-@c Note: -*-texinfo-*-
+@c -*- coding: latin-1; mode: texinfo; -*-
@c This file is part of lilypond.tely
@c A menu is needed before every deeper *section nesting of @node's; run
@chapter Notation manual
This chapter describes all the different types of notation supported
-by LilyPond. It is intended as a reference for users that are already
+by LilyPond. It is intended as a reference for users that are already
somewhat familiar with LilyPond.
@menu
* Tablatures::
* Popular music::
* Orchestral music::
-* Formatting cue notes::
* Ancient notation::
* Contemporary notation::
* Educational use::
A note is printed by specifying its pitch and then its duration,
-@lilypond[quote,verbatim]
+@lilypond[quote,verbatim,raggedright]
{ cis'4 d'8 e'16 c'16 }
@end lilypond
@cindex pitches
@cindex entering notes
-The most common syntax for pitch entry is used in standard notes and
-@code{\chords} mode. In these modes, pitches may be designated by
+The most common syntax for pitch entry is used for standard notes and
+@code{\chordmode} modes. 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}
+@code{g}. 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
a flat is formed by adding @code{-es}. Double sharps and double flats
are obtained by adding @code{-isis} or @code{-eses}. These
names are the Dutch note names. In Dutch, @code{aes} is contracted to
-@code{as}, but both forms are accepted. Similarly, both
-@code{es} and @code{ees} are accepted.
+@code{as}, but both forms are accepted. Similarly, both
+@code{es} and @code{ees} are accepted
-@lilypond[fragment,quote,verbatim,relative=2]
+@lilypond[fragment,quote,raggedright,verbatim,relative=2]
ceses4
ces
c
(`@code{,}') characters. Each @code{'} raises the pitch by one
octave; each @code{,} lowers the pitch by an octave
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
c' c'' es' g' as' gisis' ais'
@end lilypond
-
+@c FIXME: we need this info (hide/unhide) somewhere in the manual, but this ain't the place. -gp
@refcommands
-
Notes can be hidden and unhidden with the following commands
@cindex @code{\hideNotes}
@cindex cautionary accidental
@cindex parenthesized accidental
(i.e. an accidental within parentheses) can be obtained by adding the
-question mark `@code{?}' after the pitch
+question mark `@code{?}' after the pitch.
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
cis' cis' cis'! cis'?
@end lilypond
@seealso
The automatic production of accidentals can be tuned in many
-ways. For more information, refer to @ref{Accidentals}.
+ways. For more information, refer to @ref{Automatic accidentals}.
@cindex quarter tones
@cindex semi-flats, semi-sharps
-@lilypond[verbatim,quote,relative=2,fragment]
+@lilypond[verbatim,raggedright,quote,relative=2,fragment]
{ ceseh ceh cih cisih }
@end lilypond
@subsection Chords
A chord is formed by a enclosing a set of pitches in @code{<} and
-@code{>}. A chord may be followed by a duration, and a set of
-articulations, just like simple notes.
+@code{>}. A chord may be followed by a duration, and a set of
+articulations, just like simple notes
-@lilypond[verbatim,fragment,quote,relative=1]
-<c e g>4 <c>8
+@lilypond[verbatim,raggedright,fragment,quote,relative=1]
+<c e g>4 <c>8
@end lilypond
@node Rests
@cindex Rests
-
+@cindex @code{\rest}
+@cindex @code{r}
Rests are entered like notes, with the note name @code{r}
@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}.
A rest's vertical position may be explicitly specified by entering a
-note with the @code{\rest} keyword appended. This makes manual
-formatting in polyphonic music easier. Automatic rest collision
-formatting will leave these rests alone
+note with the @code{\rest} keyword appended, the rest will be placed at
+the note's place. This makes manual formatting in polyphonic music
+easier. Automatic rest collision formatting will leave these rests
+alone
-@cindex @code{\rest}
-
@lilypond[fragment,quote,raggedright,verbatim]
a'4\rest d'4\rest
@end lilypond
@cindex Invisible rest
@cindex Space note
+@cindex @code{\skip}
+@cindex @code{s}
An invisible rest (also called a `skip') can be entered like a note
with note name `@code{s}' or with @code{\skip @var{duration}}
@lilypond[fragment,quote,raggedright,verbatim,relative=2]
-a2 s4 a4 \skip 1 a4
+a4 a4 s4 a4 \skip 1 a4
@end lilypond
The @code{s} syntax is only available in note mode and chord mode. In
@lilypond[quote,raggedright,verbatim]
<<
\relative { a'2 a1 }
- \new Lyrics \lyrics { \skip 2 bla1 }
+ \new Lyrics \lyricmode { \skip 2 bla1 }
>>
@end lilypond
The @code{s} skip command does create @internalsref{Staff} and
@internalsref{Voice} when necessary, similar to note and rest
-commands. For example, the following results in an empty staff.
+commands. For example, the following results in an empty staff.
@lilypond[quote,raggedright,verbatim]
{ s4 }
@cindex @code{\maxima}
-In Note, Chord, and Lyrics mode, durations are designated by numbers
-and dots: durations are entered as their reciprocal values. For example,
-a quarter note is entered using a @code{4} (since it is a 1/4 note), while
-a half note is entered using a @code{2} (since it is a 1/2 note). For notes
-longer than a whole you must use variables
+In Note, Chord, and Lyrics mode, durations are designated by numbers and
+dots: durations are entered as their reciprocal values. For example, a
+quarter note is entered using a @code{4} (since it is a 1/4 note), while
+a half note is entered using a @code{2} (since it is a 1/2 note). For
+notes longer than a whole you must use the variables @code{\longa} and
+@code{\breve}
@example
c'\breve
r\longa*1/4 r\breve *1/2
r1 r2 r4 r8 r16 r32 r64 r64
}
- \paper {
+ \layout {
raggedright = ##t
\context {
\Staff
}
@end lilypond
+If the duration is omitted then it is set to the previously entered
+duration. The default for the first note is a quarter note.
+
+@lilypond[quote,raggedright,verbatim,fragment]
+{
+a a a2 a a4 a a1 a
+}
+@end lilypond
+
+
@node Augmentation dots
@subsection Augmentation dots
-If the duration is omitted then it is set to the previously entered
-duration. The default for the first note is a quarter note. The duration
-can be followed by dots (`@code{.}') to obtain dotted note
-lengths
@cindex @code{.}
+To obtain dotted note lenghts, simply add a dot (`@code{.}') to
+the number. Double-dotted notes are produced in a similar way.
-@lilypond[quote,fragment,verbatim]
-a' b' c''8 b' a'4 a'4. b'4.. c'8.
+@lilypond[quote,raggedright,fragment,verbatim]
+a'4 b' c''4. b'8 a'4. b'4.. c''8.
@end lilypond
-@cindex @code{r}
-@cindex @code{s}
@refcommands
Dots are normally moved up to avoid staff lines, except in polyphonic
-situations. The following commands may be used to force a particular
+situations. The following commands may be used to force a particular
direction manually
@cindex @code{\dotsUp}
@code{\dotsUp},
@cindex @code{\dotsDown}
@code{\dotsDown},
-@cindex @code{\dotsBoth}
-@code{\dotsBoth}.
+@cindex @code{\dotsNeutral}
+@code{\dotsNeutral}.
@seealso
@subsection Scaling durations
You can alter the length of duration by a fraction @var{N/M}
-appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
+appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
will not affect the appearance of the notes or rests produced.
In the following example, the first three notes take up exactly two
beats, but no triplet bracket is printed.
-@lilypond[quote,fragment,relative=2,verbatim]
+@lilypond[quote,raggedright,fragment,relative=2,verbatim]
\time 2/4
a4*2/3 gis4*2/3 a4*2/3
-a4
+a4 a4 a4*2
+b16*4 c4
@end lilypond
This manual: @ref{Tuplets}
+@c TODO: I'm not certain that Stems belong here in the manual. -gp
@node Stems
@subsection Stems
Whenever a note is found, a @internalsref{Stem} object is created
-automatically. For whole notes and rests, they are also created but
+automatically. For whole notes and rests, they are also created but
made invisible.
@refcommands
@code{\stemUp},
@cindex @code{\stemDown}
@code{\stemDown},
-@cindex @code{\stemBoth}
-@code{\stemBoth}.
+@cindex @code{\stemNeutral}
+@code{\stemNeutral}.
@node Ties
slurs, which indicate articulation, or phrasing slurs, which indicate
musical phrasing. A tie is entered using the tilde symbol `@code{~}'
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
e' ~ e' <c' e' g'> ~ <c' e' g'>
@end lilypond
are connected. When no note heads match, no ties will be created.
A tie is just a way of extending a note duration, similar to the
-augmentation dot. The following example shows two ways of notating
+augmentation dot. The following example shows two ways of notating
exactly the same concept
@c
@lilypond[quote,fragment,raggedright]
cannot be used to denote the rhythm. When using ties, larger note
values should be aligned to subdivisions of the measure, eg.
-@lilypond[fragment]
+@lilypond[fragment,quote,raggedright]
\relative {
r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
}
@end lilypond
If you need to tie a lot of notes over bars, it may be easier to use
-automatic note splitting (see @ref{Automatic note splitting}). This
+automatic note splitting (see @ref{Automatic note splitting}). This
mechanism automatically splits long notes, and ties them across bar
lines.
@code{\tieUp},
@cindex @code{\tieDown}
@code{\tieDown},
-@cindex @code{\tieBoth}
-@code{\tieBoth},
+@cindex @code{\tieNeutral}
+@code{\tieNeutral},
@cindex @code{\tieDotted}
@code{\tieDotted},
@cindex @code{\tieSolid}
Switching staves when a tie is active will not produce a slanted tie.
-Formatting of ties is a difficult subject. The results are often not
+Formatting of ties is a difficult subject. The results are often not
optimal.
@node Tuplets
notes have the length of 2, so the notes are 2/3 of their written
length
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
g'4 \times 2/3 {c'4 c' c'} d'4 d'4
@end lilypond
The property @code{tupletSpannerDuration} specifies how long each
bracket should last. With this, you can make lots of tuplets while
-typing @code{\times} only once, thus saving lots of typing. In the next
+typing @code{\times} only once, thus saving lots of typing. In the next
example, there are two triplets shown, while @code{\times} was only
used once
@code{\tupletUp},
@cindex @code{\tupletDown}
@code{\tupletDown},
-@cindex @code{\tupletBoth}
-@code{\tupletBoth}.
+@cindex @code{\tupletNeutral}
+@code{\tupletNeutral}.
@seealso
mistakes. There are also external tools that make debugging easier.
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
+It is also possible to enter and edit music using other programs, such as
+GUI interfaces or MIDI sequencers. Refer to the LilyPond
website for more information.
Octaves are specified by adding @code{'} and @code{,} to pitch names.
When you copy existing music, it is easy to accidentally put a pitch
-in the wrong octave and hard to find such an error. The relative
-octave mode prevents these errors: a single error puts the rest of the
-piece off by one octave
+in the wrong octave and hard to find such an error. The relative
+octave mode prevents these errors by making the mistakes much
+larger: a single error puts the rest of the piece off by one octave
@cindex @code{\relative}
@example
@end example
The octave of notes that appear in @var{musicexpr} are calculated as
-follows: If no octave changing marks are used, the basic interval
+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
+less. This distance is determined without regarding alterations; a
@code{fisis} following a @code{ceses} will be put above the
-@code{ceses}.
+@code{ceses}. In other words, a doubly-augmented fourth is considered
+a smaller interval than a diminshed fifth, even though the fourth is
+seven semitones while the fifth is only six semitones.
The octave changing marks @code{'} and @code{,} can be added to raise
or lower the pitch by an extra octave. Upon entering relative mode,
an absolute starting pitch can be specified that will act as the
-predecessor of the first note of @var{musicexpr}. If no starting pitch
+predecessor of the first note of @var{musicexpr}. If no starting pitch
is specified, then middle C is used as a start.
Here is the relative mode shown in action
@end lilypond
Octave changing marks are used for intervals greater than a fourth
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\relative c'' {
c g c f, c' a, e''
}
If the preceding item is a chord, the first note of the chord is used
to determine the first note of the next chord
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\relative c' {
c <c e g>
<c' e g>
The relative conversion will not affect @code{\transpose},
-@code{\chords} or @code{\relative} sections in its argument. To use
+@code{\chordmode} or @code{\relative} sections in its argument. To use
relative within transposed music, an additional @code{\relative} must
be placed inside @code{\transpose}.
@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 for this and the
-following notes.
+the @code{d} will generate a warning, because a @code{d''} is expected
+(because @code{b'} to @code{d''} is only a third), but a @code{d}' is
+found. In the output, the octave is corrected to be a @code{d''} and
+the next note is calculated relative to @code{d''} instead of @code{d'}.
-There is also a syntax that is separate from the notes. The syntax
+There is also a syntax that is separate from the notes. The syntax
@example
\octave @var{pitch}
@end example
This checks that @var{pitch} (without quotes) yields @var{pitch} (with
-quotes) in \relative mode. If not, a warning is printed, and the
-octave is corrected, for example, the first check is passed
-successfully. The second check fails with an error message. The
-octave is adjusted so the following notes are in the correct octave
+quotes) in \relative mode. If not, a warning is printed, and the
+octave is corrected.
+
+In the example below, the first check passes without incident, since
+the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
+the second check produces a warning, since the @code{e} is not within
+a fifth of @code{b'}. The warning message is printed, and the octave
+is adjusted so that the following notes are in the correct octave
once again.
+
@example
\relative c' @{
e
The octave of a note following an octave check is determined with
-respect to the note preceding it. In the next fragment, the last note
-is a @code{a'}, above middle C. Hence, the @code{\octave} check may
-be deleted without changing the meaning of the piece.
+respect to the note preceding it. In the next fragment, the last note
+is a @code{a'}, above middle C. That means that the @code{\octave}
+check passes successfully, so the check could be deleted without changing
+the output of the piece.
-@lilypond[quote,verbatim,fragment]
+@lilypond[quote,raggedright,verbatim,fragment]
\relative c' {
e
\octave b
Bar checks can also be used in lyrics, for example
@example
-\lyrics @{
+\lyricmode @{
\time 2/4
Twin -- kle | Twin -- kle
@}
@cindex @code{skipTypesetting}
Failed bar checks are caused by entering incorrect
-durations. Incorrect durations often completely garble up the score,
-especially if it is polyphonic, so a good place to correcting input is
-by scanning for failed bar checks and incorrect durations. To speed
-up this process, the @code{skipTypesetting} feature may be used. It is
-described in the next section.
+durations. Incorrect durations often completely garble up the score,
+especially if the score is polyphonic, so a good place to start correcting
+input is by scanning for failed bar checks and incorrect durations. To
+speed up this process, the @code{skipTypesetting} feature may be
+used. It is described in the next section.
@cindex @code{|}
@cindex @code{pipeSymbol}
-It is also possible to redefine the meaning of @code{|}. This is done
+It is also possible to redefine the meaning of @code{|}. This is done
by assigning a music expression to @code{pipeSymbol},
-@lilypond
+@lilypond[quote,raggedright,verbatim]
pipeSymbol = \bar "||"
-{ c'2 c'2 | c'2 c'2 | }
+{ c'2 c' | c'2 c }
@end lilypond
@subsection Skipping corrected music
The property @code{Score.skipTypesetting} can be used to switch on and
-off typesetting completely during the interpretation phase. When
-typesetting is switched off, the music is processed much more quickly.
-This can be used to skip over the parts of a score that have already
-been checked for errors
+off typesetting completely during the interpretation phase. When
+typesetting is switched off, the music is processed much more
+quickly. This can be used to skip over the parts of a score that
+have already been checked for errors
@lilypond[quote,fragment,raggedright,verbatim]
\relative c'' {
c d b bes a g c2 }
@end lilypond
+In polyphonic music, @code{Score.skipTypesetting} will affect all
+voices and staves, saving even more time.
+
@node Automatic note splitting
@subsection Automatic note splitting
represented exactly with normal notes and dots, but the engraver will
not insert tuplets.
+The @internalsref{Completion_heads_engraver} can be combined with
+@code{\lyricsto} or @code{\addlyrics}.
+
@seealso
Examples: @inputfileref{input/regression,completion-heads.ly}.
* Unmetered music::
* Bar lines::
* Time administration::
-* Controlling formatting of prefatory matter::
+* Controlling formatting of prefatory matter::
@end menu
@node Staff symbol
@cindex adjusting staff symbol
Notes, dynamic signs, etc. are grouped
-with a set of horizontal lines, into a staff (plural `staves'). In our
+with a set of horizontal lines, into a staff (plural `staves'). In our
system, these lines are drawn using a separate layout object called
staff symbol.
@cindex @code{\key}
-The key signature indicates the scale in which a piece is played. It
-is denoted by a set of alterations (flats or sharps) at the start of
-the staff.
+The key signature indicates the tonality in which a piece is played. It
+is denoted by a set of alterations (flats or sharps) at the start of the
+staff.
Setting or changing the key signature is done with the @code{\key}
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. For
-more information, see @ref{More about pitches}.
-
-@refbugs
-
-The ordering of a key cancellation is wrong when it is combined with
-repeat bar lines. The cancellation is also printed after a line break.
+unaltered notes get natural signs depending on the key signature. For
+more information, see @ref{More about pitches}.
@seealso
-Program reference: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
+Program reference: @internalsref{KeyChangeEvent},
+@internalsref{KeyCancellation} and @internalsref{KeySignature}.
@cindex @code{keySignature}
The clef can be set with the @code{\clef} command
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
{ c''2 \clef alto g'2 }
@end lilypond
By adding @code{_8} or @code{^8} to the clef name, the clef is
transposed one octave down or up, respectively, and @code{_15} and
@code{^15} transposes by two octaves. The argument @var{clefname}
-must be enclosed in quotes when it contains underscores or digits. For
+must be enclosed in quotes when it contains underscores or digits. For
example,
@cindex choral tenor clef
-@lilypond[quote,verbatim,fragment,relative=1]
+@lilypond[quote,raggedright,verbatim,fragment,relative=1]
\clef "G_8" c4
@end lilypond
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{centralCPosition} and @code{clefOctavation}. A clef is printed
when any of these properties are changed. The following example shows
possibilities when setting properties manually.
-@lilypond[verbatim]
+@lilypond[raggedright,verbatim]
{
\set Staff.clefGlyph = #"clefs-F"
\set Staff.clefPosition = #2
@node Ottava brackets
@subsection Ottava brackets
-``Ottava'' brackets introduce an extra transposition of an octave for
-the staff. They are created by invoking the function
+`Ottava' brackets introduce an extra transposition of an octave for
+the staff. They are created by invoking the function
@code{set-octavation}
@cindex ottava
@cindex 15ma
@cindex octavation
-@lilypond[quote,verbatim,fragment]
+@lilypond[quote,raggedright,verbatim,fragment]
\relative c''' {
a2 b
#(set-octavation 1)
The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
(for 15ma) as arguments. Internally the function sets the properties
@code{ottavation} (e.g. to @code{"8va"}) and
-@code{centralCPosition}. For overriding the text of the bracket, set
+@code{centralCPosition}. For overriding the text of the bracket, set
@code{ottavation} after invoking @code{set-octavation}, i.e.,
-@lilypond[verbatim]
+@lilypond[quote,raggedright,verbatim]
{
#(set-octavation 1)
\set Staff.ottavation = #"8"
@cindex @code{\time}
Time signature indicates the metrum of a piece: a regular pattern of
-strong and weak beats. It is denoted by a fraction at the start of the
+strong and weak beats. It is denoted by a fraction at the start of the
staff.
The time signature is set or changed by the @code{\time}
command
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\time 2/4 c'2 \time 3/4 c'2.
@end lilypond
The symbol that is printed can be customized with the @code{style}
-property. Setting it to @code{#'()} uses fraction style for 4/4 and
+property. Setting it to @code{#'()} uses fraction style for 4/4 and
2/2 time,
-@lilypond[fragment,verbatim]
+@lilypond[fragment,quote,raggedright,verbatim]
\time 4/4 c'1
\time 2/2 c'1
-\override TimeSignature #'style = #'()
+\override Staff.TimeSignature #'style = #'()
\time 4/4 c'1
\time 2/2 c'1
@end lilypond
printed.
