startTextSpan b c\stopTextSpan a
@end lilypond
@lilypond[quote,raggedright,verbatim]
\score {
- \relative c'' {
+ \relative c'' {
c4\startGroup\startGroup
c4\stopGroup
c4\startGroup
Program reference: @internalsref{HorizontalBracket},
@internalsref{NoteGroupingEvent}.
-Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
+Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
@node Articulations
@lilypond[quote,raggedright,fragment,verbatim]
- c''4^^ c''4_^
+c''4^^ c''4_^
@end lilypond
Other symbols can be added using the syntax
e.g.
@lilypond[quote,raggedright,verbatim,fragment,relative=2]
- c\fermata c^\fermata c_\fermata
+c\fermata c^\fermata c_\fermata
@end lilypond
@lilypond[verbatim,relative=3,raggedright,fragment,quote]
- \once \override TextScript #'script-priority = #-100
- a4^\prall^\markup { \sharp }
-
- \once \override Script #'script-priority = #-100
- a4^\prall^\markup { \sharp }
+\once \override TextScript #'script-priority = #-100
+a4^\prall^\markup { \sharp }
+
+\once \override Script #'script-priority = #-100
+a4^\prall^\markup { \sharp }
@end lilypond
-@node Running trills
+@node Running trills
@subsection Running trills
Long running trills are made with @code{\startTrillSpan} and
Fingering instructions can be entered using
@example
- @var{note}-@var{digit}
+@var{note}-@var{digit}
@end example
For finger changes, use markup texts
@c
@lilypond[quote,verbatim,raggedright,fragment,relative=1]
- c4-1 c-2 c-3 c-4
- c^\markup { \finger "2-3" }
+c4-1 c-2 c-3 c-4
+c^\markup { \finger "2-3" }
@end lilypond
@cindex finger change
@cindex subscript
You can use the thumb-script to indicate that a note should be
-played with the thumb (e.g. in cello music)
+played with the thumb (e.g., in cello music)
@lilypond[quote,verbatim,raggedright,fragment,relative=2]
- <a_\thumb a'-3>8 <b_\thumb b'-3>
+<a_\thumb a'-3>8 <b_\thumb b'-3>
@end lilypond
Fingerings for chords can also be added to individual notes
of the chord by adding them after the pitches
@lilypond[quote,verbatim,raggedright,fragment,relative=2]
- < c-1 e-2 g-3 b-5 >4
+< c-1 e-2 g-3 b-5 >4
@end lilypond
@noindent
to note heads
@lilypond[quote,verbatim,raggedright,fragment,relative=1]
- \set fingeringOrientations = #'(left down)
- <c-1 es-2 g-4 bes-5 > 4
- \set fingeringOrientations = #'(up right down)
- <c-1 es-2 g-4 bes-5 > 4
+\set fingeringOrientations = #'(left down)
+<c-1 es-2 g-4 bes-5 > 4
+\set fingeringOrientations = #'(up right down)
+<c-1 es-2 g-4 bes-5 > 4
@end lilypond
Using this feature, it is also possible to put fingering instructions
very close to note heads in monophonic music,
@lilypond[verbatim,raggedright,quote,fragment]
- \set fingeringOrientations = #'(right)
- <es'-2>4
+\set fingeringOrientations = #'(right)
+<es'-2>4
@end lilypond
-
+
@seealso
Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
@cindex acciaccatura
@lilypond[quote,raggedright,relative=2,verbatim,fragment]
- b4 \acciaccatura d8 c4 \appoggiatura e8 d4
- \acciaccatura { g16[ f] } e4
+b4 \acciaccatura d8 c4 \appoggiatura e8 d4
+\acciaccatura { g16[ f] } e4
@end lilypond
Both are special forms of the @code{\grace} command. By prefixing this
printed in a smaller font and takes up no logical time in a measure.
@lilypond[quote,raggedright,relative=2,verbatim,fragment]
- c4 \grace c16 c4
- \grace { c16[ d16] } c2 c4
+c4 \grace c16 c4
+\grace { c16[ d16] } c2 c4
@end lilypond
@noindent
@lilypond[quote,raggedright]
<<
- \relative c''{
- c4 \grace c16 c4 \grace {
- c16[ d16] } c2 c4
+ \relative c''{
+ c4 \grace c16 c4 \grace {
+ c16[ d16] } c2 c4
}
\new Lyrics \lyricmode {
\override LyricText #'font-family = #'typewriter
-
+
\markup { (0,0) } 4
\grace { \markup {
- ( \fraction 1 4 , \fraction -1 16 ) } 16 }
+ ( \fraction 1 4 , \fraction -1 16 ) } 16 }
\markup { (\fraction 1 4 , 0 ) } 4
\grace {
\markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
\markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
- }
+ }
\markup { ( \fraction 2 4 , 0 ) }
}
>>
In the following example, there are two sixteenth graces notes for
every eighth grace note
-@lilypond[quote,raggedright,relative=2,verbatim,fragment]
+@lilypond[quote,raggedright,relative=2,verbatim,fragment]
<< \new Staff { e4 \grace { c16[ d e f] } e4 }
\new Staff { c4 \grace { g8[ b] } c4 } >>
@end lilypond
@example
\new Staff @{
- #(add-grace-property 'Voice 'Stem 'direction '())
- @dots{}
+ #(add-grace-property 'Voice 'Stem 'direction '())
+ @dots{}
@}
@end example
note end up on different staves.
Grace note synchronization can also lead to surprises. Staff notation,
-such as key signatures, bar lines, etc. are also synchronized. Take
+such as key signatures, bar lines, etc., are also synchronized. Take
care when you mix staves with grace notes and staves without, for example,
@lilypond[quote,raggedright,relative=2,verbatim,fragment]
<< \new Staff { e4 \bar "|:" \grace c16 d4 }
- \new Staff { c4 \bar "|:" d4 } >>
+ \new Staff { c4 \bar "|:" d4 } >>
@end lilypond
@noindent
This can be remedied by inserting grace skips, for the above example
@example
-\new Staff @{ c4 \bar "|:" \grace s16 d4 @}
+\new Staff @{ c4 \bar "|:" \grace s16 d4 @}
@end example
Grace sections should only be used within sequential music
@node Glissando
@subsection Glissando
-@cindex Glissando
+@cindex Glissando
@cindex @code{\glissando}
A glissando is a smooth change in pitch. It is denoted by a line or a
-wavy line between two notes. It is requested by attaching
+wavy line between two notes. It is requested by attaching
@code{\glissando} to a note
@lilypond[quote,raggedright,fragment,relative=2,verbatim]
Example files: @file{input/@/regression/@/glissando@/.ly}.
-
+
@refbugs
@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
@lilypond[quote,verbatim,raggedright,fragment,relative=2]
- c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
- c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
+c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
+c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
@end lilypond
@cindex @code{\<}
A crescendo mark is started with @code{\<} and terminated with
@code{\!}. A decrescendo is started with @code{\>} and also terminated
with @code{\!}. Because these marks are bound to notes, if you must
-use spacer notes if multiple marks are needed during one note
+use spacer notes if multiple marks are needed during one note
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
- c\< c\! d\> e\!
- << f1 { s4 s4\< s4\! \> s4\! } >>
+c\< c\! d\> e\!
+<< f1 { s4 s4\< s4\! \> s4\! } >>
@end lilypond
This may give rise to very short hairpins. Use @code{minimum-length}
in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
example
@example
- \override Staff.Hairpin #'minimum-length = #5
+\override Staff.Hairpin #'minimum-length = #5
@end example
You can also use a text saying @emph{cresc.} instead of hairpins. Here
is an example how to do it
@lilypond[quote,raggedright,fragment,relative=2,verbatim]
- \setTextCresc
- c \< d e f\!
- \setHairpinCresc
- e\> d c b\!
+\setTextCresc
+c \< d e f\!
+\setHairpinCresc
+e\> d c b\!
@end lilypond
@cindex crescendo
You can also supply your own texts
@lilypond[quote,raggedright,fragment,relative=1,verbatim]
- \set crescendoText = \markup { \italic "cresc. poco" }
- \set crescendoSpanner = #'dashed-line
- a'2\< a a a\!\mf
+\set crescendoText = \markup { \italic "cresc. poco" }
+\set crescendoSpanner = #'dashed-line
+a'2\< a a a\!\mf
@end lilypond
@cindex diminuendo
@refcommands
@cindex @code{\dynamicUp}
-@code{\dynamicUp},
+@code{\dynamicUp},
@cindex @code{\dynamicDown}
-@code{\dynamicDown},
+@code{\dynamicDown},
@cindex @code{\dynamicNeutral}
@code{\dynamicNeutral}.
@menu
* Repeat types::
-* Repeat syntax::
-* Repeats and MIDI::
-* Manual repeat commands::
-* Tremolo repeats::
-* Tremolo subdivisions::
-* Measure repeats::
+* Repeat syntax::
+* Repeats and MIDI::
+* Manual repeat commands::
+* Tremolo repeats::
+* Tremolo subdivisions::
+* Measure repeats::
@end menu
@node Repeat types
Make beat or measure repeats. These look like percent signs. These are not played
in MIDI output by default.
-@end table
+@end table
@node Repeat syntax
@subsection Repeat syntax
repeats. The syntax is
@example
- \repeat @var{variant} @var{repeatcount} @var{repeatbody}
+\repeat @var{variant} @var{repeatcount} @var{repeatbody}
@end example
If you have alternative endings, you may add
@cindex @code{\alternative}
@example
- \alternative @code{@{} @var{alternative1}
- @var{alternative2}
- @var{alternative3} @dots{} @code{@}}
+\alternative @{ @var{alternative1}
+ @var{alternative2}
+ @var{alternative3} @dots{} @}
@end example
where each @var{alternative} is a music expression. If you do not
give enough alternatives for all of the repeats, the first alternative
With alternative endings
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
c1
-\repeat volta 2 {c4 d e f}
+\repeat volta 2 {c4 d e f}
\alternative { {d2 d} {f f,} }
@end lilypond
It is possible to shorten volta brackets
by setting @code{voltaSpannerDuration}. In the next example, the
-bracket only lasts one measure, which is a duration of 3/4.
