This chapter describes all the different types of notation supported
by LilyPond. It is intended as a reference for users that are already
-somewhat familiar with using LilyPond.
+somewhat familiar with LilyPond.
@menu
* Note entry::
@section Note entry
@cindex Note entry
-The basic elements of any piece of music are the notes. This section
-is about basic notation elements notes, rests and related constructs,
-such as stems, tuplets and ties.
+This section is about basic notation elements notes, rests and
+related constructs, such as stems, tuplets and ties.
@menu
* Notes::
@cindex entering notes
The most common syntax for pitch entry is used in @code{\chords} and
-@code{\notes} mode. In Note and Chord mode, pitches may be designated
-by names. The notes are specified by the letters @code{a} through
+@code{\notes} mode. In these modes, pitches may be designated by
+names. The notes are specified by the letters @code{a} through
@code{g}, while the octave is formed with notes ranging from @code{c}
to @code{b}. The pitch @code{c} is an octave below middle C and the
letters span the octave above that C:
@seealso
-Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
+Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
@node Chromatic alterations
@subsection Chromatic alterations
@end lilypond
+@seealso
+
The automatic production of accidentals can be tuned in many
ways. For more information, refer to @ref{Accidentals}.
+
+@refbugs
+
+There are no generally accepted standards for denoting three quarter
+flats, so LilyPond's symbol does not conform to any standard.
+
@node Chords
@subsection Chords
@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
+@end lilypond
@node Rests
@subsection Rests
@end lilypond
Whole bar rests, centered in middle of the bar,
-must be done with multi measure rests. They are discussed in
+must be done with multi-measure rests. They are discussed in
@ref{Multi measure rests}.
@seealso
-Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
+Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
@c FIXME: naming.
@seealso
-Internals: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
+Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
@lilypond[noindent]
\score {
\notes \relative c'' {
- a\breve \autoBeamOff
+ a\breve*1/2 \autoBeamOff
a1 a2 a4 a8 a16 a32 a64 a64
- r\longa r\breve
+ r\longa*1/4 r\breve *1/2
r1 r2 r4 r8 r16 r32 r64 r64
}
\paper {
- \translator {
+ raggedright = ##t
+ \context {
\StaffContext
\remove "Clef_engraver"
\override StaffSymbol #'transparent = ##t
- \override TimeSignature #'transparent = ##t
+ \override TimeSignature #'transparent = ##t
+ \override BarLine #'transparent = ##t
\consists "Pitch_squash_engraver"
}
}
@seealso
-Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
+Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
@node Stems
@subsection Stems
In this manual: @ref{Automatic note splitting}.
-Internals: @internalsref{TieEvent}, @internalsref{Tie}.
+Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
For tying only a subset of the note heads of a pair of chords, see
@inputfileref{input/regression,tie-chord-partial.ly}.
@seealso
-Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
+Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
Examples: @inputfileref{input/regression,tuplet-nest.ly}.
@section Easier music entry
@cindex Music entry
-When entering music it is easy to introduce errors. This section deals
-with tricks and features of the input language that were added solely
-to help entering music, and find and correct mistakes.
+This section deals with tricks and features of the input language that
+were added solely to help entering music, finding and correcting
+mistakes. There are also external tools that make debugging easier.
+See @ref{Point and click} for more information.
-It is also possible to use external programs, for example GUI
-interfaces, or MIDI transcription programs, to enter or edit
-music. Refer to the website for more information. Finally, there are
-tools make debugging easier, by linking the input file and the output
-shown on screen. See @ref{Point and click} for more information.
+It is also possible to enter and edit music using other programs. For
+example, GUI interfaces, or MIDI sequencers. Refer to the LilyPond
+website for more information.
@menu
The octave of notes that appear in @var{musicexpr} are calculated as
follows: If no octave changing marks are used, the basic interval
-between this and the last note is always taken to be a fourth or less
-(; this distance is determined without regarding alterations: a
+between this and the last note is always taken to be a fourth or
+less. This distance is determined without regarding alterations; a
@code{fisis} following a @code{ceses} will be put above the
-@code{ceses}).
+@code{ceses}.
The octave changing marks @code{'} and @code{,} can be added to raise
or lower the pitch by an extra octave. Upon entering relative mode,
@cindex @code{\notes}
The pitch after the @code{\relative} contains a note name. To parse
-the pitch as a note name, you have to be in note mode, so there must
-be a surrounding @code{\notes} keyword (which is not
-shown here).
+the note name as a pitch, it must surrounded by @code{\notes}
The relative conversion will not affect @code{\transpose},
@code{\chords} or @code{\relative} sections in its argument. If you
@noindent
@c take care with @code, adds confusing quotes.
the d will generate a warning, because a d'' is expected, but a d' is
-found. In the output, the octave is corrected this and the following
-notes.
+found. In the output, the octave is corrected for this and the
+following notes.
Bar checks help detect errors in the durations. A bar check is
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. Depending on the value of
-@code{barCheckSynchronize}, the beginning of the measure will be
-relocated.
-
-In the next example, the second bar check will signal an error:
+does not, a warning is printed. In the next example, the second bar
+check will signal an error:
@example
\time 3/4 c2 e4 | g2 |
@end example
Examples: @inputfileref{input/regression,completion-heads.ly}.
-Internals: @internalsref{Completion_heads_engraver}.
+Program reference: @internalsref{Completion_heads_engraver}.
@node Staff notation
@seealso
-Internals: @internalsref{StaffSymbol}.
+Program reference: @internalsref{StaffSymbol}.
Examples: @inputfileref{input/test,staff-lines.ly},
@inputfileref{input/test,staff-size.ly}.
is denoted by a set of alterations (flats or sharps) at the start of
the staff.
-@syntax
Setting or changing the key signature is done with the @code{\key}
command:
can be specified by setting this property directly.
Accidentals and key signatures often confuse new users, because
-unaltered notes get natural signs depending on the key signature. The
-tutorial explains why this is so in @ref{More about pitches}.
+unaltered notes get natural signs depending on the key signature. For
+more information, see @ref{More about pitches}.
@refbugs
@seealso
-Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
+Program reference: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
@cindex @code{keySignature}
The clef indicates which lines of the staff correspond to which
pitches.
-@syntax
The clef can be set or changed with the @code{\clef} command:
@lilypond[fragment,verbatim]
F clef on 5th line
@item percussion
percussion clef
+@item tab
+ tablature clef
@end table
By adding @code{_8} or @code{^8} to the clef name, the clef is
@seealso
-Internals: the object for this symbol is @internalsref{Clef}.
+Program reference: the object for this symbol is @internalsref{Clef}.
@seealso
-Internals: @internalsref{OttavaBracket}.
+Program reference: @internalsref{OttavaBracket}.
Examples: @inputfileref{input/regression,ottava.ly},
@inputfileref{input/regression,ottava-broken.ly}.
strong and weak beats. It is denoted by a fraction at the start of the
staff.
-@syntax
The time signature is set or changed by the @code{\time}
command:
}
\paper {
raggedright = ##t
- \translator { \StaffContext
+ \context { \StaffContext
\consists "Measure_grouping_engraver"
}}}
@end lilypond
@seealso
-Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
+Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
@refbugs
-Automatic beaming does not use measure grouping specified with
+Automatic beaming does not use the measure grouping specified with
@code{set-time-signature}.
@node Partial measures
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.
