cisis
@end lilypond
+In accordance with standard typsetting rules, a natural sign is printed
+before a sharp or flat if a previous accidental needs to be
+cancelled. To change this behaviour, use
+@code{\set Staff.extraNatural = ##f}
+
+@lilypond[fragment,quote,raggedright,verbatim,relative=2]
+ceses4 ces cis c
+\set Staff.extraNatural = ##f
+ceses4 ces cis c
+@end lilypond
+
There are predefined sets of note names for various other languages.
To use them, include the language specific init file. For
example: @code{\include "english.ly"}. The available language files
@internalsref{Staff}.@code{keySignature}. Non-standard key signatures
can be specified by setting this property directly.
+A natural sign is printed to cancel any previous accidentals. This
+can be suppressed by setting the @code{Staff.printKeyCancellation}
+property.
+
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+{
+ \key d \major
+ a b cis d
+ \key g \minor
+ a bes c d
+ \set Staff.printKeyCancellation = ##f
+ \key d \major
+ a b cis d
+ \key g \minor
+ a bes c d
+}
+@end lilypond
+
Accidentals and key signatures often confuse new users, because
unaltered notes get natural signs depending on the key signature. For
more information, see @ref{More about pitches}.
This command is equivalent to setting @code{clefGlyph},
@code{clefPosition} (which controls the Y position of the clef),
-@code{centralCPosition} and @code{clefOctavation}. A clef is printed
+@code{middleCPosition} and @code{clefOctavation}. A clef is printed
when any of these properties are changed. The following example shows
possibilities when setting properties manually.
+@ignore
+should to be fixed very quickly -gp
+
@lilypond[quote,raggedright,verbatim]
{
- \set Staff.clefGlyph = #"clefs-F"
+ \set Staff.clefGlyph = #"clefs.F"
\set Staff.clefPosition = #2
c'4
- \set Staff.clefGlyph = #"clefs-G"
+ \set Staff.clefGlyph = #"clefs.G"
c'4
- \set Staff.clefGlyph = #"clefs-C"
+ \set Staff.clefGlyph = #"clefs.C"
c'4
\set Staff.clefOctavation = #7
c'4
c'4
\clef "bass"
c'4
+ \set Staff.middleCPosition = #4
+ c'4
}
@end lilypond
+@end ignore
@seealso
Timing can be changed by setting any of these variables explicitly.
In the next example, the 4/4 time signature is printed, but
@code{measureLength} is set to 5/4. After a while, the measure is
-shortened by 1/8, by setting @code{measurePosition} to -3/8 at 2/4 in
-the measure, so the next bar line will fall at 2/4 + 3/8.
+shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
+in the measure, so the next bar line will fall at 2/4 + 3/8. The
+3/8 arises because 5/4 normally has 10/8, but we have manually
+set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
@lilypond[quote,raggedright,verbatim,relative,fragment]
\set Score.measureLength = #(ly:make-moment 5 4)
c1 c4
c1 c4
c4 c4
-\set Score.measurePosition = #(ly:make-moment -3 8)
+\set Score.measurePosition = #(ly:make-moment 7 8)
b8 b b
c4 c1
@end lilypond
@node Controlling formatting of prefatory matter
@subsection Controlling formatting of prefatory matter
-TODO: Somebody needs to explain this example, but I don't know what
-they're trying to do, so it won't be me. -gp
+@c This section will be moved to somewhere else soon. -gp
+This example demonstrates how to place prefatory matter
+(such as the clef and key signature) at the end of a line.
@lilypond[quote,verbatim]
\transpose c c' {
@cindex layers
to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
each of these contexts, vertical direction of slurs, stems, etc., is set
-appropriately.
+appropriately. Specifically,
+
+@example
+<< \upper \\ \lower >>
+@end example
+
+@noindent
+is equivalent to
+
+@example
+<<
+ \context Voice = "1" @{ \voiceOne \upper @}
+ \context Voice = "2" @{ \voiceTwo \lower @}
+>>
+@end example
@cindex @code{\voiceOne}
@cindex @code{\voiceFour}
The command @code{\oneVoice} will revert back to the normal setting.
@cindex @code{\oneVoice}
+Defining voices (either with the separator @code{\\} or with
+@code{\voiceXXX}) will set the direction of stems, slurs, ties,
+articulations, text annotations, augmentation dots of dotted
+notes, and fingerings. @code{\voiceOne} makes these objects
+point upwards, while @code{\voiceTwo} makes them point down.