More options are available through the Scheme function
-@code{set-time-signature}. In combination with the
+@code{set-time-signature}. In combination with the
@internalsref{Measure_grouping_engraver}, it will create
-@internalsref{MeasureGrouping} signs. Such signs ease reading
+@internalsref{MeasureGrouping} signs. Such signs ease reading
rhythmically complex modern music. In the following example, the 9/8
-measure is subdivided in 2, 2, 2 and 3. This is passed to
+measure is subdivided in 2, 2, 2 and 3. This is passed to
@code{set-time-signature} as the third argument @code{(2 2 2 3)}
@lilypond[quote,raggedright,verbatim]
#(set-time-signature 5 8 '(3 2))
a4. g4
}
- \paper {
+ \layout {
\context {
\Staff
\consists "Measure_grouping_engraver"
Partial measures, for example in upsteps, are entered using the
@code{\partial} command
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\partial 16*5 c16 cis d dis e | a2. c,4 | b2
@end lilypond
@example
\partial @var{duration}
@end example
-This is internally translated into
+This is internally translated into
@example
\set Timing.measurePosition = -@var{length of duration}
@end example
@refbugs
This command does not take into account grace notes at the start of
-the music. When a piece starts with graces notes in the pickup, then
+the music. When a piece starts with graces notes in the pickup, then
the @code{\partial} should follow the grace notes
-@lilypond[verbatim,relative,fragment]
+@lilypond[verbatim,quote,raggedright,relative,fragment]
{
\grace f16
\partial 4
@cindex @code{\bar}
-Bar lines and bar numbers are calculated automatically. For unmetered
+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. Empty bar lines,
+off. Empty bar lines,
@example
\bar ""
Special types of bar lines can be forced with the @code{\bar} command
@c
-@lilypond[quote,relative=2,fragment,verbatim]
+@lilypond[quote,raggedright,relative=2,fragment,verbatim]
c4 \bar "|:" c4
@end lilypond
The following bar types are available
-@lilypondfile[notexidoc]{bar-lines.ly}
+@lilypondfile[raggedright,quote]{bar-lines.ly}
For allowing line breaks, there is a special command,
@example
point.
In scores with many staves, a @code{\bar} command in one staff is
-automatically applied to all staves. The resulting bar lines are
+automatically applied to all staves. The resulting bar lines are
connected between different staves of a @internalsref{StaffGroup}
@c
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
<<
\context StaffGroup <<
\new Staff {
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
+@code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
to override default measure bars.
@cindex @code{whichBar}
Time is administered by the @internalsref{Time_signature_engraver},
which usually lives in the @internalsref{Score} context.
-The bookkeeping deals with the following variables
+The bookkeeping deals with the following variables
@table @code
@item currentBarNumber
the measure number
@item measureLength
- the length of the measures in the current time signature. For a 4/4
+ the length of the measures in the current time signature. For a 4/4
time this is 1, and for 6/8 it is 3/4.
@item measurePosition
- the point within the measure where we currently are. This quantity
- is reset to 0 whenever it exceeds @code{measureLength}. When that happens,
+ the point within the measure where we currently are. This quantity
+ is reset to 0 whenever it exceeds @code{measureLength}. When that happens,
@code{currentBarNumber} is incremented.
@item timing
if set to true, the above variables are updated for every time
- step. When set to false, the engraver stays in the current measure
+ step. When set to false, the engraver stays in the current measure
indefinitely.
@end table
Timing can be changed by setting any of these variables explicitly.
In the next example, the 4/4 time signature is printed, but
-@code{measureLength} is set to 5/4. After a while, the measure is
+@code{measureLength} is set to 5/4. After a while, the measure is
shortened by 1/8, by setting @code{measurePosition} to -3/8 at 2/4 in
the measure, so the next bar line will fall at 2/4 + 3/8.
-@lilypond[verbatim]
-\relative {
+@lilypond[raggedright,verbatim,relative,fragment]
\set Score.measureLength = #(ly:make-moment 5 4)
c1 c4
c1 c4
\set Score.measurePosition = #(ly:make-moment -3 8)
b8 b b
c4 c1
-}
@end lilypond
-@node Controlling formatting of prefatory matter
-@subsection Controlling formatting of prefatory matter
+@node Controlling formatting of prefatory matter
+@subsection Controlling formatting of prefatory matter
-TODO
+TODO Somebody needs to explain this example, but I don't know what
+they're trying to do, so it won't be me. -gp
@lilypond[verbatim]
\transpose c c' {
@node Polyphony
@section Polyphony
+
+Polyphony in music refers to having more than one voice occuring in
+a piece of music. Polyphony in LilyPond refers to having more than
+one voice on the same staff.
+
+@menu
+* Writing polyphonic music::
+@end menu
+
+@node Writing polyphonic music
+@subsection Writing polyphonic music
@cindex polyphony
The easiest way to enter fragments with more than one voice on a staff
@cindex @code{\\}
-@lilypond[quote,verbatim,fragment]
+@lilypond[quote,raggedright,verbatim,fragment]
\context Staff \relative c'' {
c4 << { f d e } \\ { b c2 } >>
c4 << g' \\ b, \\ f' \\ d >>
@end lilypond
The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
-voices are sometimes called "layers" in other notation packages}
+voices are sometimes called ``layers'' in other notation packages}
@cindex layers
-to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
+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.
Normally, note heads with a different number of dots are not merged, but
-when the object property @code{merge-differently-dotted} is set in
+when the object property @code{merge-differently-dotted} is set in
the @internalsref{NoteCollision} object, they are merged
@lilypond[quote,verbatim,fragment,raggedright,relative=2]
\context Voice << {
Similarly, you can merge half note heads with eighth notes, by setting
@code{merge-differently-headed}
-@lilypond[quote,fragment,relative=2,verbatim]
+@lilypond[quote,raggedright,fragment,relative=2,verbatim]
\context Voice << {
c8 c4.
\override Staff.NoteCollision
offset.
There is no support for clusters where the same note occurs with
-different accidentals in the same chord. In this case, it is
+different accidentals in the same chord. In this case, it is
recommended to use enharmonic transcription, or to use special cluster
notation (see @ref{Clusters}).
@section Beaming
Beams are used to group short notes into chunks that are aligned with
-the metrum. They are inserted automatically
+the metrum. LilyPond normally inserts beams automatically, but if you
+wish you may control them manually or changed how beams are automatically
+grouped.
-@lilypond[quote,fragment,verbatim,relative=2]
+@cindex Automatic beams
+@menu
+* Automatic beams::
+* Manual beams::
+* Setting automatic beam behavior::
+* Beam formatting::
+@end menu
+
+@node Automatic beams
+@subsection Automatic beams
+
+LilyPond inserts beams automatically
+
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
@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
from being beamed
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\time 2/4 c8 c\noBeam c c
@end lilypond
Program reference: @internalsref{Beam}.
-@cindex Automatic beams
-@menu
-* Manual beams::
-* Setting automatic beam behavior::
-* Beam formatting::
-@end menu
-
@node Manual beams
@subsection Manual beams
@cindex beams, manual
In some cases it may be necessary to override the automatic beaming
algorithm. For example, the autobeamer will not put beams over rests
-or bar lines. Such beams are specified manually by marking the begin
+or bar lines. Such beams are specified manually by marking the begin
and end point with @code{[} and @code{]}
-@lilypond[quote,fragment,relative=1,verbatim]
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
{
r4 r8[ g' a r8] r8 g[ | a] r8
}
either property is set, its value will be used only once, and then it
is erased
-@lilypond[quote,fragment,relative=1,verbatim]
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
{
- f8[ r16 f g a]
- f8[ r16 \set stemLeftBeamCount = #1 f g a]
+ f8[ r16
+ f g a]
+ f8[ r16
+ \set stemLeftBeamCount = #1
+ f g a]
}
@end lilypond
@cindex @code{stemRightBeamCount}
@code{beatLength} property.
-@lilypond[fragment,quote,relative=2,verbatim,noindent]
+@lilypond[fragment,raggedright,quote,relative=2,verbatim,noindent]
c16[ c c c c c c c]
\set subdivideBeams = ##t
c16[ c c c c c c c]
@cindex Frenched staves
Kneed beams are inserted automatically, when a large gap is detected
-between the note heads. This behavior can be tuned through the object
+between the note heads. This behavior can be tuned through the object.
Automatically kneed cross-staff beams cannot be used together with
-hidden staves. See @ref{Hiding staves}.
+hidden staves. See @ref{Hiding staves}.
Beams do not avoid collisions with symbols around the notes, such as
texts and accidentals.
In normal time signatures, automatic beams can start on any note but can
only end in a few positions within the measure: beams can end on a beat,
or at durations specified by the properties in
-@code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
+@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,
#(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
@end example
Here, @var{be} is the symbol @code{begin} or @code{end}, and
-@var{context} is an optional context (default: @code{'Voice}). It
+@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
+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.
Since the duration of a quarter note is 1/4 of a whole note, it is
entered as @code{(ly:make-moment 1 4)}.
-The same syntax can be used to specify beam starting points. In this
+The same syntax can be used to specify beam starting points. In this
example, automatic beams can only end on a dotted quarter note
@example
#(override-auto-beam-setting '(end * * * *) 3 8)
3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
3/8, has passed within the measure).
-Rules can also be restricted to specific time signatures. A rule that
+Rules can also be restricted to specific time signatures. A rule that
should only be applied in @var{N}/@var{M} time signature is formed by
-replacing the second asterisks by @var{N} and @var{M}. For example, a
+replacing the second asterisks by @var{N} and @var{M}. For example, a
rule for 6/8 time exclusively looks like
@example
#(override-auto-beam-setting '(begin * * 6 8) @dots{})
@end example
If a rule should be to applied only to certain types of beams, use the
-first pair of asterisks. Beams are classified according to the
-shortest note they contain. For a beam ending rule that only applies
+first pair of asterisks. Beams are classified according to the
+shortest note they contain. For a beam ending rule that only applies
to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
*)}.
@cindex lyrics
If beams are used to indicate melismata in songs, then automatic
-beaming should be switched off. This is done by setting
+beaming should be switched off. This is done by setting
@code{autoBeaming} to @code{#f}.
@refcommands
@refbugs
If a score ends while an automatic beam has not been ended and is
-still accepting notes, this last beam will not be typeset at all. The
+still accepting notes, this last beam will not be typeset at all. The
same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
->>}. If a polyphonic voice ends while an automatic beam is still
+>>}. If a polyphonic voice ends while an automatic beam is still
accepting notes, it is not typeset.
The rules for ending a beam depend on the shortest note in a beam.
sixteenth notes will use the rules for the sixteenth beam.
In the example below, the autobeamer makes eighth beams and sixteenth
-end at three eighths. The third beam can only be corrected by
+end at three eighths. The third beam can only be corrected by
specifying manual beaming.
@lilypond[quote,raggedright,fragment,relative=1]
\time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
@end lilypond
It is not possible to specify beaming parameters that act differently in
-different parts of a measure. This means that it is not possible to use
+different parts of a measure. This means that it is not possible to use
automatic beaming in irregular meters such as @code{5/8}.
@node Beam formatting
@code{neutral-direction} property.
-@lilypond
-\relative c'' {
+@lilypond[quote,raggedright,relative=2,fragment,verbatim]
+{
b8[ b]
\override Beam #'neutral-direction = #-1
b[ b]
@node Accidentals
@section Accidentals
-@cindex Accidentals
This section describes how to change the way that accidentals are
-inserted automatically before the running notes.
+inserted automatically before notes.
+
+@menu
+* Automatic accidentals::
+@end menu
+
+@node Automatic accidentals
+@subsection Automatic accidentals
+@cindex Automatic accidentals
-Common rules for typesetting accidentals have been canned in a
-function. This function is called as follows
+Common rules for typesetting accidents have been placed in a
+function. This function is called as follows
@cindex @code{set-accidental-style}
@example
- #(set-accidental-style 'modern 'Voice)
+#(set-accidental-style 'STYLE #('CONTEXT#))
@end example
-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{Voice}). If no context name is
-supplied, @code{Staff} is the default.
+The function can take two arguments: the name of the accidental style,
+and an optional argument that denotes the context which should be
+changed. If no context name is supplied, @code{Staff} is the default,
+but you may wish to apply the accidental style to a single @code{Voice}
+instead.
-The following styles are supported
+The following accidental styles are supported
@table @code
@item default
- This is the default typesetting behavior. It should correspond
- to 18th century common practice: Accidentals are
- remembered to the end of the measure in which they occur and
- only on their own octave.
+This is the default typesetting behavior. It corresponds
+to 18th century common practice: Accidentals are
+remembered to the end of the measure in which they occur and
+only on their own octave.
@item voice
-@c
- The normal behavior is to remember the accidentals on
+The normal behavior is to remember the accidentals on
Staff-level. This variable, however, typesets accidentals
individually for each voice. Apart from that, the rule is similar to
-@code{code}.
+@code{default}.
+
+As a result, accidentals from one voice do not get canceled in other
+voices, which is often an unwanted result
- As a result,
- accidentals from one voice do not get canceled in other
- voices, which is often unwanted result
- @c
@lilypond[quote,raggedright,relative=1,fragment,verbatim]
\context Staff <<
#(set-accidental-style 'voice)
{ c, e }
>> >>
@end lilypond
-@c
- The @code{voice} option should be used if the voices
-are to be read solely by individual musicians. If the staff is to be
+
+The @code{voice} option should be used if the voices
+are to be read solely by individual musicians. If the staff is to be
used by one musician (e.g. a conductor) then
@code{modern} or @code{modern-cautionary}
should be used instead.
@item modern
@cindex @code{modern} style accidentals
- This rule corresponds to the common practice in the 20th
- century.
- This rule prints the same accidentals as @code{default}, but temporary
- accidentals also are canceled in other octaves. Furthermore,
- in the same octave, they also get canceled in the following
- measure
+This rule corresponds to the common practice in the 20th century. This rule
+prints the same accidentals as @code{default}, but temporary
+accidentals also are canceled in other octaves. Furthermore,
+in the same octave, they also get canceled in the following
+measure
@lilypond[quote,raggedright,fragment,verbatim]
#(set-accidental-style 'modern)
@end lilypond
@item @code{modern-cautionary}
- @cindex @code{modern-cautionary}
- This rule is similar to @code{modern}, but the
- ``extra'' accidentals (the ones not typeset by
- @code{default}) are typeset as cautionary accidentals.
- They are printed in reduced size or with parentheses
+@cindex @code{modern-cautionary}
+This rule is similar to @code{modern}, but the ``extra'' accidentals
+(the ones not typeset by @code{default}) are typeset as cautionary
+accidentals. They are printed in reduced size or with parentheses
@lilypond[quote,raggedright,fragment,verbatim]
#(set-accidental-style 'modern-cautionary)
cis' c'' cis'2 | c'' c'
@end lilypond
- @cindex @code{modern-voice}
+@cindex @code{modern-voice}
@item modern-voice
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}
+@cindex @code{modern-voice-cautionary}
@item modern-voice-cautionary
This rule is the same as @code{modern-voice}, but with the extra
accidentals (the ones not typeset by @code{voice}) typeset
some of them are typeset as cautionaries.
@item piano
- @cindex @code{piano} accidentals
-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}.
+@cindex @code{piano} accidentals
+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 piano-cautionary
- @cindex @code{#(set-accidental-style 'piano-cautionary)}
- As @code{#(set-accidental-style 'piano)} but with the extra accidentals
- typeset as cautionaries.
+@cindex @code{#(set-accidental-style 'piano-cautionary)}
+As @code{#(set-accidental-style 'piano)} but with the extra accidentals
+typeset as cautionaries.
@item no-reset
- @cindex @code{no-reset} accidental style
- @c
- This is the same as @code{default} but with accidentals lasting
- ``forever'' and not only until the next measure
+@cindex @code{no-reset} accidental style
+This is the same as @code{default} but with accidentals lasting
+``forever'' and not only until the next measure
@lilypond[quote,raggedright,fragment,verbatim,relative=1]
#(set-accidental-style 'no-reset)
c1 cis cis c
@end lilypond
@item forget
- This is sort of the opposite of @code{no-reset}: Accidentals
- are not remembered at all---and hence all accidentals are
- typeset relative to the key signature, regardless of what was
- before in the music
+This is sort of the opposite of @code{no-reset}: Accidentals
+are not remembered at all---and hence all accidentals are
+typeset relative to the key signature, regardless of what was
+before in the music
@lilypond[quote,raggedright,fragment,verbatim,relative=1]
#(set-accidental-style 'forget)
@refbugs
Simultaneous notes are considered to be entered in sequential
-mode. This means that in a chord the accidentals are typeset as if the
+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.
@c todo: should change ordering
@c where to put text spanners, metronome marks,
@c fingering?
-
+
+Expressive marks help musicians to bring more to the music than simple
+notes and rhythms.
+
@menu
* Slurs::
* Phrasing slurs::
* Breath marks::
* Metronome marks::
+* Text scripts::
* Text spanners::
* Analysis brackets::
* Articulations::
* Running trills::
* Fingering instructions::
-* Text scripts::
* Grace notes::
* Glissando::
* Dynamics::
A slur indicates that notes are to be played bound or @emph{legato}.
They are entered using parentheses
-@lilypond[quote,relative=2,fragment,verbatim]
-f( g a) a8 b( a4 g2 f4)
-<c e>2( <b d>2)
+@lilypond[quote,raggedright,relative=2,fragment,verbatim]
+ f( g a) a8 b( a4 g2 f4)
+ <c e>2( <b d>2)
@end lilypond
The direction of a slur can be set with the
@example
\override Slur #'direction = #UP
- \slurUp % shortcut for the previous line
+ \slurUp % shortcut for the previous line
@end example
@noindent
However, there is a convenient shorthand for forcing slur
-directions. By adding @code{_} or @code{^} before the opening
-parentheses, the direction is also set. For example,
+directions. By adding @code{_} or @code{^} before the opening
+parentheses, the direction is also set. For example,
-@lilypond[relative=2,verbatim,fragment]
- c4_( c) c^( c)
+@lilypond[relative=2,raggedright,quote,verbatim,fragment]
+ c4_( c) c^( c)
@end lilypond
+
+Some composers write two slurs when they want legato chords. This can
+be achieved in LilyPond by setting @code{doubleSlurs},
+
+@lilypond[verbatim,raggedright,relative,fragment,quote]
+ \set doubleSlurs = ##t
+ <c e>4 ( <d f> <c e> <d f> )
+@end lilypond
+
@refcommands
@code{\slurUp},
@cindex @code{\slurDown}
@code{\slurDown},
-@cindex @code{\slurBoth}
-@code{\slurBoth},
+@cindex @code{\slurNeutral}
+@code{\slurNeutral},
@cindex @code{\slurDotted}
@code{\slurDotted},
@cindex @code{\slurSolid}
Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
-
-@cindex Adjusting slurs
-
@node Phrasing slurs
@subsection Phrasing slurs
@cindex phrasing marks
A phrasing slur (or phrasing mark) connects chords and is used to
-indicate a musical sentence. It is started using @code{\(} and @code{\)}
+indicate a musical sentence. It is written using @code{\(} and @code{\)}
respectively
-@lilypond[quote,fragment,verbatim,relative=1]
-\time 6/4 c'\( d( e) f( e) d\)
+@lilypond[quote,raggedright,fragment,verbatim,relative=1]
+ \time 6/4 c'\( d( e) f( e) d\)
@end lilypond
Typographically, the phrasing slur behaves almost exactly like a
normal slur. However, they are treated as different objects. A
@code{\slurUp} will have no effect on a phrasing slur; instead, use
@code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
-@code{\phrasingSlurBoth}.
+@code{\phrasingSlurNeutral}.
-The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
+The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurNeutral}
will only affect normal slurs and not phrasing slurs.
@refcommands
@code{\phrasingSlurUp},
@cindex @code{\phrasingSlurDown}
@code{\phrasingSlurDown},
-@cindex @code{\phrasingSlurBoth}
-@code{\phrasingSlurBoth}.
+@cindex @code{\phrasingSlurNeutral}
+@code{\phrasingSlurNeutral}.