-@syntax
Special types
of bar lines can be forced with the @code{\bar} command:
\new Staff { \clef bass c2 c2 } >>
@end lilypond
-
-The command @code{\bar @var{bartype}} is a short cut for doing
-@code{\set Score.whichBar = @var{bartype}} Whenever
-@code{whichBar} is set to a string, a bar line of that type is
-created. At the start of a measure it is set to
+A bar line is created whenever the @code{whichBar} property is set.
+At the start of a measure it is set to the contents of
@code{defaultBarType}. The contents of @code{repeatCommands} are used
to override default measure bars.
-Property @code{whichBar} can also be set directly, using @code{\set}
-or @code{\bar}. These settings take precedence over the automatic
-@code{whichBar} settings.
+The command @code{\bar }@var{bartype} is a short cut for doing
+@code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
+is set to a string, a bar line of that type is created.
@cindex whichBar
@cindex repeatCommands
In this manual: @ref{Repeats}.
-Internals: the bar line objects that are created at
+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
@seealso
-Internals: the objects responsible for resolving collisions are
+Program reference: the objects responsible for resolving collisions are
@internalsref{NoteCollision} and @internalsref{RestCollision}.
Examples: See also example files
property of the @internalsref{NoteColumn} object and pitched rests can
be used to override typesetting decisions.
-When using @code{merge-differently-headed} with an upstem 8th or a shorter
-note, and a downstem half note, the 8th note gets the wrong offset.
+When using @code{merge-differently-headed} with an upstem eighth or a
+shorter note, and a downstem half note, the eighth note gets the wrong
+offset.
There is no support for clusters where the same note occurs with
different accidentals in the same chord. In this case, it is
@section Beaming
Beams are used to group short notes into chunks that are aligned with
-the metrum. They are inserted automatically in most cases:
+the metrum. They are inserted automatically
@lilypond[fragment,verbatim,relative=2]
\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
@end lilypond
When these automatic decisions are not good enough, beaming can be
-entered explicitly. It is also possible to define beaming patterns
+entered explicitly. It is also possible to define beaming patterns
that differ from the defaults.
Individual notes may be marked with @code{\noBeam}, to prevent them
@seealso
-Internals: @internalsref{Beam}.
+Program reference: @internalsref{Beam}.
@cindex Automatic beams
@cindex @code{stemLeftBeamCount}
Normally, beaming patterns within a beam are determined automatically.
-When this mechanism fouls up, the properties
-@code{stemLeftBeamCount} and @code{stemRightBeamCount} can
-be used to control the beam subdivision on a stem. If either property
-is set, its value will be used only once, and then it is erased:
+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:
@lilypond[fragment,relative,verbatim]
\context Staff {
The property @code{subdivideBeams} can be set in order to subdivide
all 16th or shorter beams at beat positions, as defined by the
-@code{beatLength} property. This accomplishes the same effect as
-twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
-but it take less typing:
+@code{beatLength} property.
@lilypond[relative=1,verbatim,noindent]
@cindex Frenched staves
-Automatically kneed beams cannot be used together with hidden staves.
+Automatically kneed cross-staff beams cannot be used together with
+hidden staves.
@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 two functions,
@example
#(override-auto-beam-setting
'(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
[@var{context}])
#(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
@end example
-Here, @var{be} is the symbol @code{begin} or @code{end}. It determines
-whether the rule applies to begin or end-points. The quantity
-@var{p}/@var{q} refers to the length of the beamed notes (and `@code{*
-*}' designates notes of any length), @var{n}/@var{M} refers to a time
-signature (wildcards `@code{* *}' may be entered to 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.
+Here, @var{be} is the symbol @code{begin} or @code{end}, and
+@var{context} is an optional context (default: @code{'Voice}). It
+determines whether the rule applies to begin or end-points. The
+quantity @var{p}/@var{q} refers to the length of the beamed notes (and
+`@code{* *}' designates notes of any length), @var{n}/@var{M} refers
+to a time signature (wildcards `@code{* *}' may be entered to
+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.
For example, if automatic beams should end on every quarter note, use
the following:
@example
- #(override-auto-beam-setting '(end * * * *) 1 4)
+ #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
@end example
Since the duration of a quarter note is 1/4 of a whole note, it is
entered as @code{(ly:make-moment 1 4)}.
@cindex @code{autoBeaming}
@cindex lyrics
-For melodies that have lyrics, you may want to switch off
-automatic beaming. This is done by setting @code{autoBeaming} to
-@code{#f}.
+If beams are used to indicate melismata in songs, then automatic
+beaming should be switched off. This is done by setting
+@code{autoBeaming} to @code{#f}.
@refcommands
This section describes how to change the way that accidentals are
inserted automatically before the running notes.
-
-@menu
-* Using the predefined accidental variables::
-* Customized accidental rules::
-@end menu
-
-@node Using the predefined accidental variables
-@subsection Using the predefined accidental variables
-
-
-Common rules for typesetting macros have been canned in a
+Common rules for typesetting accidentals have been canned in a
function. This function is called as follows:
@cindex @code{set-accidental-style}
The function takes two arguments: a symbol that denotes the style (in
the example, @code{modern}), and another symbol that denotes the
-context name (in this example, @code{Staff}). If no context name is
+context name (in this example, @code{Voice}). If no context name is
supplied, @code{Staff} is the default.
The following styles are supported:
@cindex @code{modern-voice}
@item modern-voice
-is used for multivoice accidentals to be read both by musicians
+This rule is used for multivoice accidentals to be read both by musicians
playing one voice and musicians playing all voices. Accidentals are
typeset for each voice, but they @emph{are} canceled across voices in
the same @internalsref{Staff}.
@cindex @code{modern-voice-cautionary}
@item modern-voice-cautionary
-is the same as @code{modern-voice}, but with the extra
+This rule is the same as @code{modern-voice}, but with the extra
accidentals (the ones not typeset by @code{voice}) typeset
as cautionaries. Even though all accidentals typeset by
@code{default} @emph{are} typeset by this variable then
@item piano
@cindex @code{piano} accidentals
- 20th century practice for piano notation. Very similar to
+This rule reflects 20th century practice for piano notation. Very similar to
@code{modern} but accidentals also get canceled
across the staves in the same @internalsref{GrandStaff} or
@internalsref{PianoStaff}.
@item no-reset
@cindex @code{no-reset} accidental style
- Same as @code{default} but with accidentals lasting
+ @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)
@end lilypond
@end table
-@node Customized accidental rules
-@subsection Customized accidental rules
-
-For determining when to print an accidental, several different rules
-are tried. The rule that gives the highest number of accidentals is
-used. Each rule consists of
-@table @var
-@item context:
- In which context is the rule applied. For example, if
-@var{context} is @internalsref{Score} then all staves share
-accidentals, and if @var{context} is @internalsref{Staff} then all
-voices in the same staff share accidentals, but staves do not.
-
-@item octavation:
- Whether the accidental changes all octaves or only the current
- octave. Valid choices are
-
- @table @samp
- @item same-octave:
- This is the default algorithm. Accidentals are typeset if the note changes
- the accidental of that note in that octave. Accidentals lasts to the end of the measure
- and then as many measures as specified in the value. I.e. 1 means to the end
- of next measure, -1 means to the end of previous measure (that is: no duration at all), etc. #t means forever.
- @item any-octave:
- Accidentals are typeset if the note is different from
- the previous note on the same pitch in any octave. The value has same meaning as in
- same-octave.
- @end table
-
-@item laziness
-
- Over how many bar lines the accidental lasts.
