@subsection Notes
-A note is printed by specifying its pitch and then its duration:
+A note is printed by specifying its pitch and then its duration
@footnote{Notes constitute the most basic elements of LilyPond input,
but they do not form valid input on their own without a @code{\score}
block. However, for the sake of brevity and simplicity we will
generally omit @code{\score} blocks and @code{\paper} declarations in
this manual.}
-@lilypond[fragment,verbatim]
- cis'4 d'8 e'16 c'16
+@lilypond[quote,fragment,verbatim]
+cis'4 d'8 e'16 c'16
@end lilypond
names. The notes are specified by the letters @code{a} through
@code{g}, while the octave is formed with notes ranging from @code{c}
to @code{b}. The pitch @code{c} is an octave below middle C and the
-letters span the octave above that C:
+letters span the octave above that C
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
\clef bass
- a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
+a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
@end lilypond
@cindex note names, Dutch
@code{es} and @code{ees} are accepted.
Half-flats and half-sharps are formed by adding @code{-eh} and
-@code{-ih}; the following is a series of Cs with increasing pitches:
+@code{-ih}; the following is a series of Cs with increasing pitches
@cindex quarter tones
@cindex semi-flats, semi-sharps
-@lilypond[verbatim,relative=2]
- ceses4
- ceseh
- ces
- ceh
- c
- cih
- cis
- cisih
- cisis
-@end lilypond
+@lilypond[quote,verbatim,relative=3]
+ceses4
+ceseh
+ces
+ceh
+c
+cih
+cis
+cisih
+cisis
+@end lilypond
There are predefined sets of note names for various other languages.
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:
+and the note names they define are
@anchor{note name}
@anchor{note names}
The optional octave specification takes the form of a series of
single quote (`@code{'}') characters or a series of comma
(`@code{,}') characters. Each @code{'} raises the pitch by one
-octave; each @code{,} lowers the pitch by an octave:
+octave; each @code{,} lowers the pitch by an octave
-@lilypond[fragment,verbatim]
- c' c'' es' g' as' gisis' ais'
+@lilypond[quote,fragment,verbatim]
+c' c'' es' g' as' gisis' ais'
@end lilypond
@refcommands
-Notes can be hidden and unhidden with the following commands:
+Notes can be hidden and unhidden with the following commands
@cindex @code{\hideNotes}
@code{\hideNotes},
@cindex cautionary accidental
@cindex parenthesized accidental
(i.e. an accidental within parentheses) can be obtained by adding the
-question mark `@code{?}' after the pitch:
+question mark `@code{?}' after the pitch
-@lilypond[fragment,verbatim]
- cis' cis' cis'! cis'?
+@lilypond[quote,fragment,verbatim]
+cis' cis' cis'! cis'?
@end lilypond
@code{>}. A chord may be followed by a duration, and a set of
articulations, just like simple notes.
-@lilypond[relative]
- <c e g>4 <c>8 <>8
+@lilypond[quote,relative=1]
+<c e g>4 <c>8 <>8
@end lilypond
@node Rests
-Rests are entered like notes, with the note name @code{r}:
+Rests are entered like notes, with the note name @code{r}
-@lilypond[raggedright,verbatim]
+@lilypond[quote,raggedright,verbatim]
r1 r2 r4 r8
@end lilypond
A rest's vertical position may be explicitly specified by entering a
note with the @code{\rest} keyword appended. This makes manual
formatting in polyphonic music easier. Rest collision testing will
-leave these rests alone:
+leave these rests alone
-@lilypond[raggedright,verbatim]
+@cindex @code{\rest}
+
+@lilypond[quote,raggedright,verbatim]
a'4\rest d'4\rest
@end lilypond
@cindex Space note
An invisible rest (also called a `skip') can be entered like a note
-with note name `@code{s}' or with @code{\skip @var{duration}}:
+with note name `@code{s}' or with @code{\skip @var{duration}}
-@lilypond[raggedright,verbatim]
+@lilypond[quote,raggedright,verbatim]
a2 s4 a4 \skip 1 a4
@end lilypond
The @code{s} syntax is only available in note mode and chord mode. In
-other situations, you should use the @code{\skip} command:
+other situations, you should use the @code{\skip} command
-@lilypond[raggedright,verbatim]
+@lilypond[quote,raggedright,verbatim]
\score {
\new Staff <<
{ \time 4/8 \skip 2 \time 4/4 }
@internalsref{Voice} when necessary, similar to note and rest
commands. For example, the following results in an empty staff.
-@lilypond[raggedright,verbatim]
+@lilypond[quote,raggedright,verbatim]
\score { \notes { s4 } }
@end lilypond
@cindex duration
+@cindex @code{\longa}
+@cindex @code{\breve}
+@cindex @code{\maxima}
In Note, Chord, and Lyrics mode, durations are designated by numbers
and dots: durations are entered as their reciprocal values. For example,
a quarter note is entered using a @code{4} (since it is a 1/4 note), while
a half note is entered using a @code{2} (since it is a 1/2 note). For notes
-longer than a whole you must use variables:
+longer than a whole you must use variables
@example
c'\breve
r1 r2 r4 r8 r16 r32 r64 r64
@end example
-@lilypond[noindent]
+@lilypond[quote]
\score {
\notes \relative c'' {
a\breve*1/2 \autoBeamOff
\paper {
raggedright = ##t
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\override StaffSymbol #'transparent = ##t
\override TimeSignature #'transparent = ##t
If the duration is omitted then it is set to the previously entered
duration. The default for the first note is a quarter note. The duration
can be followed by dots (`@code{.}') in order to obtain dotted note
-lengths:
+lengths
@cindex @code{.}
-@lilypond[fragment,verbatim]
- a' b' c''8 b' a'4 a'4. b'4.. c'8.
+@lilypond[quote,fragment,verbatim]
+a' b' c''8 b' a'4 a'4. b'4.. c'8.
@end lilypond
@cindex @code{r}
@cindex @code{s}
You can alter the length of duration by a fraction @var{N/M}
appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
will not affect the appearance of the notes or rests produced.
+
In the following example, the first three notes take up exactly two
-beats:
-@lilypond[fragment,relative=2,verbatim]
- \time 2/4
- a4*2/3 gis4*2/3 a4*2/3
- a4
+beats, but no triplet bracket is printed.
+@lilypond[quote,fragment,relative=3,verbatim]
+\time 2/4
+a4*2/3 gis4*2/3 a4*2/3
+a4
@end lilypond
-
@refcommands
Dots are normally moved up to avoid staff lines, except in polyphonic
situations. The following commands may be used to force a particular
-direction manually:
+direction manually
@cindex @code{\dotsUp}
@code{\dotsUp},
@seealso
+This manual: @ref{Tuplets}
+
Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
@node Stems
A tie connects two adjacent note heads of the same pitch. The tie in
effect extends the length of a note. Ties should not be confused with
slurs, which indicate articulation, or phrasing slurs, which indicate
-musical phrasing. A tie is entered using the tilde symbol `@code{~}':
+musical phrasing. A tie is entered using the tilde symbol `@code{~}'
-@lilypond[fragment,verbatim]
- e' ~ e' <c' e' g'> ~ <c' e' g'>
+@lilypond[quote,fragment,verbatim]
+e' ~ e' <c' e' g'> ~ <c' e' g'>
@end lilypond
When a tie is applied to a chord, all note heads whose pitches match
In its meaning a tie is just a way of extending a note duration, similar
to the augmentation dot; in the following example there are two ways of
-notating exactly the same concept:
+notating exactly the same concept
@c
-@lilypond[fragment,raggedright]
+@lilypond[quote,fragment,raggedright]
\time 3/4 c'2. c'2 ~ c'4
@end lilypond
If you need to tie a lot of notes over bars, it may be easier to use automatic
@cindex @code{\times}
Tuplets are made out of a music expression by multiplying all durations
-with a fraction:
+with a fraction
@cindex @code{\times}
@example
- \times @var{fraction} @var{musicexpr}
+\times @var{fraction} @var{musicexpr}
@end example
@noindent
The fraction's denominator will be printed over the notes, optionally
with a bracket. The most common tuplet is the triplet in which 3
notes have the length of 2, so the notes are 2/3 of their written
-length:
+length
-@lilypond[fragment,verbatim]
- g'4 \times 2/3 {c'4 c' c'} d'4 d'4
+@lilypond[quote,fragment,verbatim]
+g'4 \times 2/3 {c'4 c' c'} d'4 d'4
@end lilypond
The property @code{tupletSpannerDuration} specifies how long each
bracket should last. With this, you can make lots of tuplets while
typing @code{\times} only once, saving lots of typing. In the next
example, there are two triplets shown, while @code{\times} was only
-used once:
+used once
-@lilypond[fragment,relative,raggedright,verbatim]
+@lilypond[quote,fragment,relative=1,raggedright,verbatim]
\set tupletSpannerDuration = #(ly:make-moment 1 4)
\times 2/3 { c'8 c c c c c }
@end lilypond
@seealso
+User manual: @ref{Changing context properties on the fly} for the
+@code{\set} command.
+
+
Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
Examples: @inputfileref{input/regression,tuplet-nest.ly}.
When you copy existing music, it is easy to accidentally put a pitch
in the wrong octave and hard to find such an error. The relative
octave mode prevents these errors: a single error puts the rest of the
-piece off by one octave:
+piece off by one octave
@cindex @code{\relative}
@example
an absolute starting pitch must be specified that will act as the
predecessor of the first note of @var{musicexpr}.
-Here is the relative mode shown in action:
-@lilypond[fragment,raggedright,verbatim]
- \relative c'' {
- b c d c b c bes a
- }
+Here is the relative mode shown in action
+@lilypond[quote,fragment,raggedright,verbatim]
+\relative c'' {
+ b c d c b c bes a
+}
@end lilypond
-Octave changing marks are used for intervals greater than a fourth:
-@lilypond[fragment,verbatim]
- \relative c'' {
- c g c f, c' a, e'' }
+Octave changing marks are used for intervals greater than a fourth
+@lilypond[quote,fragment,verbatim]
+\relative c'' {
+ c g c f, c' a, e''
+}
@end lilypond
If the preceding item is a chord, the first note of the chord is used
-to determine the first note of the next chord:
+to determine the first note of the next chord
-@lilypond[fragment,verbatim]
- \relative c' {
- c <c e g>
- <c' e g>
- <c, e' g>
- }
-@end lilypond
+@lilypond[quote,fragment,verbatim]
+\relative c' {
+ c <c e g>
+ <c' e g>
+ <c, e' g>
+}
+@end lilypond
@cindex @code{\notes}
The pitch after the @code{\relative} contains a note name. To parse
-the note name as a pitch, it must surrounded by @code{\notes}
+the note name as a pitch, it must be surrounded by @code{\notes}
The relative conversion will not affect @code{\transpose},
@code{\chords} or @code{\relative} sections in its argument. If you
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
-There is also a syntax that is separate from the notes.
+There is also a syntax that is separate from the notes. The syntax
+
@example
- \octave @var{pitch}
+\octave @var{pitch}
@end example
-This checks that @var{pitch} (without octave) yields @var{pitch} (with
-octave) in \relative mode. If not, a warning is printed, and the
+This checks that @var{pitch} (without quotes) yields @var{pitch} (with
+quotes) in \relative mode. If not, a warning is printed, and the
octave is corrected, for example, the first check is passed
successfully. The second check fails with an error message. The
octave is adjusted so the following notes are in the correct octave
once again.
@example
- \relative c' @{
- e
- \octave a'
- \octave b'
- @}
+\relative c' @{
+ e
+ \octave a'
+ \octave b'
+@}
@end example
is a @code{a'}, above middle C. Hence, the @code{\octave} check may
be deleted without changing the meaning of the piece.
-@lilypond[verbatim,fragment]
- \relative c' {
- e
- \octave b
- a
- }
+@lilypond[quote,verbatim,fragment]
+\relative c' {
+ e
+ \octave b
+ a
+}
@end lilypond
@node Bar check
entered using the bar symbol, `@code{|}'. Whenever it is encountered
during interpretation, it should fall on a measure boundary. If it
does not, a warning is printed. In the next example, the second bar
-check will signal an error:
+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
@example
- \lyrics @{
- \time 2/4
- Twin -- kle | Twin -- kle
- @}
+\lyrics @{
+ \time 2/4
+ Twin -- kle | Twin -- kle
+@}
@end example
speed up this process, you can use @code{skipTypesetting}, described
in the next section.
+It is also possible to redefine the meaning of @code{|}. This is done
+by assigning a music expression to @code{pipeSymbol},
+
+@lilypond
+pipeSymbol = \bar "||"
+
+\score {
+ \notes { c'2 c'2 | c'2 c'2 | }
+}
+@end lilypond
+
+
@node Skipping corrected music
@subsection Skipping corrected music
off typesetting completely during the interpretation phase. When
typesetting is switched off, the music is processed much more quickly.
This can be used to skip over the parts of a score that have already
-been checked for errors:
+been checked for errors
-@lilypond[fragment,raggedright,verbatim]
-\relative c'' { c8 d
-\set Score.skipTypesetting = ##t
+@lilypond[quote,fragment,raggedright,verbatim]
+\relative c'' {
+ c8 d
+ \set Score.skipTypesetting = ##t
e f g a g c, f e d
-\set Score.skipTypesetting = ##f
-c d b bes a g c2 }
+ \set Score.skipTypesetting = ##f
+ c d b bes a g c2 }
@end lilypond
@node Automatic note splitting
In the following examples, notes crossing the bar line are split and tied.