Normally, note heads with a different number of dots are not merged, but
when the object property @code{merge-differently-dotted} is set in
@code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
are defined in @file{scm/@/auto@/-beam@/.scm}.
-The value of @code{autoBeamSettings} is changed with two functions,
+The value of @code{autoBeamSettings} is changed with three functions,
@example
#(override-auto-beam-setting
'(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
[@var{context}])
-#(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
+#(score-override-auto-beam-setting
+ '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b})
+#(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m})
+ [@var{context}])
@end example
Here, @var{be} is the symbol @code{begin} or @code{end}, and
@var{context} is an optional context (default: @code{'Voice}). It
designate all time signatures), @var{a}/@var{b} is a duration. By
default, this command changes settings for the current voice. It is
also possible to adjust settings at higher contexts, by adding a
-@var{context} argument.
+@var{context} argument. @code{score-override-auto-beam-setting} is
+equal to @code{override-auto-beam-setting} with the argument
+@var{context} set to @code{'Score}.
For example, if automatic beams should end on every quarter note, use
the following
@cindex accent
@cindex marcato
@cindex staccatissimo
+@cindex espressivo
@cindex fermata
@cindex stopped
@cindex staccato
@lilypond[quote,raggedright,fragment,relative=2,verbatim]
\setTextCresc
-c \< d e f\!
+c\< d e f\!
\setHairpinCresc
e\> d c b\!
+\setTextDecresc
+c\> d e f\!
+\setTextDim
+e\> d c b\!
@end lilypond
@cindex crescendo
@cindex diminuendo
+To create new dynamic marks or text that should be aligned
+with dynamics, see @ref{New dynamic marks}.
+
@refcommands
Brackets for the repeat are normally only printed over the topmost
staff. This can be adjusted by setting the @code{voltaOnThisStaff}
-property @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly},
-@inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}.
+property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
+
+@c not necessary
+@c @inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}.
@refbugs
* Flexibility in alignment::
* More stanzas::
* Ambitus::
+* Other vocal issues::
@end menu
@node Setting simple songs
The @code{\addlyrics} command is actually just a convienient way
to write a more complicated LilyPond structure that sets up the
-lyrics. You should use @code{\addlyrics} unless you need to
+lyrics. You should use @code{\addlyrics} unless you need to do
fancy things, in which case you should investigate
@code{\lyricsto} or @code{\lyricmode}.
@example
\context Voice = blah @{ music @}
-\lyricsto "blah" \lyricsmode \new lyrics @{ LYRICS @}
+\lyricsto "blah" \new lyrics @{ LYRICS @}
@end example
+@refbugs
+
+@code{\addlyrics} cannot handle polyphony.
+
@node Entering lyrics
@subsection Entering lyrics
usually a mistake in the input file. The syllable includes a @code{@}}, so the
opening brace is not balanced
@example
-\lyricmode @{ twinkle @}
+\lyricmode @{ twinkle@}
@end example
@cindex @code{\property}, in @code{\lyricmode}
next one. Such a line is called an extender line, and it is entered as
@code{__}.
+@ignore
+FIXME: check that this compiles and displays correctly. I don't want
+to commit this part blindly.
+
+In tighly engraved music, hyphens can be removed. In some languages
+(e.g. German and Hungarian), hyphens should not disappear, since
+spelling depends on hyphenation. For that purpose, hyphens can be
+forced to remain by overriding @code{minimum-length} of
+the @code{LyricHyphen} grob.
+
+(code from 2.2)
+\score {
+<< \notes \new Staff \relative c'' { \time 1/4 c16[ c c c]
+\time 1/4
+c16[ c c c]
+\time 1/4
+c16[ c c c]
+
+}
+ \lyrics \new Lyrics \with {
+ % Otherwise lyrics are so far apart that hyphens don't disappear
+ \override SeparationItem #'padding = #0.0
+ }{ bla -- bla -- bla -- bla --
+ bla -- bla -- bla -- bla --
+
+ \override LyricHyphen #'minimum-length = #0.7
+ \override LyricHyphen #'spacing-procedure =
+ #Hyphen_spanner::set_spacing_rods
+
+ bla -- bla -- bla -- bla
+ }>>
+ \paper {
+ indent = 0.0 \cm
+ linewidth = 3.4 \cm
+
+ \context {
+ \StaffContext \remove "Time_signature_engraver"
+ }
+
+ }
+
+}
+@end ignore
+
@seealso
@internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
@internalsref{LyricExtender}
-Examples: @inputfileref{input/@/test,lyric@/-hyphen@/-retain@/.ly}.