+bracket only lasts one measure, which is a duration of 3/4.
@lilypond[verbatim,raggedright,quote]
\relative c''{
- \time 3/4
- c c c
- \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
- \repeat "volta" 5 { d d d }
- \alternative { { e e e f f f }
- { g g g } }
+ \time 3/4
+ c c c
+ \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
+ \repeat "volta" 5 { d d d }
+ \alternative { { e e e f f f }
+ { g g g } }
}
@end lilypond
-
+
@seealso
A nested repeat like
-@example
+@example
\repeat @dots{}
\repeat @dots{}
-\alternative
-@end example
+\alternative
+@end example
@noindent
is ambiguous, since it is is not clear to which @code{\repeat} the
@code{\unfoldrepeats} music function. This functions changes all
repeats to unfold repeats.
-@lilypond[verbatim,fragment,linewidth]
+@lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
\unfoldrepeats {
\repeat tremolo 8 {c'32 e' }
\repeat percent 2 { c''8 d'' }
- \repeat volta 2 {c'4 d' e' f'}
+ \repeat volta 2 {c'4 d' e' f'}
\alternative {
{ g' a' a' g' }
{f' e' d' c' }
percent repeats). For example,
@example
- \score @{
- @var{..music..}
- \layout @{ .. @}
- @}
- \score @{
- \unfoldrepeats @var{..music..}
- \midi @{ .. @}
- @}
+\score @{
+ @var{..music..}
+ \layout @{ .. @}
+@}
+\score @{
+ \unfoldrepeats @var{..music..}
+ \midi @{ .. @}
+@}
@end example
@node Manual repeat commands
@cindex @code{repeatCommands}
The property @code{repeatCommands} can be used to control the layout of
-repeats. Its value is a Scheme list of repeat commands, where each repeat
-command can be
+repeats. Its value is a Scheme list of repeat commands.
@table @asis
-@item @code{start-repeat},
- which prints a @code{|:} bar line;
-@item @code{end-repeat},
- which prints a @code{:|} bar line;
-@item @code{(volta @var{text})},
- which prints a volta bracket saying @var{text}: The text can be specified as
+@item @code{start-repeat}
+Print a @code{|:} bar line.
+
+@item @code{end-repeat}
+Print a @code{:|} bar line.
+
+@item @code{(volta @var{text})}
+Print a volta bracket saying @var{text}: The text can be specified as
a text string or as a markup text, see @ref{Text markup}. Do not
forget to change the font, as the default number font does not contain
alphabetic characters;
-@item @code{(volta #f)}, which
- stops a running volta bracket.
+
+@item @code{(volta #f)}
+Stop a running volta bracket.
@end table
@lilypond[quote,raggedright,verbatim,fragment,relative=2]
@lilypond[quote,verbatim,raggedright]
\new Voice \relative c' {
\repeat "tremolo" 8 { c16 d16 }
- \repeat "tremolo" 4 { c16 d16 }
+ \repeat "tremolo" 4 { c16 d16 }
\repeat "tremolo" 2 { c16 d16 }
}
@end lilypond
Tremolo marks can also be put on a single note. In this case, the
note should not be surrounded by braces.
@lilypond[quote,verbatim,raggedright]
- \repeat "tremolo" 4 c'16
+\repeat "tremolo" 4 c'16
@end lilypond
Similar output is obtained using the tremolo subdivision, described in
used
@lilypond[quote,raggedright,verbatim,fragment]
- c'2:8 c':32 | c': c': |
+c'2:8 c':32 | c': c': |
@end lilypond
-@c [TODO : stok is te kort bij 32en]
-@c somebody want to translate that into English? :)
+@c [TODO: stok is te kort bij 32en]
+@c somebody want to translate that into English?
+@c `Stem is too short for 32nds' (wl)
@refbugs
@lilypond[quote,verbatim,raggedright]
\new Voice \relative c' {
- \repeat "percent" 4 { c4 }
+ \repeat "percent" 4 { c4 }
\repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
}
@end lilypond
also be used to show the rhythms of melodies.
@menu
-* Showing melody rhythms::
-* Entering percussion::
-* Percussion staves::
+* Showing melody rhythms::
+* Entering percussion::
+* Percussion staves::
@end menu
up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
down = \drummode { bassdrum4 snare8 bd r bd sn4 }
\new DrumStaff <<
- \new DrumVoice { \voiceOne \up }
- \new DrumVoice { \voiceTwo \down }
+ \new DrumVoice { \voiceOne \up }
+ \new DrumVoice { \voiceTwo \down }
>>
@end lilypond
The above example shows verbose polyphonic notation. The short
polyphonic notation, described in @ref{Polyphony}, can also be used if
-the @internalsref{DrumVoices} are instantiated by hand first. For example,
+the @internalsref{DrumVoices} are instantiated by hand first. For example,
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\new DrumStaff <<
- \context DrumVoice = "1" { s1 *2 }
- \context DrumVoice = "2" { s1 *2 }
+ \context DrumVoice = "1" { s1 *2 }
+ \context DrumVoice = "2" { s1 *2 }
\drummode {
bd4 sn4 bd4 sn4
<<
\\
{ bd4 sn4 bd4 sn4 }
>>
- }
+ }
>>
@end lilypond
@item drums-style
This is the default. It typesets a typical drum kit on a five-line staff
-@lilypond[quote,raggedright]
-nam = \lyricmode { cymc cyms cymr hh hhc hho hhho hhp cb hc
- bd sn ss tomh tommh tomml toml tomfh tomfl }
-mus = \drummode { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
- bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
+@lilypond[quote,linewidth=10.0\cm]
+nam = \lyricmode {
+ cymc cyms cymr hh hhc hho hhho hhp
+ cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
+mus = \drummode {
+ cymc cyms cymr hh hhc hho hhho hhp \break
+ cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
\score {
- << \new DrumStaff\with {
- \remove Bar_engraver
- \remove Time_signature_engraver
- \override Stem #'transparent = ##t
- \override Stem #'Y-extent-callback = ##f
- minimumVerticalExtent = #'(-4.0 . 5.0)
- } \mus
- \context Lyrics \nam
- >>
- \layout {
- %% need to do this, because of indented @itemize
- linewidth= 9 \cm
- \context { \Score
- \override LyricText #'font-family = #'typewriter
- \override BarNumber #'transparent =##T
-}}}
+ << \new DrumStaff \with {
+ \remove Bar_engraver
+ \remove Time_signature_engraver
+ \override Stem #'transparent = ##t
+ \override Stem #'Y-extent-callback = ##f
+ minimumVerticalExtent = #'(-4.0 . 5.0)
+ } \mus
+ \context Lyrics \nam
+ >>
+ \layout {
+ \context {
+ \Score
+ \override LyricText #'font-family = #'typewriter
+ \override BarNumber #'transparent =##T
+ }
+ }
+}
@end lilypond
The drum scheme supports six different toms. When there fewer toms, simply
-select the toms that produce the desired result, i.e. to get toms on
+select the toms that produce the desired result, i.e., to get toms on
the three middle lines you use @code{tommh}, @code{tomml} and
@code{tomfh}.
@lilypond[quote,raggedright]
nam = \lyricmode { timh ssh timl ssl cb }
-mus = \drummode { timh ssh timl ssl cb s16 }
+mus = \drummode { timh ssh timl ssl cb s16 }
<<
- \context DrumStaff \with {
- \remove Bar_engraver
- \remove Time_signature_engraver
- \override Stem #'transparent = ##t
- \override Stem #'Y-extent-callback = ##f
- \override StaffSymbol #'line-count = #2
- \override StaffSymbol #'staff-space = #2
- minimumVerticalExtent = #'(-3.0 . 4.0)
- drumStyleTable = #timbales-style
- } \mus
- \context Lyrics {
- \override LyricText #'font-family = #'typewriter
-
- \nam }
+ \context DrumStaff \with {
+ \remove Bar_engraver
+ \remove Time_signature_engraver
+ \override Stem #'transparent = ##t
+ \override Stem #'Y-extent-callback = ##f
+ \override StaffSymbol #'line-count = #2
+ \override StaffSymbol #'staff-space = #2
+ minimumVerticalExtent = #'(-3.0 . 4.0)
+ drumStyleTable = #timbales-style
+ } \mus
+ \context Lyrics {
+ \override LyricText #'font-family = #'typewriter
+ \nam
+ }
>>
@end lilypond
+
@item congas-style
This typesets congas on a two line staff
@lilypond[quote,raggedright]
nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
-mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
+mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
+
<<
- \context DrumStaff\with {
- \remove Bar_engraver
- \remove Time_signature_engraver
- drumStyleTable = #congas-style
- \override StaffSymbol #'line-count = #2
-
- %% this sucks; it will lengthen stems.
- \override StaffSymbol #'staff-space = #2
- \override Stem #'transparent = ##t
- \override Stem #'Y-extent-callback = ##f
- } \mus
- \context Lyrics {
- \override LyricText #'font-family = #'typewriter
-\nam }
+ \context DrumStaff \with {
+ \remove Bar_engraver
+ \remove Time_signature_engraver
+ drumStyleTable = #congas-style
+ \override StaffSymbol #'line-count = #2
+
+ %% this sucks; it will lengthen stems.
+ \override StaffSymbol #'staff-space = #2
+ \override Stem #'transparent = ##t
+ \override Stem #'Y-extent-callback = ##f
+ } \mus
+ \context Lyrics {
+ \override LyricText #'font-family = #'typewriter
+ \nam
+ }
>>
@end lilypond
+
@item bongos-style
This typesets bongos on a two line staff
@lilypond[quote,raggedright]
nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
-mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
+mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
+
<<
- \context DrumStaff\with {
- \remove Bar_engraver
- \remove Time_signature_engraver
- \override StaffSymbol #'line-count = #2
- drumStyleTable = #bongos-style
-
- %% this sucks; it will lengthen stems.