- If @var{laziness} is @code{-1} then the accidental is forget
- immediately, and if @var{laziness} is @code{#t} then the accidental
- lasts forever.
-@end table
-
@seealso
-Internals: @internalsref{Accidental_engraver},
+Program reference: @internalsref{Accidental_engraver},
@internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
@refbugs
-Currently the simultaneous notes are considered to be entered in
-sequential mode. This means that in a chord the accidentals are
-typeset as if the notes in the chord happened once at a time - in the
-order in which they appear in the input file.
+Simultaneous notes are considered to be entered in sequential
+mode. This means that in a chord the accidentals are typeset as if the
+notes in the chord happened once at a time - in the order in which
+they appear in the input file.
-This is only a problem when there are simultaneous notes whose
-accidentals depend on each other. The problem only occurs when using
-non-default accidentals. In the default scheme, accidentals only
-depend on other accidentals with the same pitch on the same staff, so
-no conflicts possible.
+This is only a problem when accidentals in a chord depend on each
+other. This problem can be solved by manually inserting @code{!} and
+@code{?} for the problematic notes.
-This example shows two examples of the same music giving different
-accidentals depending on the order in which the notes occur in the
-input file:
-
-@lilypond[raggedright,fragment,verbatim]
-\set Staff.autoAccidentals = #'( Staff (any-octave . 0) )
-cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
-| <cis' c''> r | <c'' cis'> r |
-@end lilypond
-
-This problem can be solved by manually inserting @code{!} and @code{?}
-for the problematic notes.
+In the default scheme, accidentals only depend on other
+accidentals with the same pitch on the same staff, so no conflicts are
+possible.
@node Expressive marks
@section Expressive marks
A slur indicates that notes are to be played bound or @emph{legato}.
-@syntax
They are entered using parentheses:
@lilypond[relative=1,fragment,verbatim]
Slurs avoid crossing stems, and are generally attached to note heads.
However, in some situations with beams, slurs may be attached to stem
ends. If you want to override this layout you can do this through the
-object property @code{attachment} of @internalsref{Slur} in
-@internalsref{Voice} context. Its value is a pair of symbols, specifying
-the attachment type of the left and right end points:
+object property @code{attachment} of @internalsref{Slur}. Its value
+is a pair of symbols, specifying the attachment type of the left and
+right end points:
@lilypond[fragment,relative,verbatim]
\slurUp
- \override Stem #'length = #5.5
+ \override Stem #'length = #5.5
g'8(g g4)
- \override Slur #'attachment = #'(stem . stem)
+ \override Slur #'attachment = #'(stem . stem)
g8( g g4)
@end lilypond
@lilypond[fragment,relative,verbatim]
\stemUp \slurUp
d32( d'4 d8..)
- \override Slur #'attachment = #'(stem . stem)
+ \override Slur #'attachment = #'(stem . stem)
d,32( d'4 d8..)
@end lilypond
@seealso
-Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
+Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
@refbugs
-Producing nice slurs is a difficult problem, and LilyPond currently
+Producing nice slurs is a difficult problem, and LilyPond
uses a simple, empiric method to produce slurs. In some cases, its
results are ugly.
@seealso
-Internals: see also @internalsref{PhrasingSlur}, and
+Program reference: see also @internalsref{PhrasingSlur}, and
@internalsref{PhrasingSlurEvent}.
@refbugs
c'4 \breathe d4
@end lilypond
-The glyph of the breath mark can be tweaked by overriding the
+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]
c'4
-\override BreathingSign #'text
+\override BreathingSign #'text
= #(make-musicglyph-markup "scripts-rvarcomma")
\breathe
d4
@seealso
-Internals: @internalsref{BreathingSign},
+Program reference: @internalsref{BreathingSign},
@internalsref{BreathingSignEvent}.
Examples: @inputfileref{input/regression,breathing-sign.ly}.
@seealso
-Internals: @internalsref{MetronomeChangeEvent}.
+Program reference: @internalsref{MetronomeChangeEvent}.
@lilypond[fragment,relative,verbatim]
\relative c' { c1
- \override TextSpanner #'direction = #-1
- \override TextSpanner #'edge-text = #'("rall " . "")
+ \override TextSpanner #'direction = #-1
+ \override TextSpanner #'edge-text = #'("rall " . "")
c2\startTextSpan b c\stopTextSpan a }
@end lilypond
c4\startGroup
c4\stopGroup\stopGroup
}
- \paper { \translator {
+ \paper { \context {
\StaffContext \consists "Horizontal_bracket_engraver"
}}}
@end lilypond
@seealso
-Internals: @internalsref{HorizontalBracket},
+Program reference: @internalsref{HorizontalBracket},
@internalsref{NoteGroupingEvent}.
Examples: @inputfileref{input/regression,note-group-bracket.ly}.
@lilypondfile[]{script-abbreviations.ly}
-The meanings of these shorthands can be changed: see
+The meanings of these shorthands can be changed. See
@file{ly/script-init.ly} for examples.
@seealso
-Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
+Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
@refbugs
@c
@lilypond[verbatim,raggedright,fragment]
c'4-1 c'4-2 c'4-3 c'4-4
- c'^\markup { \fontsize #-3 \number "2-3" }
+ c'^\markup { \finger "2-3" }
@end lilypond
@cindex finger change
played with the thumb (e.g. in cello music):
@lilypond[verbatim,raggedright,fragment]
- <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
- <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
+ <a' a''-3>8_\thumb <b' b''-3>_\thumb
@end lilypond
Fingerings for chords can also be added to individual notes
<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
-By using single note chords, fingering instructions can be put close
-to note heads in monophonic music.
+The last note demonstrates how fingering instructions can be put close
+to note heads in monophonic music, using this feature.
@seealso
-Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
+Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
Examples: @inputfileref{input/regression,finger-chords.ly}.
In this manual: @ref{Text markup}.
-Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
+Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
@lilypond[fragment,verbatim,relative=1]
\new Voice {
\acciaccatura {
- \override Stem #'direction = #-1
+ \override Stem #'direction = #-1
f16->
\revert Stem #'direction
}
If the layout of grace sections must be changed throughout the music,
then this can be accomplished through the function
-@code{add-grace-property}. The following example
-undefines the Stem direction grace section, so stems do not always
-point up.
+@code{add-grace-property}. The following example undefines the Stem
+direction for this grace, so stems do not always point up.
@example
\new Staff @{
@seealso
-Internals: @internalsref{GraceMusic}.
+Program reference: @internalsref{GraceMusic}.
@refbugs
@lilypond[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
+
+@verbatim
+ \new Staff { c4 \bar "|:" \grace s16 d4 } >>
+@end verbatim
+
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 is a smooth change in pitch. It is denoted by a line or a
wavy line between two notes.
-@syntax
A glissando line can be requested by attaching a @code{\glissando} to
a note:
@seealso
-Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
+Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
+
+Example files: @file{input/regression,glissando.ly}
+
@refbugs
-Adding additional texts (such as @emph{gliss.}) is not supported.
+Printing text over the line (such as @emph{gliss.}) is not supported.
@node Dynamics
c2\sf c\rfz
@end lilypond
-@cindex @code{\cr}
-@cindex @code{\rc}
-@cindex @code{\decr}
-@cindex @code{\rced}
@cindex @code{\<}
@cindex @code{\>}
@cindex @code{\"!}
use spacer notes if multiple marks during one note are needed:
@lilypond[fragment,verbatim]
- c''\< c''\! d''\decr e''\rced
+ c''\< c''\! d''\> e''\!