-@lilypond[noindent,verbatim,relative=1]
+@lilypond[quote,fragment,verbatim,relative=1,raggedright]
\new Voice \with {
- \remove "Note_heads_engraver"
- \consists "Completion_heads_engraver"
+ \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
}
Setting or changing the key signature is done with the @code{\key}
-command:
+command
@example
@code{\key} @var{pitch} @var{type}
@end example
pitches.
-The clef can be set or changed with the @code{\clef} command:
-@lilypond[fragment,verbatim]
- \key f\major c''2 \clef alto g'2
+The clef can be set or changed with the @code{\clef} command
+@lilypond[quote,fragment,verbatim]
+\key f\major c''2 \clef alto g'2
@end lilypond
-Supported clef-names include:
+Supported clef-names include
@c Moved standard clefs to the top /MB
@table @code
@cindex treble clef
@cindex choral tenor clef
-@lilypond[verbatim,fragment,relative]
- \clef "G_8" c4
+@lilypond[quote,verbatim,fragment,relative=1]
+\clef "G_8" c4
@end lilypond
This command is equivalent to setting @code{clefGlyph},
``Ottava'' brackets introduce an extra transposition of an octave for
the staff. They are created by invoking the function
-@code{set-octavation}:
+@code{set-octavation}
@cindex ottava
@cindex 15ma
@cindex octavation
-@lilypond[verbatim,fragment]
+@lilypond[quote,verbatim,fragment]
\relative c''' {
a2 b
#(set-octavation 1)
a b
#(set-octavation 0)
- a b }
+ a b
+}
@end lilypond
The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
@code{ottavation} after invoking @code{set-octavation}, i.e.,
@example
- #(set-octavation 1)
- \set Staff.ottavation = #"8"
+#(set-octavation 1)
+\set Staff.ottavation = #"8"
@end example
@seealso
The time signature is set or changed by the @code{\time}
-command:
-@lilypond[fragment,verbatim]
- \time 2/4 c'2 \time 3/4 c'2.
+command
+@lilypond[quote,fragment,verbatim]
+\time 2/4 c'2 \time 3/4 c'2.
@end lilypond
The symbol that is printed can be customized with the @code{style}
@internalsref{MeasureGrouping} signs. Such signs ease reading
rhythmically complex modern music. In the following example, the 9/8
measure is subdivided in 2, 2, 2 and 3. This is passed to
-@code{set-time-signature} as the third argument @code{(2 2 2 3)}:
-
-@lilypond[verbatim]
-\score { \notes \relative c'' {
- #(set-time-signature 9 8 '(2 2 2 3))
- g8[ g] d[ d] g[ g] a8[( bes g]) |
- #(set-time-signature 5 8 '(3 2))
- a4. g4
- }
- \paper {
- raggedright = ##t
- \context { \StaffContext
- \consists "Measure_grouping_engraver"
- }}}
-@end lilypond
+@code{set-time-signature} as the third argument @code{(2 2 2 3)}
+
+@lilypond[quote,raggedright,verbatim]
+\score {
+ \notes \relative c'' {
+ #(set-time-signature 9 8 '(2 2 2 3))
+ g8[ g] d[ d] g[ g] a8[( bes g]) |
+ #(set-time-signature 5 8 '(3 2))
+ a4. g4
+ }
+ \paper {
+ \context {
+ \Staff
+ \consists "Measure_grouping_engraver"
+ }
+ }
+}
+@end lilypond
@seealso
@cindex @code{\partial}
Partial measures, for example in upsteps, are entered using the
-@code{\partial} command:
-@lilypond[fragment,verbatim,relative=1]
-\partial 16*5 c16 cis d dis e | a2. c,4 | b2
+@code{\partial} command
+@lilypond[quote,fragment,verbatim,relative=2]
+\partial 16*5 c16 cis d dis e | a2. c,4 | b2
@end lilypond
The syntax for this command is
@node Unmetered music
@subsection Unmetered music
+@cindex @code{\bar}
+
Bar lines and bar numbers are calculated automatically. For unmetered
music (e.g. cadenzas), this is not desirable. By setting
@code{Score.timing} to false, this automatic timing can be switched
-off.
+off. Empty bar lines,
+
+@example
+ \bar ""
+@end example
+
+@noindent
+indicate where line breaks can occur.
@refcommands
Normally, they are inserted automatically. Line breaks may only
happen on bar lines.
-
- Special types
-of bar lines can be forced with the @code{\bar} command:
+Special types of bar lines can be forced with the @code{\bar} command
@c
-@lilypond[relative=1,fragment,verbatim]
- c4 \bar "|:" c4
+@lilypond[quote,relative=2,fragment,verbatim]
+c4 \bar "|:" c4
@end lilypond
-The following bar types are available:
-@lilypond[fragment,relative,raggedright,verbatim]
+The following bar types are available
+@lilypond[quote,fragment,relative=1,raggedright,verbatim]
c4
\bar "|" c
\bar "" c
In scores with many staves, a @code{\bar} command in one staff is
automatically applied to all staves. The resulting bar lines are
-connected between different staves of a @internalsref{StaffGroup}:
+connected between different staves of a @internalsref{StaffGroup}
@c
-@lilypond[fragment,verbatim]
-<< \context StaffGroup <<
- \new Staff { e'4 d'
- \bar "||"
- f' e' }
- \new Staff { \clef bass c4 g e g } >>
-\new Staff { \clef bass c2 c2 } >>
+@lilypond[quote,fragment,verbatim]
+<<
+ \context StaffGroup <<
+ \new Staff {
+ e'4 d'
+ \bar "||"
+ f' e'
+ }
+ \new Staff { \clef bass c4 g e g }
+ >>
+ \new Staff { \clef bass c2 c2 }
+>>
@end lilypond
A bar line is created whenever the @code{whichBar} property is set.
is set to a string, a bar line of that type is created.
@cindex whichBar
-@cindex repeatCommands
+@cindex @code{repeatCommands}
@cindex defaultBarType
You are encouraged to use @code{\repeat} for repetitions. See
Program reference: the bar line objects that are created at
@internalsref{Staff} level are called @internalsref{BarLine}, the bar
-lines that span staves are @internalsref{SpanBar}s.
+lines that span staves are @internalsref{SpanBar} objects.
@cindex bar lines at start of system
@cindex start of system
The easiest way to enter fragments with more than one voice on a staff
is to split chords using the separator @code{\\}. You can use it for
-small, short-lived voices or for single chords:
+small, short-lived voices or for single chords
+
+@cindex @code{\\}
-@lilypond[verbatim,fragment]
+@lilypond[quote,verbatim,fragment]
\context Staff \relative c'' {
c4 << { f d e } \\ { b c2 } >>
c4 << g' \\ b, \\ f' \\ d >>
This can also be done by instantiating @internalsref{Voice} contexts
by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
-a stem directions and horizontal shift for each part:
+a stem directions and horizontal shift for each part
@c
-@lilypond[raggedright,verbatim]
+@lilypond[quote,raggedright,verbatim]
\relative c''
-\context Staff << \new Voice { \voiceOne cis2 b }
+\context Staff <<
+ \new Voice { \voiceOne cis2 b }
\new Voice { \voiceThree b4 ais ~ ais4 gis4 }
\new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
@end lilypond
Normally, note heads with a different number of dots are not merged, but
when the object property @code{merge-differently-dotted} is set in
-the @internalsref{NoteCollision} object, they are merged:
-@lilypond[verbatim,fragment,raggedright]
-\relative c'' \context Voice << {
- g8 g8
- \override Staff.NoteCollision
- #'merge-differently-dotted = ##t
- g8 g8
- } \\ { g8.[ f16] g8.[ f16] }
- >>
+the @internalsref{NoteCollision} object, they are merged
+@lilypond[quote,verbatim,fragment,raggedright,relative=2]
+\context Voice << {
+ g8 g8
+ \override Staff.NoteCollision
+ #'merge-differently-dotted = ##t
+ g8 g8
+} \\ { g8.[ f16] g8.[ f16] } >>
@end lilypond
Similarly, you can merge half note heads with eighth notes, by setting
-@code{merge-differently-headed}:
-@lilypond[fragment,relative=2,verbatim]
+@code{merge-differently-headed}
+@lilypond[quote,fragment,relative=2,verbatim]
\context Voice << {
- c8 c4.
- \override Staff.NoteCollision
- #'merge-differently-headed = ##t
- c8 c4. } \\ { c2 c2 } >>
+ c8 c4.
+ \override Staff.NoteCollision
+ #'merge-differently-headed = ##t
+c8 c4. } \\ { c2 c2 } >>
@end lilypond
-LilyPond also vertically shifts rests that are opposite of a stem:
+LilyPond also vertically shifts rests that are opposite of a stem,
+for example
-
-@lilypond[raggedright,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\context Voice << c''4 \\ r4 >>
@end lilypond
Beams are used to group short notes into chunks that are aligned with
the metrum. They are inserted automatically
-@lilypond[fragment,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim,relative=2]
\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
@end lilypond
that differ from the defaults.
Individual notes may be marked with @code{\noBeam}, to prevent them
-from being beamed:
+from being beamed
-@lilypond[fragment,verbatim,relative=2]
- \time 2/4 c8 c\noBeam c c
+@lilypond[quote,fragment,verbatim,relative=2]
+\time 2/4 c8 c\noBeam c c
@end lilypond
In some cases it may be necessary to override the automatic beaming
algorithm. For example, the autobeamer will not put beams over rests
or bar lines. Such beams are specified by manually: the begin and end
-point are marked with @code{[} and @code{]}:
+point are marked with @code{[} and @code{]}
-@lilypond[fragment,relative,verbatim]
- \context Staff {
- r4 r8[ g' a r8] r8 g[ | a] r8
- }
+@lilypond[quote,fragment,relative=1,verbatim]
+\context Staff {
+ r4 r8[ g' a r8] r8 g[ | a] r8
+}
@end lilypond
@cindex @code{stemLeftBeamCount}
If necessary, the properties @code{stemLeftBeamCount} and
@code{stemRightBeamCount} can be used to override the defaults. If
either property is set, its value will be used only once, and then it
-is erased:
+is erased
-@lilypond[fragment,relative,verbatim]
- \context Staff {
- f8[ r16 f g a]
- f8[ r16 \set stemLeftBeamCount = #1 f g a]
- }
+@lilypond[quote,fragment,relative=1,verbatim]
+\context Staff {
+ f8[ r16 f g a]
+ f8[ r16 \set stemLeftBeamCount = #1 f g a]
+}
@end lilypond
@cindex @code{stemRightBeamCount}
@code{beatLength} property.
-@lilypond[relative=1,verbatim,noindent]
- c16[ c c c c c c c]
- \set subdivideBeams = ##t
- c16[ c c c c c c c]
- \set Score.beatLength = #(ly:make-moment 1 8)
- c16[ c c c c c c c]
+@lilypond[quote,relative=2,verbatim,noindent]
+c16[ c c c c c c c]
+\set subdivideBeams = ##t
+c16[ c c c c c c c]
+\set Score.beatLength = #(ly:make-moment 1 8)
+c16[ c c c c c c c]
@end lilypond
@cindex subdivideBeams
@cindex auto-knee-gap
+@seealso
+
+User manual: @ref{Changing context properties on the fly} for the
+@code{\set} command
+
@refbugs
Automatically kneed cross-staff beams cannot be used together with
hidden staves.
+Beams do not avoid collisions with symbols around the notes, such as
+texts and accidentals.
@var{context} argument.
For example, if automatic beams should end on every quarter note, use
-the following:
+the following
@example
#(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
@end example
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, automatic beams can only end on a dotted quarter note
@example
#(override-auto-beam-setting '(end * * * *) 3 8)
@end example
to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
*)}.
-If a score ends while an automatic beam has not been ended and is still
-accepting notes, this last beam will not be typeset at all.
-
@cindex automatic beam generation
@cindex autobeam
@cindex @code{autoBeaming}
@refbugs
+If a score ends while an automatic beam has not been ended and is
+still accepting notes, this last beam will not be typeset at all. The
+same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
+>>}. If a polyphonic voice ends while an automatic beam is still
+accepting notes, it is not typeset.
+
The rules for ending a beam depend on the shortest note in a beam.
So, while it is possible to have different ending rules for eight
beams and sixteenth beams, a beam that contains both eight and
end at 3 eights; the third beam can only be corrected by specifying
manual beaming.
-@lilypond[raggedright,fragment,relative]
- #(override-auto-beam-setting '(end * * * *) 3 8)
- % rather show case where it goes wrong
- %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
- \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
+@lilypond[quote,raggedright,fragment,relative=1]
+#(override-auto-beam-setting '(end * * * *) 3 8)
+% rather show case where it goes wrong
+%\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
+\time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
@end lilypond
It is not possible to specify beaming parameters that act differently in
different parts of a measure. This means that it is not possible to use
inserted automatically before the running notes.
Common rules for typesetting accidentals have been canned in a
-function. This function is called as follows:
+function. This function is called as follows
@cindex @code{set-accidental-style}
@example
context name (in this example, @code{Voice}). If no context name is
supplied, @code{Staff} is the default.