- \override StaffSymbol #'staff-space = #2
- \override Stem #'transparent = ##t
- \override Stem #'Y-extent-callback = ##f
- } \mus
- \context Lyrics {
- \override LyricText #'font-family = #'typewriter
-\nam }
+ \context DrumStaff\with {
+ \remove Bar_engraver
+ \remove Time_signature_engraver
+ \override StaffSymbol #'line-count = #2
+ drumStyleTable = #bongos-style
+
+ %% this sucks; it will lengthen stems.
+ \override StaffSymbol #'staff-space = #2
+ \override Stem #'transparent = ##t
+ \override Stem #'Y-extent-callback = ##f
+ } \mus
+ \context Lyrics {
+ \override LyricText #'font-family = #'typewriter
+ \nam
+ }
>>
@end lilypond
@item percussion-style
-to typeset all kinds of simple percussion on one line staves
+To typeset all kinds of simple percussion on one line staves.
+
@lilypond[quote,raggedright]
nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
-mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
+mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
+
<<
- \context DrumStaff\with{
- \remove Bar_engraver
- drumStyleTable = #percussion-style
- \override StaffSymbol #'line-count = #1
- \remove Time_signature_engraver
- \override Stem #'transparent = ##t
- \override Stem #'Y-extent-callback = ##f
- } \mus
- \context Lyrics {
- \override LyricText #'font-family = #'typewriter
- \nam
- }
+ \context DrumStaff\with{
+ \remove Bar_engraver
+ drumStyleTable = #percussion-style
+ \override StaffSymbol #'line-count = #1
+ \remove Time_signature_engraver
+ \override Stem #'transparent = ##t
+ \override Stem #'Y-extent-callback = ##f
+ } \mus
+ \context Lyrics {
+ \override LyricText #'font-family = #'typewriter
+ \nam
+ }
>>
@end lilypond
@end table
@lilypond[quote,raggedright,verbatim]
#(define mydrums '(
- (bassdrum default #f -1)
- (snare default #f 0)
- (hihat cross #f 1)
- (pedalhihat xcircle "stopped" 2)
- (lowtom diamond #f 3)))
+ (bassdrum default #f -1)
+ (snare default #f 0)
+ (hihat cross #f 1)
+ (pedalhihat xcircle "stopped" 2)
+ (lowtom diamond #f 3)))
up = \drummode { hh8 hh hh hh hhp4 hhp }
down = \drummode { bd4 sn bd toml8 toml }
\new DrumStaff <<
- \set DrumStaff.drumStyleTable
- = #(alist->hash-table mydrums)
- \new DrumVoice { \voiceOne \up }
- \new DrumVoice { \voiceTwo \down }
+ \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
+ \new DrumVoice { \voiceOne \up }
+ \new DrumVoice { \voiceTwo \down }
>>
@end lilypond
@menu
-* Automatic staff changes::
-* Manual staff switches::
-* Pedals::
-* Arpeggio::
-* Staff switch lines::
-* Cross staff stems::
-@end menu
+* Automatic staff changes::
+* Manual staff switches::
+* Pedals::
+* Arpeggio::
+* Staff switch lines::
+* Cross staff stems::
+@end menu
@refbugs
@quotation
@example
- \autochange @dots{}@var{music}@dots{}
+\autochange @dots{}@var{music}@dots{}
@end example
@end quotation
The autochanger switches on basis of pitch (middle C is the turning
point), and it looks ahead skipping over rests to switch in
advance. Here is a practical example
-
+
@lilypond[quote,verbatim,raggedright]
\context PianoStaff
\autochange \relative c'
quality output, staff switches should be specified manually.
-@code{\autochange} cannot be inside @code{\times}.
+@code{\autochange} cannot be inside @code{\times}.
Internally, the @code{\partcombine} interprets both arguments as
@code{Voice}s named @code{one} and @code{two}, and then decides when
@example
<<
\context Staff = up @{
- \skip 1 * 10 %@emph{ keep staff alive}
+ \skip 1 * 10 % @emph{keep staff alive}
@}
\context Staff = down @{
- \skip 1 * 10 %@emph{idem}
+ \skip 1 * 10 % @emph{idem}
@}
>>
-@end example
+@end example
and the @context{Voice} is inserted afterwards
note or chord
@lilypond[quote,raggedright,fragment,verbatim]
- c'4\sustainDown c'4\sustainUp
+c'4\sustainDown c'4\sustainUp
@end lilypond
What is printed can be modified by setting @code{pedal@var{X}Strings},
@code{pedalSustainStyle} property to bracket objects
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
- \set Staff.pedalSustainStyle = #'bracket
- c\sustainDown d e
- b\sustainUp\sustainDown
- b g \sustainUp a \sustainDown \bar "|."
+\set Staff.pedalSustainStyle = #'bracket
+c\sustainDown d e
+b\sustainUp\sustainDown
+b g \sustainUp a \sustainDown \bar "|."
@end lilypond
A third style of pedal notation is a mixture of text and brackets,
@code{mixed}
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
- \set Staff.pedalSustainStyle = #'mixed
- c\sustainDown d e
- b\sustainUp\sustainDown
- b g \sustainUp a \sustainDown \bar "|."
+\set Staff.pedalSustainStyle = #'mixed
+c\sustainDown d e
+b\sustainUp\sustainDown
+b g \sustainUp a \sustainDown \bar "|."
@end lilypond
The default `*Ped.' style for sustain and damper pedals corresponds to
default.
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
- c\sostenutoDown d e c, f g a\sostenutoUp
+c\sostenutoDown d e c, f g a\sostenutoUp
@end lilypond
For fine-tuning of the appearance of a pedal bracket, the properties
bracket may be extended to the right edge of the note head
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
- \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
- c\sostenutoDown d e c, f g a\sostenutoUp
+\override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
+c\sostenutoDown d e c, f g a\sostenutoUp
@end lilypond
@node Arpeggio
@lilypond[quote,raggedright,fragment,relative=1,verbatim]
- <c e g c>\arpeggio
+<c e g c>\arpeggio
@end lilypond
When an arpeggio crosses staves, you attach an arpeggio to the chords
@lilypond[quote,raggedright,fragment,relative=1,verbatim]
\context PianoStaff <<
\set PianoStaff.connectArpeggios = ##t
- \new Staff { <c' e g c>\arpeggio }
- \new Staff { \clef bass <c,, e g>\arpeggio }
+ \new Staff { <c' e g c>\arpeggio }
+ \new Staff { \clef bass <c,, e g>\arpeggio }
>>
@end lilypond
@c todo: ugh, lousy typography. Look for real example. --hwn
@lilypond[quote,raggedright,fragment,relative=1,verbatim]
- \arpeggioBracket
- <c' e g c>\arpeggio
+\arpeggioBracket
+<c' e g c>\arpeggio
@end lilypond
@refcommands
b2 a
}
\context Staff=two { \clef bass \skip 1*2 }
->>
+>>
@end lilypond
@seealso
@refcommands
@cindex @code{\showStaffSwitch}
-@code{\showStaffSwitch},
+@code{\showStaffSwitch},
@cindex @code{\hideStaffSwitch}
@code{\hideStaffSwitch}.
@itemize @bullet
@item
- Song texts must be entered as texts, not notes. For example, the
-input @code{d} should be interpreted as a one letter syllable, not the note D.
+Song texts must be entered as texts, not notes. For example, the
+input@tie{}@code{d} should be interpreted as a one letter syllable, not the
+note@tie{}D.
+
@item
- Song texts must be printed as text, not as notes.
+Song texts must be printed as text, not as notes.
+
@item
- Song texts must be aligned with the notes of their melody
+Song texts must be aligned with the notes of their melody
@end itemize
The simplest solution to printing music uses the @code{\addlyrics}
function to solve all these problems at once. However, these
three functions can be controlled separately, which is necessary
-for complex vocal music.
+for complex vocal music.
@menu
-* Setting simple songs::
-* Entering lyrics::
-* Hyphens and extenders::
-* The Lyrics context::
-* Flexibility in alignment::
-* More stanzas::
-* Ambitus::
+* Setting simple songs::
+* Entering lyrics::
+* Hyphens and extenders::
+* The Lyrics context::
+* Flexibility in alignment::
+* More stanzas::
+* Ambitus::
@end menu
@node Setting simple songs
The easiest way to add lyrics to a melody is to append
@cindex \addlyrics
@example
- \addlyrics @{ @var{the lyrics} @}
+\addlyrics @{ @var{the lyrics} @}
@end example
@noindent
to a melody. Here is an example,
@lilypond[raggedright,verbatim,fragment,quote]
- \time 3/4
- \relative { c2 e4 g2. }
- \addlyrics { play the game }
+\time 3/4
+\relative { c2 e4 g2. }
+\addlyrics { play the game }
@end lilypond
More stanzas can be added by adding more
-@code{\addlyrics} sections
+@code{\addlyrics} sections
@lilypond[raggedright,verbatim,fragment,quote]
- \time 3/4
- \relative { c2 e4 g2. }
- \addlyrics { play the game }
- \addlyrics { speel het spel }
- \addlyrics { joue le jeu }
+\time 3/4
+\relative { c2 e4 g2. }
+\addlyrics { play the game }
+\addlyrics { speel het spel }
+\addlyrics { joue le jeu }
@end lilypond
@c TODO - this isn't such a great place for this note, but I can't
@code{\lyricsto} or @code{\lyricmode}.