@seealso
Breath marks are entered using @code{\breathe}
-@lilypond[quote,fragment,relative=1,verbatim]
-c'4 \breathe d4
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+ c'4 \breathe d4
@end lilypond
The glyph of the breath mark can be tuned by overriding the
@code{text} property of the @code{BreathingSign} layout object with
-any markup text. For example,
-@lilypond[quote,fragment,verbatim,relative=1]
-c'4
-\override BreathingSign #'text
- = #(make-musicglyph-markup "scripts-rvarcomma")
-\breathe
-d4
+any markup text. For example,
+@lilypond[quote,raggedright,fragment,verbatim,relative=1]
+ c'4
+ \override BreathingSign #'text
+ = #(make-musicglyph-markup "scripts-rvarcomma")
+ \breathe
+ d4
@end lilypond
@seealso
Metronome settings can be entered as follows
@example
- i \tempo @var{duration} = @var{per-minute}
+ \tempo @var{duration} = @var{per-minute}
@end example
-In the MIDI output, they are interpreted as a tempo change, and in the
-paper output, a metronome marking is printed
+In the MIDI output, they are interpreted as a tempo change. In the
+layout output, a metronome marking is printed
@cindex @code{\tempo}
-@lilypond[quote,fragment,verbatim]
-\tempo 8.=120 c''1
+@lilypond[quote,raggedright,verbatim,fragment]
+ \tempo 8.=120 c''1
@end lilypond
@seealso
Program reference: @internalsref{MetronomeChangeEvent}.
+@node Text scripts
+@subsection Text scripts
+@cindex Text scripts
+
+@cindex text items, non-empty
+@cindex non-empty texts
+
+It is possible to place arbitrary strings of text or markup text (see
+@ref{Text markup}) above or below notes by using a string
+@code{c^"text"}. By default, these indications do not influence the
+note spacing, but by using the command @code{\fatText}, the widths
+will be taken into account
+@c
+@lilypond[quote,fragment,raggedright,verbatim,relative=1]
+ c4^"longtext" \fatText c4_"longlongtext" c4
+@end lilypond
+
+More complex formatting may also be added to a note by using the
+markup command,
+@lilypond[fragment,raggedright,verbatim,quote]
+ c'4^\markup { bla \bold bla }
+@end lilypond
+
+The @code{\markup} is described in more detail in
+@ref{Text markup}.
+
+
+@refcommands
+
+@cindex @code{\fatText}
+@code{\fatText},
+@cindex @code{\emptyText}
+@code{\emptyText}.
+
+@seealso
+
+In this manual: @ref{Text markup}.
+
+Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
+
@node Text spanners
@subsection Text spanners
@cindex Text spanners
Some performance indications, e.g. @i{rallentando} or @i{accelerando},
-are written as texts, and extended over many measures with dotted
-lines. Such texts are created using text spanners: attach
-@code{\startTextSpan} and @code{\stopTextSpan} to the start and ending
-note of the spanner.
+are written as text and are extended over many measures with dotted
+lines. Such texts are created using text spanners; attach
+@code{\startTextSpan} and @code{\stopTextSpan} to the first and last
+notes of the spanner.
The string to be printed, as well as the style, is set through object
properties
-@lilypond[quote,fragment,relative=1,verbatim]
-\relative c' {
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
c1
\override TextSpanner #'direction = #-1
\override TextSpanner #'edge-text = #'("rall " . "")
c2\startTextSpan b c\stopTextSpan a
-}
@end lilypond
@cindex note grouping bracket
Brackets are used in musical analysis to indicate structure in musical
-pieces. LilyPond supports a simple form of nested horizontal brackets.
-To use this, add the @internalsref{Horizontal_bracket_engraver} to
-@internalsref{Staff} context. A bracket is started with
+pieces. LilyPond supports a simple form of nested horizontal
+brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
+to @internalsref{Staff} context. A bracket is started with
@code{\startGroup} and closed with @code{\stopGroup}
@lilypond[quote,raggedright,verbatim]
c4\startGroup
c4\stopGroup\stopGroup
}
- \paper {
+ \layout {
\context {
\Staff \consists "Horizontal_bracket_engraver"
}}}
@cindex ornaments
A variety of symbols can appear above and below notes to indicate
-different characteristics of the performance. They are added to a note
-by adding a dash and the character signifying the
-articulation. They are demonstrated here
+different characteristics of the performance. They are added to a note
+by adding a dash and the character signifying the
+articulation. They are demonstrated here
@lilypondfile[quote,raggedright]{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.
The script is automatically placed, but the direction can be forced as
-well. @code{_} will put them down, and @code{^} will put them up,
+well. Like other pieces of LilyPond code, @code{_} will place them
+below the staff, and @code{^} will place them above.
-@lilypond[quote,fragment,verbatim]
-c''4^^ c''4_^
+@lilypond[quote,raggedright,fragment,verbatim]
+ c''4^^ c''4_^
@end lilypond
Other symbols can be added using the syntax
-@var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
+@var{note}@code{\}@var{name}. Again, they
can be forced up or down using @code{^} and @code{_},
e.g.
-@lilypond[quote,verbatim,fragment,relative=2]
-c\fermata c^\fermata c_\fermata
+@lilypond[quote,raggedright,verbatim,fragment,relative=2]
+ c\fermata c^\fermata c_\fermata
@end lilypond
@cindex coda
@cindex varcoda
-Here is a chart showing all scripts available,
+Here is a chart showing all scripts available,
-@lilypondfile[quote]{script-chart.ly}
+@lilypondfile[raggedright,quote]{script-chart.ly}
The vertical ordering of scripts is controlled with the
-@code{script-priority} property. The lower this number, the closer it
+@code{script-priority} property. The lower this number, the closer it
will be put to the note. In this example, the
@internalsref{TextScript} (the sharp symbol) first has the lowest
-priority, so it is put lowest in the first example. In the second, the
+priority, so it is put lowest in the first example. In the second, the
prall trill (the @internalsref{Script}) has the lowest, so it on the
-inside. When two objects have the same priority, the order in which
+inside. When two objects have the same priority, the order in which
they are entered decides which one comes first.
-@lilypond[verbatim,raggedright]
-\relative g''{
- \once \override TextScript #'script-priority = #-100
- a4^\prall^\markup { \sharp }
+@lilypond[verbatim,relative=3,raggedright,fragment,quote]
+ \once \override TextScript #'script-priority = #-100
+ a4^\prall^\markup { \sharp }
- \once \override Script #'script-priority = #-100
- a4^\prall^\markup { \sharp }
-}
+ \once \override Script #'script-priority = #-100
+ a4^\prall^\markup { \sharp }
@end lilypond
@code{\stopTrillSpan},
-@lilypond[verbatim,raggedright]
-\relative \new Voice {
- << { c1 \startTrillSpan }
- { s2. \grace { d16[\stopTrillSpan e] } } >>
- c4 }
+@lilypond[verbatim,raggedright,relative=2,quote,fragment]
+\new Voice {
+ << { c1 \startTrillSpan }
+ { s2. \grace { d16[\stopTrillSpan e] } } >>
+ c4 }
@end lilypond
@refcommands
@end example
For finger changes, use markup texts
@c
-@lilypond[quote,verbatim,raggedright,fragment]
-c'4-1 c'4-2 c'4-3 c'4-4
-c'^\markup { \finger "2-3" }
+@lilypond[quote,verbatim,raggedright,fragment,relative=1]
+ c4-1 c-2 c-3 c-4
+ c^\markup { \finger "2-3" }
@end lilypond
@cindex finger change
You can use the thumb-script to indicate that a note should be
played with the thumb (e.g. in cello music)
-@lilypond[quote,verbatim,raggedright,fragment]
-<a'_\thumb a''-3>8 <b'_\thumb b''-3>
+@lilypond[quote,verbatim,raggedright,fragment,relative=2]
+ <a_\thumb a'-3>8 <b_\thumb b'-3>
@end lilypond
Fingerings for chords can also be added to individual notes
of the chord by adding them after the pitches
@lilypond[quote,verbatim,raggedright,fragment,relative=2]
-< c-1 e-2 g-3 b-5 >4
+ < c-1 e-2 g-3 b-5 >4
@end lilypond
@noindent
-In this case, setting @code{fingeringOrientations} will put fingerings next
+In this case, setting @code{fingeringOrientations} will put fingerings next
to note heads
@lilypond[quote,verbatim,raggedright,fragment,relative=1]
-\set fingeringOrientations = #'(left down)
-<c-1 es-2 g-4 bes-5 > 4
-\set fingeringOrientations = #'(up right down)
-<c-1 es-2 g-4 bes-5 > 4
+ \set fingeringOrientations = #'(left down)
+ <c-1 es-2 g-4 bes-5 > 4
+ \set fingeringOrientations = #'(up right down)
+ <c-1 es-2 g-4 bes-5 > 4
@end lilypond
Using this feature, it is also possible to put fingering instructions
very close to note heads in monophonic music,
-@lilypond[verbatim,raggedright]
-{
+@lilypond[verbatim,raggedright,quote,fragment]
\set fingeringOrientations = #'(right)
<es'-2>4
-}
@end lilypond
Examples: @inputfileref{input/regression,finger-chords.ly}.
-@node Text scripts
-@subsection Text scripts
-@cindex Text scripts
-
-@cindex text items, non-empty
-@cindex non-empty texts
-
-It is possible to place arbitrary strings of text or markup text (see
-@ref{Text markup}) above or below notes by using a string
-@code{c^"text"}. By default, these indications do not influence the
-note spacing, but by using the command @code{\fatText}, the widths
-will be taken into account
-@c
-@lilypond[quote,fragment,raggedright,verbatim]
-\relative c' {
- c4^"longtext" \fatText c4_"longlongtext" c4
-}
-@end lilypond
-
-More complex formatting may also be added to a note by using the
-markup command,
-@lilypond[fragment,raggedright,verbatim]
-{
- c'4^\markup { bla \bold bla }
-}
-@end lilypond
-
-The @code{\markup} is described in more detail in
-@ref{Text markup}.
-
-
-@refcommands
-
-@cindex @code{\fatText}
-@code{\fatText},
-@cindex @code{\emptyText}
-@code{\emptyText}.
-
-@seealso
-
-In this manual: @ref{Text markup}.
-
-Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
-
Grace notes are ornaments that are written out. The most common ones
are acciaccatura, which should be played as very short. It is denoted
by a slurred small note with a slashed stem. The appoggiatura is a
-grace note that takes a fixed fraction of the main note, is and
-denoted as a slurred note in small print without a slash.
-They are entered with the commands @code{\acciaccatura} and
+grace note that takes a fixed fraction of the main note, and is
+denoted as a slurred note in small print without a slash. They
+are entered with the commands @code{\acciaccatura} and
@code{\appoggiatura}, as demonstrated in the following example
@cindex appoggiatura
@cindex acciaccatura
-@lilypond[quote,relative=2,verbatim,fragment]
-b4 \acciaccatura d8 c4 \appoggiatura e8 d4
-\acciaccatura { g16[ f] } e4
+@lilypond[quote,raggedright,relative=2,verbatim,fragment]
+ b4 \acciaccatura d8 c4 \appoggiatura e8 d4
+ \acciaccatura { g16[ f] } e4
@end lilypond
-Both are special forms of the @code{\grace} command. By prefixing this
+Both are special forms of the @code{\grace} command. By prefixing this
keyword to a music expression, a new one is formed, which will be
printed in a smaller font and takes up no logical time in a measure.
-@lilypond[quote,relative=2,verbatim,fragment]
-c4 \grace c16 c4
-\grace { c16[ d16] } c2 c4
+@lilypond[quote,raggedright,relative=2,verbatim,fragment]
+ c4 \grace c16 c4
+ \grace { c16[ d16] } c2 c4
@end lilypond
@noindent
@code{\grace} command does not start a slur.
Internally, timing for grace notes is done using a second, `grace'
-time. Every point in time consists of two rational numbers: one
-denotes the logical time, one denotes the grace timing. The above
+time. Every point in time consists of two rational numbers: one
+denotes the logical time, one denotes the grace timing. The above
example is shown here with timing tuples
@lilypond[quote,raggedright]
c4 \grace c16 c4 \grace {
c16[ d16] } c2 c4
}
- \new Lyrics \lyrics {
+ \new Lyrics \lyricmode {
\override LyricText #'font-family = #'typewriter
\markup { (0,0) } 4
In the following example, there are two sixteenth graces notes for
every eighth grace note
-@lilypond[quote,relative=2,verbatim,fragment]
+@lilypond[quote,raggedright,relative=2,verbatim,fragment]
<< \new Staff { e4 \grace { c16[ d e f] } e4 }
\new Staff { c4 \grace { g8[ b] } c4 } >>
@end lilypond
If you want to end a note with a grace, the standard trick is to put
the grace notes after a ``space note''
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\context Voice {
<< { d1^\trill_( }
{ s2 \grace { c16[ d] } } >>
A @code{\grace} section will introduce special typesetting settings,
-for example, to produce smaller type, and set directions. Hence, when
+for example, to produce smaller type, and set directions. Hence, when
introducing layout tweaks, they should be inside the grace section,
for example,
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\new Voice {
\acciaccatura {
- \override Stem #'direction = #-1
+ \stemDown
f16->
- \revert Stem #'direction
+ \stemNeutral
}
g4
}
The overrides should also be reverted inside the grace section.
The layout of grace sections can be changed throughout the music using
-the function @code{add-grace-property}. The following example
+the function @code{add-grace-property}. The following example
undefines the Stem direction for this grace, so stems do not always
point up.
@code{\context Voice} declaration, otherwise the main note and grace
note end up on different staves.
-Grace note synchronization can also lead to surprises. Staff notation,
-such as key signatures, bar lines, etc. are also synchronized. Take
+Grace note synchronization can also lead to surprises. Staff notation,
+such as key signatures, bar lines, etc. are also synchronized. Take
care when you mix staves with grace notes and staves without, for example,
-@lilypond[quote,relative=2,verbatim,fragment]
+@lilypond[quote,raggedright,relative=2,verbatim,fragment]
<< \new Staff { e4 \bar "|:" \grace c16 d4 }
\new Staff { c4 \bar "|:" d4 } >>
@end lilypond
@cindex @code{\glissando}
-A glissando is a smooth change in pitch. It is denoted by a line or a
+A glissando is a smooth change in pitch. It is denoted by a line or a
wavy line between two notes. It is requested by attaching
@code{\glissando} to a note
-@lilypond[quote,fragment,relative=1,verbatim]
-c'\glissando c'
+@lilypond[quote,raggedright,fragment,relative=2,verbatim]
+c\glissando c'
@end lilypond
@seealso
Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
-Example files: @file{input/regression,glissando.ly}
+Example files: @file{input/regression/glissando.ly}.
@code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
-@lilypond[quote,verbatim,raggedright,fragment,relative=1]
-c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
-c2\sf c\rfz
+@lilypond[quote,verbatim,raggedright,fragment,relative=2]
+ c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
+ c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
@end lilypond
@cindex @code{\<}
A crescendo mark is started with @code{\<} and terminated with
-@code{\!}. A decrescendo is started with @code{\>} and also terminated
+@code{\!}. A decrescendo is started with @code{\>} and also terminated
with @code{\!}. Because these marks are bound to notes, if you must
use spacer notes if multiple marks are needed during one note
-@lilypond[quote,fragment,verbatim]
-c''\< c''\! d''\> e''\!
-<< f''1 { s4 s4\< s4\! \> s4\! } >>
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+ c\< c\! d\> e\!
+ << f1 { s4 s4\< s4\! \> s4\! } >>
@end lilypond
-This may give rise to very short hairpins. Use @code{minimum-length}
+This may give rise to very short hairpins. Use @code{minimum-length}
in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
example
@example
- \override Staff.Hairpin #'minimum-length = #5
+ \override Staff.Hairpin #'minimum-length = #5
@end example
-You can also use a text saying @emph{cresc.} instead of hairpins. Here
+You can also use a text saying @emph{cresc.} instead of hairpins. Here
is an example how to do it
-@lilypond[quote,fragment,relative=2,verbatim]
-\setTextCresc
-c \< d e f\!
-\setHairpinCresc
-e\> d c b\!
+@lilypond[quote,raggedright,fragment,relative=2,verbatim]
+ \setTextCresc
+ c \< d e f\!
+ \setHairpinCresc
+ e\> d c b\!
@end lilypond
@cindex crescendo
@cindex decrescendo
You can also supply your own texts
-@lilypond[quote,fragment,relative=1,verbatim]
-\context Voice {
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
\set crescendoText = \markup { \italic "cresc. poco" }
\set crescendoSpanner = #'dashed-line
a'2\< a a a\!\mf
-}
@end lilypond
@cindex diminuendo
@code{\dynamicUp},
@cindex @code{\dynamicDown}
@code{\dynamicDown},
-@cindex @code{\dynamicBoth}
-@code{\dynamicBoth}.
+@cindex @code{\dynamicNeutral}
+@code{\dynamicNeutral}.
@cindex direction, of dynamics
@internalsref{AbsoluteDynamicEvent}.
Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
-objects. Vertical positioning of these symbols is handled by the
+objects. Vertical positioning of these symbols is handled by the
@internalsref{DynamicLineSpanner} object.
@node Repeats
@section Repeats
+Repetition is a central concept in music, and multiple notations exist
+for repetitions.
-@cindex repeats
-@cindex @code{\repeat}
+@menu
+* Repeat types::
+* Repeat syntax::
+* Repeats and MIDI::
+* Manual repeat commands::
+* Tremolo repeats::
+* Tremolo subdivisions::
+* Measure repeats::
+@end menu
+@node Repeat types
+@subsection Repeat types
-Repetition is a central concept in music, and multiple notations exist
-for repetitions. In LilyPond, most of these notations can be captured
-in a uniform syntax. One of the advantages is that repeats entered in
-this way can be rendered in MIDI accurately.
+@cindex repeats
+@cindex @code{\repeat}
The following types of repetition are supported
@table @code
@item unfold
-Repeated music is fully written (played) out. Useful for MIDI
-output, and entering repetitive music.
+Repeated music is fully written (played) out. This is useful when
+entering repetitious music. This is the only kind of repeat that
+is included in MIDI output.
@item volta
Repeats are not written out, but alternative endings (volte) are
-printed, left to right with brackets. This is the standard notation
-for repeats with alternatives.
+printed, left to right with brackets. This is the standard notation
+for repeats with alternatives. These are not played in MIDI output by default.
@ignore
@item fold
-Alternative endings are written stacked. This has limited use but may be
+Alternative endings are written stacked. This has limited use but may be
used to typeset two lines of lyrics in songs with repeats, see
@inputfileref{input,star-spangled-banner.ly}.
@end ignore
@c tremolo, beamed
@item tremolo
-Make tremolo beams.
+Make tremolo beams. These are not played in MIDI output by default.
@item percent
-Make beat or measure repeats. These look like percent signs.
+Make beat or measure repeats. These look like percent signs. These are not played
+in MIDI output by default.
@end table
-@menu
-* Repeat syntax::
-* Repeats and MIDI::
-* Manual repeat commands::
-* Tremolo repeats::
-* Tremolo subdivisions::
-* Measure repeats::
-@end menu
-
@node Repeat syntax
@subsection Repeat syntax
is assumed to be played more than once.
Standard repeats are used like this
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
c1
\repeat volta 2 { c4 d e f }
\repeat volta 2 { f e d c }
@end lilypond
With alternative endings
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
c1
\repeat volta 2 {c4 d e f}
\alternative { {d2 d} {f f,} }
@end lilypond
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\context Staff {
\partial 4
\repeat volta 4 { e | c2 d2 | e2 f2 | }
@end lilypond
It is possible to shorten volta brackets
-by setting @code{voltaSpannerDuration}. In the next example, the
+by setting @code{voltaSpannerDuration}. In the next example, the
bracket only lasts one measure, which is a duration of 3/4.
-@lilypond[verbatim,raggedright]
+@lilypond[verbatim,raggedright,quote]
\relative c''{
\time 3/4
c c c
Examples:
Brackets for the repeat are normally only printed over the topmost
-staff. This can be adjusted by setting the @code{voltaOnThisStaff}
+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}
@noindent
is ambiguous, since it is is not clear to which @code{\repeat} the
-@code{\alternative} belongs. This ambiguity is resolved by always
+@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
@cindex expanding repeats
-An advantage of the unified syntax for repeats, is that all repeats
-may be played out for the MIDI output. This is achieved by
-applying the @code{\unfoldrepeats} music function.