<< f''1 { s4 s4\< s4\! \> s4\! } >>
@end lilypond
This may give rise to very short hairpins. Use @code{minimum-length}
example:
@example
- \override Staff.Hairpin #'minimum-length = #5
+ \override Staff.Hairpin #'minimum-length = #5
@end example
You can also use a text saying @emph{cresc.} instead of hairpins. Here
is an example how to do it:
@lilypond[fragment,relative=2,verbatim]
- c4 \cresc c4 c c c \endcresc c4
+ \setTextCresc
+ c \< d e f\!
+ \setHairpinCresc
+ e\> d c b\!
@end lilypond
@cindex crescendo
@seealso
-Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
+Program reference: @internalsref{CrescendoEvent},
+@internalsref{DecrescendoEvent}, and
@internalsref{AbsoluteDynamicEvent}.
-Dynamics are objects of @internalsref{DynamicText} and
-@internalsref{Hairpin}. Vertical positioning of these symbols is
-handled by the @internalsref{DynamicLineSpanner} object.
-
-If you want to adjust padding or vertical direction of the dynamics, you
-must set properties for the @internalsref{DynamicLineSpanner} object.
+Dynamics @internalsref{DynamicText} and @internalsref{Hairpin}
+objects. Vertical positioning of these symbols is handled by the
+@internalsref{DynamicLineSpanner} object.
@node Repeats
@node Repeat syntax
@subsection Repeat syntax
-@syntax
LilyPond has one syntactic construct for specifying different types of
repeats. The syntax is
@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
@node Repeats and MIDI
@cindex expanding repeats
-For instructions on how to unfold repeats for MIDI output, see the
+For instructions on how to expand repeats for MIDI output, see the
example file @inputfileref{input/test,unfold-all-repeats.ly}.
@seealso
-Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
+Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
@internalsref{VoltaRepeatedMusic},
@internalsref{UnfoldedRepeatedMusic}, and
@internalsref{FoldedRepeatedMusic}.
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 c16
+ \repeat "tremolo" 4 c'16
@end lilypond
A similar mechanism is the tremolo subdivision, described in
In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
-Internals: tremolo beams are @internalsref{Beam} objects. Single stem
+Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
tremolos are @internalsref{StemTremolo} objects. The music expression is
@internalsref{TremoloEvent}.
@refbugs
-Tremolos in this style do not carry over into the MIDI output.
+Tremolos entered in this way do not carry over into the MIDI output.
@seealso
@seealso
-Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
+Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
@internalsref{PercentRepeatedMusic}, and
@internalsref{DoublePercentRepeat}.
@seealso
-Internals: @internalsref{RhythmicStaff}.
+Program reference: @internalsref{RhythmicStaff}.
Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
@cindex percussion
@cindex drums
-@syntax
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:
+@example
+ hihat hh bassdrum bd
+@end example
@lilypond[raggedright]
- \drums { hihat4 hh4 }
+ \new DrumStaff \drums { hihat hh bassdrum bd
+ }
@end lilypond
The complete list of drum names is in the init file
@seealso
-Internals: @internalsref{DrumNoteEvent}.
+Program reference: @internalsref{DrumNoteEvent}.
@node Percussion staves
@subsection Percussion staves
polyphonic notation, described in @ref{Polyphony}, can also be used if
the @internalsref{DrumVoices} are instantiated by hand first. For example,
-@lilypond[fragment]
+@lilypond[fragment,verbatim]
\drums \new DrumStaff <<
\context DrumVoice = "1" { s1 *2 }
\context DrumVoice = "2" { s1 *2 }
\paper {
%% need to do this, because of indented @itemize
linewidth= 9 \cm
- \translator { \ScoreContext
+ \context { \ScoreContext
+ \override LyricText #'font-family = #'typewriter
\override BarNumber #'transparent =##T
}}}
@end lilypond
minimumVerticalExtent = #'(-3.0 . 4.0)
drumStyleTable = #timbales-style
} \mus
- \context Lyrics \nam
+ \context Lyrics {
+ \override LyricText #'font-family = #'typewriter
+
+ \nam }
>>
}
@end lilypond
\override Stem #'transparent = ##t
\override Stem #'Y-extent-callback = ##f
} \mus
- \context Lyrics \nam
+ \context Lyrics {
+ \override LyricText #'font-family = #'typewriter
+\nam }
>>
}
@end lilypond
\override Stem #'transparent = ##t
\override Stem #'Y-extent-callback = ##f
} \mus
- \context Lyrics \nam
+ \context Lyrics {
+ \override LyricText #'font-family = #'typewriter
+\nam }
>>
}
@end lilypond
\override Stem #'transparent = ##t
\override Stem #'Y-extent-callback = ##f
} \mus
- \context Lyrics \nam
+ \context Lyrics {
+ \nam
+ \override LyricText #'font-family = #'typewriter
+}
>>
}
@end lilypond
Init files: @file{ly/drumpitch-init.ly}.
-Internals: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
+Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
@refbugs
-Short polyphonic notation, @code{<< @dots{} \\ @dots{} >>}, does not
-work for @internalsref{DrumVoices}.
-
Because general MIDI does not contain rim shots, the sidestick is used
for this purpose instead.
In this manual: @ref{Manual staff switches}.
-Internals: @internalsref{AutoChangeMusic}.
+Program reference: @internalsref{AutoChangeMusic}.
Pianos have pedals that alter the way sound are produced. Generally, a
piano has three pedals, sustain, una corda, and sostenuto.
-@syntax
Piano pedal instruction can be expressed by attaching
@code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
What is printed can be modified by setting @code{pedal@var{X}Strings},
where @var{X} is one of the pedal types: @code{Sustain},
-@code{Sostenuto} or @code{UnaCorda}. Refer to the generated
-documentation of @internalsref{SustainPedal} for more information.
+@code{Sostenuto} or @code{UnaCorda}. Refer to
+@internalsref{SustainPedal} in the program reference for more
+information.
Pedals can also be indicated by a sequence of brackets, by setting the
@code{pedalSustainStyle} property to @code{bracket} objects:
-@lilypond[fragment,verbatim]
+@lilypond[fragment,verbatim,relative=2]
\set Staff.pedalSustainStyle = #'bracket
- c''4\sustainDown d''4 e''4
- a'4\sustainUp\sustainDown
- f'4 g'4 a'4\sustainUp
+ 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}:
-@lilypond[fragment,verbatim]
+@lilypond[fragment,verbatim,relative=2]
\set Staff.pedalSustainStyle = #'mixed
-c''4\sustainDown d''4 e''4
-c'4\sustainUp\sustainDown
- f'4 g'4 a'4\sustainUp
+ 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[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
@lilypond[fragment,verbatim]
\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
@seealso
-Internals: @internalsref{ArpeggioEvent} music expressions lead to
+Program reference: @internalsref{ArpeggioEvent} music expressions lead to
@internalsref{Arpeggio} objects. Cross staff arpeggios are
@internalsref{PianoStaff}.@internalsref{Arpeggio}.
>>
@end lilypond
+@seealso
+
The associated object is @internalsref{VoiceFollower}.
@refcommands
the resulting string. As a consequence, spaces must be inserted around
property commands:
@example
- \override Score . LyricText #'font-shape = #'italic
+ \override Score . LyricText #'font-shape = #'italic
@end example
@cindex @code{_}
@end example
@cindex hyphens
-Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
-@example
- soft- ware
-@end example
-
-These will be attached to the end of the first syllable.