-The following styles are supported:
+The following styles are supported
@table @code
@item default
This is the default typesetting behavior. It should correspond
This leads to some weird and often unwanted results
because accidentals from one voice do not get canceled in other
- voices:
-@lilypond[raggedright,relative,fragment,verbatim]
- \context Staff <<
- #(set-accidental-style 'voice)
- <<
- { es g } \\
- { c, e }
- >> >>
+ voices
+@lilypond[quote,raggedright,relative=1,fragment,verbatim]
+\context Staff <<
+ #(set-accidental-style 'voice)
+ <<
+ { es g } \\
+ { c, e }
+>> >>
@end lilypond
Hence you should only use @code{voice} if the voices
are to be read solely by individual musicians. If the staff is to be
This rule prints the same accidentals as @code{default}, but temporary
accidentals also are canceled in other octaves. Furthermore,
in the same octave, they also get canceled in the following
- measure:
+ measure
-@lilypond[raggedright,fragment,verbatim]
- #(set-accidental-style 'modern)
- cis' c'' cis'2 | c'' c'
+@lilypond[quote,raggedright,fragment,verbatim]
+#(set-accidental-style 'modern)
+cis' c'' cis'2 | c'' c'
@end lilypond
@item @code{modern-cautionary}
This rule is similar to @code{modern}, but the
``extra'' accidentals (the ones not typeset by
@code{default}) are typeset as cautionary accidentals.
- They are printed in reduced size or with parentheses:
-@lilypond[raggedright,fragment,verbatim]
- #(set-accidental-style 'modern-cautionary)
- cis' c'' cis'2 | c'' c'
+ They are printed in reduced size or with parentheses
+@lilypond[quote,raggedright,fragment,verbatim]
+#(set-accidental-style 'modern-cautionary)
+cis' c'' cis'2 | c'' c'
@end lilypond
@cindex @code{modern-voice}
@cindex @code{no-reset} accidental style
@c
This is the same as @code{default} but with accidentals lasting
- ``forever'' and not only until the next measure:
-@lilypond[raggedright,fragment,verbatim,relative]
- #(set-accidental-style 'no-reset)
- c1 cis cis c
+ ``forever'' and not only until the next measure
+@lilypond[quote,raggedright,fragment,verbatim,relative=1]
+#(set-accidental-style 'no-reset)
+c1 cis cis c
@end lilypond
@item forget
This is sort of the opposite of @code{no-reset}: Accidentals
are not remembered at all---and hence all accidentals are
typeset relative to the key signature, regardless of what was
- before in the music:
+ before in the music
-@lilypond[raggedright,fragment,verbatim,relative]
- #(set-accidental-style 'forget)
- \key d\major c4 c cis cis d d dis dis
+@lilypond[quote,raggedright,fragment,verbatim,relative=1]
+#(set-accidental-style 'forget)
+\key d\major c4 c cis cis d d dis dis
@end lilypond
@end table
A slur indicates that notes are to be played bound or @emph{legato}.
-They are entered using parentheses:
-@lilypond[relative=1,fragment,verbatim]
- f( g)( a) a8 b( a4 g2 f4)
- <c e>2( <b d>2)
+They are entered using parentheses
+@lilypond[quote,relative=2,fragment,verbatim]
+f( g)( a) a8 b( a4 g2 f4)
+<c e>2( <b d>2)
@end lilypond
ends. If you want to override this layout you can do this through the
object property @code{attachment} of @internalsref{Slur}. Its value
is a pair of symbols, specifying the attachment type of the left and
-right end points:
+right end points
-@lilypond[fragment,relative,verbatim]
- \slurUp
- \override Stem #'length = #5.5
- g'8(g g4)
- \override Slur #'attachment = #'(stem . stem)
- g8( g g4)
+@lilypond[quote,fragment,relative=1,verbatim]
+\slurUp
+\override Stem #'length = #5.5
+g'8(g g4)
+\override Slur #'attachment = #'(stem . stem)
+g8( g g4)
@end lilypond
If a slur would strike through a stem or beam, the slur will be moved
away upward or downward. If this happens, attaching the slur to the
-stems might look better:
+stems might look better
-@lilypond[fragment,relative,verbatim]
- \stemUp \slurUp
- d32( d'4 d8..)
- \override Slur #'attachment = #'(stem . stem)
- d,32( d'4 d8..)
+@lilypond[quote,fragment,relative=1,verbatim]
+\stemUp \slurUp
+d32( d'4 d8..)
+\override Slur #'attachment = #'(stem . stem)
+d,32( d'4 d8..)
@end lilypond
@refcommands
A phrasing slur (or phrasing mark) connects chords and is used to
indicate a musical sentence. It is started using @code{\(} and @code{\)}
-respectively:
+respectively
-@lilypond[fragment,verbatim,relative]
- \time 6/4 c'\( d( e) f( e) d\)
+@lilypond[quote,fragment,verbatim,relative=1]
+\time 6/4 c'\( d( e) f( e) d\)
@end lilypond
Typographically, the phrasing slur behaves almost exactly like a
@node Breath marks
@subsection Breath marks
-Breath marks are entered using @code{\breathe}:
+Breath marks are entered using @code{\breathe}
-@lilypond[fragment,relative,verbatim]
+@lilypond[quote,fragment,relative=1,verbatim]
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[fragment,verbatim,relative]
+@lilypond[quote,fragment,verbatim,relative=1]
c'4
\override BreathingSign #'text
- = #(make-musicglyph-markup "scripts-rvarcomma")
+ = #(make-musicglyph-markup "scripts-rvarcomma")
\breathe
d4
@end lilypond
@cindex beats per minute
@cindex metronome marking
-Metronome settings can be entered as follows:
+Metronome settings can be entered as follows
@example
\tempo @var{duration} = @var{per-minute}
@end example
In the MIDI output, they are interpreted as a tempo change, and in the
-paper output, a metronome marking is printed:
+paper output, a metronome marking is printed
@cindex @code{\tempo}
-@lilypond[fragment,verbatim]
- \tempo 8.=120 c''1
+@lilypond[quote,fragment,verbatim]
+\tempo 8.=120 c''1
@end lilypond
@seealso
start and ending note of the spanner.
The string to be printed, as well as the style, is set through object
-properties:
+properties
-@lilypond[fragment,relative,verbatim]
- \relative c' { c1
+@lilypond[quote,fragment,relative=1,verbatim]
+\relative c' {
+ c1
\override TextSpanner #'direction = #-1
\override TextSpanner #'edge-text = #'("rall " . "")
- c2\startTextSpan b c\stopTextSpan a }
+ c2\startTextSpan b c\stopTextSpan a
+}
@end lilypond
pieces. LilyPond supports a simple form of nested horizontal brackets.
To use this, add the @internalsref{Horizontal_bracket_engraver} to
@internalsref{Staff} context. A bracket is started with
-@code{\startGroup} and closed with @code{\stopGroup}:
+@code{\startGroup} and closed with @code{\stopGroup}
-@lilypond[raggedright,verbatim]
-\score { \notes \relative c'' {
- c4\startGroup\startGroup
- c4\stopGroup
- c4\startGroup
- c4\stopGroup\stopGroup
+@lilypond[quote,raggedright,verbatim]
+\score {
+ \notes \relative c'' {
+ c4\startGroup\startGroup
+ c4\stopGroup
+ c4\startGroup
+ c4\stopGroup\stopGroup
}
- \paper { \context {
- \StaffContext \consists "Horizontal_bracket_engraver"
- }}}
+ \paper {
+ \context {
+ \Staff \consists "Horizontal_bracket_engraver"
+}}}
@end lilypond
@seealso
A variety of symbols can appear above and below notes to indicate
different characteristics of the performance. They are added to a note
by adding a dash and the character signifying the
-articulation. They are demonstrated here:
+articulation. They are demonstrated here
-@lilypondfile[]{script-abbreviations.ly}
+@lilypondfile[quote,raggedright]{script-abbreviations.ly}
The meanings of these shorthands can be changed. See
@file{ly/script-init.ly} for examples.
The script is automatically placed, but if you need to force
directions, you can use @code{_} to force them down, or @code{^} to
-put them up:
-@lilypond[fragment,verbatim]
- c''4^^ c''4_^
+put them up
+@lilypond[quote,fragment,verbatim]
+c''4^^ c''4_^
@end lilypond
Other symbols can be added using the syntax
can be forced up or down using @code{^} and @code{_},
e.g.
-@lilypond[verbatim,fragment,relative=2]
- c\fermata c^\fermata c_\fermata
+@lilypond[quote,verbatim,fragment,relative=3]
+c\fermata c^\fermata c_\fermata
@end lilypond
@cindex coda
@cindex varcoda
-@lilypondfile[]{script-chart.ly}
-
+@lilypondfile[quote,raggedright]{script-chart.ly}
@refcommands
@example
@var{note}-@var{digit}
@end example
-For finger changes, use markup texts:
+For finger changes, use markup texts
@c
-@lilypond[verbatim,raggedright,fragment]
- c'4-1 c'4-2 c'4-3 c'4-4
- c'^\markup { \finger "2-3" }
+@lilypond[quote,verbatim,raggedright,fragment]
+c'4-1 c'4-2 c'4-3 c'4-4
+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[verbatim,raggedright,fragment]
-
<a' a''-3>8_\thumb <b' b''-3>_\thumb
+@lilypond[quote,verbatim,raggedright,fragment]
+<a' a''-3>8_\thumb <b' b''-3>_\thumb
@end lilypond
Fingerings for chords can also be added to individual notes
-of the chord by adding them after the pitches:
-@lilypond[verbatim,raggedright,fragment,relative=1]
- < c-1 e-2 g-3 b-5 > 4
+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
@end lilypond
@noindent
-In this case, setting @code{fingeringOrientations} will put fingerings next
-to note heads:
+iIn this case, setting @code{fingeringOrientations} will put fingerings next
+to note heads
-@lilypond[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 = #'(right)
- <es-2>4
+@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 = #'(right)
+<es-2>4
@end lilypond
The last note demonstrates how fingering instructions can be put close
@cindex non-empty texts
It is possible to place arbitrary strings of text or markup text (see
-@ref{Text markup}) above or below notes by using a string:
+@ref{Text markup}) above or below notes by using a string
@code{c^"text"}. By default, these indications do not influence the
note spacing, but by using the command @code{\fatText}, the widths
-will be taken into account:
+will be taken into account
@c
-@lilypond[fragment,raggedright,verbatim] \relative c' {
-c4^"longtext" \fatText c4_"longlongtext" c4 }
+@lilypond[quote,fragment,raggedright,verbatim]
+\relative c' {
+ c4^"longtext" \fatText c4_"longlongtext" c4
+}
@end lilypond
It is possible to use @TeX{} commands in the strings, but this should
grace note that takes a fixed fraction of the main note, is and
denoted as a slurred note in small print without a slash.
They are entered with the commands @code{\acciaccatura} and
-@code{\appoggiatura}, as demonstrated in the following example:
+@code{\appoggiatura}, as demonstrated in the following example
@cindex appoggiatura
@cindex acciaccatura
-@lilypond[relative=2,verbatim,fragment]
+@lilypond[quote,relative=2,verbatim,fragment]
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
keyword to a music expression, a new one is formed, which will be
printed in a smaller font and takes up no logical time in a measure.
-@lilypond[relative=2,verbatim,fragment]
- c4 \grace c16 c4
- \grace { c16[ d16] } c2 c4
+
+@lilypond[quote,relative=2,verbatim,fragment]
+c4 \grace c16 c4
+\grace { c16[ d16] } c2 c4
@end lilypond
@noindent
Internally, timing for grace notes is done using a second, `grace'
time. Every point in time consists of two rational numbers: one
denotes the logical time, one denotes the grace timing. The above
-example is shown here with timing tuples:
+example is shown here with timing tuples
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
<<
\relative c''{
- c4 \grace c16 c4 \grace {
- c16[ d16] } c2 c4
+ c4 \grace c16 c4 \grace {
+ c16[ d16] } c2 c4
}
\new Lyrics \lyrics {
- \markup { (0,0) } 4
- \grace { \markup {
- ( \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 ) }
- } >>
+ \markup { (0,0) } 4
+ \grace { \markup {
+ ( \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 ) }
+ }
+>>
@end lilypond
The placement of grace notes is synchronized between different staves.
In the following example, there are two sixteenth graces notes for
-every eighth grace note:
+every eighth grace note
-@lilypond[relative=2,verbatim,fragment]
+@lilypond[quote,relative=2,verbatim,fragment]
<< \new Staff { e4 \grace { c16[ d e f] } e4 }
- \new Staff { c'4 \grace { g8[ b] } c4 } >>
+ \new Staff { c'4 \grace { g8[ b] } c4 } >>
@end lilypond
-If you want to end a note with a grace, then the standard trick
-is to put the grace notes after a ``space note'', e.g.
-@lilypond[fragment,verbatim,relative=2]
+If you want to end a note with a grace, the standard trick is to put
+the grace notes after a ``space note''
+
+@lilypond[quote,fragment,verbatim,relative=2]
\context Voice {
- << { d1^\trill ( }
+ << { d1^\trill ( }
{ s2 \grace { c16[ d] } } >>
- c4)
+ c4)
}
@end lilypond
for example, to produce smaller type, and set directions. Hence, when
introducing layout tweaks, they should be inside the grace section,
for example,
-@lilypond[fragment,verbatim,relative=1]
+@lilypond[quote,fragment,verbatim,relative=2]
\new Voice {
- \acciaccatura {
- \override Stem #'direction = #-1
- f16->
- \revert Stem #'direction
- }
- g4
+ \acciaccatura {
+ \override Stem #'direction = #-1
+ f16->
+ \revert Stem #'direction
+ }
+ g4
}
@end lilypond
direction for this grace, so stems do not always point up.