-
-@lilypond[verbatim,raggedright]
-\new Staff
- \unfoldrepeats {
- \repeat tremolo 8 {c'32 e' }
- \repeat percent 2 { c''8 d'' }
- \repeat volta 2 {c'4 d' e' f'}
- \alternative {
- { g' a' a' g' }
- {f' e' d' c' }
- }
- \bar "|."
+With a little bit of tweaking, all types of repeats can be present
+in the MIDI output. This is achieved by applying the
+@code{\unfoldrepeats} music function. This functions changes all
+repeats to unfold repeats.
+
+@lilypond[verbatim,raggedright,fragment]
+\unfoldrepeats {
+ \repeat tremolo 8 {c'32 e' }
+ \repeat percent 2 { c''8 d'' }
+ \repeat volta 2 {c'4 d' e' f'}
+ \alternative {
+ { g' a' a' g' }
+ {f' e' d' c' }
}
+}
+\bar "|."
@end lilypond
When creating a score file using @code{\unfoldrepeats} for midi, then
-it is necessary to make two @code{\score} blocks. One for MIDI, with
-unfolded repeats, and one for notation, eg.
+it is necessary to make two @code{\score} blocks. One for MIDI (with
+unfolded repeats) and one for notation (with volta, tremolo, and
+percent repeats). For example,
@example
\score @{
@var{..music..}
- \paper @{ .. @}
+ \layout @{ .. @}
@}
\score @{
\unfoldrepeats @var{..music..}
@cindex @code{repeatCommands}
The property @code{repeatCommands} can be used to control the layout of
-repeats. Its value is a Scheme list of repeat commands, where each repeat
+repeats. Its value is a Scheme list of repeat commands, where each repeat
command can be
@table @asis
which prints a @code{:|} bar line;
@item @code{(volta @var{text})},
which prints a volta bracket saying @var{text}: The text can be specified as
-a text string or as a markup text, see @ref{Text markup}. Do not
+a text string or as a markup text, see @ref{Text markup}. Do not
forget to change the font, as the default number font does not contain
alphabetic characters;
@item @code{(volta #f)}, which
stops a running volta bracket.
@end table
-@lilypond[quote,verbatim,fragment,relative=2]
+@lilypond[quote,raggedright,verbatim,fragment,relative=2]
c4
\set Score.repeatCommands = #'((volta "93") end-repeat)
c4 c4
To place tremolo marks between notes, use @code{\repeat} with tremolo
style
@lilypond[quote,verbatim,raggedright]
- \context Voice \relative c' {
- \repeat "tremolo" 8 { c16 d16 }
- \repeat "tremolo" 4 { c16 d16 }
- \repeat "tremolo" 2 { c16 d16 }
- }
+\new Voice \relative c' {
+ \repeat "tremolo" 8 { c16 d16 }
+ \repeat "tremolo" 4 { c16 d16 }
+ \repeat "tremolo" 2 { c16 d16 }
+}
@end lilypond
Tremolo marks can also be put on a single note. In this case, the
note should not be surrounded by braces.
@lilypond[quote,verbatim,raggedright]
-\repeat "tremolo" 4 c'16
+ \repeat "tremolo" 4 c'16
@end lilypond
Similar output is obtained using the tremolo subdivision, described in
In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
-Program reference: 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}.
length is omitted, the last value (stored in @code{tremoloFlags}) is
used
-@lilypond[quote,verbatim,fragment]
-c'2:8 c':32 | c': c': |
+@lilypond[quote,raggedright,verbatim,fragment]
+ c'2:8 c':32 | c': c': |
@end lilypond
@c [TODO : stok is te kort bij 32en]
+@c somebody want to translate that into English? :)
@refbugs
@cindex percent repeats
@cindex measure repeats
-In the @code{percent} style, a note pattern can be repeated. It is
+In the @code{percent} style, a note pattern can be repeated. It is
printed once, and then the pattern is replaced with a special sign.
Patterns of one and two measures are replaced by percent-like signs,
patterns that divide the measure length are replaced by slashes
@lilypond[quote,verbatim,raggedright]
-\new Voice {
- \repeat "percent" 4 { c'4 }
- \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
+\new Voice \relative c' {
+ \repeat "percent" 4 { c4 }
+ \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
}
@end lilypond
@node Rhythmic music
@section Rhythmic music
+Rhythmic music is primarily used for percussion and drum notation, but it can
+also be used to show the rhythms of melodies.
@menu
* Showing melody rhythms::
@subsection Showing melody rhythms
Sometimes you might want to show only the rhythm of a melody. This
-can be done with the rhythmic staff. All pitches of notes on such a
+can be done with the rhythmic staff. All pitches of notes on such a
staff are squashed, and the staff itself has a single line
-@lilypond[quote,fragment,relative=1,verbatim]
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
\context RhythmicStaff {
\time 4/4
- c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
+ c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
}
@end lilypond
@cindex drums
-Percussion notes may be entered in @code{\drums} mode, which is
+Percussion notes may be entered in @code{\drummode} mode, which is
similar to the standard mode for entering notes. Each piece of
percussion has a full name and an abbreviated name, and both can be used
in input files
@lilypond[quote,raggedright,verbatim]
-\new DrumStaff \drums {
+\drums {
hihat hh bassdrum bd
}
@end lilypond
@c
@lilypond[quote,raggedright,verbatim]
-up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
-down = \drums { bassdrum4 snare8 bd r bd sn4 }
+up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
+down = \drummode { bassdrum4 snare8 bd r bd sn4 }
\new DrumStaff <<
\new DrumVoice { \voiceOne \up }
\new DrumVoice { \voiceTwo \down }
>>
@end lilypond
-The above example shows verbose polyphonic notation. The short
+The above example shows verbose polyphonic notation. The short
polyphonic notation, described in @ref{Polyphony}, can also be used if
-the @internalsref{DrumVoices} are instantiated by hand first. For example,
+the @internalsref{DrumVoices} are instantiated by hand first. For example,
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\new DrumStaff <<
\context DrumVoice = "1" { s1 *2 }
\context DrumVoice = "2" { s1 *2 }
- \drums {
+ \drummode {
bd4 sn4 bd4 sn4
<<
{ \repeat unfold 16 hh16 }
@end lilypond
-There are also other layout possibilities. To use these, set the
+There are also other layout possibilities. To use these, set the
property @code{drumStyleTable} in context @internalsref{DrumVoice}.
The following variables have been predefined
@table @code
@item drums-style
-This is the default. It typesets a typical drum kit on a five-line staff
+This is the default. It typesets a typical drum kit on a five-line staff
-@lilypond[quote,noindent]
-nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
+@lilypond[quote,raggedright,noindent]
+nam = \lyricmode { cymc cyms cymr hh hhc hho hhho hhp cb hc
bd sn ss tomh tommh tomml toml tomfh tomfl }
-mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
+mus = \drummode { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
\score {
<< \new DrumStaff\with {
} \mus
\context Lyrics \nam
>>
- \paper {
+ \layout {
%% need to do this, because of indented @itemize
linewidth= 9 \cm
\context { \Score
@code{tomfh}.
@item timbales-style
-This typesets timbales on a two line staff
+This typesets timbales on a two line staff
@lilypond[quote,raggedright]
-nam = \lyrics { timh ssh timl ssl cb }
-mus = \drums { timh ssh timl ssl cb s16 }
+nam = \lyricmode { timh ssh timl ssl cb }
+mus = \drummode { timh ssh timl ssl cb s16 }
<<
\context DrumStaff \with {
This typesets congas on a two line staff
@lilypond[quote,raggedright]
-nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
-mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
+nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
+mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
<<
\context DrumStaff\with {
\remove Bar_engraver
This typesets bongos on a two line staff
@lilypond[quote,raggedright]
-nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
-mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
+nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
+mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
<<
\context DrumStaff\with {
\remove Bar_engraver
@item percussion-style
to typeset all kinds of simple percussion on one line staves
@lilypond[quote,raggedright]
-nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
-mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
+nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
+mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
<<
\context DrumStaff\with{
\remove Bar_engraver
(hihat cross #f 1)
(pedalhihat xcircle "stopped" 2)
(lowtom diamond #f 3)))
-up = \drums { hh8 hh hh hh hhp4 hhp }
-down = \drums { bd4 sn bd toml8 toml }
+up = \drummode { hh8 hh hh hh hhp4 hhp }
+down = \drummode { bd4 sn bd toml8 toml }
\new DrumStaff <<
\set DrumStaff.drumStyleTable
@refbugs
-Dynamics are not centered, but workarounds do exist. See
-@inputfileref{input/template,piano-dynamics.ly}.
+Dynamics are not centered, but workarounds do exist. See the
+``piano centered dynamics'' template in @ref{Piano templates}.
@cindex cross staff stem
@cindex stem, cross staff
@cindex distance between staves in piano music
The distance between the two staves is the same for all systems in the
-score. It is possible to override this per system, but it does require
-an arcane command incantation. See
+score. It is possible to override this per system, but it does require
+an arcane command incantation. See
@inputfileref{input/test,piano-staff-distance.ly}.
@cindex Automatic staff changes
Voices can be made to switch automatically between the top and the bottom
-staff. The syntax for this is
+staff. The syntax for this is
@quotation
@example
-\autochange \context Voice @dots{}@var{music}@dots{}
+ \autochange @dots{}@var{music}@dots{}
@end example
@end quotation
@noindent
-The two staves of the piano staff must be named @code{up} and
-@code{down}.
+This will create two staves inside the current PianoStaff, called
+@code{up} and @code{down}. The lower staff will be in bass clef by
+default.
A @code{\relative} section that is outside of @code{\autochange} has
no effect on the pitches of @var{music}, so, if necessary, put
@quotation
@example
-\autochange \relative @dots{} \new Voice @dots{}
+\autochange \relative @dots{} @dots{}
@end example
@end quotation
The autochanger switches on basis of pitch (middle C is the turning
point), and it looks ahead skipping over rests to switch in
-advance. Here is a practical example
+advance. Here is a practical example
@lilypond[quote,verbatim,raggedright]
-\context PianoStaff <<
- \context Staff = "up" {
- \autochange \new Voice \relative c' {
- g4 a b c d r4 a g } }
- \context Staff = "down" {
- \clef bass
- s1*2
-} >>
+\context PianoStaff
+ \autochange \relative c'
+ {
+ g4 a b c d r4 a g
+ }
@end lilypond
-@noindent
-In this example, spacer rests are used to prevent empty staves from
-being terminated too soon.
-
@seealso
@refbugs
-The staff switches may not end up in optimal places. For high
+The staff switches may not end up in optimal places. For high
quality output, staff switches should be specified manually.
Internally, the @code{\partcombine} interprets both arguments as
@code{Voice}s named @code{one} and @code{two}, and then decides when
-the parts can be combined. Consequently, if the arguments switch to
+the parts can be combined. Consequently, if the arguments switch to
differently named @internalsref{Voice} contexts, the events in those
will be ignored.
@end example
@noindent
-The string @var{staffname} is the name of the staff. It switches the
+The string @var{staffname} is the name of the staff. It switches the
current voice from its current staff to the Staff called
-@var{staffname}. Typically @var{staffname} is @code{"up"} or
-@code{"down"}. The @context{Staff} referred to must already exist, so
+@var{staffname}. Typically @var{staffname} is @code{"up"} or
+@code{"down"}. The @context{Staff} referred to must already exist, so
usually the setup for a score will start with a setup of the staves,
@example
- <<
+<<
\context Staff = up @{
\skip 1 * 10 %@emph{ keep staff alive}
@}
\context Staff = down @{
\skip 1 * 10 %@emph{idem}
@}
- >>
+>>
@end example
and the @context{Voice} is inserted afterwards
@example
- \context Staff = down
- \new Voice @{ @dots{} \change Staff = up @dots{} @}
+\context Staff = down
+ \new Voice @{ @dots{} \change Staff = up @dots{} @}
@end example
@subsection Pedals
@cindex Pedals
-Pianos have pedals that alter the way sound is produced. Generally, a
+Pianos have pedals that alter the way sound is produced. Generally, a
piano has three pedals, sustain, una corda, and sostenuto.
@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
note or chord
-@lilypond[quote,fragment,verbatim]
-c'4\sustainDown c'4\sustainUp
+@lilypond[quote,raggedright,fragment,verbatim]
+ c'4\sustainDown c'4\sustainUp
@end lilypond
What is printed can be modified by setting @code{pedal@var{X}Strings},
Pedals can also be indicated by a sequence of brackets, by setting the
@code{pedalSustainStyle} property to bracket objects
-@lilypond[quote,fragment,verbatim,relative=2]
-\set Staff.pedalSustainStyle = #'bracket
-c\sustainDown d e
-b\sustainUp\sustainDown
-b g \sustainUp a \sustainDown \bar "|."
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+ \set Staff.pedalSustainStyle = #'bracket
+ c\sustainDown d e
+ b\sustainUp\sustainDown
+ b g \sustainUp a \sustainDown \bar "|."
@end lilypond
A third style of pedal notation is a mixture of text and brackets,
obtained by setting the @code{pedalSustainStyle} style property to
@code{mixed}
-@lilypond[quote,fragment,verbatim,relative=2]
-\set Staff.pedalSustainStyle = #'mixed
-c\sustainDown d e
-b\sustainUp\sustainDown
-b g \sustainUp a \sustainDown \bar "|."
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+ \set Staff.pedalSustainStyle = #'mixed
+ c\sustainDown d e
+ b\sustainUp\sustainDown
+ b g \sustainUp a \sustainDown \bar "|."
@end lilypond
The default `*Ped.' style for sustain and damper pedals corresponds to
-style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
+style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
default.
-@lilypond[quote,fragment,verbatim,relative=2]
-c\sostenutoDown d e c, f g a\sostenutoUp
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+ c\sostenutoDown d e c, f g a\sostenutoUp
@end lilypond
For fine-tuning of the appearance of a pedal bracket, the properties
@code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
@code{PianoPedalBracket} objects (see
-@internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
+@internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
bracket may be extended to the right edge of the note head
-@lilypond[quote,fragment,verbatim,relative=2]
-\override Staff.PianoPedalBracket
- #'shorten-pair = #'(0 . -1.0)
-c\sostenutoDown d e c, f g a\sostenutoUp
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+ \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
+ c\sostenutoDown d e c, f g a\sostenutoUp
@end lilypond
@node Arpeggio
@code{\arpeggio} to a chord
-@lilypond[quote,fragment,relative=1,verbatim]
-<c e g c>\arpeggio
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+ <c e g c>\arpeggio
@end lilypond
When an arpeggio crosses staves, you attach an arpeggio to the chords
in both staves, and set
@internalsref{PianoStaff}.@code{connectArpeggios}
-@lilypond[quote,fragment,relative=1,verbatim]
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
\context PianoStaff <<
\set PianoStaff.connectArpeggios = ##t
\new Staff { <c' e g c>\arpeggio }
The direction of the arpeggio is sometimes denoted by adding an
arrowhead to the wiggly line
-@lilypond[quote,fragment,relative=1,verbatim]
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
\context Voice {
\arpeggioUp
<c e g c>\arpeggio
A square bracket on the left indicates that the player should not
arpeggiate the chord
-@c todo: ugh, lousy typography. Look for real example. --hwn
+@c todo: ugh, lousy typography. Look for real example. --hwn
-@lilypond[quote,fragment,relative=1,verbatim]
-\arpeggioBracket
-<c' e g c>\arpeggio
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+ \arpeggioBracket
+ <c' e g c>\arpeggio
@end lilypond
@refcommands
@code{\arpeggioUp},
@cindex @code{\arpeggioDown}
@code{\arpeggioDown},
-@cindex @code{\arpeggioBoth}
-@code{\arpeggioBoth},
+@cindex @code{\arpeggioNeutral}
+@code{\arpeggioNeutral},
@cindex @code{\arpeggioBracket}
@code{\arpeggioBracket}.
@cindex @code{followVoice}
Whenever a voice switches to another staff a line connecting the notes
-can be printed automatically. This is switched on by setting
+can be printed automatically. This is switched on by setting
@code{PianoStaff.followVoice} to true
-@lilypond[quote,fragment,relative=1,verbatim]
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
\context PianoStaff <<
\set PianoStaff.followVoice = ##t
\context Staff \context Voice {
of the stem in the lower stave, so it reaches the stem in the upper
stave, or vice versa.
-@lilypond[raggedright,verbatim]
-stemExtend = \once \override Stem #'length = #22
-noFlag = \once \override Stem #'flag-style = #'no-flag
+@lilypond[raggedright,verbatim,quote]
+stemExtend = \once \override Stem #'length = #22
+noFlag = \once \override Stem #'flag-style = #'no-flag
\context PianoStaff <<
- \new Staff {
+ \new Staff {
\stemDown \stemExtend
f'4
\stemExtend \noFlag
@itemize @bullet
@item
- Song texts must be entered as texts, not notes. For example, for
-lyrics, the input @code{a} should be interpreted as
-a one letter text, and not the note A.
+ Song texts must be entered as texts, not notes. For example, the
+input @code{d} should be interpreted as a one letter syllable, not the note D.
@item
- Song texts must be printed as text, and not as notes.
+ Song texts must be printed as text, not as notes.
@item
Song texts must be aligned with the notes of their melody
@end itemize
The simplest solution to printing music uses the @code{\addlyrics}
-function to deal with these three problems in one go. However, these
+function to solve all these problems at once. However, these
three functions can be controlled separately, which is necessary
for complex vocal music.
@end example
@noindent
-to a melody. Here is an example,
+to a melody. Here is an example,
-@lilypond[raggedright,verbatim]
-{
- \time 3/4
- \relative { c2 e4 g2. }
- \addlyrics { play the game }
-}
+@lilypond[raggedright,verbatim,fragment,quote]
+ \time 3/4
+ \relative { c2 e4 g2. }
+ \addlyrics { play the game }
@end lilypond
More stanzas can be added by adding more
@code{\addlyrics} sections
-@lilypond[raggedright,verbatim]
-{
+@lilypond[raggedright,verbatim,fragment,quote]
\time 3/4
- \relative { c2 e4 g2. }
+ \relative { c2 e4 g2. }
\addlyrics { play the game }
\addlyrics { speel het spel }
\addlyrics { joue le jeu }
-}
@end lilypond
+@c TODO - this isn't such a great place for this note, but I can't
+@c find a better place without rearranging a lot of lyric stuff.
+@c It's yet another thing to look at post-3.0.
+
+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
+fancy things, in which case you should investigate
+@code{\lyricsto} or @code{\lyricmode}.
+
+@example
+ @{ MUSIC @}
+ \addlyrics @{ LYRICS @}
+@end example
+
+is the same as
+
+@example
+ \context Voice = blah @{ music @}
+ \lyricsto "blah" \lyricsmode \new lyrics @{ LYRICS @}
+@end example
+
+
@node Entering lyrics
@subsection Entering lyrics
@cindex lyrics
-@cindex @code{\lyrics}
+@cindex @code{\lyricmode}
@cindex punctuation
-Lyrics are entered in a special input mode. This mode is is introduced
-by the keyword @code{\lyrics}. In this mode you can enter lyrics,
-with punctuation and accents, and the input @code{a} is not parsed as
+Lyrics are entered in a special input mode. This mode is is introduced
+by the keyword @code{\lyricmode}, or by using @code{addlyrics} or
+@code{lyricsto}. In this mode you can enter lyrics,
+with punctuation and accents, and the input @code{d} is not parsed as
a pitch, but rather as a one letter syllable. Syllables are entered
like notes, but with pitches replaced by text. For example,
@example
- \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
+ \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
@end example
A word lyrics mode begins with an alphabetic character, and ends with
any space or digit. The following characters can be any character
that is not a digit or white space. One important consequence of this
-is that a word can end with @code{@}}. The following example is
-usually a bug. The syllable includes a @code{@}}, so the
+is that a word can end with @code{@}}. The following example is
+usually a mistake in the input file. The syllable includes a @code{@}}, so the
opening brace is not balanced
@example
- \lyrics @{ twinkle@}
+ \lyricmode @{ twinkle@}
@end example
-@cindex @code{\property}, in @code{\lyrics}
+@cindex @code{\property}, in @code{\lyricmode}
@noindent
-Similarly, a period following an alphabetic sequence, is included in
-the resulting string. As a consequence, spaces must be inserted around
+Similarly, a period which follows an alphabetic sequence is included in
+the resulting string. As a consequence, spaces must be inserted around
property commands
@example
\override Score . LyricText #'font-shape = #'italic
Any @code{_} character which appears in an unquoted word is converted
to a space. This provides a mechanism for introducing spaces into words
without using quotes. Quoted words can also be used in Lyrics mode to
-specify words that cannot be written with the above rules. The
+specify words that cannot be written with the above rules. The
following example incorporates double quotes
@example
- \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
+ \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
@end example
This example is slightly academic, since it gives better looking
results to use single quotes, @code{``} and @code{''}
@example
- \lyrics @{ He said: ``Let my peo ple go'' @}
+ \lyricmode @{ He said: ``Let my peo ple go'' @}
@end example
When a lyric is sung over many notes (this is called a melisma), this is
indicated with a horizontal line centered between a syllable and the
-next one. Such a line is called an extender line, and it is entered as
+next one. Such a line is called an extender line, and it is entered as
@code{__}.
Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
@example
- \context Lyrics \lyrics @dots{}
+ \context Lyrics \lyricmode @dots{}
@end example
@cindex automatic syllable durations
@cindex lyrics and melodies
This will place the lyrics according to the durations that were
-entered. The lyrics can also be aligned under a given melody
+entered. The lyrics can also be aligned under a given melody
automatically. In this case, it is no longer necessary to enter the
correct duration for each syllable. This is achieved by combining the
melody and the lyrics with the @code{\lyricsto} expression
This aligns the lyrics to the
@c
notes of the @internalsref{Voice} context called @var{name}, which has
-to exist. Therefore, normally the @code{Voice} is specified first, and
-then the lyrics are specified with @code{\lyricsto}. The command
-@code{\lyricsto} switches to @code{\lyrics} mode automatically, so the
-@code{\lyrics} keyword may be omitted.
+to exist. Therefore, normally the @code{Voice} is specified first, and
+then the lyrics are specified with @code{\lyricsto}. The command
+@code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
+@code{\lyricmode} keyword may be omitted.
For different or more complex orderings, the best way is to setup the
hierarchy of staves and lyrics first, e.g.
and then combine the appropriate melodies and lyric lines
@example
\lyricsto "soprano" \context Lyrics = sopranoLyrics
- @emph{the lyrics}
+ @emph{the lyrics}
@end example
@noindent
The final input would resemble
@example
- << \context ChoirStaff << @emph{setup the music} >>
- \lyricsto "soprano" @emph{etc}
- \lyricsto "alto" @emph{etc}
- @emph{etc}
- >>
+<<\context ChoirStaff << @emph{setup the music} >>
+ \lyricsto "soprano" @emph{etc}
+ \lyricsto "alto" @emph{etc}
+ @emph{etc}
+>>
@end example
The @code{\lyricsto} command detects melismata: it only puts one
-syllable under a tied or slurred group of notes. If you want to force
+syllable under a tied or slurred group of notes. If you want to force
an unslurred group of notes to be a melisma, insert @code{\melisma}
after the first note of the group, and @code{\melismaEnd} after the
last one, e.g.
@c nonformation:
The criteria for deciding melismata can
-be tuned with the property @code{melismaBusyProperties}. See
+be tuned with the property @code{melismaBusyProperties}. See
@internalsref{Melisma_translator} in the program reference for more
information.
@end ignore
-Lyrics can also be entered without @code{\lyricsto}. In this case the
+Lyrics can also be entered without @code{\lyricsto}. In this case the
durations of each syllable must be entered explicitly, for example,
@verbatim
@noindent
The value of the property (here: @code{"lala"}) should be the name of
-a @internalsref{Voice} context. Without this setting, extender lines
+a @internalsref{Voice} context. Without this setting, extender lines
will not be formatted properly.
Here is an example demonstrating manual lyric durations,
-@lilypond[relative=1,verbatim,fragment]
+@lilypond[relative=1,raggedright,verbatim,fragment,quote]
<< \context Voice = melody {
\time 3/4
c2 e4 g2.
}
- \new Lyrics \lyrics {
+ \new Lyrics \lyricmode {
\set associatedVoice = #"melody"
play2 the4 game2.
- } >>
+ } >>
@end lilypond
@cindex SATB
@cindex choral score
-A complete example of a SATB score setup is in the file
-@inputfileref{input/template,satb.ly}.
+A complete example of a SATB score setup is in section
+@ref{Small ensembles}.
@refcommands
Program reference: @internalsref{LyricCombineMusic},
@internalsref{Lyrics}, @internalsref{Melisma_translator}.
-Examples: @inputfileref{input/template,satb.ly},
+Examples: @ref{Small ensembles},
@inputfileref{input/regression,lyric-combine-new.ly},
@c TODO: make separate section for melismata
@inputfileref{input/test,lyrics-melisma-variants.ly}.
@code{\lyricsto}.
One possibility is that the text has a melisma in one stanza, but
-multiple syllables in another one. One solution is to make the faster
-voice ignore the melisma. This is done by setting
+multiple syllables in another one. One solution is to make the faster
+voice ignore the melisma. This is done by setting
@code{ignoreMelismata} in the Lyrics context.
-There has one tricky aspect. The setting for @code{ignoreMelismata}
+There has one tricky aspect. The setting for @code{ignoreMelismata}
must be set one syllable @emph{before} the non-melismatic syllable
in the text, as shown here,
-@lilypond[verbatim,raggedright]
+@lilypond[verbatim,raggedright,quote]
<<
- \relative \context Voice = "lahlah" {
- \set Staff.autoBeaming = ##f
- c4
- \slurDotted
- f8.[( g16])
- a4
- }
- \new Lyrics \lyricsto "lahlah" {
- more slow -- ly
- }
- \new Lyrics \lyricsto "lahlah" {
- \set ignoreMelismata = ##t % applies to "fas"
- go fas -- ter
- \unset ignoreMelismata
- still
- }
+ \relative \context Voice = "lahlah" {
+ \set Staff.autoBeaming = ##f
+ c4
+ \slurDotted
+ f8.[( g16])
+ a4
+ }
+ \new Lyrics \lyricsto "lahlah" {
+ more slow -- ly
+ }
+ \new Lyrics \lyricsto "lahlah" {
+ \set ignoreMelismata = ##t % applies to "fas"
+ go fas -- ter
+ \unset ignoreMelismata
+ still
+ }
>>
@end lilypond
The @code{ignoreMelismata} applies to the syllable ``fas'', so it
-should bev entered before ``go''.
+should be entered before ``go''.
The reverse is also possible: making a lyric line slower than the
-standard. This can be achieved by insert @code{\skip}s into the
-lyrics. For every @code{\skip}, the text will be delayed another note.
+standard. This can be achieved by insert @code{\skip}s into the
+lyrics. For every @code{\skip}, the text will be delayed another note.
For example,
-@lilypond[verbatim,raggedright]
+@lilypond[verbatim,raggedright,quote]
\relative { c c g' }
\addlyrics {
twin -- \skip 4
}
@end lilypond
-More complex variations in text underlay are possible. It is possible
-to switch the melody for a line of lyrics during the text. This is
-done by setting the @code{associatedVoice} property. In the example
+More complex variations in text underlay are possible. It is possible
+to switch the melody for a line of lyrics during the text. This is
+done by setting the @code{associatedVoice} property. In the example
-@lilypond[raggedright]
-<<
- \relative \context Voice = "lahlah" {
- \set Staff.autoBeaming = ##f
- c4
- <<
- \context Voice = alternative {
- \voiceOne
- \times 2/3 {
-
- % show associations clearly.
- \override NoteColumn #'force-hshift = #-3
- f8 f g
- }
- }
- {
- \voiceTwo
- f8.[ g16]
- \oneVoice
- } >>
- a8( b) c
-
- }
- \new Lyrics \lyricsto "lahlah" {
- Ju -- ras -- sic Park
- }
- \new Lyrics \lyricsto "lahlah" {
+@lilypond[raggedright,quote]
- % Tricky: need to set associatedVoice
- % one syllable too soon!
- \set associatedVoice = alternative % applies to "ran"
- Ty --
- ran --
- no --
- \set associatedVoice = lahlah % applies to "rus"
- sau -- rus Rex
- } >>
+<<
+ \relative \context Voice = "lahlah" {
+ \set Staff.autoBeaming = ##f
+ c4
+ <<
+ \context Voice = alternative {
+ \voiceOne
+ \times 2/3 {
+ % show associations clearly.
+ \override NoteColumn #'force-hshift = #-3
+ f8 f g
+ }
+ }
+ {
+ \voiceTwo
+ f8.[ g16]
+ \oneVoice
+ } >>
+ a8( b) c
+ }
+ \new Lyrics \lyricsto "lahlah" {
+ Ju -- ras -- sic Park
+ }
+ \new Lyrics \lyricsto "lahlah" {
+ % Tricky: need to set associatedVoice
+ % one syllable too soon!
+ \set associatedVoice = alternative % applies to "ran"
+ Ty --
+ ran --
+ no --
+ \set associatedVoice = lahlah % applies to "rus"
+ sau -- rus Rex
+ } >>
@end lilypond
@noindent
the text for the first stanza is set to a melody called ``lahlah'',
@verbatim
- \new Lyrics \lyricsto "lahlah" {
- Ju -- ras -- sic Park
- }
+\new Lyrics \lyricsto "lahlah" {
+ Ju -- ras -- sic Park
+}
@end verbatim
for the syllable ``ran'', it switches to a different melody.
This is achieved with
@example
- \set associatedVoice = alternative
+ \set associatedVoice = alternative
@end example
@noindent
this case.
@verbatim
- \new Lyrics \lyricsto "lahlah" {
- \set associatedVoice = alternative % applies to "ran"
- Ty --
- ran --
- no --
- \set associatedVoice = lahlah % applies to "rus"
- sau -- rus Rex
- }
+\new Lyrics \lyricsto "lahlah" {
+ \set associatedVoice = alternative % applies to "ran"
+ Ty --
+ ran --
+ no --
+ \set associatedVoice = lahlah % applies to "rus"
+ sau -- rus Rex
+}
@end verbatim
@noindent
Stanza numbers can be added by setting @code{stanza}, e.g.
-@lilypond[quote,verbatim,relative=2,fragment]
+@lilypond[quote,raggedright,verbatim,relative=2,fragment]
\new Voice {
- \time 3/4 g2 e4 a2 f4 g2.
+ \time 3/4 g2 e4 a2 f4 g2.
} \addlyrics {
- \set stanza = "1. "
- Hi, my name is Bert.
+ \set stanza = "1. "
+ Hi, my name is Bert.
} \addlyrics {
- \set stanza = "2. "
- Oh, che -- ri, je t'aime
+ \set stanza = "2. "
+ Oh, che -- ri, je t'aime
}
@end lilypond
These numbers are put just before the start of first syllable.
-Names of singers can also be added. They are printed at the start of
+Names of singers can also be added. They are printed at the start of
the line, just like instrument names. They are created by setting
-@code{vocalName}. A short version may be entered as @code{vocNam}.
+@code{vocalName}. A short version may be entered as @code{vocNam}.
-@lilypond[fragment,quote,verbatim,relative=2]
+@lilypond[fragment,raggedright,quote,verbatim,relative=2]
\new Voice {
- \time 3/4 g2 e4 a2 f4 g2.
+ \time 3/4 g2 e4 a2 f4 g2.
} \addlyrics {
- \set vocalName = "Bert "
- Hi, my name is Bert.
+ \set vocalName = "Bert "
+ Hi, my name is Bert.
} \addlyrics {
- \set vocalName = "Ernie "
- Oh, che -- ri, je t'aime
+ \set vocalName = "Ernie "
+ Oh, che -- ri, je t'aime
}
@end lilypond
for example,
@example
- \paper @{
+ \layout @{
\context @{
\Voice
\consists Ambitus_engraver
This results in the following output
@lilypond[quote,raggedright]
- \paper {
- \context {
- \Staff
- \consists Ambitus_engraver
- }
+\layout {
+ \context {
+ \Staff
+ \consists Ambitus_engraver
}
+}
- \relative \new Staff {
- as'' c e2 cis,2
- }
+\relative \new Staff {
+ as'' c e2 cis,2
+}
@end lilypond
If you have multiple voices in a single staff, and you want a single
@internalsref{Ambitus_engraver} to the @internalsref{Staff} context
rather than to the @internalsref{Voice} context. Here is an example,
-@lilypond[verbatim,raggedright]
+@lilypond[verbatim,raggedright,quote]
\new Staff <<
- \new Voice \with {
- \consists "Ambitus_engraver"
- } \relative c'' {
- \override Ambitus #'X-offset-callbacks
- = #(list (lambda (grob axis) -1.0))
- \voiceOne
- c4 a d e f2
- }
- \new Voice \with {
- \consists "Ambitus_engraver"
- } \relative c' {
- \voiceTwo
- es4 f g as b2
- }
+ \new Voice \with {
+ \consists "Ambitus_engraver"
+ } \relative c'' {
+ \override Ambitus #'X-offset-callbacks
+ = #(list (lambda (grob axis) -1.0))
+ \voiceOne
+ c4 a d e f2
+ }
+ \new Voice \with {
+ \consists "Ambitus_engraver"
+ } \relative c' {
+ \voiceTwo
+ es4 f g as b2
+ }
>>
@end lilypond
This example uses one advanced feature,
@example
- \override Ambitus #'X-offset-callbacks
- = #(list (lambda (grob axis) -1.0))
+ \override Ambitus #'X-offset-callbacks
+ = #(list (lambda (grob axis) -1.0))
@end example
@noindent
-This code moves the ambitus to the left. The same effect could have
+This code moves the ambitus to the left. The same effect could have
been achieved with @code{extra-offset}, but then the formatting system
would not reserve space for the moved object.
@node Other instrument specific notation, Tablatures, Vocal music, Notation manual
@section Other instrument specific notation
+This section includes extra information for writing string music, and may
+include extra information for other instruments in the future.
+
@menu
* Harmonic notes::
@end menu
@cindex artificial harmonics
@cindex harmonics
-Artificial harmonics are notated with a different notehead style. They
+Artificial harmonics are notated with a different notehead style. They
are entered by
marking the harmonic pitch with @code{\harmonic}.
-@lilypond[raggedright,verbatim]
-{
+@lilypond[raggedright,verbatim,quote,fragment]
<c' g'\harmonic>4
-}
@end lilypond
The string number associated to a note is given as a backslash
followed by a number, e.g. @code{c4\3} for a C quarter on the third
-string. By default, string 1 is the highest one, and the tuning
+string. By default, string 1 is the highest one, and the tuning
defaults to the standard guitar tuning (with 6 strings). The notes
are printed as tablature, by using @internalsref{TabStaff} and
@internalsref{TabVoice} contexts
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\context TabStaff {
a,4\5 c'\2 a\3 e'\1
e\4 c'\2 a\3 e'\1
@cindex fret
When no string is specified, the first string that does not give a
-fret number less than @code{minimumFret} is selected. The default
+fret number less than @code{minimumFret} is selected. The default
value for @code{minimumFret} is 0
You can change the number of strings, by setting the number of lines
in the @internalsref{TabStaff}.
-You can change the tuning of the strings. A string tuning is given as
+You can change the tuning of the strings. A string tuning is given as
a Scheme list with one integer number for each string, the number
being the pitch (measured in semitones relative to middle C) of an
open string. The numbers specified for @code{stringTuning} are the
numbers of semitones to subtract or add, starting the specified pitch
-by default middle C, in string order. In the next example,
+by default middle C, in string order. In the next example,
@code{stringTunings} is set for the pitches e, a, d, and g
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,raggedright,fragment,verbatim]
\context TabStaff <<
\set TabStaff.stringTunings = #'(-5 -10 -15 -20)
@node Popular music, Orchestral music, Tablatures, Notation manual
@section Popular music
-
+This section discusses issues that arise when writing popular music.
@menu
* Chord names::
* Chords mode::
* Printing chord names::
+* Fret diagrams::
* Improvisation::
@end menu
@subsection Chord names
@cindex Chords
-LilyPond has support for both printing chord names. Chords may be
-entered in musical chord notation, i.e. @code{< .. >}, but they can
-also be entered by name. Internally, the chords are represented as a
-set of pitches, so they can be transposed
+LilyPond has support for printing chord names. Chords may be entered
+in musical chord notation, i.e. @code{< .. >}, but they can also be
+entered by name. Internally, the chords are represented as a set of
+pitches, so they can be transposed
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,raggedright,verbatim,raggedright]
twoWays = \transpose c c' {
- \chords {
+ \chordmode {
c1 f:sus4 bes/f
}
<c e g>
<f bes d'>
}
- << \context ChordNames \twoWays
- \context Voice \twoWays >>
+<< \context ChordNames \twoWays
+ \context Voice \twoWays >>
@end lilypond
This example also shows that the chord printing routines do not try to
-be intelligent. The last chord (@code{f bes d}) is not interpreted as
+be intelligent. The last chord (@code{f bes d}) is not interpreted as
an inversion.
-
+@c this menu isn't needed.
+@ignore
@menu
* Chords mode::
* Printing chord names::
@end menu
-
+@end ignore
@node Chords mode
@subsection Chords mode
@cindex Chords mode
-In chord mode sets of pitches (chords) are entered with common names.
-A chord is entered by the root, which is entered like a common pitch
+In chord mode sets of pitches (chords) are entered with normal note
+names. A chord is entered by the root, which is entered like a
+normal pitch
-@lilypond[quote,fragment,verbatim,relative=2]
-\chords { es4. d8 c2 }
+@lilypond[quote,raggedright,fragment,verbatim]
+ \chordmode { es4. d8 c2 }
@end lilypond
@noindent
-The mode is introduced by the keyword @code{\chords}.
+The mode is introduced by the keyword @code{\chordmode}.
@cindex chord entry
@cindex chord mode
-Other chords may be entered by suffixing a colon, and introducing a
-modifier, and optionally, a number
+Other chords may be entered by suffixing a colon and introducing a
+modifier (which may include a number if desired)
@c
@lilypond[quote,fragment,verbatim]
-\chords { e1:m e1:7 e1:m7 }
+ \chordmode { e1:m e1:7 e1:m7 }
@end lilypond
The first number following the root is taken to be the `type' of the
chord, thirds are added to the root until it reaches the specified
number
@lilypond[quote,fragment,verbatim]
-\chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
+ \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
@end lilypond
@cindex root of chord
@cindex additions, in chords
-@cindex removals, in chords
+@cindex removals, in chords
-More complex chords may also be constructed adding separate steps
-to a chord. Additions are added after the number following
+More complex chords may also be constructed adding separate steps
+to a chord. Additions are added after the number following
the colon, and are separated by dots
@c
@lilypond[quote,verbatim,fragment]
-\chords { c:5.6 c:3.7.8 c:3.6.13 }
+ \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
@end lilypond
-Chord steps can be altered by suffixing a @code{-} or @code{+} sign
+Chord steps can be altered by suffixing a @code{-} or @code{+} sign
to the number
@lilypond[quote,verbatim,fragment]
-\chords { c:7+ c:5+.3- c:3-.5-.7- }
+ \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
@end lilypond
Removals are specified similarly, and are introduced by a caret. They
must come after the additions
@lilypond[quote,verbatim,fragment]
-\chords { c^3 c:7^5 c:9^3.5 }
+ \chordmode { c^3 c:7^5 c:9^3.5 }
@end lilypond
-Modifiers can be used to change pitches. The following modifiers are
+Modifiers can be used to change pitches. The following modifiers are
supported
@table @code
@item m
- is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
+ is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
@item dim
- is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
+ is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
the 7th step.
@item aug
- is the augmented chord. This modifier raises the 5th step.
+ is the augmented chord. This modifier raises the 5th step.
@item maj
- is the major 7th chord. This modifier raises the 7th step if present.
+ is the major 7th chord. This modifier raises the 7th step if present.
@item sus
- is the suspended 4th or 2nd. This modifier removes the 3rd
-step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
+ is the suspended 4th or 2nd. This modifier removes the 3rd
+step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
the chord.