@example
- @{ MUSIC @}
- \addlyrics @{ LYRICS @}
+@{ MUSIC @}
+\addlyrics @{ LYRICS @}
@end example
+@noindent
is the same as
@example
- \context Voice = blah @{ music @}
- \lyricsto "blah" \lyricsmode \new lyrics @{ LYRICS @}
+\context Voice = blah @{ music @}
+\lyricsto "blah" \lyricsmode \new lyrics @{ LYRICS @}
@end example
a pitch, but rather as a one letter syllable. Syllables are entered
like notes, but with pitches replaced by text. For example,
@example
- \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
+\lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
@end example
usually a mistake in the input file. The syllable includes a @code{@}}, so the
opening brace is not balanced
@example
- \lyricmode @{ twinkle@}
+\lyricmode @{ twinkle @}
@end example
@cindex @code{\property}, in @code{\lyricmode}
the resulting string. As a consequence, spaces must be inserted around
property commands
@example
- \override Score . LyricText #'font-shape = #'italic
+\override Score . LyricText #'font-shape = #'italic
@end example
@cindex @code{_}
following example incorporates double quotes
@example
- \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
+\lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
@end example
This example is slightly academic, since it gives better looking
results to use single quotes, @code{``} and @code{''}
@example
- \lyricmode @{ He said: ``Let my peo ple go'' @}
+\lyricmode @{ He said: ``Let my peo ple go'' @}
@end example
@seealso
-Program reference: @internalsref{HyphenEvent},
+Program reference: @internalsref{HyphenEvent},
@internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
@internalsref{LyricExtender}
@node The Lyrics context
-@subsection The Lyrics context
+@subsection The Lyrics context
Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
@example
- \context Lyrics \lyricmode @dots{}
+\context Lyrics \lyricmode @dots{}
@end example
@cindex automatic syllable durations
correct duration for each syllable. This is achieved by combining the
melody and the lyrics with the @code{\lyricsto} expression
@example
-\lyricsto @var{name} \new Lyrics @dots{}
+\lyricsto @var{name} \new Lyrics @dots{}
@end example
This aligns the lyrics to the
For different or more complex orderings, the best way is to setup the
hierarchy of staves and lyrics first, e.g.
@example
-\context ChoirStaff <<
+\context ChoirStaff <<
\context Lyrics = sopranoLyrics @{ s1 @}
\context Voice = soprano @{ @emph{music} @}
\context Lyrics = tenorLyrics @{ s1 @}
@end example
and then combine the appropriate melodies and lyric lines
@example
- \lyricsto "soprano" \context Lyrics = sopranoLyrics
- @emph{the lyrics}
+\lyricsto "soprano" \context Lyrics = sopranoLyrics
+ @emph{the lyrics}
@end example
@noindent
The final input would resemble
@example
-<<\context ChoirStaff << @emph{setup the music} >>
+<<\context ChoirStaff << @emph{setup the music} >>
\lyricsto "soprano" @emph{etc}
\lyricsto "alto" @emph{etc}
@emph{etc}
>>
-@end example
+@end example
The @code{\lyricsto} command detects melismata: it only puts one
\context Voice = "lala" {
\time 3/4
f4 g8
- \melisma
+ \melisma
f e f
\melismaEnd
e2
}
\lyricsto "lala" \new Lyrics {
- la di __ daah
+ la di __ daah
}
>>
@end lilypond
Lyrics can also be entered without @code{\lyricsto}. In this case the
durations of each syllable must be entered explicitly, for example,
-@verbatim
- play2 the4 game2.
- sink2 or4 swim2.
-@end verbatim
+@example
+play2 the4 game2.
+sink2 or4 swim2.
+@end example
The alignment to a melody can be specified with the
@code{associatedVoice} property,
-@verbatim
- \set associatedVoice = #"lala"
-@end verbatim
+@example
+\set associatedVoice = #"lala"
+@end example
@noindent
The value of the property (here: @code{"lala"}) should be the name of
<< \context Voice = melody {
\time 3/4
c2 e4 g2.
- }
+ }
\new Lyrics \lyricmode {
\set associatedVoice = #"melody"
play2 the4 game2.
Examples: @ref{Small ensembles},
@inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly},
-@c TODO: make separate section for melismata
+@c TODO: make separate section for melismata
@inputfileref{input/@/test,lyrics@/-melisma@/-variants@/.ly}.
@inputfileref{input/@/test,lyrics@/-melisma@/-faster@/.ly}.
-
+
@refbugs
Melismata are not detected automatically, and extender lines must be
@lilypond[verbatim,raggedright,quote]
<<
\relative \context Voice = "lahlah" {
- \set Staff.autoBeaming = ##f
+ \set Staff.autoBeaming = ##f
c4
\slurDotted
f8.[( g16])
More complex variations in text underlay are possible. It is possible
to switch the melody for a line of lyrics during the text. This is
-done by setting the @code{associatedVoice} property. In the example
+done by setting the @code{associatedVoice} property. In the example
@lilypond[raggedright,quote]
-
<<
\relative \context Voice = "lahlah" {
- \set Staff.autoBeaming = ##f
+ \set Staff.autoBeaming = ##f
c4
<<
\context Voice = alternative {
}
\new Lyrics \lyricsto "lahlah" {
% Tricky: need to set associatedVoice
- % one syllable too soon!
+ % one syllable too soon!
\set associatedVoice = alternative % applies to "ran"
Ty --
- ran --
+ ran --
no --
\set associatedVoice = lahlah % applies to "rus"
sau -- rus Rex
@noindent
the text for the first stanza is set to a melody called ``lahlah'',
-@verbatim
-\new Lyrics \lyricsto "lahlah" {
+@example
+\new Lyrics \lyricsto "lahlah" @{
Ju -- ras -- sic Park
-}
-@end verbatim
+@}
+@end example
The second stanza initially is set to the @code{lahlah} context, but
for the syllable ``ran'', it switches to a different melody.
This is achieved with
@example
- \set associatedVoice = alternative
+\set associatedVoice = alternative
@end example
@noindent
Again, the command must be one syllable too early, before ``Ty'' in
this case.
-@verbatim
-\new Lyrics \lyricsto "lahlah" {
+@example
+\new Lyrics \lyricsto "lahlah" @{
\set associatedVoice = alternative % applies to "ran"
Ty --
- ran --
+ ran --
no --
\set associatedVoice = lahlah % applies to "rus"
sau -- rus Rex
-}
-@end verbatim
+@}
+@end example
@noindent
The underlay is switched back to the starting situation by assigning
@cindex stanza number
@cindex singer's names
-@cindex name of singer
+@cindex name of singer
Stanza numbers can be added by setting @code{stanza}, e.g.
for example,
@example
- \layout @{
- \context @{
- \Voice
- \consists Ambitus_engraver
- @}
+\layout @{
+ \context @{
+ \Voice
+ \consists Ambitus_engraver
@}
+@}
@end example
This results in the following output
This example uses one advanced feature,
@example
- \override Ambitus #'X-offset-callbacks
- = #(list (lambda (grob axis) -1.0))
+\override Ambitus #'X-offset-callbacks
+ = #(list (lambda (grob axis) -1.0))
@end example
@noindent
This code moves the ambitus to the left. The same effect could have
been achieved with @code{extra-offset}, but then the formatting system
-would not reserve space for the moved object.
+would not reserve space for the moved object.
@seealso
@internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
@internalsref{AmbitusAccidental}.
-Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
+Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
@refbugs
include extra information for other instruments in the future.
@menu
-* Harmonic notes::
+* Harmonic notes::
@end menu
-@node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
+@node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
@subsection Harmonic notes
@cindex artificial harmonics
@cindex harmonics
Artificial harmonics are notated with a different notehead style. They
-are entered by
+are entered by
marking the harmonic pitch with @code{\harmonic}.
@lilypond[raggedright,verbatim,quote,fragment]
- <c' g'\harmonic>4
+<c' g'\harmonic>4
@end lilypond
offers limited support for tablature.
@menu
-* Tablatures basic::
-* Non-guitar tablatures::
+* Tablatures basic::
+* Non-guitar tablatures::
@end menu
@node Tablatures basic, Non-guitar tablatures, Tablatures, Tablatures
@cindex Tablatures basic
The string number associated to a note is given as a backslash
-followed by a number, e.g. @code{c4\3} for a C quarter on the third
+followed by a number, e.g., @code{c4\3} for a C quarter on the third
string. By default, string 1 is the highest one, and the tuning
defaults to the standard guitar tuning (with 6 strings). The notes
are printed as tablature, by using @internalsref{TabStaff} and
@internalsref{TabVoice} contexts
@lilypond[quote,raggedright,fragment,verbatim]
- \context TabStaff {
+\context TabStaff {
a,4\5 c'\2 a\3 e'\1
e\4 c'\2 a\3 e'\1
}
e16 fis gis a b4
@end example
@lilypond[quote,raggedright]
-frag = {
+frag = {
\key e \major
e16 fis gis a b4
\set TabStaff.minimumFret = #8
chord.
-@node Non-guitar tablatures, , Tablatures basic, Tablatures
+@node Non-guitar tablatures, , Tablatures basic, Tablatures
@subsection Non-guitar tablatures
@cindex Non-guitar tablatures
You can change the number of strings, by setting the number of lines
-in the @internalsref{TabStaff}.
+in the @internalsref{TabStaff}.
You can change the tuning of the strings. A string tuning is given as
a Scheme list with one integer number for each string, the number
@code{stringTunings} is set for the pitches e, a, d, and g
@lilypond[quote,raggedright,fragment,verbatim]
- \context TabStaff <<
- \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
-
- {
- a,4 c' a e' e c' a e'
- }
- >>
+\context TabStaff <<
+ \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
+ {
+ a,4 c' a e' e c' a e'
+ }
+>>
@end lilypond
@refbugs
@node Popular music, Orchestral music, Tablatures, Notation manual
-@section Popular music
+@section Popular music
This section discusses issues that arise when writing popular music.
@menu
-* Chord names::
-* Chords mode::
-* Printing chord names::
-* Fret diagrams::
-* Improvisation::
+* Chord names::
+* Chords mode::
+* Printing chord names::
+* Fret diagrams::
+* Improvisation::
@end menu
@node Chord names, Chords mode, Popular music, Popular music
@cindex Chords
LilyPond has support for printing chord names. Chords may be entered
-in musical chord notation, i.e. @code{< .. >}, but they can also be
+in musical chord notation, i.e., @code{< .. >}, but they can also be
entered by name. Internally, the chords are represented as a set of
pitches, so they can be transposed
}
<< \context ChordNames \twoWays
- \context Voice \twoWays >>
+ \context Voice \twoWays >>
@end lilypond
This example also shows that the chord printing routines do not try to
@c this menu isn't needed.