@example
- \new Staff @{
- #(add-grace-property "Voice" Stem direction '())
- @dots{}
- @}
+\new Staff @{
+ #(add-grace-property 'Voice 'Stem 'direction '())
+ @dots{}
+@}
@end example
@noindent
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[relative=2,verbatim,fragment]
+@lilypond[quote,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 @} >>
+@end example
+
Grace sections should only be used within sequential music
expressions. Nesting or juxtaposing grace sections is not supported,
and might produce crashes or other errors.
A glissando line can be requested by attaching a @code{\glissando} to
-a note:
+a note
-@lilypond[fragment,relative,verbatim]
- c'\glissando c'
+@lilypond[quote,fragment,relative=1,verbatim]
+c'\glissando c'
@end lilypond
@seealso
@cindex @code{\rfz}
-Absolute dynamic marks are specified using a command after a note:
+Absolute dynamic marks are specified using a command after a note
@code{c4\ff}. The available dynamic marks are @code{\ppp},
@code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
@code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
-@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
+@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
-@lilypond[verbatim,raggedright,fragment,relative]
- c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
- c2\sf c\rfz
+@lilypond[quote,verbatim,raggedright,fragment,relative=1]
+c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
+c2\sf 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 during one note are needed:
+use spacer notes if multiple marks during one note are needed
-@lilypond[fragment,verbatim]
- c''\< c''\! d''\> e''\!
- << f''1 { s4 s4\< s4\! \> s4\! } >>
+@lilypond[quote,fragment,verbatim]
+c''\< c''\! d''\> e''\!
+<< f''1 { 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
@example
\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:
+is an example how to do it
-@lilypond[fragment,relative=2,verbatim]
- \setTextCresc
- c \< d e f\!
- \setHairpinCresc
- e\> d c b\!
+@lilypond[quote,fragment,relative=2,verbatim]
+\setTextCresc
+c \< d e f\!
+\setHairpinCresc
+e\> d c b\!
@end lilypond
@cindex crescendo
@cindex decrescendo
-You can also supply your own texts:
-@lilypond[fragment,relative,verbatim]
- \context Voice {
- \set crescendoText = \markup { \italic "cresc. poco" }
- \set crescendoSpanner = #'dashed-line
- a'2\< a a a\!\mf
- }
+You can also supply your own texts
+@lilypond[quote,fragment,relative=1,verbatim]
+\context Voice {
+ \set crescendoText = \markup { \italic "cresc. poco" }
+ \set crescendoSpanner = #'dashed-line
+ a'2\< a a a\!\mf
+}
@end lilypond
@cindex diminuendo
in a uniform syntax. One of the advantages is that they can be
rendered in MIDI accurately.
-The following types of repetition are supported:
+The following types of repetition are supported
@table @code
@item unfold
@var{alternative3} @dots{} @code{@}}
@end example
where each @var{alternative} is a music expression. If you do not
-give enough alternatives for all of the repeats, then the first
-alternative is assumed to be played more than once.
+give enough alternatives for all of the repeats, the first alternative
+is assumed to be played more than once.
-Normal notation repeats are used like this:
-@lilypond[fragment,verbatim,relative=1]
- c1
- \repeat volta 2 { c4 d e f }
- \repeat volta 2 { f e d c }
+Normal notation repeats are used like this
+@lilypond[quote,fragment,verbatim,relative=2]
+c1
+\repeat volta 2 { c4 d e f }
+\repeat volta 2 { f e d c }
@end lilypond
-With alternative endings:
-@lilypond[fragment,verbatim,relative=1]
- c1
- \repeat volta 2 {c4 d e f}
- \alternative { {d2 d} {f f,} }
+With alternative endings
+@lilypond[quote,fragment,verbatim,relative=2]
+c1
+\repeat volta 2 {c4 d e f}
+\alternative { {d2 d} {f f,} }
@end lilypond
-@lilypond[fragment,verbatim,relative=1]
+@lilypond[quote,fragment,verbatim,relative=2]
\context Staff {
- \partial 4
- \repeat volta 4 { e | c2 d2 | e2 f2 | }
- \alternative { { g4 g g } { a | a a a a | b2. } }
+ \partial 4
+ \repeat volta 4 { e | c2 d2 | e2 f2 | }
+ \alternative { { g4 g g } { a | a a a a | b2. } }
}
@end lilypond
+@seealso
+
+Brackets for the repeat are normally only printed over the topmost
+staff. This can be adjusted by setting the @code{voltaOnThisStaff}
+property @inputfileref{input/regression,volta-multi-staff.ly},
+@inputfileref{input/regression,volta-chord-names.ly}
+
@refbugs
-If you do a nested repeat like
+A nested repeat like
@example
\repeat @dots{}
@end example
@noindent
-then it is ambiguous to which @code{\repeat} the @code{\alternative}
-belongs. This ambiguity is resolved by always having the
-@code{\alternative} belong to the inner @code{\repeat}. For clarity,
-it is advisable to use braces in such situations.
+is ambiguous, since it is is not clear to which @code{\repeat} the
+@code{\alternative} belongs. This ambiguity is resolved by always
+having the @code{\alternative} belong to the inner @code{\repeat}.
+For clarity, it is advisable to use braces in such situations.
@cindex ambiguity
+
+
+Timing information is not remembered at the start of an alternative,
+so after a repeat timing information must be reset by hand, for
+example by setting @code{Score.measurePosition} or entering
+@code{\partial}. Similarly, slurs or ties are also not repeated.
+
+
+
+
@node Repeats and MIDI
@subsection Repeats and MIDI
example file @inputfileref{input/test,unfold-all-repeats.ly}.
-@refbugs
-
-Timing information is not remembered at the start of an alternative,
-so after a repeat timing information must be reset by hand, for
-example by setting @code{Score.measurePosition} or entering
-@code{\partial}. Similarly, slurs or ties are also not repeated.
-
@node Manual repeat commands
@subsection Manual repeat commands
forget to change the font, as the default number font does not contain
alphabetic characters. Or,
@item the list @code{(volta #f)}, which
- stops a running volta bracket:
+ stops a running volta bracket
@end table
-@lilypond[verbatim,fragment,relative=2]
- c4
- \set Score.repeatCommands = #'((volta "93") end-repeat)
- c4 c4
- \set Score.repeatCommands = #'((volta #f))
- c4 c4
+@lilypond[quote,verbatim,fragment,relative=2]
+c4
+ \set Score.repeatCommands = #'((volta "93") end-repeat)
+c4 c4
+ \set Score.repeatCommands = #'((volta #f))
+c4 c4
@end lilypond
@cindex tremolo beams
To place tremolo marks between notes, use @code{\repeat} with tremolo
-style:
-@lilypond[verbatim,raggedright]
+style
+@lilypond[quote,verbatim,raggedright]
\score {
\context Voice \notes\relative c' {
\repeat "tremolo" 8 { c16 d16 }
Tremolo marks can also be put on a single note. In this case, the
note should not be surrounded by braces.
-@lilypond[verbatim,raggedright]
- \repeat "tremolo" 4 c'16
+@lilypond[quote,verbatim,raggedright]
+\repeat "tremolo" 4 c'16
@end lilypond
A similar mechanism is the tremolo subdivision, described in
@cindex @code{tremoloFlags}
Tremolo marks can be printed on a single note by adding
-`@code{:}[@var{length}]' after the note. The length must be at least 8.
-A @var{length} value of 8 gives one line across the note stem. If the
-length is omitted, then then the last value (stored in
-@code{tremoloFlags}) is used:
+`@code{:}[@var{length}]' after the note. The length must be at least
+8. A @var{length} value of 8 gives one line across the note stem. If
+the length is omitted, the last value (stored in @code{tremoloFlags})
+is used
-@lilypond[verbatim,fragment]
- c'2:8 c':32 | c': c': |
+@lilypond[quote,verbatim,fragment]
+c'2:8 c':32 | c': c': |
@end lilypond
@c [TODO : stok is te kort bij 32en]
In the @code{percent} style, a note pattern can be repeated. It is
printed once, and then the pattern is replaced with a special sign.
Patterns of a one and two measures are replaced by percent-like signs,
-patterns that divide the measure length are replaced by slashes:
+patterns that divide the measure length are replaced by slashes
-@lilypond[verbatim,raggedright]
- \context Voice { \repeat "percent" 4 { c'4 }
- \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
-}
-@end lilypond
+@lilypond[quote,verbatim,raggedright]
+\repeat "percent" 4 { c'4 }
+\repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
+@end lilypond
@seealso
Sometimes you might want to show only the rhythm of a melody. This
can be done with the rhythmic staff. All pitches of notes on such a
-staff are squashed, and the staff itself has a single line:
+staff are squashed, and the staff itself has a single line
-@lilypond[fragment,relative,verbatim]
- \context RhythmicStaff {
- \time 4/4
- c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
- }
+@lilypond[quote,fragment,relative=1,verbatim]
+\context RhythmicStaff {
+ \time 4/4
+ c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
+}
@end lilypond
@seealso
Percussion notes may be entered in @code{\drums} mode, which is
similar to @code{notes}. Each piece of percussion has a full name and
-an abbreviated name, and both be used in input files:
+an abbreviated name, and both be used in input files
@example
hihat hh bassdrum bd
@end example
-@lilypond[raggedright]
- \new DrumStaff \drums { hihat hh bassdrum bd
- }
+@lilypond[quote,raggedright]
+\new DrumStaff \drums { hihat hh bassdrum bd }
@end lilypond
The complete list of drum names is in the init file
To typeset the music, the notes must be interpreted in a
-@internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
+@internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
@c
-@lilypond[raggedright,verbatim]
+@lilypond[quote,raggedright,verbatim]
up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
down = \drums { bassdrum4 snare8 bd r bd sn4 }
\score {
- \new DrumStaff
- << \new DrumVoice { \voiceOne \up }
- \new DrumVoice { \voiceTwo \down }
->> }
+ \new DrumStaff <<
+ \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,
-@lilypond[fragment,verbatim]
-\drums \new DrumStaff <<
+@lilypond[quote,fragment,verbatim]
+\new DrumStaff <<
\context DrumVoice = "1" { s1 *2 }
\context DrumVoice = "2" { s1 *2 }
- {
+ \drums {
bd4 sn4 bd4 sn4
<<
{ \repeat unfold 16 hh16 }
There are also other layout possibilities. To use these, set the
property @code{drumStyleTable} in context @internalsref{DrumVoice}.
-The following variables have been predefined:
+The following variables have been predefined
@table @code
@item drums-style
is the default. It typesets a typical drum kit on a five-line staff
-@lilypond[noindent]
+@lilypond[quote,noindent]
nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
bd sn ss tomh tommh tomml toml tomfh tomfl }
mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
\paper {
%% need to do this, because of indented @itemize
linewidth= 9 \cm
- \context { \ScoreContext
+ \context { \Score
\override LyricText #'font-family = #'typewriter
\override BarNumber #'transparent =##T
}}}
@code{tomfh}.
@item timbales-style
-to typeset timbales on a two line staff:
+to typeset timbales on a two line staff
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
nam = \lyrics { timh ssh timl ssl cb }
mus = \drums { timh ssh timl ssl cb s16 }
\score {
}
@end lilypond
@item congas-style
-to typeset congas on a two line staff:
+to typeset congas on a two line staff
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
\score {
}
@end lilypond
@item bongos-style
-to typeset bongos on a two line staff:
+to typeset bongos on a two line staff
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
\score {
@end lilypond
@item percussion-style
-to typeset all kinds of simple percussion on one line staves:
-@lilypond[raggedright]
+to typeset all kinds of simple percussion on one line staves
+@lilypond[quote,raggedright]
nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
\score {
@end table
If you do not like any of the predefined lists you can define your own
-list at the top of your file:
+list at the top of your file
-@lilypond[raggedright,verbatim]
+@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)
-))
+ (lowtom diamond #f 3)))
up = \drums { hh8 hh hh hh hhp4 hhp }
down = \drums { bd4 sn bd toml8 toml }
\score {
- \new DrumStaff <<
- \set DrumStaff.drumStyleTable
- = #(alist->hash-table mydrums)
- \new DrumVoice { \voiceOne \up }
- \new DrumVoice { \voiceTwo \down }
- >>
+ \new DrumStaff <<
+ \set DrumStaff.drumStyleTable
+ = #(alist->hash-table mydrums)
+ \new DrumVoice { \voiceOne \up }
+ \new DrumVoice { \voiceTwo \down }
+ >>
}
@end lilypond
@cindex cross staff stem
@cindex stem, cross staff
+@cindex distance between staves in piano music
The distance between the two staves is normally fixed across the
entire score. It is possible to tune this per system, but it does
require arcane command incantations. See
@inputfileref{input/test,piano-staff-distance.ly}.
-
-
-
-
@node Automatic staff changes
Voices can switch automatically between the top and the bottom
staff. The syntax for this is
+
+@quotation
@example
- \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
+\autochange \context Voice @{ @dots{}@var{music}@dots{} @}
@end example
+@end quotation
+
+@noindent
The two staves of the piano staff must be named @code{up} and
@code{down}.
+A @code{\relative} section that is outside of @code{\autochange} has
+no effect on the pitches of @var{music}, so, if necessary, put
+@code{\relative} inside @code{\autochange} like
+
+@quotation
+@example
+\autochange \relative @dots{} \new Voice @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:
+advance. Here is a practical example
-@lilypond[verbatim,raggedright]
+@lilypond[quote,verbatim,raggedright]
\score { \notes \context PianoStaff <<
\context Staff = "up" {
\autochange \new Voice \relative c' {
quality output, staff switches should be specified manually.