-
@node The Lyrics context
@cindex choral score
A complete example of a SATB score setup is in section
-@ref{Small ensembles}.
+@ref{Vocal ensembles}.
@refcommands
Program reference: @internalsref{LyricCombineMusic},
@internalsref{Lyrics}, @internalsref{Melisma_translator}.
-Examples: @ref{Small ensembles},
-@inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly},
+
+@inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
@c TODO: make separate section for melismata
-@inputfileref{input/@/test,lyrics@/-melisma@/-variants@/.ly}.
-@inputfileref{input/@/test,lyrics@/-melisma@/-faster@/.ly}.
+
+@c I can't find these examples in 2.0 or 2.2; remove. -gp
+@c @inputfileref{input/@/test,lyrics@/-melisma@/-variants@/.ly}.
+@c @inputfileref{input/@/test,lyrics@/-melisma@/-faster@/.ly}.
@refbugs
rather than to the @internalsref{Voice} context. Here is an example,
@lilypond[verbatim,raggedright,quote]
-\new Staff <<
+\new Staff \with {
+ \consists "Ambitus_engraver"
+}
+<<
\new Voice \with {
- \consists "Ambitus_engraver"
+ \remove "Ambitus_engraver"
} \relative c'' {
\override Ambitus #'X-offset-callbacks
= #(list (lambda (grob axis) -1.0))
c4 a d e f2
}
\new Voice \with {
- \consists "Ambitus_engraver"
+ \remove "Ambitus_engraver"
} \relative c' {
\voiceTwo
es4 f g as b2
There is no collision handling in the case of multiple per-voice
ambitus.
+@node Other vocal issues
+@subsection Other vocal issue
+
+@ignore
+yeah, I'm giving up somewhat by stuffing a bunch of things in
+here. But at least they're in the manual now; it's easier to
+move them around in the manual once they're already here.
+
+Besides, if users complain about everything stuffed in here, I
+can ask them for specific instructions about where to move these
+examples, and that might get them more involved in the docs. -gp
+@end ignore
+
+You can display alternate (or divisi) lyrics by naming voice
+contexts and attaching lyrics to those specific contexts.
+
+@lilypond[verbatim,raggedright,quote]
+\score{ <<
+ \context Voice = "melody" {
+ \relative c' {
+ c4
+ <<
+ { \voiceOne c8 e }
+ \context Voice = splitpart { \voiceTwo c4 }
+ >>
+ \oneVoice c4 c | c
+ }
+ }
+ \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
+ \new Lyrics \lyricsto "splitpart" { shall }
+>> }
+@end lilypond
+
+
+You can use this trick to display different lyrics for a repeated
+section.
+
+@lilypond[verbatim,raggedright,quote]
+\score{ <<
+ \context Voice = melody \relative c' {
+ c2 e | g e | c1 |
+ \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
+ a2 b | c1}
+ \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
+ do mi sol mi do
+ la si do }
+ \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
+ do re mi fa sol }
+ \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
+ dodo rere mimi fafa solsol }
+>>
+}
+@end lilypond
+
+
@node Other instrument specific notation, Tablatures, Vocal music, Notation manual
@section Other instrument specific notation
Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
@inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
-@inputfileref{input/@/test,chord@/-names@/-jazz@/.ly},
-@inputfileref{input/@/test,chords@/-without@/-melody@/.ly}.
+@inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
@c umm, is the manual the right place for feature requests? :) -gp
@c FIXME - should make that tunable.
-To use boxed bar numbers instead of letters, see @ref{Bar numbers}.
-
The mark is incremented automatically if you use @code{\mark
\default}, but you can also use an integer argument to set the mark
manually. The value to use is stored in the property
\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))))
+\set Score.markFormatter = #format-mark-box-numbers
c1 \mark \default
c1 \mark \default
c1
@end lilypond
The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
-of @code{format-mark-numbers} (the default format) and
-@code{format-mark-letters}. These can be used as inspiration for other
-formatting functions.
+of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
+@code{format-mark-letters} and @code{format-mark-box-letters}.
+These can be used as inspiration for other formatting functions.
@cindex coda on bar line
c1
@end lilypond
-In the case of a line break, marks must also be printed at the end of
-the line, and not at the beginning. Use the following to force that
-behavior
+If the mark occurs at a line break, the mark will be printed at the
+beginning of the next line.