@ignore
@menu
-* Chords mode::
-* Printing chord names::
+* Chords mode::
+* Printing chord names::
@end menu
@end ignore
normal pitch
@lilypond[quote,raggedright,fragment,verbatim]
- \chordmode { es4. d8 c2 }
+\chordmode { es4. d8 c2 }
@end lilypond
@noindent
modifier (which may include a number if desired)
@c
@lilypond[quote,fragment,verbatim]
- \chordmode { e1:m e1:7 e1:m7 }
+\chordmode { e1:m e1:7 e1:m7 }
@end lilypond
The first number following the root is taken to be the `type' of the
chord, thirds are added to the root until it reaches the specified
number
@lilypond[quote,fragment,verbatim]
- \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
+\chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
@end lilypond
@cindex root of chord
the colon, and are separated by dots
@c
@lilypond[quote,verbatim,fragment]
- \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
+\chordmode { c:5.6 c:3.7.8 c:3.6.13 }
@end lilypond
Chord steps can be altered by suffixing a @code{-} or @code{+} sign
to the number
@lilypond[quote,verbatim,fragment]
- \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
+\chordmode { c:7+ c:5+.3- c:3-.5-.7- }
@end lilypond
Removals are specified similarly, and are introduced by a caret. They
must come after the additions
@lilypond[quote,verbatim,fragment]
- \chordmode { c^3 c:7^5 c:9^3.5 }
+\chordmode { c^3 c:7^5 c:9^3.5 }
@end lilypond
Modifiers can be used to change pitches. The following modifiers are
supported
+
@table @code
@item m
- is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
+The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
+
@item dim
- is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
- the 7th step.
+The diminished chord. This modifier lowers the 3rd, 5th and (if present)
+the 7th step.
+
@item aug
- is the augmented chord. This modifier raises the 5th step.
+The augmented chord. This modifier raises the 5th step.
+
@item maj
- is the major 7th chord. This modifier raises the 7th step if present.
+The major 7th chord. This modifier raises the 7th step if present.
+
@item sus
- is the suspended 4th or 2nd. This modifier removes the 3rd
+The suspended 4th or 2nd. This modifier removes the 3rd
step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
the chord.
@end table
+
Modifiers can be mixed with additions
@lilypond[quote,verbatim,fragment]
- \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
+ \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
@end lilypond
-@cindex modifiers, in chords.
+@cindex modifiers, in chords.
@cindex @code{aug}
@cindex @code{dim}
@cindex @code{maj}
explicitly)
@c
@lilypond[quote,raggedright,fragment,verbatim]
- \chordmode { c:13 c:13.11 c:m13 }
+\chordmode { c:13 c:13.11 c:m13 }
@end lilypond
@cindex @code{/}
as bass notes, can be specified by appending
@code{/}@var{pitch} to the chord
@lilypond[quote,raggedright,fragment,verbatim]
- \chordmode { c1 c/g c/f }
+\chordmode { c1 c/g c/f }
@end lilypond
@cindex @code{/+}
A bass note can be added instead of transposed out of the chord,
-by using @code{/+}@var{pitch}.
+by using @code{/+}@var{pitch}.
@lilypond[quote,raggedright,fragment,verbatim]
\chordmode { c1 c/+g c/+f }
@lilypond[quote,verbatim,raggedright]
harmonies = {
- \chordmode {a1 b c} <d' f' a'> <e' g' b'>
+ \chordmode {a1 b c} <d' f' a'> <e' g' b'>
}
<<
\context ChordNames \harmonies
display chord names when there is a change in the chords scheme and at
the start of a new line
-@c originally this had linewidth=9\cm, but I though that raggedright would be better
@lilypond[quote,verbatim,raggedright]
harmonies = \chordmode {
c1:m c:m \break c:m c:m d
voltaOnThisStaff = ##t
\consists Bar_engraver
\consists "Volta_engraver"
-}
+}
\repeat volta 2 \chordmode {
f1:maj f:7 bes:7
- c:maj
+ c:maj
} \alternative {
es e
}
@item chordNameExceptions
This is a list that contains the chords that have special formatting.
-The exceptions list should be encoded as encoded as
-@verbatim
- @{ <c f g bes>1 \markup @{ \\super \"7\" \"wahh\" @} @}
-@end verbatim
+The exceptions list should be encoded as
+@example
+@{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
+@end example
To get this information into @code{chordNameExceptions} takes a little
-manoeuvring. The following code transforms @code{chExceptionMusic}
+manoeuvring. The following code transforms @code{chExceptionMusic}
(which is a sequential music) into a list of exceptions.
@example
- (sequential-music-to-chord-exceptions chExceptionMusic #t)
+(sequential-music-to-chord-exceptions chExceptionMusic #t)
@end example
Then,
@example
@cindex @code{chordNoteNamer}
@item chordNoteNamer
-The default is to print single pitch, e.g. the bass note, using the
+The default is to print single pitch, e.g., the bass note, using the
@code{chordRootNamer}. The @code{chordNoteNamer} property can be set
to a specialized function to change this behavior. For example, the
base can be printed in lower case.
@cindex Banter
@cindex jazz chords
-@cindex chords, jazz
+@cindex chords, jazz
@refcommands
@cindex @code{\germanChords}
-@code{\germanChords},
+@code{\germanChords},
@cindex @code{\semiGermanChords}
@code{\semiGermanChords}.
@cindex fret diagrams
@cindex chord diagrams
-Fret diagrams can be added to music as a markup to the desired note. The
+Fret diagrams can be added to music as a markup to the desired note. The
markup contains information about the desired fret diagram, as shown in the
following example
}
}
fis' fis' fis'
- c' ^\markup \override #'(dot-radius . 0.35) {
+ c' ^\markup \override #'(dot-radius . 0.35) {
\override #'(finger-code . in-dot) {
\override #'(dot-color . white) {
\fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
There are three different fret-diagram markup interfaces: standard, terse,
and verbose. The three interfaces produce equivalent markups, but have
varying amounts of information in the markup string. Details about the
-markup interfaces are found at @ref{Overview of text markup commands}.
+markup interfaces are found at @ref{Overview of text markup commands}.
You can set a number of graphical properties according to your preference.
-Details about the property interface to fret diagrams are found at
+Details about the property interface to fret diagrams are found at
@internalsref{fret-diagram-interface}.
following command
@example
- \set squashedPosition = #0
- \override NoteHead #'style = #'slash
+\set squashedPosition = #0
+\override NoteHead #'style = #'slash
@end example
@noindent
@node Orchestral music
@section Orchestral music
-@cindex Writing parts
+@cindex Writing parts
Orchestral music involves some special notation, both in the full
score and the individual parts. This section explains how to tackle
@menu
-* System start delimiters::
-* Aligning to cadenzas::
-* Rehearsal marks::
-* Bar numbers::
-* Instrument names::
-* Transpose::
-* Instrument transpositions::
-* Multi measure rests::
-* Automatic part combining::
-* Hiding staves::
-* Different editions from one source::
-* Quoting other voices::
-* Formatting cue notes::
+* System start delimiters::
+* Aligning to cadenzas::
+* Rehearsal marks::
+* Bar numbers::
+* Instrument names::
+* Transpose::
+* Instrument transpositions::
+* Multi measure rests::
+* Automatic part combining::
+* Hiding staves::
+* Different editions from one source::
+* Quoting other voices::
+* Formatting cue notes::
@end menu
@node System start delimiters
-@subsection System start delimiters
+@subsection System start delimiters
Polyphonic scores consist of many staves. These staves can be
constructed in three different ways
\new Staff { c1 c }
\new Staff { c c }
>>
-@end lilypond
+@end lilypond
@item The group is started with a bracket, and bar lines are connected. This is done with the
\new Staff { c1 c }
\new Staff { c c }
>>
-@end lilypond
+@end lilypond
@item The group is started with a vertical line. Bar lines are not
\new Staff { c1 c }
\new Staff { c c }
>>
-@end lilypond
+@end lilypond
@end itemize
In an orchestral context, cadenzas present a special problem:
when constructing a score that includes a cadenza, all other
instruments should skip just as many notes as the length of the
-cadenza, otherwise they will start too soon or too late.
+cadenza, otherwise they will start too soon or too late.
A solution to this problem are the functions @code{mmrest-of-length}
and @code{skip-of-length}. These Scheme functions take a piece music
as argument, and generate a @code{\skip} or multi rest, exactly as
long as the piece. The use of @code{mmrest-of-length} is demonstrated
-in the following example.
+in the following example.
@lilypond[verbatim,raggedright,quote]
-cadenza = \relative c' {
+cadenza = \relative c' {
c4 d8 << { e f g } \\ { d4. } >>
g4 f2 g4 g
}
-
+
\new GrandStaff <<
- \new Staff { \cadenza c'4 }
+ \new Staff { \cadenza c'4 }
\new Staff {
#(ly:export (mmrest-of-length cadenza))
c'4
To print a rehearsal mark, use the @code{\mark} command
-@lilypond[quote,raggedright,fragment,verbatim,relative=1]
- c1 \mark \default
- c1 \mark \default
- c1 \mark #8
- c1 \mark \default
- c1 \mark \default
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+c1 \mark \default
+c1 \mark \default
+c1 \mark #8
+c1 \mark \default
+c1 \mark \default
@end lilypond
@noindent
-(The letter I is skipped in accordance with engraving traditions.)
-@c umm, is the manual the right place for feature requests? :) -gp
+(The letter@tie{}`I' is skipped in accordance with engraving traditions.)
+@c umm, is the manual the right place for feature requests? :) -gp
@c FIXME - should make that tunable.
The mark is incremented automatically if you use @code{\mark
function taking the current mark (an integer) and the current context
as argument. It should return a markup object. In the following
example, @code{markFormatter} is set to a canned procedure. After a
-few measures, it is set to function that produces a boxed number.
+few measures, it is set to function that produces a boxed number.