+@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
+the parts can be combined. Consequently, if the arguments switch to
+differently named @internalsref{Voice} contexts, the events in those
+will be ignored.
+
@node Manual staff switches
@subsection Manual staff switches
@cindex manual staff switches
@cindex staff switch, manual
-Voices can be switched between staves manually, using the following command:
+Voices can be switched between staves manually, using the following command
@example
- \change Staff = @var{staffname} @var{music}
+\change Staff = @var{staffname} @var{music}
@end example
@noindent
The string @var{staffname} is the name of the staff. It switches the
current voice from its current staff to the Staff called
@var{staffname}. Typically @var{staffname} is @code{"up"} or
-@code{"down"}.
+@code{"down"}. The @context{Staff} referred to must already exist, so
+usually the setup for a score will start with a setup of the staves,
+
+@example
+ <<
+ \context Staff = up @{
+ \skip 1 * 10 %@emph{ keep staff alive}
+ @}
+ \context Staff = down @{
+ \skip 1 * 10 %@emph{idem}
+ @}
+ >>
+@end example
+and the @context{Voice} is inserted afterwards
+
+@example
+ \context Staff = down
+ \new Voice @{ @dots{} \change Staff = up @dots{} @}
+@end example
+
@node Pedals
@subsection Pedals
Piano pedal instruction can be expressed by attaching
@code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
-note or chord:
+note or chord
-@lilypond[fragment,verbatim]
- c'4\sustainDown c'4\sustainUp
+@lilypond[quote,fragment,verbatim]
+c'4\sustainDown c'4\sustainUp
@end lilypond
What is printed can be modified by setting @code{pedal@var{X}Strings},
information.
Pedals can also be indicated by a sequence of brackets, by setting the
-@code{pedalSustainStyle} property to @code{bracket} objects:
+@code{pedalSustainStyle} property to @code{bracket} objects
-@lilypond[fragment,verbatim]
- \set Staff.pedalSustainStyle = #'bracket
- c''4\sustainDown d''4 e''4
- a'4\sustainUp\sustainDown
- f'4 g'4 a'4\sustainUp
+@lilypond[quote,fragment,verbatim,relative=2]
+\set Staff.pedalSustainStyle = #'bracket
+c\sustainDown d e
+b\sustainUp\sustainDown
+b g \sustainUp a \sustainDown \bar "|."
@end lilypond
A third style of pedal notation is a mixture of text and brackets,
obtained by setting the @code{pedalSustainStyle} style property to
-@code{mixed}:
+@code{mixed}
-@lilypond[fragment,verbatim]
- \set Staff.pedalSustainStyle = #'mixed
-c''4\sustainDown d''4 e''4
-c'4\sustainUp\sustainDown
- f'4 g'4 a'4\sustainUp
+@lilypond[quote,fragment,verbatim,relative=2]
+\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
style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
default.
-@lilypond[fragment,verbatim]
-c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
+@lilypond[quote,fragment,verbatim,relative=2]
+c\sostenutoDown d e c, f g a\sostenutoUp
@end lilypond
For fine-tuning of the appearance of a pedal bracket, the properties
@code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
@code{PianoPedalBracket} objects (see
@internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
-bracket may be extended to the end of the note head:
+bracket may be extended to the end of the note head
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim,relative=2]
\override Staff.PianoPedalBracket
#'shorten-pair = #'(0 . -1.0)
-c''4\sostenutoDown d''4 e''4 c'4
-f'4 g'4 a'4\sostenutoUp
+c\sostenutoDown d e c, f g a\sostenutoUp
@end lilypond
@node Arpeggio
@cindex @code{\arpeggio}
You can specify an arpeggio sign on a chord by attaching an
-@code{\arpeggio} to a chord:
+@code{\arpeggio} to a chord
-@lilypond[fragment,relative,verbatim]
- <c e g c>\arpeggio
+@lilypond[quote,fragment,relative=1,verbatim]
+<c e g c>\arpeggio
@end lilypond
When an arpeggio crosses staves, you attach an arpeggio to the chords
in both staves, and set
-@internalsref{PianoStaff}.@code{connectArpeggios}:
+@internalsref{PianoStaff}.@code{connectArpeggios}
-@lilypond[fragment,relative,verbatim]
- \context PianoStaff <<
- \set PianoStaff.connectArpeggios = ##t
- \new Staff { <c' e g c>\arpeggio }
- \new Staff { \clef bass <c,, e g>\arpeggio }
- >>
+@lilypond[quote,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 }
+>>
@end lilypond
The direction of the arpeggio is sometimes denoted by adding an
-arrowhead to the wiggly line:
-
-@lilypond[fragment,relative,verbatim]
- \context Voice {
- \arpeggioUp
- <c e g c>\arpeggio
- \arpeggioDown
- <c e g c>\arpeggio
- }
+arrowhead to the wiggly line
+
+@lilypond[quote,fragment,relative=1,verbatim]
+\context Voice {
+ \arpeggioUp
+ <c e g c>\arpeggio
+ \arpeggioDown
+ <c e g c>\arpeggio
+}
@end lilypond
A square bracket on the left indicates that the player should not
-arpeggiate the chord:
+arpeggiate the chord
-@lilypond[fragment,relative,verbatim]
- \arpeggioBracket
- <c' e g c>\arpeggio
+@lilypond[quote,fragment,relative=1,verbatim]
+\arpeggioBracket
+<c' e g c>\arpeggio
@end lilypond
@refcommands
Whenever a voice switches to another staff a line connecting the notes
can be printed automatically. This is enabled if the property
-@code{PianoStaff.followVoice} is set to true:
-
-@lilypond[fragment,relative,verbatim]
- \context PianoStaff <<
- \set PianoStaff.followVoice = ##t
- \context Staff \context Voice {
- c1
- \change Staff=two
- b2 a
- }
- \context Staff=two { \clef bass \skip 1*2 }
- >>
+@code{PianoStaff.followVoice} is set to true
+
+@lilypond[quote,fragment,relative=1,verbatim]
+\context PianoStaff <<
+ \set PianoStaff.followVoice = ##t
+ \context Staff \context Voice {
+ c1
+ \change Staff=two
+ b2 a
+ }
+ \context Staff=two { \clef bass \skip 1*2 }
+>>
@end lilypond
@seealso
@node Vocal music
@section Vocal music
-This section discusses how to enter and print lyrics.
+
+The easiest way to add lyrics to a melody, is by appending
+
+
+@cindex \newlyrics
+@example
+ \newlyrics @{ @var{the lyrics} @}
+@end example
+
+to a melody. Here is an example,
+
+@lilypond[raggedright,verbatim]
+ \relative { \time 3/4 c2 e4 g2. }
+ \newlyrics { play the game }
+@end lilypond
+
+More stanzas can be added by adding more
+@code{\newlyrics} sections
+
+@lilypond[raggedright,verbatim]
+ \relative { \time 3/4 c2 e4 g2. }
+ \newlyrics { play the game }
+ \newlyrics { speel het spel }
+ \newlyrics { joue le jeu }
+@end lilypond
+
+The @code{\newlyrics} keyword has three functions: it interprets the
+following words as texts instead of notes, it sets up a context for
+printing texts (the @code{Lyrics} context), and it couples the melody
+with the lyrics, so the durations of both are aligned.
+
+These three functions can be controlled separately, and that is what
+the following sections are about.
@menu
+* Easy lyrics entry
* Entering lyrics::
* The Lyrics context::
* More stanzas::
@cindex punctuation
Lyrics are entered in a special input mode. This mode is is introduced
-by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
-punctuation and accents without any hassle. Syllables are entered like
-notes, but with pitches replaced by text. For example,
+by the keyword @code{\lyrics}. In this mode you can enter lyrics,
+with punctuation and accents without any hassle. Syllables are
+entered like notes, but with pitches replaced by text. For example,
@example
\lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
@end example
Subsequent characters of a word can be any character that is not a digit
and not white space. One important consequence of this is that a word
can end with @code{@}}. The following example is usually a bug. The
-syllable includes a @code{@}}, and hence the opening brace is not balanced:
+syllable includes a @code{@}}, and hence the opening brace is not balanced
@example
\lyrics @{ twinkle@}
@end example
@cindex @code{\property}, in @code{\lyrics}
Similarly, a period following a alphabetic sequence, is included in
the resulting string. As a consequence, spaces must be inserted around
-property commands:
+property commands
@example
\override Score . LyricText #'font-shape = #'italic
@end example
Any @code{_} character which appears in an unquoted word is converted
to a space. This provides a mechanism for introducing spaces into words
without using quotes. Quoted words can also be used in Lyrics mode to
-specify words that cannot be written with the above rules:
+specify words that cannot be written with the above rules. The
+following example incorporates double quotes
@example
\lyrics @{ He said: "\"Let" my peo ple "go\"" @}
@end example
+This example is slightly academic, since it gives better looking
+results to use matched single quotes, @code{``} and @code{''}
+@example
+ \lyrics @{ He said: ``Let my peo ple go'' @}
+@end example
+
@cindex hyphens
Centered hyphens are entered as `@code{-}@code{-}' between syllables.
@seealso
Program reference: events @internalsref{LyricEvent},
-@internalsref{HyphenEvent}, and @internalsref{ExtenderEvent}. Objects:
+@internalsref{HyphenEvent}, and @internalsref{ExtenderEvent}. Objects
@internalsref{LyricHyphen}, @internalsref{LyricExtender} and
@internalsref{LyricText}.
@node The Lyrics context
@subsection The Lyrics context
-Lyrics are printed by interpreting them in a @internalsref{Lyrics} context:
+
+Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
@example
\context Lyrics \lyrics @dots{}
@end example
entered. The lyrics can also be aligned under a given melody
automatically. In this case, it is no longer necessary to enter the
correct duration for each syllable. This is achieved by combining the
-melody and the lyrics with the @code{\lyricsto} expression:
+melody and the lyrics with the @code{\lyricsto} expression
@example
-\lyricsto @var{name} \new Lyrics @dots{}
+\lyricsto @var{name} \new Lyrics \lyrics @dots{}
@end example
This aligns the lyrics to the
\context Voice = tenor @{ @emph{music} @}
>>
@end example
-and then combine the appropriate melodies and lyric lines:
+and then combine the appropriate melodies and lyric lines
@example
\lyricsto "soprano" \context Lyrics = sopranoLyrics
@emph{the lyrics}
The @code{\lyricsto} command detects melismata: it only puts one
syllable under a tied or slurred group of notes. If you want to force
-an unslurred group of notes to be a melisma, then insert
-@code{\melisma} after the first note of the group, and
-@code{\melismaEnd} after the last one, e.g.
+an unslurred group of notes to be a melisma, insert @code{\melisma}
+after the first note of the group, and @code{\melismaEnd} after the
+last one, e.g.
-@lilypond[relative=1,raggedright,fragment,verbatim]
-<< \context Voice = "lala" { \time 3/4
+@lilypond[quote,relative=2,raggedright,fragment,verbatim]
+<<
+ \context Voice = "lala" {
+ \time 3/4
f4 g8
\melisma
f e f
\melismaEnd
- e2 }
+ e2
+ }
\lyricsto "lala" \new Lyrics \lyrics {
la di __ daah
- } >>
+ }
+>>
@end lilypond
In addition, notes are considered a melisma if they are manually
@internalsref{Melisma_translator} in the program reference for more
information.
+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
+
+Alignment to a melody can be specified with the @code{associatedVoice}
+property,
+
+@verbatim
+ \set associatedVoice = #"melody"
+@end verbatim
+
+Here is an example demonstrating manual lyric durations,
+
+@lilypond[relative=1,verbatim,fragment]
+<< \context Voice = melody {
+ \time 3/4
+ c2 e4 g2.
+ }
+ \new Lyrics \lyrics {
+ \set associatedVoice = #"melody"
+ play2 the4 game2.
+ } >>
+@end lilypond
+
+
+
+
When multiple stanzas are put on the same melody, it can happen that
two stanzas have melismata in different locations. This can be
remedied by switching off melismata for one
setting corresponding names for both contexts. The latter is explained
in @ref{More stanzas}.
+@c TODO: document \new Staff << Voice \lyricsto >> bug
+
@node More stanzas
@subsection More stanzas
the melodic line. This is done automatically when @code{\lyricsto},
but it can also be done manually.
-To this end, give the @internalsref{Voice} context an identity:
+To this end, give the @internalsref{Voice} context an identity
@example
\context Voice = duet @{
\time 3/4
Then set the @internalsref{Lyrics} contexts to names starting with
that identity followed by a dash. In the preceding example, the
@internalsref{Voice} identity is @code{duet}, so the identities of the
-@internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}:
+@internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}
@example
\context Lyrics = "duet-1" @{
- Hi, my name is bert. @}
+ Hi, my name is Bert. @}
\context Lyrics = "duet-2" @{
Ooooo, ch\'e -- ri, je t'aime. @}
@end example
-The complete example is shown here:
-@lilypond[raggedright,verbatim]
+The complete example is shown here
+@lilypond[quote,raggedright,verbatim]
\score {
- << \notes \relative c'' \context Voice = duet { \time 3/4
- g2 e4 a2 f4 g2. }
- \lyrics << \lyricsto "duet" \new Lyrics {
- \set vocNam = "Bert"
- Hi, my name is bert. }
- \lyricsto "duet" \new Lyrics {
- \set vocNam = "Ernie"
- Ooooo, ch\'e -- ri, je t'aime.