-Centered hyphens are entered using the special `@code{-}@code{-}' lyric
-as a separate word between syllables. The hyphen will have variable
-length depending on the space between the syllables and it will be
-centered between the syllables.
+Centered hyphens are entered as `@code{-}@code{-}' between syllables.
+The hyphen will have variable length depending on the space between
+the syllables and it will be centered between the syllables.
@cindex melisma
@cindex extender
@seealso
-Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
-@internalsref{ExtenderEvent}.
+Program reference: events @internalsref{LyricEvent},
+@internalsref{HyphenEvent}, and @internalsref{ExtenderEvent}. Objects:
+@internalsref{LyricHyphen}, @internalsref{LyricExtender} and
+@internalsref{LyricText}.
Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
@end example
and then combine the appropriate melodies and lyric lines:
@example
- \lyricsto "soprano" \new Lyrics @emph{the lyrics}
+ \lyricsto "soprano" \context Lyrics = sopranoLyrics
+ @emph{the lyrics}
@end example
@noindent
In addition, notes are considered a melisma if they are manually
beamed, and automatic beaming (see @ref{Setting automatic beam
-behavior}) is switched off. The criteria for deciding melismata
-can be tuned with the property @code{melismaBusyProperties}. See
-@internalsref{Melisma_translator} for more information.
+behavior}) is switched off. The criteria for deciding melismata can
+be tuned with the property @code{melismaBusyProperties}. See
+@internalsref{Melisma_translator} in the program reference for more
+information.
When multiple stanzas are put on the same melody, it can happen that
two stanzas have melismata in different locations. This can be
@seealso
-Internals: Music expressions: @internalsref{LyricCombineMusic},
+Program reference: Music expressions: @internalsref{LyricCombineMusic},
Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
Examples: @inputfileref{input/template,satb.ly},
@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
<< \notes \relative c'' \context Voice = duet { \time 3/4
g2 e4 a2 f4 g2. }
\lyrics << \lyricsto "duet" \new Lyrics {
- \set stanza = "B."
\set vocNam = "Bert"
- Hi, my name is bert. }
+ Hi, my name is Bert. }
\lyricsto "duet" \new Lyrics {
- \set stanza = "E."
\set vocNam = "Ernie"
Ooooo, ch\'e -- ri, je t'aime.
}
Stanza numbers can be added by setting @code{stanza}, e.g.
-@example
- \set stanza = "B."
- @dots{}
- \set stanza = "E."
-@end example
-
-Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
-prevent @code{stanza} being interpreted as a single
-string.
+@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.
+ }
+>>
+@end lilypond
This example also demonstrates how names of the singers can be added
using @code{vocalName} analogous to instrument annotations for staves.
@seealso
-Internals: Layout objects @internalsref{LyricText} and
+Program reference: Layout objects @internalsref{LyricText} and
@internalsref{VocalName}. Music expressions:
@internalsref{LyricEvent}.
@subsection Ambitus
@cindex ambitus
-The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
-for a given voice in a part of music. It also may denote the pitch
-range that a musical instrument is capable of playing. Most musical
-instruments have their ambitus standardized (or at least there is
-agreement upon the minimal ambitus of a particular type of
-instrument), such that a composer or arranger of a piece of music can
-easily meet the ambitus constraints of the targeted instrument.
-However, the ambitus of the human voice depends on individual
-physiological state, including education and training of the voice.
-Therefore, a singer potentially has to check for each piece of music
-if the ambitus of that piece meets his individual capabilities. This
-is why the ambitus of a piece may be of particular value to vocal
-performers.
-
-The ambitus is typically notated on a per-voice basis at the very
-beginning of a piece, e.g. nearby the initial clef or time signature of
-each staff. The range is graphically specified by two note heads, that
-represent the minimum and maximum pitch. Some publishers use a textual
-notation: they put the range in words in front of the corresponding
-staff. LilyPond only supports the graphical ambitus notation.
-
-To apply, add the @internalsref{Ambitus_engraver} to the
-@internalsref{Voice} context, i.e.
+The term @emph{ambitus} denotes a range of pitches for a given voice
+in a part of music. It also may denote the pitch range that a musical
+instrument is capable of playing. Ambituses are printed on vocal
+parts, so singers can easily determine if it meets his or her
+capabilities.
+
+It denoted at the beginning of a piece near the initial clef. The
+range is graphically specified by two note heads, that represent the
+minimum and maximum pitch. To print such ambituses, add the
+@internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
+for example,
@example
\paper @{
- \translator @{
+ \context @{
\VoiceContext
\consists Ambitus_engraver
@}
This results in the following output:
@lilypond[raggedright]
-upper = \notes \relative c {
- \clef "treble"
- \key c \minor
- as'' c e2 bes f cis d4 e f2 g
-}
-lower = \notes \relative c {
- \clef "treble"
- \key e \major
- e'4 b g a c es fis a cis b a g f e d2
-}
\score {
- \context ChoirStaff {
- <<
- \new Staff { \upper }
- \new Staff { \lower }
- >>
- }
+ \context ChoirStaff
+ \notes \relative c'' <<
+ \new staff {
+ as'' c e2 cis,2
+ }
+ \new Staff {
+ es4 b c f as g
+ }
+ >>
\paper {
- \translator {
+ \context {
\StaffContext
\consists Ambitus_engraver
}
@seealso
-Internals: @internalsref{Ambitus}.
+Program reference: @internalsref{Ambitus}.
Examples: @inputfileref{input/regression,ambitus.ly},
@inputfileref{input/test,ambitus-mixed.ly}.
@example
-e8 fis gis a b cis' dis' e'
+e16 fis gis a b4
\set TabStaff.minimumFret = #8
-e8 fis gis a b cis' dis' e'
+e16 fis gis a b4
@end example
-@lilypond[noindent]
+@lilypond[noindent,raggedright]
frag = \notes {
\key e \major
- e8 fis gis a b cis' dis' e'
+ e16 fis gis a b4
\set TabStaff.minimumFret = #8
- e8 fis gis a b cis' dis' e'
+ e16 fis gis a b4
}
\score {
\context StaffGroup <<
@seealso
-Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
+Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
@internalsref{StringNumberEvent}.
@refbugs
>>
@end lilypond
-It is possible to change the Scheme function to format the tablature
-note text. The default is @code{fret-number-tablature-format}, which
-uses the fret number. For instruments that do not use this notation,
-you can create a special tablature formatting function. This function
-takes three argument: string number, string tuning and note pitch.
-
@refbugs
No guitar special effects have been implemented.
+@seealso
+
+Program reference: @internalsref{Tab_note_heads_engraver}.
@node Chord names
Polyphonic scores consist of many staves. These staves can be
constructed in three different ways:
@itemize @bullet
-@item The group is started with a brace at the left. This is done with the
-@internalsref{GrandStaff} context.
-@item The group is started with a bracket. This is done with the
+@item The group is started with a brace at the left, and bar lines are
+connected. This is done with the @internalsref{GrandStaff} context.
+
+@item The group is started with a bracket, and bar lines are connected. This is done with the
@internalsref{StaffGroup} context
-@item The group is started with a vertical line. This is the default
-for the score.
+
+
+@item The group is started with a vertical line. Bar lines are not
+connected. This is the default for the score.