@end table
Modifiers can be mixed with additions
@lilypond[quote,verbatim,fragment]
-\chords { c:sus4 c:7sus4 c:dim7 c:m6 }
+ \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
@end lilypond
@cindex modifiers, in chords.
unaltered 3, the 11 is removed in this case (unless it is added
explicitly)
@c
-@lilypond[quote,fragment,verbatim]
-\chords { c:13 c:13.11 c:m13 }
+@lilypond[quote,raggedright,fragment,verbatim]
+ \chordmode { c:13 c:13.11 c:m13 }
@end lilypond
@cindex @code{/}
An inversion (putting one pitch of the chord on the bottom), as well
as bass notes, can be specified by appending
@code{/}@var{pitch} to the chord
-@lilypond[quote,fragment,verbatim]
-\chords { c1 c/g c/f }
+@lilypond[quote,raggedright,fragment,verbatim]
+ \chordmode { c1 c/g c/f }
@end lilypond
@cindex @code{/+}
A bass note can be added instead of transposed out of the chord,
by using @code{/+}@var{pitch}.
-@lilypond[quote,fragment,verbatim]
-\chords { c1 c/+g c/+f }
+@lilypond[quote,raggedright,fragment,verbatim]
+\chordmode { c1 c/+g c/+f }
@end lilypond
-Chords is a mode similar to @code{\lyrics} etc. Most
+Chords is a mode similar to @code{\lyricmode} etc. Most
of the commands continue to work, for example, @code{r} and
@code{\skip} can be used to insert rests and spaces, and property
commands may be used to change various settings.
simply produces the augmented chord, since @code{5+} is interpreted
last
@cindex clusters
-@lilypond[quote,verbatim,fragment]
-\chords { c:5.5-.5+ }
+@lilypond[quote,raggedright,verbatim,fragment]
+\chordmode { c:5.5-.5+ }
@end lilypond
described above, or directly using @code{<} and @code{>}
@lilypond[quote,verbatim,raggedright]
-scheme = {
- \chords {a1 b c} <d' f' a'> <e' g' b'>
+harmonies = {
+ \chordmode {a1 b c} <d' f' a'> <e' g' b'>
}
-
- <<
- \context ChordNames \scheme
- \context Staff \scheme
+<<
+ \context ChordNames \harmonies
+ \context Staff \harmonies
>>
@end lilypond
display chord names when there is a change in the chords scheme and at
the start of a new line
-@lilypond[quote,verbatim,linewidth=9\cm]
-scheme = \chords {
+@c originally this had linewidth=9\cm, but I though that raggedright would be better
+@lilypond[quote,verbatim,raggedright]
+harmonies = \chordmode {
c1:m c:m \break c:m c:m d
}
- <<
- \context ChordNames {
- \set chordChanges = ##t
- \scheme }
- \context Staff \transpose c c' \scheme
+<<
+ \context ChordNames {
+ \set chordChanges = ##t
+ \harmonies }
+ \context Staff \transpose c c' \harmonies
>>
@end lilypond
-The previous examples all show chords over a staff. This is not
-necessary. Chords may also be printed separately. It may be necessary
+The previous examples all show chords over a staff. This is not
+necessary. Chords may also be printed separately. It may be necessary
to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
for showing repeats.
@lilypond[raggedright,verbatim]
\new ChordNames \with {
- \override BarLine #'bar-size = #4
- voltaOnThisStaff = ##t
- \consists Bar_engraver
- \consists "Volta_engraver"
+ \override BarLine #'bar-size = #4
+ voltaOnThisStaff = ##t
+ \consists Bar_engraver
+ \consists "Volta_engraver"
}
-\repeat volta 2 \chords {
- f1:maj f:7 bes:7
- c:maj
+\repeat volta 2 \chordmode {
+ f1:maj f:7 bes:7
+ c:maj
} \alternative {
es e
}
@cindex @code{majorSevenSymbol}
@item majorSevenSymbol
This property contains the markup object used for the 7th step, when
-it is major. Predefined options are @code{whiteTriangleMarkup} and
+it is major. Predefined options are @code{whiteTriangleMarkup} and
@code{blackTriangleMarkup}. See
@inputfileref{input/regression,chord-name-major7.ly} for an example.
@cindex @code{chordNameSeparator}
@item chordNameSeparator
Different parts of a chord name are normally separated by a
-slash. By setting @code{chordNameSeparator}, you can specify other
+slash. By setting @code{chordNameSeparator}, you can specify other
separators, e.g.
-@lilypond[quote,fragment,verbatim]
-\context ChordNames \chords {
+@lilypond[quote,raggedright,fragment,verbatim]
+\context ChordNames \chordmode {
c:7sus4
\set chordNameSeparator
= \markup { \typewriter "|" }
@cindex @code{chordRootNamer}
@item chordRootNamer
The root of a chord is usually printed as a letter with an optional
-alteration. The transformation from pitch to letter is done by this
+alteration. The transformation from pitch to letter is done by this
function. Special note names (for example, the German ``H'' for a
B-chord) can be produced by storing a new function in this property.
@end table
The predefined variables @code{\germanChords},
-@code{\semiGermanChords} set these variables. The effect is
+@code{\semiGermanChords} set these variables. The effect is
demonstrated here,
-@lilypondfile[notexidoc]{chord-names-german.ly}
+@lilypondfile[raggedright]{chord-names-german.ly}
There are also two other chord name schemes implemented: an alternate
-Jazz chord notation, and a systematic scheme called Banter chords. The
+Jazz chord notation, and a systematic scheme called Banter chords. The
alternate jazz notation is also shown on the chart in @ref{Chord name
chart}. Turning on these styles is described in the input file
@inputfileref{input/test,chord-names-jazz.ly}.
@refbugs
-Chord names are determined solely from the list of pitches. Chord
-inversions are not identified, and neither are added bass notes. This
+Chord names are determined solely from the list of pitches. Chord
+inversions are not identified, and neither are added bass notes. This
may result in strange chord names when chords are entered with the
@code{< .. >} syntax.
+@node Fret diagrams
+@subsection Fret diagrams
+@cindex fret diagrams
+@cindex chord diagrams
+
+Fret diagrams can be added to music as a markup to the desired note. The
+markup contains information about the desired fret diagram, as shown in the
+following example
+
+@lilypond[verbatim, quote]
+\context Voice {
+ d' ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
+ d' d' d'
+ fis' ^\markup \override #'(size . 0.75) {
+ \override #'(finger-code . below-string) {
+ \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
+ (place-fret 5 4 3) (place-fret 4 4 4)
+ (place-fret 3 3 2) (place-fret 2 2 1)
+ (place-fret 1 2 1))
+ }
+ }
+ fis' fis' fis'
+ c' ^\markup \override #'(dot-radius . 0.35) {
+ \override #'(finger-code . in-dot) {
+ \override #'(dot-color . white) {
+ \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
+ }
+ }
+ }
+ c' c' c' c'
+}
+@end lilypond
+
+
+There are three different fret-diagram markup interfaces: standard, terse,
+and verbose. The three interfaces produce equivalent markups, but have
+varying amounts of information in the markup string. Details about the
+markup interfaces are found at @ref{Overview of text markup commands}.
+
+You can set a number of graphical properties according to your preference.
+Details about the property interface to fret diagrams are found at
+@internalsref{fret-diagram-interface}.
+
+
+@seealso
+
+Examples: @inputfileref{input/test,fret-diagram.ly}
+
+
@node Improvisation
@subsection Improvisation
Improvisation is sometimes denoted with slashed note heads. Such note
heads can be created by adding a @internalsref{Pitch_squash_engraver}
-to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
+to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
following command
@example
@code{\improvisationOff}) for this command sequence. They are used in
the following example
-@lilypond[verbatim,raggedright]
+@lilypond[verbatim,raggedright,quote]
\new Staff \with {
\consists Pitch_squash_engraver
} \transpose c c' {
@cindex Writing parts
Orchestral music involves some special notation, both in the full
-score and the individual parts. This section explains how to tackle
+score and the individual parts. This section explains how to tackle
some common problems in orchestral music.
* Hiding staves::
* Different editions from one source::
* Quoting other voices::
+* Formatting cue notes::
@end menu
@node System start delimiters
@subsection System start delimiters
-Polyphonic scores consist of many staves. These staves can be
+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, and bar lines are
-connected. This is done with the @internalsref{GrandStaff} context.
+connected. This is done with the @internalsref{GrandStaff} context.
-@lilypond[verbatim]
+@lilypond[verbatim,raggedright,quote]
\new GrandStaff
\relative <<
\new Staff { c1 c }
@end lilypond
-@item The group is started with a bracket, and bar lines are connected. This is done with the
+@item The group is started with a bracket, and bar lines are connected. This is done with the
@internalsref{StaffGroup} context
-@lilypond[verbatim]
-\new GrandStaff
+@lilypond[verbatim,raggedright,quote]
+\new StaffGroup
\relative <<
\new Staff { c1 c }
\new Staff { c c }
@end lilypond
-@item The group is started with a vertical line. Bar lines are not
+@item The group is started with a vertical line. Bar lines are not
connected. This is the default for the score.
-@lilypond[verbatim]
+@lilypond[verbatim,raggedright,quote]
\relative <<
\new Staff { c1 c }
\new Staff { c c }
cadenza, otherwise they will start too soon or too late.
A solution to this problem are the functions @code{mmrest-of-length}
-and @code{skip-of-length}. These Scheme functions take a piece music
+and @code{skip-of-length}. These Scheme functions take a piece music
as argument, and generate a @code{\skip} or multi rest, exactly as
-long as the piece. The use of @code{mmrest-of-length} is demonstrated
+long as the piece. The use of @code{mmrest-of-length} is demonstrated
in the following example.
-@lilypond[verbatim,raggedright]
+@lilypond[verbatim,raggedright,quote]
cadenza = \relative c' {
- c4 d8 << { e f g } \\ { d4. } >>
- g4 f2 g4 g
+ c4 d8 << { e f g } \\ { d4. } >>
+ g4 f2 g4 g
}
\new GrandStaff <<
@cindex mark
@cindex @code{\mark}
-To print a rehearsal mark, use the @code{\mark} command
+To print a rehearsal mark, use the @code{\mark} command
-@lilypond[quote,fragment,verbatim,relative=1]
-{
+@lilypond[quote,raggedright,fragment,verbatim,relative=1]
c1 \mark \default
c1 \mark \default
c1 \mark #8
c1 \mark \default
c1 \mark \default
-}
@end lilypond
@noindent
(The letter I is skipped in accordance with engraving traditions.)
-
+@c umm, is the manual the right place for feature requests? :) -gp
@c FIXME - should make that tunable.
The mark is incremented automatically if you use @code{\mark
manually. The value to use is stored in the property
@code{rehearsalMark}.
-The style is defined by the property @code{markFormatter}. It is a
+The style is defined by the property @code{markFormatter}. It is a
function taking the current mark (an integer) and the current context
-as argument. It should return a markup object. In the following
-example, @code{markFormatter} is set to a canned procedure. After a
+as argument. It should return a markup object. In the following
+example, @code{markFormatter} is set to a canned procedure. After a
few measures, it is set to function that produces a boxed number.
-@lilypond[quote,verbatim,fragment,relative=2]
-\set Score.markFormatter = #format-mark-numbers
-c1 \mark \default
-c1 \mark \default
-\set Score.markFormatter
- = #(lambda (mark context)
- (make-bold-markup
- (make-box-markup (number->string mark))))
-c1 \mark \default
-c1 \mark \default
+@c fragproblem? -gp
+@lilypond[quote,raggedright,verbatim,relative=2]
+{
+ \set Score.markFormatter = #format-mark-numbers
+ c1 \mark \default
+ c1 \mark \default
+ \set Score.markFormatter
+ = #(lambda (mark context)
+ (make-bold-markup
+ (make-box-markup (number->string mark))))
+ c1 \mark \default
+ c1 \mark \default
+}
@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
+@code{format-mark-letters}. These can be used as inspiration for other
formatting functions.
@cindex bar lines, symbols on
The @code{\mark} command can also be used to put signs like coda,
-segno and fermatas on a bar line. Use @code{\markup} to
+segno and fermatas on a bar line. Use @code{\markup} to
to access the appropriate symbol
-@lilypond[quote,fragment,verbatim,relative=2]
-c1 \mark \markup { \musicglyph #"scripts-ufermata" }
-c1
+@c fragproblem? -gp
+@lilypond[quote,raggedright,verbatim,relative=2]
+{
+ c1 \mark \markup { \musicglyph #"scripts-ufermata" }
+ c1
+}
@end lilypond
In the case of a line break, marks must also be printed at the end of
-the line, and not at the beginning. Use the following to force that
+the line, and not at the beginning. Use the following to force that
behavior
@example
-\override Score.RehearsalMark
- #'break-visibility = #begin-of-line-invisible
+ \override Score.RehearsalMark
+ #'break-visibility = #begin-of-line-invisible
@end example
@cindex fermatas
Init files: @file{scm/translation-functions.scm} contains the
definition of @code{format-mark-numbers} and
-@code{format-mark-letters}. They can be used as inspiration for other
+@code{format-mark-letters}. They can be used as inspiration for other
formatting functions.
Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
is normally updated automatically for every measure.
Bar numbers can be typeset at regular intervals instead of at the
-beginning of each line. This is illustrated in the following example,
+beginning of each line. This is illustrated in the following example,
whose source is available as
@inputfileref{input/test,bar-number-regular-interval.ly}
-@lilypondfile[quote]{bar-number-regular-interval.ly}
+@lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
@seealso
@refbugs
Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
-there is one at the top. To solve this, the
+there is one at the top. To solve this, the
@code{padding} property of @internalsref{BarNumber} can be
used to position the number correctly.
staves.
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
+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.
@lilypond[quote,verbatim,raggedright,relative=1,fragment]
-\set Staff.instrument = "Ploink "
-\set Staff.instr = "Plk "
-c1
-\break
-c''
+ \set Staff.instrument = "Ploink "
+ \set Staff.instr = "Plk "
+ c1
+ \break
+ c''
@end lilypond
You can also use markup texts to construct more complicated instrument
names, for example
@lilypond[quote,fragment,verbatim,raggedright]
- {
\set Staff.instrument = \markup {
\column < "Clarinetti" { "in B"
\smaller \flat } > }
- { c''1 }
-}
+{ c''1 }
@end lilypond
For longer instrument names, it may be useful to increase the
-@code{indent} setting in the @code{\paper} block.
+@code{indent} setting in the @code{\layout} block.
@seealso
@refbugs
When you put a name on a grand staff or piano staff the width of the
-brace is not taken into account. You must add extra spaces to the end of
+brace is not taken into account. You must add extra spaces to the end of
the name to avoid a collision.
@node Transpose
A music expression can be transposed with @code{\transpose}. The
syntax is
@example
-\transpose @var{from} @var{to} @var{musicexpr}
+ \transpose @var{from} @var{to} @var{musicexpr}
@end example
This means that @var{musicexpr} is transposed by the interval between
is changed to @code{to}.
-For example, consider a piece written in the key of D major. If
-this piece is a little too low for its performer, it can be
+For example, consider a piece written in the key of D major. If
+this piece is a little too low for its performer, it can be
transposed up to E major with
@example
-\transpose d e @dots{}
+ \transpose d e @dots{}
@end example
-Consider a part written for violin (a C instrument). If
+Consider a part written for violin (a C instrument). If
this part is to be played on the A clarinet, the following
transposition will produce the appropriate part
@example
-\transpose a c @dots{}
+ \transpose a c @dots{}
@end example
@code{\transpose} distinguishes between enharmonic pitches: both
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).
-
The transposition is entered after the keyword @code{\transposition}
@example
\transposition bes %% B-flat clarinet
@end example
-This command sets the property @code{instrumentTransposition}. The value of
+@noindent
+This command sets the property @code{instrumentTransposition}. The value of
this property is used for MIDI output and quotations. It does not
affect how notes are printed in the current staff.
+The pitch to use for @code{\transposition} should correspond to the
+transposition of the notes. For example, when entering a score in
+concert pitch, typically all voices are entered in C, so
+they should be entered as
+
+@example
+ clarinet = @{
+ \transposition c'
+ ...
+ @}
+ saxophone = @{
+ \transposition c'
+ ..
+ @}
+@end example
+
+The command @code{\transposition} should be used when the music is
+entered from a (transposed) orchestral part. For example, in
+classical horn parts, the tuning of the instrument is often changed
+during a piece. When copying the notes from the part, use
+@code{\transposition}, e.g.
+
+@example
+ \transposition d'
+ c'4^"in D"
+ ...
+ \transposition g'
+ c'4^"in G"
+ ...
+@end example
+
+
+
@cindex transposition, MIDI
@cindex transposition, instrument
@cindex @code{R}
-Multi measure rests are entered using `@code{R}'. It is specifically
+Multi measure rests are entered using `@code{R}'. It is specifically
meant for full bar rests and for entering parts: the rest can expand
to fill a score with rests, or it can be printed as a single
-multimeasure rest. This expansion is controlled by the property
-@code{Score.skipBars}. If this is set to true, empty measures will not
+multimeasure rest. This expansion is controlled by the property
+@code{Score.skipBars}. If this is set to true, empty measures will not
be expanded, and the appropriate number is added automatically
-@lilypond[quote,fragment,verbatim]
- \time 4/4 r1 | R1 | R1*2
- \set Score.skipBars = ##t R1*17 R1*4
+@lilypond[quote,raggedright,fragment,verbatim]
+ \time 4/4 r1 | R1 | R1*2
+ \set Score.skipBars = ##t R1*17 R1*4
@end lilypond
The @code{1} in @code{R1} is similar to the duration notation used for
-notes. Hence, for time signatures other than 4/4, you must enter other
+notes. Hence, for time signatures other than 4/4, you must enter other
durations. This can be done with augmentation dots or fractions
-@lilypond[quote,fragment,verbatim]
-\set Score.skipBars = ##t
-\time 3/4
-R2. | R2.*2
-\time 13/8
-R1*13/8
-R1*13/8*12
+@lilypond[quote,raggedright,fragment,verbatim]
+ \set Score.skipBars = ##t
+ \time 3/4
+ R2. | R2.*2
+ \time 13/8
+ R1*13/8
+ R1*13/8*12 |
+ \time 10/8 R4*5*4 |
@end lilypond
An @code{R} spanning a single measure is printed as either a whole rest
or a breve, centered in the measure regardless of the time signature.
+If there are only a few measures of rest, LilyPond prints ``church rests''
+(a series of rectangles) in the staff. To replace that with a simple
+rest, use @code{MultiMeasureRest.expand-limit}.
+
+@lilypond[quote,raggedright,fragment,verbatim]
+ \set Score.skipBars = ##t
+ R1*2 | R1*5 | R1*9
+ \override MultiMeasureRest #'expand-limit = 1
+ R1*2 | R1*5 | R1*9
+@end lilypond
+
+
@cindex text on multi-measure rest
@cindex script on multi-measure rest
@cindex fermata on multi-measure rest
Texts can be added to multi-measure rests by using the
-@var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
-replaced. If you need both texts and the number, you must add the
-number by hand. A variable (@code{\fermataMarkup}) is provided for
+@var{note}-@code{markup} syntax (see @ref{Text markup}).
+A variable (@code{\fermataMarkup}) is provided for
adding fermatas
-@lilypond[quote,verbatim,fragment]
+@lilypond[quote,raggedright,verbatim,fragment]
+ \set Score.skipBars = ##t
\time 3/4
- R2._\markup { "Ad lib" }
+ R2.*10^\markup { "Ad lib" }
R2.^\fermataMarkup
@end lilypond
@cindex condensing rests
There is no way to automatically condense multiple rests into a single
-multimeasure rest. Multi measure rests do not take part in rest
+multimeasure rest. Multi measure rests do not take part in rest
collisions.
Be careful when entering multimeasure rests followed by whole
-notes. The following will enter two notes lasting four measures each
+notes. The following will enter two notes lasting four measures each
@example
- R1*4 cis cis
+ R1*4 cis cis
@end example
When @code{skipBars} is set, the result will look OK, but the bar
numbering will be off.
The first @code{g} appears only once, although it was
specified twice (once in each part). Stem, slur and tie directions are
-set automatically, depending whether there is a solo or unisono. The
+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 II'.