- }
- >> >>
+ <<
+ \notes \relative c'' \context Voice = duet {
+ \time 3/4
+ g2 e4 a2 f4 g2. }
+ <<
+ \lyricsto "duet" \new Lyrics \lyrics {
+ \set vocalName = "Bert"
+ Hi, my name is Bert. }
+ \lyricsto "duet" \new Lyrics \lyrics {
+ \set vocalName = "Ernie"
+ Ooooo, ch\'e -- ri, je t'aime. }
+ >>
+ >>
}
@end lilypond
Stanza numbers can be added by setting @code{stanza}, e.g.
-@lilypond
-<< \context Voice = duet { \time 3/4
- g2 e4 a2 f4 g2. }
- \lyrics \lyricsto "duet" \new Lyrics {
- \set vocNam = "1. "
- Hi, my name is bert.
- }
+@lilypond[quote,verbatim,relative=2]
+<<
+ \context Voice = duet {
+ \time 3/4 g2 e4 a2 f4 g2. }
+ \lyricsto "duet" \new Lyrics \lyrics {
+ \set stanza = "1. "
+ Hi, my name is Bert. }
>>
@end lilypond
@seealso
Program reference: Layout objects @internalsref{LyricText} and
-@internalsref{VocalName}. Music expressions:
+@internalsref{VocalName}. Music expressions
@internalsref{LyricEvent}.
-@refbugs
-
-@cindex ambiguity
-
-Input for lyrics introduces a syntactical ambiguity:
-
-@example
-foo = bar
-@end example
-
-@noindent
-is interpreted as assigning a string identifier @code{\foo} such that
-it contains @code{"bar"}. However, it could also be interpreted as
-making or a music identifier @code{\foo} containing the syllable
-`bar'. The force the latter interpretation, use
-@example
- foo = \lyrics bar4
-@end example
@node Ambitus
@example
\paper @{
\context @{
- \VoiceContext
+ \Voice
\consists Ambitus_engraver
@}
@}
@end example
-This results in the following output:
+This results in the following output
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
\score {
\context ChoirStaff
- \notes \relative c'' <<
- \new staff {
+ \notes \relative c' <<
+ \new Staff {
as'' c e2 cis,2
}
\new Staff {
>>
\paper {
\context {
- \StaffContext
+ \Staff
\consists Ambitus_engraver
}
}
@end lilypond
If you have multiple voices in a single staff, and you want a single
-ambitus per staff rather than per each voice, then add the
+ambitus per staff rather than per each voice, add the
@internalsref{Ambitus_engraver} to the @internalsref{Staff} context
rather than to the @internalsref{Voice} context.
@node Tablatures
@section Tablatures
+@cindex tablature
+@cindex guitar tablature
+
Tablature notation is used for notating music for plucked string
instruments. It notates pitches not by using note heads, but by
indicating on which string and fret a note must be played. LilyPond
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:
+@internalsref{TabVoice} contexts
-@lilypond[fragment,verbatim]
-\notes \context TabStaff {
- a,4\5 c'\2 a\3 e'\1
- e\4 c'\2 a\3 e'\1
+@lilypond[quote,fragment,verbatim]
+\notes \context TabStaff {
+ a,4\5 c'\2 a\3 e'\1
+ e\4 c'\2 a\3 e'\1
}
@end lilypond
@cindex minimumFret
+@cindex fret
When no string is specified, the first string that does not give a
fret number less than @code{minimumFret} is selected. The default
-value for @code{minimumFret} is 0:
+value for @code{minimumFret} is 0
@example
\set TabStaff.minimumFret = #8
e16 fis gis a b4
@end example
-@lilypond[noindent,raggedright]
+@lilypond[quote,noindent,raggedright]
frag = \notes {
- \key e \major
- e16 fis gis a b4
- \set TabStaff.minimumFret = #8
- e16 fis gis a b4
+ \key e \major
+ e16 fis gis a b4
+ \set TabStaff.minimumFret = #8
+ e16 fis gis a b4
}
\score {
\context StaffGroup <<
open string. The numbers specified for @code{stringTuning} are the
numbers of semitones to subtract or add, starting the specified pitch
by default middle C, in string order. Thus, the notes are e, a, d, and
-g:
+g
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
\context TabStaff <<
\set TabStaff.stringTunings = #'(-5 -10 -15 -20)
LilyPond has support for both printing chord names. Chords may be
entered in musical chord notation, i.e. @code{< .. >}, but they can
also be entered by name. Internally, the chords are represented as a
-set of pitches, so they can be transposed:
+set of pitches, so they can be transposed
-@lilypond[verbatim,raggedright]
+@lilypond[quote,verbatim,raggedright]
twoWays = \notes \transpose c c' {
\chords {
c1 f:sus4 bes/f
<c e g>
<f bes c'>
<f bes d'>
- }
+}
\score {
- << \context ChordNames \twoWays
+ << \context ChordNames \twoWays
\context Voice \twoWays >> }
@end lilypond
Chord mode is a mode where you can input sets of pitches using common
names. It is introduced by the keyword @code{\chords}.
In chords mode, a chord is entered by the root, which is entered
-like a common pitch:
-@lilypond[fragment,verbatim,relative=1]
-\chords { es4. d8 c2 }
+like a common pitch
+@lilypond[quote,fragment,verbatim,relative=2]
+\chords { es4. d8 c2 }
@end lilypond
@cindex chord entry
@cindex chord mode
Other chords may be entered by suffixing a colon, and introducing a
-modifier, and optionally, a number:
+modifier, and optionally, a number
@c
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
\chords { 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[fragment,verbatim]
- \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
+number
+@lilypond[quote,fragment,verbatim]
+\chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
@end lilypond
@cindex root of chord
More complex chords may also be constructed adding separate steps
to a chord. Additions are added after the number following
-the colon, and are separated by dots:
+the colon, and are separated by dots
@c
-@lilypond[verbatim,fragment]
- \chords { c:5.6 c:3.7.8 c:3.6.13 }
+@lilypond[quote,verbatim,fragment]
+\chords { 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[verbatim,fragment]
- \chords { c:7+ c:5+.3- c:3-.5-.7- }
+to the number
+@lilypond[quote,verbatim,fragment]
+\chords { 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[verbatim,fragment]
- \chords { c^3 c:7^5 c:9^3.5 }
+must come after the additions
+@lilypond[quote,verbatim,fragment]
+\chords { c^3 c:7^5 c:9^3.5 }
@end lilypond
Modifiers can be used to change pitches. The following modifiers are
-supported:
+supported
@table @code
@item m
is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
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[verbatim,fragment]
- \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
+Modifiers can be mixed with additions
+@lilypond[quote,verbatim,fragment]
+\chords { c:sus4 c:7sus4 c:dim7 c:m6 }
@end lilypond
@cindex modifiers, in chords.
@cindex @code{m}
Since an unaltered 11 does not sound good when combined with an
-unaltered 13, the 11 is removed in this case (unless it is added
-explicitly):
+unaltered 3, the 11 is removed in this case (unless it is added
+explicitly)
@c
-@lilypond[fragment,verbatim]
- \chords { c:13 c:13.11 c:m13 }
-@end lilypond
+@lilypond[quote,fragment,verbatim]
+\chords { c:13 c:13.11 c:m13 }
+@end lilypond
@cindex @code{/}
An inversion (putting one pitch of the chord on the bottom), as well
as bass notes, can be specified by appending
-@code{/}@var{pitch} to the chord:
-@lilypond[fragment,verbatim]
- \chords { c1 c/g c/f }
-@end lilypond
+@code{/}@var{pitch} to the chord
+@lilypond[quote,fragment,verbatim]
+\chords { 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}.
-@lilypond[fragment,verbatim]
- \chords { c1 c/+g c/+f }
-@end lilypond
+@lilypond[quote,fragment,verbatim]
+\chords { c1 c/+g c/+f }
+@end lilypond
Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
of the commands continue to work, for example, @code{r} and
Each step can only be present in a chord once. The following
simply produces the augmented chord, since @code{5+} is interpreted
-last:
+last
@cindex clusters
-@lilypond[verbatim,fragment]
- \chords { c:5.5-.5+ }
+@lilypond[quote,verbatim,fragment]
+\chords { c:5.5-.5+ }
@end lilypond
For displaying printed chord names, use the @internalsref{ChordNames} context.
The chords may be entered either using the notation
-described above, or directly using @code{<} and @code{>}:
+described above, or directly using @code{<} and @code{>}
-@lilypond[verbatim,raggedright]
+@lilypond[quote,verbatim,raggedright]
scheme = \notes {
\chords {a1 b c} <d' f' a'> <e' g' b'>
}
\score {
- \notes<<
+ \notes <<
\context ChordNames \scheme
\context Staff \scheme
>>
You can make the chord changes stand out by setting
@internalsref{ChordNames}.@code{chordChanges} to true. This will only
display chord names when there is a change in the chords scheme and at
-the start of a new line:
+the start of a new line
-@lilypond[verbatim,linewidth=9\cm]
+@lilypond[quote,verbatim,linewidth=9\cm]
scheme = \chords {
c1:m c:m \break c:m c:m d
}
\score {
\notes <<
\context ChordNames {
- \set chordChanges = ##t
- \scheme }
+ \set chordChanges = ##t
+ \scheme }
\context Staff \transpose c c' \scheme
>>
}
The default chord name layout is a system for Jazz music, proposed by
Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
-following properties:
+following properties
@table @code
@cindex chordNameExceptions
Different parts of a chord name are normally separated by a
slash. By setting @code{chordNameSeparator}, you can specify other
separators, e.g.
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
\context ChordNames \chords {
- c:7sus4
- \set chordNameSeparator
- = \markup { \typewriter "|" }
- c:7sus4 }
+ c:7sus4
+ \set chordNameSeparator
+ = \markup { \typewriter "|" }
+ c:7sus4
+}
@end lilypond
@cindex chordRootNamer
@subsection Multiple staff contexts
Polyphonic scores consist of many staves. These staves can be
-constructed in three different ways:
+constructed in three different ways
@itemize @bullet
@item The group is started with a brace at the left, and bar lines are
connected. This is done with the @internalsref{GrandStaff} context.
@cindex mark
@cindex @code{\mark}
-To print a rehearsal mark, use the @code{\mark} command:
-@lilypond[fragment,verbatim]
+To print a rehearsal mark, use the @code{\mark} command
+@lilypond[quote,fragment,verbatim]
\relative c'' {
c1 \mark \default
c1 \mark \default
example, @code{markFormatter} is set to a canned procedure. After a
few measures, it is set to function that produces a boxed number.
-@lilypond[verbatim,fragment,relative=1]
- \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[quote,verbatim,fragment,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
@end lilypond
The file @file{scm/translation-functions.scm} contains the definitions
The @code{\mark} command can also be used to put signs like coda,
segno and fermatas on a bar line. Use @code{\markup} to
-to access the appropriate symbol:
+to access the appropriate symbol
-@lilypond[fragment,verbatim,relative=1]
- c1 \mark \markup { \musicglyph #"scripts-ufermata" }
- c1
+@lilypond[quote,fragment,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:
+behavior
@example
\override Score.RehearsalMark
#'break-visibility = #begin-of-line-invisible
Bar numbers can be typeset at regular intervals instead of at the
beginning of each line. This is illustrated in the following example,
whose source is available as
-@inputfileref{input/test,bar-number-regular-interval.ly}:
-
-@lilypondfile[]{bar-number-regular-interval.ly}
+@inputfileref{input/test,bar-number-regular-interval.ly}
+@lilypondfile[quote]{bar-number-regular-interval.ly}
@seealso
the start of the staff. For the first start, @code{instrument} is
used, for the next ones @code{instr} is used.
-@quotation
-@lilypond[verbatim,raggedright,relative=2]
- \set Staff.instrument = "Ploink "
- \set Staff.instr = "Plk "
- c1
- \break
- c''
+@lilypond[quote,verbatim,raggedright,relative=1]
+\set Staff.instrument = "Ploink "
+\set Staff.instr = "Plk "
+c1
+\break
+c''
@end lilypond
-@end quotation
You can also use markup texts to construct more complicated instrument
names, for example
-@quotation
-@lilypond[fragment,verbatim,raggedright]
- \notes {
- \set Staff.instrument = \markup {
- \column < "Clarinetti"
- { "in B"
- \smaller \flat
- }
- >
- }
- { c''1 }
- }
+@lilypond[quote,fragment,verbatim,raggedright]
+\notes {
+ \set Staff.instrument = \markup {
+ \column < "Clarinetti" { "in B"
+ \smaller \flat } > }
+ { c''1 }
+}
@end lilypond
-@end quotation
+
+For longer instrument names, it may be useful to increase the
+@code{indent} setting in the @code{\paper} block.
@seealso
@cindex transposition of pitches
@cindex @code{\transpose}
-A music expression can be transposed with @code{\transpose}. The syntax
-is
+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
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{}
+\transpose a c @dots{}
@end example
Since @var{from} and @var{to} are pitches, so @code{\transpose} must be
inside a @code{\notes} section. @code{\transpose} distinguishes
between enharmonic pitches: both @code{\transpose c cis} or
@code{\transpose c des} will transpose up half a tone. The first
-version will print sharps and the second version will print flats:
+version will print sharps and the second version will print flats
-@lilypond[raggedright,verbatim]
+@lilypond[quote,raggedright,verbatim]
mus =\notes { \key d \major cis d fis g }
\score { \notes \context Staff {
\clef "F" \mus
@refbugs
-If you want to use both @code{\transpose} and @code{\relative}, then
+If you want to use both @code{\transpose} and @code{\relative},
you must put @code{\transpose} outside of @code{\relative}, since
@code{\relative} will have no effect music that appears inside a
@code{\transpose}.