+
@end itemize
@cindex Staff, multiple
c1
@end lilypond
-In this case, during line breaks, marks must also be printed at the
-end of the line, and not at the beginning. Use the following to force
-that behavior:
+In the case of a line break, marks must also be printed at the end of
+the line, and not at the beginning. Use the following to force that
+behavior:
@example
\override Score.RehearsalMark
#'break-visibility = #begin-of-line-invisible
@seealso
-Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
+Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
Init files: @file{scm/translation-functions.scm} contains the
definition of @code{format-mark-numbers} and
@seealso
-Internals: @internalsref{BarNumber}.
+Program reference: @internalsref{BarNumber}.
Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
and @inputfileref{input/test,bar-number-regular-interval.ly}.
This can be achieved by setting @internalsref{Staff}.@code{instrument}
and @internalsref{Staff}.@code{instr}. This will print a string before
the start of the staff. For the first start, @code{instrument} is
-used, for the next ones @code{instr} is used:
+used, for the next ones @code{instr} is used.
@quotation
-@lilypond[verbatim,raggedright]
- \set Staff.instrument = "ploink " { c''4 }
+@lilypond[verbatim,raggedright,relative=2]
+ \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:
+names, for example
@quotation
@lilypond[fragment,verbatim,raggedright]
@seealso
-Internals: @internalsref{InstrumentName}.
+Program reference: @internalsref{InstrumentName}.
@refbugs
\transpose a c @dots{}
@end example
-Since @var{from} and @var{to} are pitches, @code{\transpose} must be
+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
@seealso
-Internals: @internalsref{TransposedMusic}, and
+Program reference: @internalsref{TransposedMusic}, and
@internalsref{UntransposableMusic}.
@refbugs
applies to many wind instruments, for example, clarinets (B-flat, A and
E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
-@syntax
The transposition is entered after the keyword @code{\transposition}:
@seealso
-Internals: @internalsref{MultiMeasureRestEvent},
+Program reference: @internalsref{MultiMeasureRestEvent},
@internalsref{MultiMeasureTextEvent},
@internalsref{MultiMeasureRestMusicGroup}, and
@internalsref{MultiMeasureRest}.
voices, and stem directions are set automatically. Also, solo and
@emph{a due} parts are identified and can be marked.
-@syntax
The syntax for part combining is
@lilypond[verbatim,raggedright,fragment,relative=1]
\new Staff \partcombine
{
- g a( b) r
+ g g a( b) c c r r
}
{
- g r4 r f
+ g g r4 r e e g g
}
@end lilypond
@seealso
-Internals: @internalsref{PartCombineMusic},
+Program reference: @internalsref{PartCombineMusic},
@internalsref{SoloOneEvent}, and
@internalsref{SoloTwoEvent}, and
@internalsref{UnisonoEvent}.
>>
\paper {
linewidth = 6.\cm
- \translator { \RemoveEmptyStaffContext }
+ \context { \RemoveEmptyStaffContext }
}
}
@end lilypond
-The first page shows all staves in full. If they should be removed
-from the first page too, set @code{remove-first} to false
-in @internalsref{RemoveEmptyVerticalGroup}.
+The first page shows all staves in full. If empty staves should be
+removed from the first page too, set @code{remove-first} to false in
+@internalsref{RemoveEmptyVerticalGroup}.
Another application is making ossia sections, i.e. alternative
melodies on a separate piece of staff, with help of a Frenched
Examples: @inputfileref{input/regression,quote.ly}
@inputfileref{input/regression,quote-transposition.ly}
-Internals: @internalsref{QuoteMusic}.
+Program reference: @internalsref{QuoteMusic}.
@node Ancient notation
@section Ancient notation
@cindex Petrucci
@cindex mensural
-@c [TODO: write more comprehensive introduction on ancient notation]
-
-Support for ancient notation is still under heavy development.
-Regardless of all of the current limitations (see the bugs section
-below for details), it includes features for mensural
-notation and Gregorian Chant notation. There is also limited support
-for figured bass notation.
+Support for ancient notation includes features for mensural notation
+and Gregorian Chant notation. There is also limited support for
+figured bass notation.
Many graphical objects provide a @code{style} property, see
@ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
specific notation flavor without need for introducing any new
notational concept.
-
Other aspects of ancient notation can not that easily be expressed as
in terms of just changing a style property of a graphical object.
Therefore, some notational concepts are introduced specifically for
@cindex note heads
-@syntax
For ancient notation, a note head style other than the @code{default}
style may be chosen. This is accomplished by setting the @code{style}
The following example demonstrates the @code{neo_mensural} style:
@lilypond[fragment,raggedright,verbatim]
- \override NoteHead #'style = #'neo_mensural
+ \override NoteHead #'style = #'neo_mensural
a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
@end lilypond
@cindex accidentals
-@syntax
Use the @code{style} property of grob @internalsref{Accidental} to
select ancient accidentals. Supported styles are
\paper {
raggedright = ##t
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator{
+ \context{
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
accidentals. @ref{Key signature} gives a general introduction into
the use of key signatures.
-Internals: @internalsref{KeySignature}.
+Program reference: @internalsref{KeySignature}.
Examples: @inputfileref{input/test,ancient-accidentals.ly}.
@cindex rests
-@syntax
Use the @code{style} property of grob @internalsref{Rest} to select
ancient accidentals. Supported styles are @code{classical},
The following example demonstrates the @code{neo_mensural} style:
@lilypond[fragment,raggedright,verbatim]
- \override Rest #'style = #'neo_mensural
+ \override Rest #'style = #'neo_mensural
r\longa r\breve r1 r2 r4 r8 r16
@end lilypond
@cindex clefs
-@syntax
LilyPond supports a variety of clefs, many of them ancient.
@end multitable
-@c --- This should go somewhere else: ---
-@c @item modern style percussion clef (glyph: @code{clefs-percussion})
-@c
-@c Supported clefs:
-@c @code{percussion}
-@c
-@c @lilypond{\override Staff.TimeSignature #'transparent = ##t \clef "percussion" c'}
-@c
-@c @item modern style tab clef (glyph: @code{clefs-tab})
-@c
-@c Supported clefs:
-@c @code{tab}
-@c
-@c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \override Staff.TimeSignature #'transparent = ##t \clef "tab" c'}
+
@emph{Modern style} means ``as is typeset in contemporary editions of
transcribed mensural music''.
@seealso
-In this manual: for the percussion clef, see @ref{Percussion staves}.
-For the @code{TAB} clef, see @ref{Tablatures}.
-
-Internals: for modern clefs, see @ref{Clef}.
+In this manual: see @ref{Clef}.
@refbugs
-The mensural g clef is temporarily mapped to the Petrucci g clef,
-until a new mensural g clef will have been implemented.
+The mensural g clef is mapped to the Petrucci g clef, until a new
+mensural g clef is implemented.
@cindex flags
-@syntax
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:
@lilypond[fragment,raggedright,verbatim]
- \override Stem #'flag-style = #'mensural
- \override Stem #'thickness = #1.0
- \override NoteHead #'style = #'mensural
+ \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
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
+ \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
@cindex time signatures
-@syntax
There is limited support for mensural time signatures. The
glyphs are hard-wired to particular time fractions. In other words,
\paper {
indent = 0.0
raggedright = ##t
- \translator {
+ \context {
\StaffContext
\remove Staff_symbol_engraver
\remove Clef_engraver
@seealso
-Internals: @ref{Time signature} gives a general introduction into the use of time
+Program reference: @ref{Time signature} gives a general introduction into the use of time
signatures.