+@c IMO this is a bug; hopefully it'll be fixed soon, so I can
+@c delete this sentence. -gp
+If there is no next line, then the mark will not be printed at all.
+To print the mark at the end of the current line, use
+
@example
\override Score.RehearsalMark
#'break-visibility = #begin-of-line-invisible
@lilypond[quote,fragment,verbatim,raggedright]
\set Staff.instrument = \markup {
\column { "Clarinetti"
- { "in B" \smaller \flat } } }
+ \line { "in B" \smaller \flat } } }
c''1
@end lilypond
specified twice (once in each part). Stem, slur, and tie directions are
set automatically, depending whether there is a solo or unisono. The
first part (with context called @code{one}) always gets up stems, and
-`solo', while the second (called @code{two}) always gets down stems and
+`Solo', while the second (called @code{two}) always gets down stems and
`Solo II'.
If you just want the merging parts, and not the textual markings, you
>>
@end lilypond
+To change the text that is printed for solos or merging, you may
+set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
+properties.
+
+@lilypond[quote,verbatim,raggedright,fragment,relative=2]
+\new Staff <<
+ \set Score.soloText = #"ichi"
+ \set Score.soloIIText = #"ni"
+ \set Score.aDueText = #"tachi"
+ \partcombine
+ \relative g' { g4 g a( b) r }
+ \relative g' { g4 g r r f }
+>>
+@end lilypond
Both arguments to @code{\partcombine} will be interpreted as
@internalsref{Voice} contexts. If using relative octaves,
@node Different editions from one source
@subsection Different editions from one source
+@cindex tag
The @code{\tag} command marks music expressions with a name. These
tagged expressions can be filtered out later. With this mechanism it
is possible to make different versions of the same music source.
This defines a note with a conditional fingering indication.
+@cindex keepWithTag
+@cindex removeWithTag
By applying the @code{\keepWithTag} and @code{\removeWithTag}
commands, tagged expressions can be filtered. For example,
@example
s^\markup {
\column {
"vaticana"
- { " " \musicglyph #"accidentals-vaticana-1"
- " " \musicglyph #"accidentals-vaticana0" }
+ \line { " " \musicglyph #"accidentals-vaticana-1"
+ " " \musicglyph #"accidentals-vaticana0" }
}
\column {
"medicaea"
- { " " \musicglyph #"accidentals-medicaea-1" }
+ \line { " " \musicglyph #"accidentals-medicaea-1" }
}
\column {
"hufnagel"
- { " " \musicglyph #"accidentals-hufnagel-1" }
+ \line { " " \musicglyph #"accidentals-hufnagel-1" }
}
\column {
"mensural"
- { " " \musicglyph #"accidentals-mensural-1"
- " " \musicglyph #"accidentals-mensural1" }
+ \line { " " \musicglyph #"accidentals-mensural-1"
+ " " \musicglyph #"accidentals-mensural1" }
}
}
}
Use the @code{style} property of grob @internalsref{Rest} to select
-ancient accidentals. Supported styles are @code{classical},
+ancient rests. Supported styles are @code{classical},
@code{neomensural}, and @code{mensural}. @code{classical} differs
from the @code{default} style only in that the quarter rest looks like
a horizontally mirrored 8th rest. The @code{neomensural} style suits
\new Lyrics \lyricmode {
\markup { \column {
\typewriter "vaticana"
- { " " \musicglyph #"custodes-vaticana-u0" }
+ \line { " " \musicglyph #"custodes-vaticana-u0" }
} }
\markup { \column {
\typewriter "medicaea"
- { " " \musicglyph #"custodes-medicaea-u0" }
+ \line { " " \musicglyph #"custodes-medicaea-u0" }
}}
\markup { \column {
\typewriter "hufnagel"
- { " " \musicglyph #"custodes-hufnagel-u0" }
+ \line { " " \musicglyph #"custodes-hufnagel-u0" }
}}
\markup { \column {
\typewriter "mensural"
- { " " \musicglyph #"custodes-mensural-u0" }
+ \line { " " \musicglyph #"custodes-mensural-u0" }
}}
}
@end lilypond
@lilypond[quote,raggedright,verbatim,fragment]
<<
- \context Voice { \clef bass dis4 c d ais }
+ \context Voice { \clef bass dis4 c d ais g fis}
\context FiguredBass \figuremode {
< 6 >4 < 7 >8 < 6+ [_!] >
< 6 >4 <6 5 [3+] >
+ < _ >4 < 6 >4
}
>>
@end lilypond
projects / lilypond.git / blobdiff