-@c fragproblem? -gp
-@lilypond[quote,raggedright,verbatim,relative=2]
-{
- \set Score.markFormatter = #format-mark-numbers
- c1 \mark \default
- c1 \mark \default
- \set Score.markFormatter
- = #(lambda (mark context)
- (make-bold-markup
- (make-box-markup (number->string mark))))
- c1 \mark \default
- c1 \mark \default
-}
+@lilypond[fragment,quote,raggedright,verbatim,relative=2]
+\set Score.markFormatter = #format-mark-numbers
+c1 \mark \default
+c1 \mark \default
+\set Score.markFormatter
+ = #(lambda (mark context)
+ (make-bold-markup
+ (make-box-markup (number->string mark))))
+c1 \mark \default
+c1 \mark \default
+c1
@end lilypond
The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
segno and fermatas on a bar line. Use @code{\markup} to
to access the appropriate symbol
-@c fragproblem? -gp
-@lilypond[quote,raggedright,verbatim,relative=2]
-{
- c1 \mark \markup { \musicglyph #"scripts-ufermata" }
- c1
-}
+@lilypond[fragment,quote,raggedright,verbatim,relative=2]
+c1 \mark \markup { \musicglyph #"scripts-ufermata" }
+c1
@end lilypond
In the case of a line break, marks must also be printed at the end of
the line, and not at the beginning. Use the following to force that
behavior
@example
- \override Score.RehearsalMark
- #'break-visibility = #begin-of-line-invisible
+\override Score.RehearsalMark
+ #'break-visibility = #begin-of-line-invisible
@end example
@cindex fermatas
@cindex coda
@cindex segno
-@cindex bar lines, putting symbols on
+@cindex bar lines, putting symbols on
@seealso
Bar numbers can be manually changed by setting the
@code{Staff.currentBarNumber} property
-@c fragproblem? -gp
-@lilypond[raggedright,quote]
+@lilypond[verbatim,raggedright,quote]
\relative c' {
\repeat unfold 4 {c4 c c c} \break
\set Score.currentBarNumber = #50
used, for the next ones @code{instr} is used.
@lilypond[quote,verbatim,raggedright,relative=1,fragment]
- \set Staff.instrument = "Ploink "
- \set Staff.instr = "Plk "
- c1
- \break
- c''
+\set Staff.instrument = "Ploink "
+\set Staff.instr = "Plk "
+c1
+\break
+c''
@end lilypond
You can also use markup texts to construct more complicated instrument
names, for example
@lilypond[quote,fragment,verbatim,raggedright]
- \set Staff.instrument = \markup {
- \column < "Clarinetti" { "in B"
- \smaller \flat } > }
-{ c''1 }
+\set Staff.instrument = \markup {
+ \column < "Clarinetti"
+ { "in B" \smaller \flat } > }
+c''1
@end lilypond
For longer instrument names, it may be useful to increase the
A music expression can be transposed with @code{\transpose}. The
syntax is
@example
- \transpose @var{from} @var{to} @var{musicexpr}
+\transpose @var{from} @var{to} @var{musicexpr}
@end example
This means that @var{musicexpr} is transposed by the interval between
is changed to @code{to}.
-For example, consider a piece written in the key of D major. If
+For example, consider a piece written in the key of D@tie{}major. If
this piece is a little too low for its performer, it can be
transposed up to E major with
@example
- \transpose d e @dots{}
+\transpose d e @dots{}
@end example
Consider a part written for violin (a C instrument). If
transposition will produce the appropriate part
@example
- \transpose a c @dots{}
-@end example
+\transpose a c @dots{}
+@end example
@code{\transpose} distinguishes between enharmonic pitches: both
@code{\transpose c cis} or @code{\transpose c des} will transpose up
The transposition is entered after the keyword @code{\transposition}
@example
- \transposition bes %% B-flat clarinet
+\transposition bes %% B-flat clarinet
@end example
@noindent
affect how notes are printed in the current staff.
The pitch to use for @code{\transposition} should correspond to the
-transposition of the notes. For example, when entering a score in
-concert pitch, typically all voices are entered in C, so
+transposition of the notes. For example, when entering a score in
+concert pitch, typically all voices are entered in C, so
they should be entered as
@example
- clarinet = @{
- \transposition c'
- ...
- @}
- saxophone = @{
- \transposition c'
- ..
- @}
+clarinet = @{
+ \transposition c'
+ ...
+@}
+saxophone = @{
+ \transposition c'
+ ...
+@}
@end example
The command @code{\transposition} should be used when the music is
entered from a (transposed) orchestral part. For example, in
classical horn parts, the tuning of the instrument is often changed
-during a piece. When copying the notes from the part, use
+during a piece. When copying the notes from the part, use
@code{\transposition}, e.g.
@example
- \transposition d'
- c'4^"in D"
- ...
- \transposition g'
- c'4^"in G"
- ...
+\transposition d'
+c'4^"in D"
+...
+\transposition g'
+c'4^"in G"
+...
@end example
-
+
@cindex transposition, MIDI
be expanded, and the appropriate number is added automatically
@lilypond[quote,raggedright,fragment,verbatim]
- \time 4/4 r1 | R1 | R1*2
- \set Score.skipBars = ##t R1*17 R1*4
+\time 4/4 r1 | R1 | R1*2
+\set Score.skipBars = ##t R1*17 R1*4
@end lilypond
The @code{1} in @code{R1} is similar to the duration notation used for
durations. This can be done with augmentation dots or fractions
@lilypond[quote,raggedright,fragment,verbatim]
- \set Score.skipBars = ##t
- \time 3/4
- R2. | R2.*2
- \time 13/8
- R1*13/8
- R1*13/8*12 |
- \time 10/8 R4*5*4 |
+\set Score.skipBars = ##t
+\time 3/4
+R2. | R2.*2
+\time 13/8
+R1*13/8
+R1*13/8*12 |
+\time 10/8 R4*5*4 |
@end lilypond
An @code{R} spanning a single measure is printed as either a whole rest
rest, use @code{MultiMeasureRest.expand-limit}.
@lilypond[quote,raggedright,fragment,verbatim]
- \set Score.skipBars = ##t
- R1*2 | R1*5 | R1*9
- \override MultiMeasureRest #'expand-limit = 1
- R1*2 | R1*5 | R1*9
+\set Score.skipBars = ##t
+R1*2 | R1*5 | R1*9
+\override MultiMeasureRest #'expand-limit = 1
+R1*2 | R1*5 | R1*9
@end lilypond
@cindex fermata on multi-measure rest
Texts can be added to multi-measure rests by using the
-@var{note}-@code{markup} syntax (see @ref{Text markup}).
+@var{note}-@code{markup} syntax (see @ref{Text markup}).
A variable (@code{\fermataMarkup}) is provided for
adding fermatas
@lilypond[quote,raggedright,verbatim,fragment]
- \set Score.skipBars = ##t
- \time 3/4
- R2.*10^\markup { "Ad lib" }
- R2.^\fermataMarkup
+\set Score.skipBars = ##t
+\time 3/4
+R2.*10^\markup { \italic "ad lib." }
+R2.^\fermataMarkup
@end lilypond
If you want to have a text on the left end of a multi-measure rest,
attach the text to a zero-length skip note, i.e.
@example
- s1*0^"Allegro"
- R1*4
+s1*0^"Allegro"
+R1*4
@end example
-@cindex whole rests for a full measure
+@cindex whole rests for a full measure
@seealso
@refbugs
-It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
+It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
over multi-measure rests.
@cindex condensing rests
Be careful when entering multimeasure rests followed by whole
notes. The following will enter two notes lasting four measures each
@example
- R1*4 cis cis
+R1*4 cis cis
@end example
When @code{skipBars} is set, the result will look OK, but the bar
numbering will be off.
The syntax for part combining is
@example
- \partcombine @var{musicexpr1} @var{musicexpr2}
+\partcombine @var{musicexpr1} @var{musicexpr2}
@end example
same notes on and off, the part combiner may typeset @code{a2} more
than once in a measure.
-@code{\partcombine} cannot be inside @code{\times}.
+@code{\partcombine} cannot be inside @code{\times}.
-@code{\partcombine} cannot be inside @code{\relative}.
+@code{\partcombine} cannot be inside @code{\relative}.
Internally, the @code{\partcombine} interprets both arguments as
@code{Voice}s named @code{one} and @code{two}, and then decides when
In orchestral scores, staff lines that only have rests are usually
removed. This saves some space. This style is called `French Score'.
-For @internalsref{Lyrics},
+For @internalsref{Lyrics},
@internalsref{ChordNames} and @internalsref{FiguredBass}, this is
switched on by default. When these line of these contexts turn out
empty after the line-breaking process, they are removed.
removed from the first system too, set @code{remove-first} to false in
@internalsref{RemoveEmptyVerticalGroup}.
-Another application is making ossia sections, i.e. alternative
+Another application is making ossia sections, i.e., alternative
melodies on a separate piece of staff, with help of a Frenched
staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
for the full score, and one with cue notes for the instrumental part
@example
- c1
- <<
- \tag #'part <<
- R1 \\
- @{
- \set fontSize = #-1
- c4_"cue" f2 g4 @}
- >>
- \tag #'score R1
+c1
+<<
+ \tag #'part <<
+ R1 \\
+ @{
+ \set fontSize = #-1
+ c4_"cue" f2 g4 @}
>>
- c1
+ \tag #'score R1
+>>
+c1
@end example
The same can be applied to articulations, texts, etc.: they are
made by prepending
@example
- -\tag #@var{your-tag}
+-\tag #@var{your-tag}
@end example
-to an articulation, for example,
+to an articulation, for example,
@example
- c1-\tag #'part ^4
+c1-\tag #'part ^4
@end example
This defines a note with a conditional fingering indication.
The argument of the @code{\tag} command should be a symbol, or a list
of symbols, for example,
@example
- \tag #'(original-part transposed-part) @dots{}
+\tag #'(original-part transposed-part) @dots{}
@end example
Multiple rests are not merged if you create the score with both tagged
sections.