@refbugs
-Mensural signature glyphs are mapped to time fractions in a
-hard-wired way. This mapping is sensible, but still arbitrary: given
-a mensural time signature, the time fraction represents a modern meter
-that usually will be a good choice when transcribing a mensural piece
-of music. For a particular piece of mensural music, however, the
-mapping may be unsatisfactory. In particular, the mapping assumes a
-fixed transcription of durations (e.g. brevis = half note in 2/2,
-i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
-are not at all accessible through the @code{\time} command.
+Mensural signature glyphs are mapped to time fractions in a hard-wired
+way. This mapping is sensible, but still arbitrary: given a mensural
+time signature, the time fraction represents a modern meter that
+usually will be a good choice when transcribing a mensural piece of
+music. For a particular piece of mensural music, however, the mapping
+may be unsatisfactory. In particular, the mapping assumes a fixed
+transcription of durations (e.g. brevis = half note in 2/2, i.e. 4:1).
+Some glyphs (such as the alternate glyph for 6/8 meter) are not at all
+accessible through the @code{\time} command.
Mensural time signatures are supported typographically, but not yet
musically. The internal representation of durations is
like the @emph{editio vaticana}. There are different custos glyphs
used in different flavors of notational style.
-@syntax
-
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:
@example
\paper @{
- \translator @{
+ \context @{
\StaffContext
\consists Custos_engraver
Custos \override #'style = #'mensural
The result looks like this:
-@lilypond
+@lilypond[raggedright]
\score {
\notes {
a'1
- \override Staff.Custos #'style = #'mensural
+ \override Staff.Custos #'style = #'mensural
\break
g'
}
\paper {
- \translator {
+ \context {
\StaffContext
\consists Custos_engraver
}
- linewidth = 4.0\cm
}
}
@end lilypond
@lilypond
\score {
- \notes {
- \fatText
- s
- ^\markup {
+ \new Lyrics \lyrics {
+ \markup {
\column <
"vaticana"
{ " " \musicglyph #"custodes-vaticana-u0" }
- >
- \column <
+ > }
+ \markup { \column <
"medicaea"
{ " " \musicglyph #"custodes-medicaea-u0" }
- >
+ >}
+ \markup {
\column <
"hufnagel"
{ " " \musicglyph #"custodes-hufnagel-u0" }
- >
+ >}
+ \markup {
\column <
"mensural"
{ " " \musicglyph #"custodes-mensural-u0" }
- >
+ >}
}
- }
+
\paper {
raggedright = ##t
- interscoreline = 1
- \translator {
- \ScoreContext
- \remove "Bar_number_engraver"
- }
- \translator{
- \StaffContext
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \remove "Time_signature_engraver"
- \remove "Staff_symbol_engraver"
- minimumVerticalExtent = ##f
- }
- }
+ }
}
@end lilypond
-If the boolean property @code{adjust-if-on-staffline} is set to
-@code{#t} (which it is by default), lily typesets slightly different
-variants of the custos glyph, depending on whether the custos, is
-typeset on or between staff lines. The glyph will
-optically fit well into the staff, with the appendage on the right of
-the custos always ending at the same vertical position between two
-staff lines regardless of the pitch. If you set
-@code{adjust-if-on-staffline} to @code{#f}, then
-a compromise between both forms is used.
-
-Just like stems can be attached to note heads in two directions
-@emph{up} and @emph{down}, each custos glyph is available with its
-appendage pointing either up or down. If the pitch of a custos is
-above a selectable position, the appendage will point downwards; if
-the pitch is below this position, the appendage will point upwards.
-Use property @code{neutral-position} to select this position. By
-default, it is set to @code{0}, such that the neutral position is the
-center of the staff. Use property @code{neutral-direction} to control
-what happens if a custos is typeset on the neutral position itself.
-By default, this property is set to @code{-1}, such that the appendage
-will point downwards. If set to @code{1}, the appendage will point
-upwards. Other values such as @code{0} are reserved for future
-extensions and should not be used.
-
@seealso
-Internals: @internalsref{Custos}.
+Program reference: @internalsref{Custos}.
Examples: @inputfileref{input/regression,custos.ly}.
a chant, but is also frequently used within a single
antiphonal/responsorial chant to mark the end of each section.
-@syntax
To use divisiones, include the file @code{gregorian-init.ly}. It
contains definitions that you can apply by just inserting
In this manual: @ref{Breath marks}.
-Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
+Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
Examples: @inputfileref{input/test,divisiones.ly}.
@c TODO: Should double check if I recalled things correctly when I wrote
@c down the following paragraph by heart.
-In musical terminology, a ligature is a coherent graphical symbol that
-represents at least two distinct notes. Ligatures originally appeared
-in the manuscripts of Gregorian chant notation roughly since the 9th
-century as an allusion to the accent symbols of Greek lyric poetry to
-denote ascending or descending sequences of notes. Both, the shape
-and the exact meaning of ligatures changed tremendously during the
-following centuries: In early notation, ligatures were used for
-monophonic tunes (Gregorian chant) and very soon denoted also the way
-of performance in the sense of articulation. With upcoming
-multiphony, the need for a metric system arised, since multiple voices
-of a piece have to be synchronized some way. New notation systems
-were invented that used the manifold shapes of ligatures to now denote
-rhythmical patterns (e.g. black mensural notation, mannered notation,
-ars nova). With the invention of the metric system of the white
-mensural notation, the need for ligatures to denote such patterns
-disappeared. Nevertheless, ligatures were still in use in the
-mensural system for a couple of decades until they finally disappeared
-during the late 16th / early 17th century. Still, ligatures have
-survived in contemporary editions of Gregorian chant such as the
-Editio Vaticana from 1905/08.
-
-@syntax
-
-Syntactically, ligatures are simply enclosed by @code{\[} and
-@code{\]}. Some ligature styles (such as Editio Vaticana) 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:
+A ligature is a coherent graphical symbol that represents at least two
+distinct notes. Ligatures originally appeared in the manuscripts of
+Gregorian chant notation roughly since the 9th century to denote
+ascending or descending sequences of notes.
+
+Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
+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:
@lilypond[raggedright,verbatim]
\score {
To select a specific style of ligatures, a proper ligature engraver
has to be added to the @internalsref{Voice} context, as explained in
the following subsections. Only white mensural ligatures
-are supported with certain limitations. Support for Editio Vaticana
-will be added in the future.
+are supported with certain limitations.
@menu
* White mensural ligatures::
@cindex Mensural ligatures
@cindex White mensural ligatures
-There is limited support for white mensural ligatures. The
-implementation is still experimental; it may output strange
-warnings or even crash in some cases or produce weird results on more
-complex ligatures.
-
-@syntax
+There is limited support for white mensural ligatures.
To engrave white mensural ligatures, in the paper block the
@internalsref{Mensural_ligature_engraver} has to be put into the
@example
\paper @{
- \translator @{
+ \context @{
\VoiceContext
\remove Ligature_bracket_engraver
\consists Mensural_ligature_engraver
@example
\set Score.timing = ##f
\set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neo_mensural
+ \override NoteHead #'style = #'neo_mensural
\override Staff.TimeSignature #'style = #'neo_mensural
\clef "petrucci_g"
\[ g\longa c\breve a\breve f\breve d'\longa \]
\notes \transpose c c' {
\set Score.timing = ##f
\set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neo_mensural
+ \override NoteHead #'style = #'neo_mensural
\override Staff.TimeSignature #'style = #'neo_mensural
\clef "petrucci_g"
\[ g\longa c\breve a\breve f\breve d'\longa \]
\[ e1 f1 a\breve g\longa \]
}
\paper {
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Mensural_ligature_engraver
\notes \transpose c c' {
\set Score.timing = ##f
\set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neo_mensural
+ \override NoteHead #'style = #'neo_mensural
\override Staff.TimeSignature #'style = #'neo_mensural
\clef "petrucci_g"
\[ g\longa c\breve a\breve f\breve d'\longa \]
}
@end lilypond
+@refbugs
+
+The implementation is experimental; it may output strange warnings or
+even crash in some cases or produce weird results on more complex
+ligatures.