E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
-The transposition is entered after the keyword @code{\transposition}:
+The transposition is entered after the keyword @code{\transposition}
@example
\transposition bes %% B-flat clarinet
@end example
-This command sets the property @code{instrumentTuning}. The value of
+This command sets the property @code{instrumentTransposition}. The value of
this property is used for MIDI output and quotations. It does not
affect how notes are printed in the current staff.
to fill a score with rests, or it can be printed as a single
multimeasure rest. This expansion is controlled by the property
@code{Score.skipBars}. If this is set to true, empty measures will not
-be expanded, and the appropriate number is added automatically:
+be expanded, and the appropriate number is added automatically
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
\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
notes. Hence, for time signatures other than 4/4, you must enter other
-durations. This can be done with augmentation dots or fractions:
+durations. This can be done with augmentation dots or fractions
-@lilypond[fragment,verbatim]
- \set Score.skipBars = ##t
- \time 3/4
- R2. | R2.*2
- \time 13/8
- R1*13/8
- R1*13/8*12
+@lilypond[quote,fragment,verbatim]
+\set Score.skipBars = ##t
+\time 3/4
+R2. | R2.*2
+\time 13/8
+R1*13/8
+R1*13/8*12
@end lilypond
An @code{R} spanning a single measure is printed as either a whole rest
@var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
replaced. If you need both texts and the number, you must add the
number by hand. A variable (@code{\fermataMarkup}) is provided for
-adding fermatas:
+adding fermatas
-@lilypond[verbatim,fragment]
+@lilypond[quote,verbatim,fragment]
\time 3/4
R2._\markup { "Ad lib" }
R2.^\fermataMarkup
collisions.
Be careful when entering multimeasure rests followed by whole
-notes. The following will enter two notes lasting four measures each:
+notes. The following will enter two notes lasting four measures each
@example
R1*4 cis cis
@end example
-When @code{skipBars} is set, then the result will look OK, but the
-bar numbering will be off.
+When @code{skipBars} is set, the result will look OK, but the bar
+numbering will be off.
@node Automatic part combining
@subsection Automatic part combining
voices, and stem directions are set automatically. Also, solo and
@emph{a due} parts are identified and can be marked.
-
The syntax for part combining is
@example
\partcombine @var{musicexpr1} @var{musicexpr2}
@end example
-The music expressions will be interpreted as @internalsref{Voice} contexts.
+The music expressions will be interpreted as @internalsref{Voice}
+contexts. If using relative octaves, @code{\relative} should be
+specified for both music expressions, i.e.
+
+@example
+\partcombine \relative @dots{} @var{musicexpr1}
+ \relative @dots{} @var{musicexpr2}
+@end example
+
+@noindent
+A @code{\relative} section that is outside of @code{\partcombine} has
+no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
+
The following example demonstrates the basic functionality of the part
combiner: putting parts on one staff, and setting stem directions and
-polyphony:
+polyphony
-@lilypond[verbatim,raggedright,fragment,relative=1]
- \new Staff \partcombine
- {
- g g a( b) c c r r
- }
- {
- g g r4 r e e g g
- }
+@lilypond[quote,verbatim,raggedright,fragment]
+\new Staff \partcombine
+ \relative g' { g g a( b) c c r r }
+ \relative g' { g g r4 r e e g g }
@end lilypond
The first @code{g} appears only once, although it was
`Solo II'.
If you just want the merging parts, and not the textual markings, you
-may set the property @var{soloADue} to false:
-
-@lilypond[verbatim,raggedright,fragment,relative=1]
- \new Staff <<
- \set Staff.soloADue = ##f
- \partcombine
- {
- g a( b) r
- }
- {
- g r4 r f
- } >>
+may set the property @code{soloADue} to false
+
+@lilypond[quote,verbatim,raggedright,fragment,relative=2]
+\new Staff <<
+ \set Staff.soloADue = ##f
+ \partcombine
+ \relative g' { g a( b) r }
+ \relative g' { g r4 r f }
+>>
@end lilypond
@seealso
off, the part combiner may typeset @code{a2} more than once in a
measure.
-@code{\partcombine} can not be inside @code{\times}.
+@code{\partcombine} cannot be inside @code{\times}.
+
+@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
the parts can be combined. Consequently, if the arguments switch to
-differently named @internalsref{Voice} contexts, then the events in
-those will be ignored.
+differently named @internalsref{Voice} contexts, the events in those
+will be ignored.
@node Hiding staves
@subsection Hiding staves
available, which does the same: staves containing nothing (or only
multi measure rests) are removed. The context definition is stored in
@code{\RemoveEmptyStaffContext} variable. Observe how the second staff
-in this example disappears in the second line:
+in this example disappears in the second line
-@lilypond[verbatim]
+@lilypond[quote,verbatim]
\score {
\notes \relative c' <<
\new Staff { e4 f g a \break c1 }
is possible to make different versions of the same music source.
In the following example, we see two versions of a piece of music, one
-for the full score, and one with cue notes for the instrumental part:
+for the full score, and one with cue notes for the instrumental part
@example
- c1
- \relative c' <<
- \tag #'part <<
- R1 \\
- @{
- \set fontSize = #-1
- c4_"cue" f2 g4 @}
- >>
- \tag #'score R1
- >>
- c1
+ c1
+ \relative c' <<
+ \tag #'part <<
+ R1 \\
+ @{
+ \set fontSize = #-1
+ c4_"cue" f2 g4 @}
+ >>
+ \tag #'score R1
+ >>
+ c1
@end example
The same can be applied to articulations, texts, etc.: they are
filtered. For example,
@example
\simultaneous @{
- @var{the music}
- \apply #(remove-tag 'score) @var{the music}
- \apply #(remove-tag 'part) @var{the music}
+ @var{the music}
+ \applymusic #(remove-tag 'score) @var{the music}
+ \applymusic #(remove-tag 'part) @var{the music}
@}
@end example
would yield
-@lilypondfile[]{tag-filter.ly}
+@lilypondfile[quote]{tag-filter.ly}
The argument of the @code{\tag} command should be a symbol, or a list
of symbols, for example,
quotation may then be done with @code{\quote}
@example
- \addquote @var{name} @var{music}
- \quote @var{name} @var{duration}
+\addquote @var{name} @var{music}
+\quote @var{name} @var{duration}
@end example
@noindent
Here, @var{name} is an identifying string. The @var{music} is any kind
-of music. This is an example of @code{\addquote}:
+of music. This is an example of @code{\addquote}
@verbatim
\addquote clarinet \notes\relative c' {
During a part, a piece of music can be quoted with the @code{\quote}
command.
-@verbatim
- \quote clarinet 2.
-@end verbatim
+@example
+\quote clarinet 2.
+@end example
This would cite 3 quarter notes (a dotted half note) of the previously
added clarinet voice.
Quotations take into account the transposition both source and target
instruments, if they are specified using the @code{\transposition} command.
-@lilypond[verbatim,fragment]
+@lilypond[quote,raggedright,verbatim]
\addquote clarinet \notes\relative c' {
\transposition bes
f4 fis g gis
If this all is way too much of documentation for you, and you just
want to dive into typesetting without worrying too much about the
-details on how to customize a context, then you may have a look at the
+details on how to customize a context, you may have a look at the
predefined contexts (see @ref{Vaticana style contexts}). Use them to
set up predefined style-specific voice and staff contexts, and
directly go ahead with the note entry.
produces note heads that mimic the look of note heads in historic
printings of the 16th century.
-The following example demonstrates the @code{neo_mensural} style:
+The following example demonstrates the @code{neo_mensural} style
-@lilypond[fragment,raggedright,verbatim]
- \override NoteHead #'style = #'neo_mensural
- a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
+@lilypond[quote,fragment,raggedright,verbatim]
+\override NoteHead #'style = #'neo_mensural
+a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
@end lilypond
When typesetting a piece in Gregorian Chant notation, a Gregorian
@seealso
-In this manual:
+In this manual
@ref{Percussion staves} use note head styles of their own that are
frequently used in contemporary music notation.
select ancient accidentals. Supported styles are
@code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
-@lilypond[raggedright,staffsize=26]
+@lilypond[quote,raggedright,staffsize=26]
\score {
\notes {
\fatText
raggedright = ##t
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context{
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Time_signature_engraver"
The @code{mensural} style finally mimics the appearance of rests as
in historic prints of the 16th century.
-The following example demonstrates the @code{neo_mensural} style:
+The following example demonstrates the @code{neo_mensural} style
-@lilypond[fragment,raggedright,verbatim]
- \override Rest #'style = #'neo_mensural
- r\longa r\breve r1 r2 r4 r8 r16
+@lilypond[quote,fragment,raggedright,verbatim]
+\override Rest #'style = #'neo_mensural
+r\longa r\breve r1 r2 r4 r8 r16
@end lilypond
There are no 32th and 64th rests specifically for the mensural or
modern style mensural C clef @tab
@code{neo_mensural_c1}, @code{neo_mensural_c2},
@code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
-@lilypond[relative,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.TimeSignature #'transparent = ##t
\clef "neo_mensural_c2" c
@end lilypond
@code{petrucci_c5}
@tab
-@lilypond[relative,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.TimeSignature #'transparent = ##t
\clef "petrucci_c2" c
@end lilypond
@code{clefs-petrucci_f} @tab
petrucci style mensural F clef @tab
@code{petrucci_f} @tab
-@lilypond[relative,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.TimeSignature #'transparent = ##t
\clef "petrucci_f" c
@end lilypond
@code{clefs-petrucci_g} @tab
petrucci style mensural G clef @tab
@code{petrucci_g} @tab
-@lilypond[relative,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.TimeSignature #'transparent = ##t
\clef "petrucci_g" c
@end lilypond
historic style mensural C clef @tab
@code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
@code{mensural_c4} @tab
-@lilypond[relative,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.TimeSignature #'transparent = ##t
\clef "mensural_c2" c
@end lilypond
@code{clefs-mensural_f} @tab
historic style mensural F clef @tab
@code{mensural_f} @tab
-@lilypond[relative,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.TimeSignature #'transparent = ##t
\clef "mensural_f" c
@end lilypond
@code{clefs-mensural_g} @tab
historic style mensural G clef @tab
@code{mensural_g} @tab
-@lilypond[relative,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.TimeSignature #'transparent = ##t
\clef "mensural_g" c
@end lilypond
@code{clefs-vaticana_do} @tab
Editio Vaticana style do clef @tab
@code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
-@lilypond[relative,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.StaffSymbol #'line-count = #4
\override Staff.TimeSignature #'transparent = ##t
\clef "vaticana_do2" c
@code{clefs-vaticana_fa} @tab
Editio Vaticana style fa clef @tab
@code{vaticana_fa1}, @code{vaticana_fa2} @tab
-@lilypond[relative,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.StaffSymbol #'line-count = #4
\override Staff.TimeSignature #'transparent = ##t
\clef "vaticana_fa2" c
@code{clefs-medicaea_do} @tab
Editio Medicaea style do clef @tab
@code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
-@lilypond[relative,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.StaffSymbol #'line-count = #4
\override Staff.TimeSignature #'transparent = ##t
\clef "medicaea_do2" c
@code{clefs-medicaea_fa} @tab
Editio Medicaea style fa clef @tab
@code{medicaea_fa1}, @code{medicaea_fa2} @tab
-@lilypond[relative,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.StaffSymbol #'line-count = #4
\override Staff.TimeSignature #'transparent = ##t
\clef "medicaea_fa2" c
@code{clefs-hufnagel_do} @tab
historic style hufnagel do clef @tab
@code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
-@lilypond[relative,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.StaffSymbol #'line-count = #4
\override Staff.TimeSignature #'transparent = ##t
\clef "hufnagel_do2" c
@code{clefs-hufnagel_fa} @tab
historic style hufnagel fa clef @tab
@code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
-@lilypond[relative,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.StaffSymbol #'line-count = #4
\override Staff.TimeSignature #'transparent = ##t
\clef "hufnagel_fa2" c
@code{clefs-hufnagel_do_fa} @tab
historic style hufnagel combined do/fa clef @tab
@code{hufnagel_do_fa} @tab
-@lilypond[relative,notime]
+@lilypond[quote,relative=1,notime]
\override Staff.TimeSignature #'transparent = ##t
\clef "hufnagel_do_fa" c
@end lilypond
Use the @code{flag-style} property of grob @internalsref{Stem} to
select ancient flags. Besides the @code{default} flag style,
- only @code{mensural} style is supported:
+ only @code{mensural} style is supported
-@lilypond[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
+@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
@end lilypond
Note that the innermost flare of each mensural flag always is
behavior, you can set the @code{adjust-if-on-staffline} property of
grob @internalsref{Stem} to @code{##f}. Then, the vertical position
of the end of each flare is different between notes on staff lines and
-notes between staff lines:
+notes between staff lines
-@lilypond[fragment,raggedright]
- \override Stem #'flag-style = #'mensural
- \override Stem #'thickness = #1.0
- \override Stem #'adjust-if-on-staffline = ##f
- \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
+@lilypond[quote,fragment,raggedright]
+\override Stem #'flag-style = #'mensural
+\override Stem #'thickness = #1.0
+\override Stem #'adjust-if-on-staffline = ##f
+\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
There is no particular flag style for neo-mensural notation. Hence,
glyphs are hard-wired to particular time fractions. In other words,
to get a particular mensural signature glyph with the @code{\time n/m}
command, @code{n} and @code{m} have to be chosen according to the
-following table:
+following table
-@lilypond
+@lilypond[quote]
\score {
\notes {
\set Score.timing = ##f
indent = 0.0
raggedright = ##t
\context {
- \StaffContext
+ \Staff
\remove Staff_symbol_engraver
\remove Clef_engraver
\remove Time_signature_engraver
For typesetting custodes, just put a @internalsref{Custos_engraver} into the
@internalsref{Staff} context when declaring the @code{\paper} block,
-as shown in the following example:
+as shown in the following example
@example
\paper @{
\context @{
- \StaffContext
+ \Staff
\consists Custos_engraver
Custos \override #'style = #'mensural
@}
@}
@end example
-The result looks like this:
+The result looks like this
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
\score {
\notes {
a'1
}
\paper {
\context {
- \StaffContext
+ \Staff
\consists Custos_engraver
}
}
The custos glyph is selected by the @code{style} property. The styles
supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
-@code{mensural}. They are demonstrated in the following fragment:
+@code{mensural}. They are demonstrated in the following fragment
-@lilypond
+@lilypond[quote]
\score {
\new Lyrics \lyrics {
\markup {
and @code{\finalis} at proper places in the input. Some editions use
@emph{virgula} or @emph{caesura} instead of divisio minima.
Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
-@code{\caesura}:
+@code{\caesura}
-@lilypondfile[]{divisiones.ly}
+@lilypondfile[quote,raggedright]{divisiones.ly}
@refcommands
Some ligature styles may need additional input syntax specific for
this particular type of ligature. By default, the
@internalsref{LigatureBracket} engraver just puts a square bracket
-above the ligature:
+above the ligature
-@lilypond[raggedright,verbatim]
+@lilypond[quote,raggedright,verbatim]
\score {
- \notes \transpose c c' {
- \[ g c a f d' \]
- a g f
- \[ e f a g \]
- }
+ \notes \transpose c c' {
+ \[ g c a f d' \]
+ a g f
+ \[ e f a g \]
+ }
}
@end lilypond
To engrave white mensural ligatures, in the paper block the
@internalsref{Mensural_ligature_engraver} has to be put into the
@internalsref{Voice} context, and remove the
-@internalsref{Ligature_bracket_engraver}:
+@internalsref{Ligature_bracket_engraver}
@example
\paper @{
\context @{
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Mensural_ligature_engraver
@}
s4
\[ e1 f1 a\breve g\longa \]
@end example
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
\score {
\notes \transpose c c' {
\set Score.timing = ##f
}
\paper {
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Mensural_ligature_engraver
}
Without replacing @internalsref{Ligature_bracket_engraver} with
@internalsref{Mensural_ligature_engraver}, the same music transcribes
-to the following:
+to the following
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
\score {
\notes \transpose c c' {
\set Score.timing = ##f
@item
@code{1. Punctum}
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
}
@end lilypond
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
}
@end lilypond
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
@item
@code{2. Virga}
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
@item
@code{3. Apostropha vel Stropha}
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
}
@end lilypond
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
@item
@code{4. Oriscus}
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
@item
@code{5. Clivis vel Flexa}
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
}
@end lilypond
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
}
@end lilypond
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
@item
@code{6. Podatus vel Pes}
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
}
@end lilypond
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
}
@end lilypond
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
@item
@code{7. Pes Quassus}
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
}
@end lilypond
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
@item
@code{8. Quilisma Pes}
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
}
@end lilypond
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
@item
@code{9. Podatus Initio Debilis}
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
}
@end lilypond
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
@item
@code{10. Torculus}
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
}
@end lilypond
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
}
@end lilypond
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
@item
@code{11. Torculus Initio Debilis}
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
}
@end lilypond
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
}
@end lilypond
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
@item
@code{12. Porrectus}
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
}
@end lilypond
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
}
@end lilypond
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
@item
@code{13. Climacus}
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
}
@end lilypond
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
}
@end lilypond
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
@item
@code{14. Scandicus}
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
}
@end lilypond
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
}
@end lilypond
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
@item
@code{15. Salicus}
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
}
@end lilypond
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\paper {
interscoreline = 1
\context {
- \ScoreContext
+ \Score
\remove "Bar_number_engraver"
}
\context {
- \StaffContext
+ \Staff
\remove "Clef_engraver"
\remove "Key_engraver"
\override StaffSymbol #'transparent = ##t
minimumVerticalExtent = ##f
}
\context {
- \VoiceContext
+ \Voice
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
\override NoteHead #'style = #'vaticana_punctum
@item
@code{16. Trigonus}
@tab
-@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
+@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \notes \transpose c c' {
- % Trigonus
- \[ \stropha b \stropha b \stropha a \]
- s^\markup {"P"}
+ \notes \transpose c c' {
+ % Trigonus
+ \[ \stropha b \stropha b \stropha a \]
+ s^\markup {"P"}
+ }
+ \paper {
+ interscoreline = 1
+ \context {
+ \Score
+ \remove "Bar_number_engraver"
}
- \paper {
- interscoreline = 1
- \context {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \context {
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \override StaffSymbol #'transparent = ##t
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- minimumVerticalExtent = ##f
- }
- \context {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Vaticana_ligature_engraver
- \override NoteHead #'style = #'vaticana_punctum
- \override Stem #'transparent = ##t
- }
+ \context {
+ \Staff
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ \override StaffSymbol #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \context {
+ \Voice
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
+ }
}
@end lilypond
@tab
@refcommands
-The following head prefixes are supported:
+The following head prefixes are supported
@cindex @code{\virga}
@code{\virga},
Gregorian Chant in the style of the Editio Vaticana. These contexts
initialize all relevant context properties and grob properties to
proper values. With these contexts, you can immediately go ahead
-entering the chant, as the following short excerpt demonstrates:
+entering the chant, as the following short excerpt demonstrates
-@lilypond[raggedright,verbatim,noindent]
+@lilypond[quote,raggedright,verbatim,noindent]
\include "gregorian-init.ly"
\score {
-<<
- \context VaticanaVoice = "cantus" {
- \override Score.BarNumber #'transparent = ##t
- \notes {
- \[ c'\melisma c' \flexa a \]
- \[ a \flexa \deminutum g\melismaEnd \]
- f \divisioMinima
- \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
- c' \divisioMinima \break
- \[ c'\melisma c' \flexa a \]
- \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
+ <<
+ \context VaticanaVoice = "cantus" {
+ \override Score.BarNumber #'transparent = ##t
+ \notes {
+ \[ c'\melisma c' \flexa a \]
+ \[ a \flexa \deminutum g\melismaEnd \]
+ f \divisioMinima
+ \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
+ c' \divisioMinima \break
+ \[ c'\melisma c' \flexa a \]
+ \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
+ }
}
- }
- \lyricsto "cantus" \new Lyrics \lyrics {
- San- ctus, San- ctus, San- ctus
- } >>
-
+ \lyricsto "cantus" \new Lyrics \lyrics {
+ San- ctus, San- ctus, San- ctus
+ }
+ >>
}
@end lilypond
@c TODO: musicological blurb about FB
-LilyPond has limited support for figured bass:
+LilyPond has limited support for figured bass
-@lilypond[verbatim,fragment]
+@lilypond[quote,verbatim,fragment]
<<
- \context Voice \notes { \clef bass dis4 c d ais}
- \context FiguredBass
- \figures {
- < 6 >4 < 7 >8 < 6+ [_!] >
+ \context Voice \notes { \clef bass dis4 c d ais }
+ \context FiguredBass \figures {
+ < 6 >4 < 7 >8 < 6+ [_!] >
< 6 >4 <6 5 [3+] >
- }
- >>
+ }
+>>
@end lilypond
The support for figured bass consists of two parts: there is an input
takes care of making @internalsref{BassFigure} objects.
In figures input mode, a group of bass figures is delimited by
-@code{<} and @code{>}. The duration is entered after the @code{>>}:
+@code{<} and @code{>}. The duration is entered after the @code{>>}
@example
- <4 6>
+<4 6>
@end example
-@lilypond[fragment]
+@lilypond[quote,fragment]
\context FiguredBass
\figures { <4 6> }
@end lilypond
Accidentals are added when you append @code{-}, @code{!} and @code{+}
-to the numbers:
+to the numbers
@example
- <4- 6+ 7!>
+<4- 6+ 7!>
@end example
-@lilypond[fragment]
- \context FiguredBass
- \figures { <4- 6+ 7!> }
+@lilypond[quote,fragment]
+\context FiguredBass
+\figures { <4- 6+ 7!> }
@end lilypond
Spaces or dashes may be inserted by using @code{_}. Brackets are
-introduced with @code{[} and @code{]}:
+introduced with @code{[} and @code{]}
@example
- < [4 6] 8 [_! 12]>
+< [4 6] 8 [_! 12]>
@end example
-@lilypond[fragment]
- \context FiguredBass
+@lilypond[quote,fragment]
+\context FiguredBass
\figures { < [4 6] 8 [_! 12]> }
@end lilypond
applying the function @code{notes-to-clusters} to a sequence of
chords, e.g.
@c
-@lilypond[relative=1,verbatim]
- \apply #notes-to-clusters { <c e > <b f'> }
+@lilypond[quote,relative=2,verbatim]
+\applymusic #notes-to-clusters { <c e > <b f'> }
@end lilypond
The following example (from
@inputfileref{input/regression,cluster.ly}) shows what the result
-looks like:
+looks like
-@lilypondfile[]{cluster.ly}
+@lilypondfile[quote]{cluster.ly}
Ordinary notes and clusters can be put together in the same staff,
even simultaneously. In such a case no attempt is made to
Contemporary music notation frequently uses special fermata symbols to
-indicate fermatas of differing lengths.
+indicate fermatas of differing lengths. The following fermatas are
+supported
-@syntax
-
-The following are supported
-
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
\score {
- << \addlyrics \notes {
- b'
- ^\shortfermata
- _\shortfermata
- r
- b'
- ^\fermata
- _\fermata
-
- r
- b'
- ^\longfermata
- _\longfermata
-
- r
- b'
- ^\verylongfermata
- _\verylongfermata
- r
+ <<
+ \addlyrics \notes {
+ b'
+ ^\shortfermata
+ _\shortfermata
+ r
+ b'
+ ^\fermata
+ _\fermata
+
+ r
+ b'
+ ^\longfermata
+ _\longfermata
+
+ r
+ b'
+ ^\verylongfermata
+ _\verylongfermata
+ r
}
\context Lyrics \lyrics {
- \override LyricText #'font = #'typewriter
+ \override LyricText #'font-family = #'typewriter
"shortfermata" "fermata" "longfermata" "verylongfermata"
- } >>
+ }
+ >>
}
@end lilypond
The following example demonstrates its use.
-@lilypond[verbatim,fragment,raggedright,relative=1]
- \context Voice
- \applyoutput
- #(add-balloon-text 'NoteHead "heads, or tails?"
- '(1 . -3))
- c8
+@lilypond[quote,verbatim,fragment,raggedright,relative=2]
+\context Voice
+\applyoutput
+ #(add-balloon-text 'NoteHead "heads, or tails?"
+ '(1 . -3))
+c8
@end lilypond
@noindent
@cindex Hal Leonard
The `easy play' note head includes a name inside the head. It is
-used in music for beginners:
+used in music for beginners
-@lilypond[raggedright,verbatim,staffsize=26]
- \setEasyHeads
- c'2 e'4 f' | g'1
+@lilypond[quote,raggedright,verbatim,staffsize=26]
+\setEasyHeads
+c'2 e'4 f' | g'1
@end lilypond
The command @code{\setEasyHeads} overrides settings for the
@internalsref{NoteHead} object. To make the letters readable, it has
to be printed in a large font size. To print with a larger font, see
-@ref{Font Size}.
+@ref{Setting global staff size}.
@cindex Xdvi
@cindex ghostscript
-If you view the result with Xdvi, then staff lines may show through
-the letters. Printing the PostScript file obtained does produce the
+If you view the result with Xdvi, staff lines may show through the
+letters. Printing the PostScript file obtained does produce the
correct result.
@refcommands
@cindex Sound
Entered music can also be converted to MIDI output. The performance
-is intented for proof-hearing the music for errors.
+is intended for proof-hearing the music for errors.
Ties, dynamics and tempo changes are interpreted. Dynamic marks,
crescendi and decrescendi translate into MIDI volume levels. Dynamic
settings. Hence, the MIDI file should not have more than 15 staves
(or 14 if you do not use drums). Other staves will remain silent.
+Not all MIDI players correctly handle tempo change in the MIDI
+output. Players that are known to work include
+@uref{timidity,http://timidity.sourceforge.net/}
+
@menu
* MIDI block::
The MIDI block is analogous to the paper block, but it is somewhat
-simpler. The @code{\midi} block can contain:
+simpler. The @code{\midi} block can contain
@cindex MIDI block
@itemize @bullet
A number followed by a period is interpreted as a real number, so
for setting the tempo for dotted notes, an extra space should be
-inserted, for example:
+inserted, for example
@example
\midi @{ \tempo 4 . = 120 @}
@refbugs
-If the selected string does not exactly match, then the default is
-used, which is the Grand Piano.
+If the selected string does not exactly match, the default is used,
+which is the Grand Piano.
projects / lilypond.git / blobdiff