+
@node Quoting other voices
@subsection Quoting other voices
quotable. This is done with code @code{\addquote} command.
@example
- \addquote @var{name} @var{music}
+\addquote @var{name} @var{music}
@end example
Here, @var{name} is an identifying string. The @var{music} is any kind
of music. This is an example of @code{\addquote}
-@verbatim
-\addquote clarinet \relative c' {
+@example
+\addquote clarinet \relative c' @{
f4 fis g gis
-}
-@end verbatim
+@}
+@end example
This command must be entered at toplevel, i.e. outside any music
blocks.
After calling @code{\addquote}, the quotation may then be done with
-@code{\quote},
+@code{\quoteDuring} or @code{\cueDuring},
@example
- \quote @var{name} @var{duration}
+\quoteDuring #@var{name} @var{music}
@end example
-During a part, a piece of music can be quoted with the @code{\quote}
-command.
-
+During a part, a piece of music can be quoted with the @code{\quoteDuring}
+command.
+
@example
-\quote clarinet 2.
+\quoteDuring #"clarinet" @{ s2. @}
@end example
-This would cite three quarter notes (@code{2.} is a dotted half note)
-of the previously added @code{clarinet} voice.
+This would cite three quarter notes (the duration of @code{s2.}) of
+the previously added @code{clarinet} voice.
+
More precisely, it takes the current time-step of the part being
printed, and extracts the notes at the corresponding point of the
@code{\addquote}d voice. Therefore, the argument to @code{\addquote}
should be the entire part of the voice to be quoted, including any
-rests at the beginning.
+rests at the beginning.
Quotations take into account the transposition of both source and target
instruments, if they are specified using the @code{\transposition} command.
}
{
- e'8 f'8 \quote clarinet 2
+ e'8 f'8 \quoteDuring #"clarinet" { s2 }
}
@end lilypond
The type of events that are present in cue notes can be trimmed with
-the @code{quotedEventTypes} property. The default value is
+the @code{quotedEventTypes} property. The default value is
@code{(note-event rest-event)}, which means that only notes of and
-rests of the cued voice end up in the @code{\quote}.
+rests of the cued voice end up in the @code{\quoteDuring}.
Setting
@example
\set Staff.quotedEventTypes =
- #'(note-event articulation-event dynamic-event)
+ #'(note-event articulation-event dynamic-event)
@end example
@noindent
will quote notes (but no rests), together with scripts and dynamics.
-
+
@refbugs
Only the contents of the first @internalsref{Voice} occurring in an
@node Formatting cue notes
@subsection Formatting cue notes
+The previous section deals with inserting notes from another voice.
+There is a more advanced music function called @code{\cueDuring},
+which makes formatting cue notes easier.
-The 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
+The syntax is
-@c TODO: This should be done with \quote stuff, not manually.
+@example
+ \cueDuring #@var{name} #@var{updown} @var{music}
+@end example
-@lilypond[raggedright,verbatim]
+This will insert notes from the part @var{name} into a
+@internalsref{Voice} called @code{cue}. This happens simultaneously
+with @var{music}, which usually is a rest. When the cue notes start,
+the staff in effect becomes polyphonic for a moment. The argument
+@var{updown} determines whether the cue notes should be notated as a
+first or second voice.
+
+
+@lilypond[verbatim,raggedright]
smaller = {
- \set fontSize = #-1
- \override Stem #'length = #5.5
- \override Beam #'thickness = #0.384
- \override Beam #'space-function =
+ \set fontSize = #-2
+ \override Stem #'length = #5.5
+ \override Beam #'thickness = #0.384
+ \override Beam #'space-function =
#(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
}
-{
- \set Staff.instrument = #"Horn in F"
+\addquote clarinet \relative {
+ R1*20
+ r2 r8 c f f
+}
+
+\new Staff \relative <<
+
+ % setup a context for cue notes.
+ \context Voice = cue { \smaller \skip 1*21 }
+
\set Score.skipBars = ##t
- R1*21
- << {
- \once \override Staff.MultiMeasureRest #'staff-position = #-6
- R1
- }
+
\new Voice {
- s2
- \clef tenor
- \smaller
- r8^"Bsn." c'8 f'8[ f'8]
- \clef treble
+ R1*20
+ \cueDuring #"clarinet" #1 {
+ R1
+ }
+ g4 g2.
}
- >>
- c'8^"Horn" cis'
- eis'4 fis'4
-}
-@end lilypond
+>>
+@end lilypond
-There are a couple of points to take care of:
+Here are a couple of hints for successful cue notes
@itemize @bullet
@item
-The multi rest of the original part should be moved up or down during
-the cue.
-@item
Cue notes have smaller font sizes.
@item
-When cued notes have a clef change relative to the original part, the
-clef should be restored after the cue section. This minimizes
-confusion for the reader,
+ the cued part is marked with the instrument playing the cue.
@item
-When the original part starts, this should be marked with the name of
-the instrument, in this case ``Horn.'' Of course, the cue part is
-marked with the instrument playing the cue.
+ when the original part takes over again, this should be marked with
+ the name of the original instrument.
+
+ @c really? Are you sure about that last point? I'll check after 3.0 -gp
+
+@c Yes, this is good practice. Otherwise, the start of the original
+@c part can only be seen from the font size. This is not good enough
+@c for sight-reading. It is possilbe to use other
+@c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
+@c finished.
+@c -hwn
+
+
+ any other changes introduced by the cued part should also be
+undone. For example, if the cued instrument plays in a different clef,
+the original clef should be stated once again.
+
@end itemize
-@c really? Are you sure about that last point? I'll check after 3.0 -gp
+
+
@node Ancient notation
Here are all suptopics at a glance:
@menu
-* Ancient note heads::
-* Ancient accidentals::
-* Ancient rests::
-* Ancient clefs::
-* Ancient flags::
-* Ancient time signatures::
-* Ancient articulations::
-* Custodes::
-* Divisiones::
-* Ligatures::
-* Gregorian Chant contexts::
-* Mensural contexts::
-* Figured bass::
+* Ancient note heads::
+* Ancient accidentals::
+* Ancient rests::
+* Ancient clefs::
+* Ancient flags::
+* Ancient time signatures::
+* Ancient articulations::
+* Custodes::
+* Divisiones::
+* Ligatures::
+* Gregorian Chant contexts::
+* Mensural contexts::
+* Figured bass::
@end menu
@code{baroque} style in that it uses rhomboidal heads for whole notes
and all smaller durations. Stems are centered on the note heads.
This style is in particular useful when transcribing mensural music,
-e.g. for the incipit. The @code{mensural} style finally produces note
+e.g., for the incipit. The @code{mensural} style finally produces note
heads that mimic the look of note heads in historic printings of the
16th century.
The following example demonstrates the @code{neomensural} style
@lilypond[quote,fragment,raggedright,verbatim]
- \set Score.skipBars = ##t
- \override NoteHead #'style = #'neomensural
- a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
+\set Score.skipBars = ##t
+\override NoteHead #'style = #'neomensural
+a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
@end lilypond
When typesetting a piece in Gregorian Chant notation, the
\fatText
s^\markup {
\column <
- "vaticana"
+ "vaticana"
{ " " \musicglyph #"accidentals-vaticana-1"
" " \musicglyph #"accidentals-vaticana0" }
>
@code{neomensural} and @code{mensural}. @code{classical} differs
from the @code{default} style only in that the quarter rest looks like
a horizontally mirrored 8th rest. The @code{neomensural} style suits
-well for e.g. the incipit of a transcribed mensural piece of music.
+well for e.g., the incipit of a transcribed mensural piece of music.
The @code{mensural} style finally mimics the appearance of rests as
in historic prints of the 16th century.
The following example demonstrates the @code{neomensural} style
@lilypond[quote,fragment,raggedright,verbatim]
- \set Score.skipBars = ##t
- \override Rest #'style = #'neomensural
- r\longa r\breve r1 r2 r4 r8 r16
+\set Score.skipBars = ##t
+\override Rest #'style = #'neomensural
+r\longa r\breve r1 r2 r4 r8 r16
@end lilypond
There are no 32th and 64th rests specifically for the mensural or
@code{vaticana-do3}
@tab
@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
+ \override Staff.StaffSymbol #'line-count = #4
\clef "vaticana-do2" c
@end lilypond
@code{vaticana-fa1}, @code{vaticana-fa2}
@tab
@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
+ \override Staff.StaffSymbol #'line-count = #4
\clef "vaticana-fa2" c
@end lilypond
@code{medicaea-do3}
@tab
@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
+ \override Staff.StaffSymbol #'line-count = #4
\clef "medicaea-do2" c
@end lilypond
@code{medicaea-fa1}, @code{medicaea-fa2}
@tab
@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
+ \override Staff.StaffSymbol #'line-count = #4
\clef "medicaea-fa2" c
@end lilypond
@code{hufnagel-do3}
@tab
@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
+ \override Staff.StaffSymbol #'line-count = #4
\clef "hufnagel-do2" c
@end lilypond
@code{hufnagel-fa1}, @code{hufnagel-fa2}
@tab
@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
+ \override Staff.StaffSymbol #'line-count = #4
\clef "hufnagel-fa2" c
@end lilypond
only @code{mensural} style is supported
@lilypond[quote,fragment,raggedright,verbatim]
- \override Stem #'flag-style = #'mensural
- \override Stem #'thickness = #1.0
- \override NoteHead #'style = #'mensural
- \autoBeamOff
- c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
- c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
+\override Stem #'flag-style = #'mensural
+\override Stem #'thickness = #1.0
+\override NoteHead #'style = #'mensural
+\autoBeamOff
+c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
+c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
@end lilypond
Note that the innermost flare of each mensural flag always is
\time 2/2
c1^\markup { \hspace #-2.0 \typewriter default }
- \override Staff.TimeSignature #'style = #'numbered
+ \override Staff.TimeSignature #'style = #'numbered
\time 2/2
c1^\markup { \hspace #-2.0 \typewriter numbered }
\override Staff.TimeSignature #'style = #'mensural
\time 2/2
c1^\markup { \hspace #-2.0 \typewriter mensural }
-
+
\override Staff.TimeSignature #'style = #'neomensural
\time 2/2
c1^\markup { \hspace #-2.0 \typewriter neomensural }
be made by hand, by setting
@example
- breveTP = #(ly:make-duration -1 0 3 2)
- @dots{}
- @{ c\breveTP f1 @}
+breveTP = #(ly:make-duration -1 0 3 2)
+@dots{}
+@{ c\breveTP f1 @}
@end example
@noindent
-This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
+This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
addressable with @code{\time}. Use a @code{\markup} instead
@lilypond[quote,raggedright,fragment]
\new Lyrics \lyricmode {
\markup { \column <
- \typewriter "vaticana"
+ \typewriter "vaticana"
{ " " \musicglyph #"custodes-vaticana-u0" }
> }
\markup { \column <
{ " " \musicglyph #"custodes-mensural-u0" }
>}
}
-
@end lilypond
@seealso
@menu
-* White mensural ligatures::
-* Gregorian square neumes ligatures::
+* White mensural ligatures::
+* Gregorian square neumes ligatures::
@end menu
@node White mensural ligatures
@cindex Mensural ligatures
@cindex White mensural ligatures
-There is limited support for white mensural ligatures.