Both arguments to @code{\partcombine} will be interpreted as
-@internalsref{Voice} contexts. If using relative octaves,
+@internalsref{Voice} contexts. If using relative octaves,
@code{\relative} should be specified for both music expressions, i.e.
@example
Internally, the @code{\partcombine} interprets both arguments as
@code{Voice}s named @code{one} and @code{two}, and then decides when
-the parts can be combined. Consequently, if the arguments switch to
+the parts can be combined. Consequently, if the arguments switch to
differently named @internalsref{Voice} contexts, the events in those
will be ignored.
@cindex Hiding staves
In orchestral scores, staff lines that only have rests are usually
-removed. This saves some space. This style is called `French Score'.
+removed. This saves some space. This style is called `French Score'.
For @internalsref{Lyrics},
@internalsref{ChordNames} and @internalsref{FiguredBass}, this is
switched on by default. When these line of these contexts turn out
For normal staves, a specialized @internalsref{Staff} context is
available, which does the same: staves containing nothing (or only
-multi measure rests) are removed. The context definition is stored in
-@code{\RemoveEmptyStaffContext} variable. Observe how the second staff
+multi measure rests) are removed. The context definition is stored in
+@code{\RemoveEmptyStaffContext} variable. Observe how the second staff
in this example disappears in the second line
-@lilypond[quote,verbatim]
-\paper {
+@lilypond[quote,raggedright,verbatim]
+\layout {
\context { \RemoveEmptyStaffContext }
}
}
@end lilypond
-The first system shows all staves in full. If empty staves should be
+The first system shows all staves in full. If empty staves should be
removed from the first system 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
-staff. See @inputfileref{input/test,ossia.ly} for an example.
+staff. See @inputfileref{input/test,ossia.ly} for an example.
@node Different editions from one source
@subsection Different editions from one source
-The @code{\tag} command marks music expressions with a name. These
+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.
The same can be applied to articulations, texts, etc.: they are
made by prepending
@example
- -\tag #@var{your-tag}
+ -\tag #@var{your-tag}
@end example
to an articulation, for example,
@example
- c1-\tag #'part ^4
+ c1-\tag #'part ^4
@end example
This defines a note with a conditional fingering indication.
-By applying the @code{remove-tag} function, tagged expressions can be
-filtered. For example,
+By applying the @code{\keepWithTag} and @code{\removeWithTag}
+commands, tagged expressions can be filtered. For example,
@example
<<
@var{the music}
- \applymusic #(remove-tag 'score) @var{the music}
- \applymusic #(remove-tag 'part) @var{the music}
+ \keepWithTag #'score @var{the music}
+ \keepWithTag #'part @var{the music}
>>
@end example
would yield
-@lilypondfile[quote]{tag-filter.ly}
+@lilypondfile[raggedright,quote]{tag-filter.ly}
+
The argument of the @code{\tag} command should be a symbol, or a list
of symbols, for example,
\tag #'(original-part transposed-part) @dots{}
@end example
+
+
@seealso
Examples: @inputfileref{input/regression,tag-filter.ly}.
+@refbugs
+
+Multiple rests are not merged if you create the score with both tagged
+sections.
@node Quoting other voices
@subsection Quoting other voices
With quotations, fragments of other parts can be inserted into a part
-directly. Before a part can be quoted, it must be marked especially as
-quotable. This is done with code @code{\addquote} command.
+directly. Before a part can be quoted, it must be marked especially as
+quotable. This is done with code @code{\addquote} command.
@example
-\addquote @var{name} @var{music}
+ \addquote @var{name} @var{music}
@end example
@noindent
-Here, @var{name} is an identifying string. The @var{music} is any kind
+Here, @var{name} is an identifying string. The @var{music} is any kind
of music. This is an example of @code{\addquote}
@verbatim
@code{\quote},
@example
-\quote @var{name} @var{duration}
+ \quote @var{name} @var{duration}
@end example
During a part, a piece of music can be quoted with the @code{\quote}
}
@end lilypond
+The type of events that are present in cue notes can be trimmed with
+the @code{quotedEventTypes} property. The default value is
+@code{(note-event rest-event)}, which means that only notes of and
+rests of the cued voice end up in the @code{\quote}.
+Setting
+
+@example
+ \set Staff.quotedEventTypes = #'(note-event articulation-event dynamic-event)
+@end example
+
+@noindent
+will quote notes (but no rests), together with scripts and dynamics.
+
@refbugs
Only the contents of the first @internalsref{Voice} occurring in an
Program reference: @internalsref{QuoteMusic}.
@node Formatting cue notes
-@section Formatting cue notes
+@subsection Formatting cue notes
The previous section deals with inserting notes from another
-voice. When making a part, these notes need to be specially formatted.
+voice. When making a part, these notes need to be specially formatted.
Here is an example of formatted cue notes
-@lilypond[verbatim]
+@c TODO: This should be done with \quote stuff, not manually.
+
+@lilypond[raggedright,verbatim]
smaller = {
- \set fontSize = #-1
- \override Stem #'length = #5.5
- \override Beam #'thickness = #0.384
- \override Beam #'space-function =
+ \set fontSize = #-1
+ \override Stem #'length = #5.5
+ \override Beam #'thickness = #0.384
+ \override Beam #'space-function =
#(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
}
{
- \set Staff.instrument = #"Horn in F"
- \set Score.skipBars = ##t
- R1*21
- << {
- \once \override Staff.MultiMeasureRest #'staff-position = #-6
- R1
- }
- \new Voice {
- s2
- \clef tenor
- \smaller
- r8^"Bsn." c'8 f'8[ f'8]
- \clef treble
- }
- >>
- c'8^"Horn" cis'
- eis'4 fis'4
+ \set Staff.instrument = #"Horn in F"
+ \set Score.skipBars = ##t
+ R1*21
+ << {
+ \once \override Staff.MultiMeasureRest #'staff-position = #-6
+ R1
+ }
+ \new Voice {
+ s2
+ \clef tenor
+ \smaller
+ r8^"Bsn." c'8 f'8[ f'8]
+ \clef treble
+ }
+ >>
+ c'8^"Horn" cis'
+ eis'4 fis'4
}
@end lilypond
Cue notes have smaller font sizes.
@item
When cued notes have a clef change relative to the original part, the
-clef should be restored after the cue section. This minimizes
+clef should be restored after the cue section. This minimizes
confusion for the reader,
@item
When the original part starts, this should be marked with the name of
the instrument, in this case ``Horn.'' Of course, the cue part is
marked with the instrument playing the cue.
@end itemize
-
+
+@c really? Are you sure about that last point? I'll check after 3.0 -gp
@node Ancient notation
@item
@ref{Ancient accidentals},
@item
-@ref{Ancient
-rests},
+@ref{Ancient rests},
@item
@ref{Ancient clefs},
@item
-@ref{Ancient flags}
+@ref{Ancient flags},
@item
@ref{Ancient time signatures}.
@end itemize
notation flavor without need for introducing any new notational
concept.
+In addition to the standard articulation signs described in section
+@ref{Articulations}, specific articulation signs for ancient notation
+are provided.
+
+@itemize @bullet
+@item
+@ref{Ancient articulations}
+@end itemize
+
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
-ancient notation,
+in terms of just changing a style property of a graphical object or
+adding articulation signs. Some notational concepts are introduced
+specifically for ancient notation,
@itemize @bullet
@item
@item
@ref{Divisiones},
@item
-@ref{Ligatures},
+@ref{Ligatures}.
+@end itemize
+
+If this all is too much of documentation for you, and you just want to
+dive into typesetting without worrying too much about the details on
+how to customize a context, you may have a look at the predefined
+contexts. Use them to set up predefined style-specific voice and
+staff contexts, and directly go ahead with the note entry,
+
+@itemize @bullet
+@item
+@ref{Gregorian Chant contexts},
+@item
+@ref{Mensural contexts}.
+@end itemize
+
+There is limited support for figured bass notation which came
+up during the baroque period.
+
+@itemize @bullet
@item
-@ref{Figured bass}.
+@ref{Figured bass}
@end itemize
+Here are all suptopics at a glance:
+
@menu
* Ancient note heads::
* Ancient accidentals::
* Ancient clefs::
* Ancient flags::
* Ancient time signatures::
+* Ancient articulations::
* Custodes::
* Divisiones::
* Ligatures::
-* Vaticana style contexts::
+* Gregorian Chant contexts::
+* Mensural contexts::
* Figured bass::
@end menu
-If this all is too much of documentation for you, and you just want to
-dive into typesetting without worrying too much about the details on
-how to customize a context, you may have a look at the predefined
-contexts (see @ref{Vaticana style contexts}). Use them to set up
-predefined style-specific voice and staff contexts, and directly go
-ahead with the note entry.
@node Ancient note heads
@subsection Ancient note heads
The following example demonstrates the @code{neomensural} style
-@lilypond[quote,fragment,raggedright]
-\set Score.skipBars = ##T
-\override NoteHead #'style = #'neomensural
-a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
+@lilypond[quote,fragment,raggedright,verbatim]
+ \set Score.skipBars = ##t
+ \override NoteHead #'style = #'neomensural
+ a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
@end lilypond
When typesetting a piece in Gregorian Chant notation, the
@lilypond[quote,raggedright,staffsize=26]
\score {
- {
- \fatText
- s
- ^\markup {
- \column <
- "vaticana"
- { " " \musicglyph #"accidentals-vaticana-1"
- " " \musicglyph #"accidentals-vaticana0" }
- >
- \column <
- "medicaea"
- { " " \musicglyph #"accidentals-medicaea-1" }
- >
- \column <
- "hufnagel"
- { " " \musicglyph #"accidentals-hufnagel-1" }
- >
- \column <
- "mensural"
- { " " \musicglyph #"accidentals-mensural-1"
- " " \musicglyph #"accidentals-mensural1" }
- >
- }
- }
- \paper {
- raggedright = ##t
- interscoreline = 1
- \context {
- \Score
- \remove "Bar_number_engraver"
- }
- \context{
- \Staff
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \remove "Time_signature_engraver"
- \remove "Staff_symbol_engraver"
- minimumVerticalExtent = ##f
- }
+{
+ \fatText
+ s^\markup {
+ \column <
+ "vaticana"
+ { " " \musicglyph #"accidentals-vaticana-1"
+ " " \musicglyph #"accidentals-vaticana0" }
+ >
+ \column <
+ "medicaea"
+ { " " \musicglyph #"accidentals-medicaea-1" }
+ >
+ \column <
+ "hufnagel"
+ { " " \musicglyph #"accidentals-hufnagel-1" }
+ >
+ \column <
+ "mensural"
+ { " " \musicglyph #"accidentals-mensural-1"
+ " " \musicglyph #"accidentals-mensural1" }
+ >
+ }
+}
+\layout {
+ interscoreline = 1
+ \context { \Score \remove "Bar_number_engraver" }
+ \context { \Staff
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ \remove "Time_signature_engraver"
+ \remove "Staff_symbol_engraver"
+ minimumVerticalExtent = ##f
}
+ }
}
@end lilypond
The following example demonstrates the @code{neomensural} style
-@lilypond[quote,fragment,raggedright]
-\override Rest #'style = #'neomensural
-\set Score.skipBars = ##t
-r\longa r\breve r1 r2 r4 r8 r16
+@lilypond[quote,fragment,raggedright,verbatim]
+ \set Score.skipBars = ##t
+ \override Rest #'style = #'neomensural
+ r\longa r\breve r1 r2 r4 r8 r16
@end lilypond
There are no 32th and 64th rests specifically for the mensural or
@item
modern style mensural C clef @tab
-@code{neomensural_c1}, @code{neomensural_c2},
-@code{neomensural_c3}, @code{neomensural_c4} @tab
-@lilypond[fragment,quote,relative=1,notime]
-
-\clef "neomensural_c2" c
+@code{neomensural-c1}, @code{neomensural-c2},
+@code{neomensural-c3}, @code{neomensural-c4} @tab
+@lilypond[fragment,raggedright,quote,relative=1,notime]
+ \clef "neomensural-c2" c
@end lilypond
@item
-petrucci style mensural C clefs, for use on different staff lines
+petrucci style mensural C clefs, for use on different staff lines
(the examples shows the 2nd staff line C clef).
@tab
-@code{petrucci_c1}
-@code{petrucci_c2}
-@code{petrucci_c3}
-@code{petrucci_c4}
-@code{petrucci_c5}
+@code{petrucci-c1}
+@code{petrucci-c2}
+@code{petrucci-c3}
+@code{petrucci-c4}
+@code{petrucci-c5}
@tab
@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
-
-\clef "petrucci_c2" c
+ \clef "petrucci-c2" c
@end lilypond
@item
petrucci style mensural F clef @tab
-@code{petrucci_f} @tab
+@code{petrucci-f} @tab
@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
-
-\clef "petrucci_f" c
+ \clef "petrucci-f" c
@end lilypond
@item
petrucci style mensural G clef @tab
-@code{petrucci_g} @tab
+@code{petrucci-g} @tab
@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
-
-\clef "petrucci_g" c
+ \clef "petrucci-g" c
@end lilypond
@item
historic style mensural C clef @tab
-@code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
-@code{mensural_c4} @tab
+@code{mensural-c1}, @code{mensural-c2}, @code{mensural-c3},
+@code{mensural-c4} @tab
@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
-
-\clef "mensural_c2" c
+ \clef "mensural-c2" c
@end lilypond
@item
historic style mensural F clef @tab
-@code{mensural_f} @tab
+@code{mensural-f} @tab
@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
-
-\clef "mensural_f" c
+ \clef "mensural-f" c
@end lilypond
@item
historic style mensural G clef @tab
-@code{mensural_g} @tab
+@code{mensural-g} @tab
@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
-
-\clef "mensural_g" c
+ \clef "mensural-g" c
@end lilypond
@item
Editio Vaticana style do clef @tab
-@code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
+@code{vaticana-do1}, @code{vaticana-do2}, @code{vaticana-do3} @tab
@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
- \override Staff.StaffSymbol #'line-count = #4
-
-\clef "vaticana_do2" c
+ \override Staff.StaffSymbol #'line-count = #4
+ \clef "vaticana-do2" c
@end lilypond
@item
Editio Vaticana style fa clef @tab
-@code{vaticana_fa1}, @code{vaticana_fa2} @tab
+@code{vaticana-fa1}, @code{vaticana-fa2} @tab
@lilypond[quote,relative=1,notime,indent=0.0\mm,fragment]
- \override Staff.StaffSymbol #'line-count = #4
-
-\clef "vaticana_fa2" c
+ \override Staff.StaffSymbol #'line-count = #4
+ \clef "vaticana-fa2" c
@end lilypond
@item
Editio Medicaea style do clef @tab
-@code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
+@code{medicaea-do1}, @code{medicaea-do2}, @code{medicaea-do3} @tab
@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
- \override Staff.StaffSymbol #'line-count = #4
-
-\clef "medicaea_do2" c
+ \override Staff.StaffSymbol #'line-count = #4
+ \clef "medicaea-do2" c
@end lilypond
@item
Editio Medicaea style fa clef @tab
-@code{medicaea_fa1}, @code{medicaea_fa2} @tab
+@code{medicaea-fa1}, @code{medicaea-fa2} @tab
@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
- \override Staff.StaffSymbol #'line-count = #4
-
-\clef "medicaea_fa2" c
+ \override Staff.StaffSymbol #'line-count = #4
+ \clef "medicaea-fa2" c
@end lilypond
@item
historic style hufnagel do clef @tab
-@code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
+@code{hufnagel-do1}, @code{hufnagel-do2}, @code{hufnagel-do3} @tab
@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
- \override Staff.StaffSymbol #'line-count = #4
-
-\clef "hufnagel_do2" c
+ \override Staff.StaffSymbol #'line-count = #4
+ \clef "hufnagel-do2" c
@end lilypond
@item
historic style hufnagel fa clef @tab
-@code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
+@code{hufnagel-fa1}, @code{hufnagel-fa2} @tab
@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
- \override Staff.StaffSymbol #'line-count = #4
-
-\clef "hufnagel_fa2" c
+ \override Staff.StaffSymbol #'line-count = #4
+ \clef "hufnagel-fa2" c
@end lilypond
@item
historic style hufnagel combined do/fa clef @tab
-@code{hufnagel_do_fa} @tab
+@code{hufnagel-do-fa} @tab
@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
-\clef "hufnagel_do_fa" c
+ \clef "hufnagel-do-fa" c
@end lilypond
@end multitable
only @code{mensural} style is supported
@lilypond[quote,fragment,raggedright,verbatim]
-\override Stem #'flag-style = #'mensural
-\override Stem #'thickness = #1.0
-\override NoteHead #'style = #'mensural
-\autoBeamOff
-c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
-c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
+ \override Stem #'flag-style = #'mensural
+ \override Stem #'thickness = #1.0
+ \override NoteHead #'style = #'mensural
+ \autoBeamOff
+ c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
+ c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
@end lilypond
Note that the innermost flare of each mensural flag always is
-vertically aligned with a staff line. If you do not like this
-behavior, you can set the @code{adjust-if-on-staffline} property of
-grob @internalsref{Stem} to @code{##f}. Then, the vertical position
-of the end of each flare is different between notes on staff lines and
-notes between staff lines
-
-@lilypond[quote,fragment,raggedright]
-\override Stem #'flag-style = #'mensural
-\override Stem #'thickness = #1.0
-\override Stem #'adjust-if-on-staffline = ##f
-\override NoteHead #'style = #'mensural
-\autoBeamOff
-c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
-c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
-@end lilypond
+vertically aligned with a staff line.
There is no particular flag style for neo-mensural notation. Hence,
-when typesetting the incipit of a transcribed piece of mensural
+when typesetting the incipit of a transcribed piece of mensural
music, the default flag style should be used. There are no flags in
Gregorian Chant notation.
+@refbugs
+
+The attachment of ancient flags to stems is slightly off due to a
+change in early 2.3.x.
+
+Vertically aligning each flag with a staff line assumes that stems
+always end either exactly on or exactly in the middle between two
+staff lines. This may not always be true when using advanced layout
+features of classical notation (which however are typically out of
+scope for mensural notation).
@node Ancient time signatures
@subsection Ancient time signatures
command, @code{n} and @code{m} have to be chosen according to the
following table
-@lilypond[quote]
-\paper {
- indent = 0.0
- raggedright = ##t
- \context {
- \Staff
- \remove Staff_symbol_engraver
- \remove Clef_engraver
- \remove Time_signature_engraver
- }
+@lilypond[quote,raggedright]
+\layout {
+ indent = 0.0
+ \context { \Staff
+ \remove Staff_symbol_engraver
+ \remove Clef_engraver
+ \remove Time_signature_engraver
+ }
} {
- \set Score.timing = ##f
- \set Score.barAlways = ##t
- s_\markup { "$\\backslash$time 4/4" }
- ^\markup { " " \musicglyph #"timesig-neomensural4/4" }
- s
- s_\markup { "$\\backslash$time 2/2" }
- ^\markup { " " \musicglyph #"timesig-neomensural2/2" }
- s
- s_\markup { "$\\backslash$time 6/4" }
- ^\markup { " " \musicglyph #"timesig-neomensural6/4" }
- s
- s_\markup { "$\\backslash$time 6/8" }
- ^\markup { " " \musicglyph #"timesig-neomensural6/8" }
- \break
- s_\markup { "$\\backslash$time 3/2" }
- ^\markup { " " \musicglyph #"timesig-neomensural3/2" }
- s
- s_\markup { "$\\backslash$time 3/4" }
- ^\markup { " " \musicglyph #"timesig-neomensural3/4" }
- s
- s_\markup { "$\\backslash$time 9/4" }
- ^\markup { " " \musicglyph #"timesig-neomensural9/4" }
- s
- s_\markup { "$\\backslash$time 9/8" }
- ^\markup { " " \musicglyph #"timesig-neomensural9/8" }
- \break
- s_\markup { "$\\backslash$time 4/8" }
- ^\markup { " " \musicglyph #"timesig-neomensural4/8" }
- s
- s_\markup { "$\\backslash$time 2/4" }
- ^\markup { " " \musicglyph #"timesig-neomensural2/4" }
- \break
+ \set Score.timing = ##f
+ \set Score.barAlways = ##t
+ s_\markup { "$\\backslash$time 4/4" }
+ ^\markup { " " \musicglyph #"timesig-neomensural4/4" }
+ s
+ s_\markup { "$\\backslash$time 2/2" }
+ ^\markup { " " \musicglyph #"timesig-neomensural2/2" }
+ s
+ s_\markup { "$\\backslash$time 6/4" }
+ ^\markup { " " \musicglyph #"timesig-neomensural6/4" }
+ s
+ s_\markup { "$\\backslash$time 6/8" }
+ ^\markup { " " \musicglyph #"timesig-neomensural6/8" }
+ \break
+ s_\markup { "$\\backslash$time 3/2" }
+ ^\markup { " " \musicglyph #"timesig-neomensural3/2" }
+ s
+ s_\markup { "$\\backslash$time 3/4" }
+ ^\markup { " " \musicglyph #"timesig-neomensural3/4" }
+ s
+ s_\markup { "$\\backslash$time 9/4" }
+ ^\markup { " " \musicglyph #"timesig-neomensural9/4" }
+ s
+ s_\markup { "$\\backslash$time 9/8" }
+ ^\markup { " " \musicglyph #"timesig-neomensural9/8" }
+ \break
+ s_\markup { "$\\backslash$time 4/8" }
+ ^\markup { " " \musicglyph #"timesig-neomensural4/8" }
+ s
+ s_\markup { "$\\backslash$time 2/4" }
+ ^\markup { " " \musicglyph #"timesig-neomensural2/4" }
}
@end lilypond
Use the @code{style} property of grob @internalsref{TimeSignature} to
select ancient time signatures. Supported styles are
@code{neomensural} and @code{mensural}. The above table uses the
-@code{neomensural} style. This style is appropriate for the
+@code{neomensural} style. This style is appropriate for the
incipit of transcriptions of mensural pieces. The @code{mensural}
style mimics the look of historical printings of the 16th century.