@node Gregorian square neumes ligatures
@subsubsection Gregorian square neumes ligatures
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
}
\paper {
interscoreline = 1
- \translator {
+ \context {
\ScoreContext
\remove "Bar_number_engraver"
}
- \translator {
+ \context {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
}
- \translator {
+ \context {
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
@end multitable
-@syntax
Unlike most other neumes notation systems, the input language for
neumes does not necessarily reflect directly the typographical
the musical input. The idea of this approach is to separate the
musical aspects of the input from the notation style of the output.
This way, the same input can be reused to typeset the same music in a
-different style of Gregorian chant notation such as Hufnagel (also
-known as German gothic neumes) or Medicaea (kind of a very simple
-forerunner of the Editio Vaticana). As soon as Hufnagel ligature
-engraver and Medicaea ligature engraver will have been implemented, it
-will be as simple as replacing the ligature engraver in the
-@internalsref{Voice} context to get the desired notation style from
-the same input.
+different style of Gregorian chant notation.
The following table shows the code fragments that produce the
ligatures in the above neumes table. The letter in the first column
@code{\flexa} infix commands for a rising and falling line of melody,
respectively.
-@refbugs
-Trigonus: apply equal spacing, regardless of pitch.
+
+@node Vaticana style contexts
+@subsection Vaticana style contexts
+
+@cindex VaticanaVoiceContext
+@cindex VaticanaStaffContext
+
+The predefined @code{VaticanaVoiceContext} and
+@code{VaticanaStaffContext} can be used to easily engrave a piece of
+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:
+
+@lilypond[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
+ }
+ }
+ \lyricsto "cantus" \new Lyrics \lyrics {
+ San- ctus, San- ctus, San- ctus
+ } >>
+
+}
+@end lilypond
@node Figured bass
@subsection Figured bass
@c TODO: musicological blurb about FB
-@syntax
LilyPond has limited support for figured bass:
@seealso
-Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
+Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
and @internalsref{FiguredBass} context.
@refbugs
Slash notation for alterations is not supported.
-
-@node Vaticana style contexts
-@subsection Vaticana style contexts
-
-@cindex VaticanaVoiceContext
-@cindex VaticanaStaffContext
-
-The predefined @code{VaticanaVoiceContext} and
-@code{VaticanaStaffContext} can be used to easily engrave a piece of
-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:
-
-@lilypond[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
- }
- }
- \lyricsto "cantus" \new Lyrics \lyrics {
- San- ctus, San- ctus, San- ctus
- } >>
-
-}
-@end lilypond
-
-
@node Contemporary notation
@section Contemporary notation
@cindex cluster
-In musical terminology, a @emph{cluster} denotes a range of
-simultaneously sounding pitches that may change over time. The set of
-available pitches to apply usually depends on the acoustic source.
-Thus, in piano music, a cluster typically consists of a continuous range
-of the semitones as provided by the piano's fixed set of a chromatic
-scale. In choral music, each singer of the choir typically may sing an
-arbitrary pitch within the cluster's range that is not bound to any
-diatonic, chromatic or other scale. In electronic music, a cluster
-(theoretically) may even cover a continuous range of pitches, thus
-resulting in colored noise, such as pink noise.
-
-Clusters can be denoted in the context of ordinary staff notation by
-engraving simple geometrical shapes that replace ordinary notation of
-notes. Ordinary notes as musical events specify starting time and
-duration of pitches; however, the duration of a note is expressed by the
-shape of the note head rather than by the horizontal graphical extent of
-the note symbol. In contrast, the shape of a cluster geometrically
-describes the development of a range of pitches (vertical extent) over
-time (horizontal extent). Still, the geometrical shape of a cluster
-covers the area in which any single pitch contained in the cluster would
-be notated as an ordinary note. From this point of view, it is
-reasonable to specify a cluster as the envelope of a set of notes.
-
-@syntax
-
-A cluster is engraved as the envelope of a set of
-cluster-notes. Cluster notes are created by applying the function
-@code{notes-to-clusters} to a sequence of chords, e.g.
+A cluster indicates a continuous range of pitches to be played. They
+can be denoted as the envelope of a set of notes. They are entered by
+applying the function @code{notes-to-clusters} to a sequence of
+chords, e.g.
@c
@lilypond[relative=1,verbatim]
\apply #notes-to-clusters { <c e > <b f'> }
@lilypondfile[]{cluster.ly}
-By default, @internalsref{Cluster_spanner_engraver} is in the
-@internalsref{Voice} context. This allows putting ordinary notes and
-clusters together in the same staff, even simultaneously. In such a
-case no attempt is made to automatically avoid collisions between
-ordinary notes and clusters.
+Ordinary notes and clusters can be put together in the same staff,
+even simultaneously. In such a case no attempt is made to
+automatically avoid collisions between ordinary notes and clusters.
@seealso
-Internals: @internalsref{ClusterSpanner},
+Program reference: @internalsref{ClusterSpanner},
@internalsref{ClusterSpannerBeacon},
@internalsref{Cluster_spanner_engraver}, and
@internalsref{ClusterNoteEvent}.
Contemporary music notation frequently uses special fermata symbols to
-indicate fermatas of differing lengths.
-
-@syntax
-
-The following are supported
+indicate fermatas of differing lengths. The following fermatas are
+supported
@lilypond[raggedright]
\score {
r
}
\context Lyrics \lyrics {
+ \override LyricText #'font-family = #'typewriter
"shortfermata" "fermata" "longfermata" "verylongfermata"
} >>
}
@seealso
-Internals: @internalsref{text-balloon-interface}.
+Program reference: @internalsref{text-balloon-interface}.
Examples: @inputfileref{input/regression,balloon.ly}.
@cindex easy notation
@cindex Hal Leonard
-The `easy play' note head includes a note name inside the head. It is
-used in music aimed at beginners:
+The `easy play' note head includes a name inside the head. It is
+used in music for beginners:
@lilypond[raggedright,verbatim,staffsize=26]
-\score {
- \notes { c'2 e'4 f' | g'1 }
- \paper { \translator { \EasyNotation } }
-}
+ \setEasyHeads
+ c'2 e'4 f' | g'1
@end lilypond
-The @code{EasyNotation} variable overrides a @internalsref{Score} @c
-context. 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}.
+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{Setting global staff size}.
@cindex Xdvi
@cindex ghostscript
the letters. Printing the PostScript file obtained does produce the
correct result.
+@refcommands
+
+@cindex \setEasyHeads
+@code{\setEasyHeads}
@node Sound
@section Sound
@cindex Sound
Entered music can also be converted to MIDI output. The performance
-is good enough 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
The MIDI output allocates a channel for each Staff, and one for global
settings. Hence, the MIDI file should not have more than 15 staves
-(or 14 if you do not use drums).
+(or 14 if you do not use drums). Other staves will remain silent.
@menu
@item context definitions.
@end itemize
-Assignments in the @code{\midi} block are not allowed.
-
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:
projects / lilypond.git / blobdiff