+There is limited support for white mensural ligatures.
To engrave white mensural ligatures, in the layout block the
@internalsref{Mensural_ligature_engraver} has to be put into the
For example,
@example
- \set Score.timing = ##f
- \set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neomensural
- \override Staff.TimeSignature #'style = #'neomensural
- \clef "petrucci-g"
- \[ g\longa c\breve a\breve f\breve d'\longa \]
- s4
- \[ e1 f1 a\breve g\longa \]
+\set Score.timing = ##f
+\set Score.defaultBarType = "empty"
+\override NoteHead #'style = #'neomensural
+\override Staff.TimeSignature #'style = #'neomensural
+\clef "petrucci-g"
+\[ g\longa c\breve a\breve f\breve d'\longa \]
+s4
+\[ e1 f1 a\breve g\longa \]
@end example
@lilypond[quote,raggedright]
\score {
\set Score.timing = ##f
\set Score.defaultBarType = "empty"
\override NoteHead #'style = #'neomensural
- \override Staff.TimeSignature #'style = #'neomensural
+ \override Staff.TimeSignature #'style = #'neomensural
\clef "petrucci-g"
\[ g\longa c\breve a\breve f\breve d'\longa \]
s4
\set Score.timing = ##f
\set Score.defaultBarType = "empty"
\override NoteHead #'style = #'neomensural
- \override Staff.TimeSignature #'style = #'neomensural
+ \override Staff.TimeSignature #'style = #'neomensural
\clef "petrucci-g"
\[ g\longa c\breve a\breve f\breve d'\longa \]
s4
<<
\context MensuralVoice = "discantus" \transpose c c' {
\override Score.BarNumber #'transparent = ##t {
- c'1\melisma bes a g\melismaEnd
- f\breve
- \[ f1\melisma a c'\breve d'\melismaEnd \]
- c'\longa
- c'\breve\melisma a1 g1\melismaEnd
- fis\longa^\signumcongruentiae
+ c'1\melisma bes a g\melismaEnd
+ f\breve
+ \[ f1\melisma a c'\breve d'\melismaEnd \]
+ c'\longa
+ c'\breve\melisma a1 g1\melismaEnd
+ fis\longa^\signumcongruentiae
}
}
\lyricsto "discantus" \new Lyrics {
@lilypond[quote,raggedright,verbatim,fragment]
<<
- \context Voice { \clef bass dis4 c d ais }
+ \context Voice { \clef bass dis4 c d ais }
\context FiguredBass \figuremode {
< 6 >4 < 7 >8 < 6+ [_!] >
< 6 >4 <6 5 [3+] >
\figuremode { <4 6> }
@end lilypond
-Accidentals are added when you append @code{-}, @code{!} and @code{+}
+Accidentals are added when you append @code{-}, @code{!} and @code{+}
to the numbers
@example
<4- 6+ 7!>
@end example
@lilypond[quote,raggedright,fragment]
- \context FiguredBass
- \figuremode { <4- 6+ 7!> }
+\context FiguredBass
+\figuremode { <4- 6+ 7!> }
@end lilypond
Spaces or dashes may be inserted by using @code{_}. Brackets are
introduced with @code{[} and @code{]}
@example
-< [4 6] 8 [_! 12]>
+< [4 6] 8 [_! 12] >
@end example
@lilypond[quote,raggedright,fragment]
- \context FiguredBass
- \figuremode { < [4 6] 8 [_! 12]> }
+\context FiguredBass
+\figuremode { < [4 6] 8 [_! 12] > }
@end lilypond
Although the support for figured bass may superficially resemble chord
@seealso
-Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
+Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
and @internalsref{FiguredBass} context.
@refbugs
@menu
-* Polymetric notation::
-* Clusters::
-* Special fermatas::
-* Feathered beams::
+* Polymetric notation::
+* Clusters::
+* Special fermatas::
+* Feathered beams::
@end menu
@node Polymetric notation
@internalsref{TimeSignature} grob.
@lilypond[verbatim,raggedright]
-
% create 2/4 + 5/8
-tsMarkup =\markup {
- \number {
+tsMarkup =\markup {
+ \number {
\column < "2" "4" >
- \musicglyph #"scripts-stopped"
+ \musicglyph #"scripts-stopped"
\bracket \column < "5" "8" >
}
}
moving the @internalsref{Timing_engraver} to @internalsref{Staff}
context.
-@verbatim
-\layout{
- \context{ \Score \remove "Timing_engraver" }
- \context{ \Staff \consists "Timing_engraver" }
-}
-@end verbatim
+@example
+\layout @{
+ \context @{ \Score \remove "Timing_engraver" @}
+ \context @{ \Staff \consists "Timing_engraver" @}
+@}
+@end example
Now, each staff has its own time signature.
-@verbatim
+@example
<<
- \new Staff {
+ \new Staff @{
\time 3/4
c4 c c | c c c |
- }
- \new Staff {
+ @}
+ \new Staff @{
\time 2/4
c4 c | c c | c c
- }
- \new Staff {
+ @}
+ \new Staff @{
\time 3/8
c4. c8 c c c4. c8 c c
- }
+ @}
>>
-@end verbatim
+@end example
@lilypond[quote,raggedright]
\layout{
\context{ \Score \remove "Timing_engraver" }
\context{ \Staff \consists "Timing_engraver" }
-}
+}
-\relative c' <<
+\relative c' <<
\new Staff {
\time 3/4
c4 c c | c c c |
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
+used in parallel. In the second staff, shown durations are multiplied by
+2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
-@lilypond[raggedright,verbatim,fragment]
+@lilypond[quote,raggedright,verbatim,fragment]
\relative c' { <<
\new Staff {
\time 3/4
\set Staff.timeSignatureFraction = #'(10 . 8)
\compressmusic #'(3 . 5) {
\repeat unfold 2 { c8[ c c] }
- \repeat unfold 2 { c8[ c] }
+ \repeat unfold 2 { c8[ c] }
| c4. c4. \times 2/3 { c8 c c } c4
}
}
chords, e.g.
@c
@lilypond[quote,raggedright,relative=2,fragment,verbatim]
- \makeClusters { <c e > <b f'> }
+\makeClusters { <c e > <b f'> }
@end lilypond
The following example (from
@lilypond[quote,raggedright]
<<
- \oldaddlyrics {
+ \oldaddlyrics {
b'2
^\shortfermata
_\shortfermata
}
\context Lyrics \lyricmode {
\override LyricText #'font-family = #'typewriter
- "shortfermata" "fermata" "longfermata" "verylongfermata"
+ "shortfermata" "fermata" "longfermata" "verylongfermata"
}
>>
@end lilypond
Feathered beams are not supported natively, but they can be faked by
forcing two beams to overlap. Here is an example,
-@c don't change relative setting witout changing positions!
+@c don't change relative setting witout changing positions!
@lilypond[raggedright,relative=1,fragment,verbatim]
\new Staff <<
\new Voice
}
\new Voice {
\stemUp
- \once \override Voice.Beam #'positions = #'(0 . -0.5)
+ \once \override Voice.Beam #'positions = #'(0 . -0.5)
c[ c c c c]
}
>>
teaching tools in addition to great musical scores.
@menu
-* Balloon help::
-* Blank music sheet::
-* Hidden notes::
-* Easy Notation note heads::
+* Balloon help::
+* Blank music sheet::
+* Hidden notes::
+* Easy Notation note heads::
@end menu
@node Balloon help
@noindent
The function @code{add-balloon-text} takes the name of a grob, the
-label to print, and the position where to put the label relative to
-the object. In the above example, the text ``heads or tails?'' ends
+label to print, and the position where to put the label relative to
+the object. In the above example, the text ``heads or tails?'' ends
3 spaces below and 1 space to the right of the marked head.
@cindex balloon
removing @code{Bar_number_engraver}.
-@lilypond[]
-emptymusic = {
- \repeat unfold 2 % Change this for more lines.
+@lilypond[quote,verbatim]
+emptymusic = {
+ \repeat unfold 2 % Change this for more lines.
{ s1\break }
\bar "|."
}
or composition exercises.
@lilypond[quote,raggedright,verbatim,relative=2,fragment]
- c4 d4
- \hideNotes
- e4 f4
- \unHideNotes
- g4 a
+c4 d4
+\hideNotes
+e4 f4
+\unHideNotes
+g4 a
@end lilypond
Hidden notes are also great for performing weird tricks. For example,
as possible.
@lilypond[quote,raggedright,verbatim,relative=0,fragment]
- \clef bass
- << {
- c4^"pizz"( \hideNotes c)
- \unHideNotes c( \hideNotes c)
- } {
- s4 r s r
- } >>
+\clef bass
+<< {
+ c4^"pizz"( \hideNotes c)
+ \unHideNotes c( \hideNotes c)
+} {
+ s4 r s r
+} >>
@end lilypond