The following examples shows the differences in style,
-@lilypond[raggedright]
+
+@lilypond[raggedright,fragment,relative=1,quote]
{
+ \fatText
\time 2/2
c1^\markup { \hspace #-2.0 \typewriter default }
@refbugs
-Ratios of note durations do not change with the time signature. For
+Ratios of note durations do not change with the time signature. For
example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
be made by hand, by setting
@noindent
This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
-The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
-addressable with @code{\time}. Use a @code{\markup} instead
+The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
+addressable with @code{\time}. Use a @code{\markup} instead
+
+@node Ancient articulations
+@subsection Ancient articulations
+
+@cindex articulations
+
+In addition to the standard articulation signs described in section
+@ref{Articulations}, articulation signs for ancient notation are
+provided. These are specifically designed for use with notation in
+Editio Vaticana style.
+
+@lilypond[quote,raggedright,verbatim,noindent]
+\include "gregorian-init.ly"
+\score {
+ \context VaticanaVoice {
+ \override TextScript #'font-family = #'typewriter
+ \override TextScript #'font-shape = #'upright
+ \override Script #'padding = #-0.1
+ a4\ictus_"ictus" s1
+ a4\circulus_"circulus" s1
+ a4\semicirculus_"semicirculus" s1 s
+ a4\accentus_"accentus" s1
+ \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
+ }
+}
+@end lilypond
+
+@refbugs
+
+Some articulations are vertically placed too closely to the
+correpsonding note heads.
@node Custodes
@subsection Custodes
used in different flavors of notational style.
For typesetting custodes, just put a @internalsref{Custos_engraver} into the
-@internalsref{Staff} context when declaring the @code{\paper} block,
+@internalsref{Staff} context when declaring the @code{\layout} block,
as shown in the following example
@example
-\paper @{
+\layout @{
\context @{
- \Staff
- \consists Custos_engraver
- Custos \override #'style = #'mensural
+ \Staff
+ \consists Custos_engraver
+ Custos \override #'style = #'mensural
@}
@}
@end example
@lilypond[quote,raggedright]
\score {
- {
- a'1
- \override Staff.Custos #'style = #'mensural
- \break
- g'
- }
- \paper {
- \context {
- \Staff
- \consists Custos_engraver
- }
- }
+{
+ a'1
+ \override Staff.Custos #'style = #'mensural
+ \break
+ g'
+}
+\layout {
+ \context { \Staff \consists Custos_engraver }
+ }
}
@end lilypond
-The custos glyph is selected by the @code{style} property. The styles
+The custos glyph is selected by the @code{style} property. The styles
supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
@code{mensural}. They are demonstrated in the following fragment
-@lilypond[quote]
-\score {
- \new Lyrics \lyrics {
- \markup {
- \column <
- \typewriter "vaticana"
- { " " \musicglyph #"custodes-vaticana-u0" }
- > }
- \markup { \column <
- \typewriter "medicaea"
- { " " \musicglyph #"custodes-medicaea-u0" }
- >}
- \markup {
- \column <
- \typewriter "hufnagel"
- { " " \musicglyph #"custodes-hufnagel-u0" }
- >}
- \markup {
- \column <
- \typewriter "mensural"
- { " " \musicglyph #"custodes-mensural-u0" }
- >}
- }
-
- \paper {
- raggedright = ##t
- }
+@lilypond[quote,raggedright,fragment]
+\new Lyrics \lyricmode {
+ \markup { \column <
+ \typewriter "vaticana"
+ { " " \musicglyph #"custodes-vaticana-u0" }
+ > }
+ \markup { \column <
+ \typewriter "medicaea"
+ { " " \musicglyph #"custodes-medicaea-u0" }
+ >}
+ \markup { \column <
+ \typewriter "hufnagel"
+ { " " \musicglyph #"custodes-hufnagel-u0" }
+ >}
+ \markup { \column <
+ \typewriter "mensural"
+ { " " \musicglyph #"custodes-mensural-u0" }
+ >}
}
+
@end lilypond
@seealso
@lilypond[quote,raggedright,verbatim]
\transpose c c' {
- \[ g c a f d' \]
- a g f
- \[ e f a g \]
+ \[ g c a f d' \]
+ a g f
+ \[ e f a g \]
}
@end lilypond
Accidentals must not be printed within a ligature, but instead need to
be collected and printed in front of it.
-Augmentum dots within ligatures are not handled correctly.
+Augmentum dots within ligatures are not handled correctly.
@menu
There is limited support for white mensural ligatures.
-To engrave white mensural ligatures, in the paper block the
+To engrave white mensural ligatures, in the layout block the
@internalsref{Mensural_ligature_engraver} has to be put into the
@internalsref{Voice} context, and remove the
@internalsref{Ligature_bracket_engraver}
@example
- \paper @{
- \context @{
- \Voice
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
- @}
- @}
+\layout @{
+ \context @{
+ \Voice
+ \remove Ligature_bracket_engraver
+ \consists Mensural_ligature_engraver
+ @}
+@}
@end example
There is no additional input language to describe the shape of a
For example,
@example
- \set Score.timing = ##f
- \set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neomensural
- \override Staff.TimeSignature #'style = #'neomensural
- \clef "petrucci_g"
- \[ g\longa c\breve a\breve f\breve d'\longa \]
- s4
- \[ e1 f1 a\breve g\longa \]
+ \set Score.timing = ##f
+ \set Score.defaultBarType = "empty"
+ \override NoteHead #'style = #'neomensural
+ \override Staff.TimeSignature #'style = #'neomensural
+ \clef "petrucci-g"
+ \[ g\longa c\breve a\breve f\breve d'\longa \]
+ s4
+ \[ e1 f1 a\breve g\longa \]
@end example
@lilypond[quote,raggedright]
\score {
- \transpose c c' {
- \set Score.timing = ##f
- \set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neomensural
- \override Staff.TimeSignature #'style = #'neomensural
- \clef "petrucci_g"
- \[ g\longa c\breve a\breve f\breve d'\longa \]
- s4
- \[ e1 f1 a\breve g\longa \]
- }
- \paper {
- \context {
- \Voice
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
- }
+ \transpose c c' {
+ \set Score.timing = ##f
+ \set Score.defaultBarType = "empty"
+ \override NoteHead #'style = #'neomensural
+ \override Staff.TimeSignature #'style = #'neomensural
+ \clef "petrucci-g"
+ \[ g\longa c\breve a\breve f\breve d'\longa \]
+ s4
+ \[ e1 f1 a\breve g\longa \]
+ }
+ \layout {
+ \context {
+ \Voice
+ \remove Ligature_bracket_engraver
+ \consists Mensural_ligature_engraver
}
+ }
}
@end lilypond
@lilypond[quote,raggedright]
\transpose c c' {
- \set Score.timing = ##f
- \set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neomensural
- \override Staff.TimeSignature #'style = #'neomensural
- \clef "petrucci_g"
- \[ g\longa c\breve a\breve f\breve d'\longa \]
- s4
- \[ e1 f1 a\breve g\longa \]
+ \set Score.timing = ##f
+ \set Score.defaultBarType = "empty"
+ \override NoteHead #'style = #'neomensural
+ \override Staff.TimeSignature #'style = #'neomensural
+ \clef "petrucci-g"
+ \[ g\longa c\breve a\breve f\breve d'\longa \]
+ s4
+ \[ e1 f1 a\breve g\longa \]
}
@end lilypond
@refbugs
-The implementation is experimental. It may output strange warnings,
+The implementation is experimental. It may output strange warnings,
incorrect results, and might even crash on more complex ligatures.
@node Gregorian square neumes ligatures
@b{Figurae@*Liquescentes Auctae} @tab
@b{Figurae@*Liquescentes Deminutae}
-@c TODO: \paper block is identical in all of the below examples.
+@c TODO: \layout block is identical in all of the below examples.
@c Therefore, it should somehow be included rather than duplicated all
@c the time. --jr
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Punctum
- \[ b \]
- \noBreak s^\markup {"a"} \noBreak
-
- % Punctum Inclinatum
- \[ \inclinatum b \]
- \noBreak s^\markup {"b"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Punctum
+ \[ b \]
+ \noBreak s^\markup {"a"} \noBreak
+
+ % Punctum Inclinatum
+ \[ \inclinatum b \]
+ \noBreak s^\markup {"b"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Punctum Auctum Ascendens
- \[ \auctum \ascendens b \]
- \noBreak s^\markup {"c"} \noBreak
-
- % Punctum Auctum Descendens
- \[ \auctum \descendens b \]
- \noBreak s^\markup {"d"} \noBreak
-
- % Punctum Inclinatum Auctum
- \[ \inclinatum \auctum b \]
- \noBreak s^\markup {"e"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Punctum Auctum Ascendens
+ \[ \auctum \ascendens b \]
+ \noBreak s^\markup {"c"} \noBreak
+
+ % Punctum Auctum Descendens
+ \[ \auctum \descendens b \]
+ \noBreak s^\markup {"d"} \noBreak
+
+ % Punctum Inclinatum Auctum
+ \[ \inclinatum \auctum b \]
+ \noBreak s^\markup {"e"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Punctum Inclinatum Parvum
- \[ \inclinatum \deminutum b \]
- \noBreak s^\markup {"f"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Punctum Inclinatum Parvum
+ \[ \inclinatum \deminutum b \]
+ \noBreak s^\markup {"f"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@item
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Virga
- \[ \virga b \]
- \noBreak s^\markup {"g"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Virga
+ \[ \virga b \]
+ \noBreak s^\markup {"g"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Stropha
- \[ \stropha b \]
- \noBreak s^\markup {"h"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Stropha
+ \[ \stropha b \]
+ \noBreak s^\markup {"h"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Stropha Aucta
- \[ \stropha \auctum b \]
- \noBreak s^\markup {"i"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Stropha Aucta
+ \[ \stropha \auctum b \]
+ \noBreak s^\markup {"i"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Oriscus
- \[ \oriscus b \]
- \noBreak s^\markup {"j"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Oriscus
+ \[ \oriscus b \]
+ \noBreak s^\markup {"j"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Clivis vel Flexa
- \[ b \flexa g \]
- s^\markup {"k"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Clivis vel Flexa
+ \[ b \flexa g \]
+ s^\markup {"k"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Clivis Aucta Descendens
- \[ b \flexa \auctum \descendens g \]
- \noBreak s^\markup {"l"} \noBreak
-
- % Clivis Aucta Ascendens
- \[ b \flexa \auctum \ascendens g \]
- \noBreak s^\markup {"m"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Clivis Aucta Descendens
+ \[ b \flexa \auctum \descendens g \]
+ \noBreak s^\markup {"l"} \noBreak
+
+ % Clivis Aucta Ascendens
+ \[ b \flexa \auctum \ascendens g \]
+ \noBreak s^\markup {"m"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Cephalicus
- \[ b \flexa \deminutum g \]
- s^\markup {"n"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Cephalicus
+ \[ b \flexa \deminutum g \]
+ s^\markup {"n"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@item
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Podatus vel Pes
- \[ g \pes b \]
- s^\markup {"o"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Podatus vel Pes
+ \[ g \pes b \]
+ s^\markup {"o"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Pes Auctus Descendens
- \[ g \pes \auctum \descendens b \]
- \noBreak s^\markup {"p"} \noBreak
-
- % Pes Auctus Ascendens
- \[ g \pes \auctum \ascendens b \]
- \noBreak s^\markup {"q"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Pes Auctus Descendens
+ \[ g \pes \auctum \descendens b \]
+ \noBreak s^\markup {"p"} \noBreak
+
+ % Pes Auctus Ascendens
+ \[ g \pes \auctum \ascendens b \]
+ \noBreak s^\markup {"q"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Epiphonus
- \[ g \pes \deminutum b \]
- s^\markup {"r"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Epiphonus
+ \[ g \pes \deminutum b \]
+ s^\markup {"r"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@item
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Pes Quassus
- \[ \oriscus g \pes \virga b \]
- s^\markup {"s"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Pes Quassus
+ \[ \oriscus g \pes \virga b \]
+ s^\markup {"s"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Pes Quassus Auctus Descendens
- \[ \oriscus g \pes \auctum \descendens b \]
- s^\markup {"t"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Pes Quassus Auctus Descendens
+ \[ \oriscus g \pes \auctum \descendens b \]
+ s^\markup {"t"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Quilisma Pes
- \[ \quilisma g \pes b \]
- s^\markup {"u"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Quilisma Pes
+ \[ \quilisma g \pes b \]
+ s^\markup {"u"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Quilisma Pes Auctus Descendens
- \[ \quilisma g \pes \auctum \descendens b \]
- s^\markup {"v"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Quilisma Pes Auctus Descendens
+ \[ \quilisma g \pes \auctum \descendens b \]
+ s^\markup {"v"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Pes Initio Debilis
- \[ \deminutum g \pes b \]
- s^\markup {"w"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Pes Initio Debilis
+ \[ \deminutum g \pes b \]
+ s^\markup {"w"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Pes Auctus Descendens Initio Debilis
- \[ \deminutum g \pes \auctum \descendens b \]
- s^\markup {"x"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Pes Auctus Descendens Initio Debilis
+ \[ \deminutum g \pes \auctum \descendens b \]
+ s^\markup {"x"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Torculus
- \[ a \pes b \flexa g \]
- s^\markup {"y"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Torculus
+ \[ a \pes b \flexa g \]
+ s^\markup {"y"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Torculus Auctus Descendens
- \[ a \pes b \flexa \auctum \descendens g \]
- s^\markup {"z"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Torculus Auctus Descendens
+ \[ a \pes b \flexa \auctum \descendens g \]
+ s^\markup {"z"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Torculus Deminutus
- \[ a \pes b \flexa \deminutum g \]
- s^\markup {"A"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Torculus Deminutus
+ \[ a \pes b \flexa \deminutum g \]
+ s^\markup {"A"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@item
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Torculus Initio Debilis
- \[ \deminutum a \pes b \flexa g \]
- s^\markup {"B"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Torculus Initio Debilis
+ \[ \deminutum a \pes b \flexa g \]
+ s^\markup {"B"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Torculus Auctus Descendens Initio Debilis
- \[ \deminutum a \pes b \flexa \auctum \descendens g \]
- s^\markup {"C"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Torculus Auctus Descendens Initio Debilis
+ \[ \deminutum a \pes b \flexa \auctum \descendens g \]
+ s^\markup {"C"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Torculus Deminutus Initio Debilis
- \[ \deminutum a \pes b \flexa \deminutum g \]
- s^\markup {"D"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Torculus Deminutus Initio Debilis
+ \[ \deminutum a \pes b \flexa \deminutum g \]
+ s^\markup {"D"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@item
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Porrectus
- \[ a \flexa g \pes b \]
- s^\markup {"E"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Porrectus
+ \[ a \flexa g \pes b \]
+ s^\markup {"E"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Porrectus Auctus Descendens
- \[ a \flexa g \pes \auctum \descendens b \]
- s^\markup {"F"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Porrectus Auctus Descendens
+ \[ a \flexa g \pes \auctum \descendens b \]
+ s^\markup {"F"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Porrectus Deminutus
- \[ a \flexa g \pes \deminutum b \]
- s^\markup {"G"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Porrectus Deminutus
+ \[ a \flexa g \pes \deminutum b \]
+ s^\markup {"G"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@item
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Climacus
- \[ \virga b \inclinatum a \inclinatum g \]
- s^\markup {"H"}
- }
- \paper { \neumeDemoPaper }
+ \transpose c c' {
+ % Climacus
+ \[ \virga b \inclinatum a \inclinatum g \]
+ s^\markup {"H"}
+ }
+ \layout { \neumeDemoLayout }
}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Climacus Auctus
- \[ \virga b \inclinatum a \inclinatum \auctum g \]
- s^\markup {"I"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Climacus Auctus
+ \[ \virga b \inclinatum a \inclinatum \auctum g \]
+ s^\markup {"I"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Climacus Deminutus
- \[ \virga b \inclinatum a \inclinatum \deminutum g \]
- s^\markup {"J"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Climacus Deminutus
+ \[ \virga b \inclinatum a \inclinatum \deminutum g \]
+ s^\markup {"J"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@item
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Scandicus
- \[ g \pes a \virga b \]
- s^\markup {"K"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Scandicus
+ \[ g \pes a \virga b \]
+ s^\markup {"K"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Scandicus Auctus Descendens
- \[ g \pes a \pes \auctum \descendens b \]
- s^\markup {"L"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Scandicus Auctus Descendens
+ \[ g \pes a \pes \auctum \descendens b \]
+ s^\markup {"L"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Scandicus Deminutus
- \[ g \pes a \pes \deminutum b \]
- s^\markup {"M"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Scandicus Deminutus
+ \[ g \pes a \pes \deminutum b \]
+ s^\markup {"M"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@item
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Salicus
- \[ g \oriscus a \pes \virga b \]
- s^\markup {"N"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Salicus
+ \[ g \oriscus a \pes \virga b \]
+ s^\markup {"N"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
- % Salicus Auctus Descendens
- \[ g \oriscus a \pes \auctum \descendens b \]
- s^\markup {"O"}
- }
-\paper { \neumeDemoPaper }}
+ \transpose c c' {
+ % Salicus Auctus Descendens
+ \[ g \oriscus a \pes \auctum \descendens b \]
+ s^\markup {"O"}
+ }
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
- \transpose c c' {
+ \transpose c c' {
% Trigonus
\[ \stropha b \stropha b \stropha a \]
s^\markup {"P"}
}
- \paper { \neumeDemoPaper }
+ \layout { \neumeDemoLayout }
}
@end lilypond
@tab
-@node Vaticana style contexts
-@subsection Vaticana style contexts
+@node Gregorian Chant contexts
+@subsection Gregorian Chant contexts
@cindex VaticanaVoiceContext
@cindex VaticanaStaffContext
\score {
<<
\context VaticanaVoice = "cantus" {
- \override Score.BarNumber #'transparent = ##t
- {
+ \override Score.BarNumber #'transparent = ##t {
\[ c'\melisma c' \flexa a \]
\[ a \flexa \deminutum g\melismaEnd \]
f \divisioMinima
}
@end lilypond
+
+@node Mensural contexts
+@subsection Mensural contexts
+
+@cindex MensuralVoiceContext
+@cindex MensuralStaffContext
+
+The predefined @code{MensuralVoiceContext} and
+@code{MensuralStaffContext} can be used to engrave a piece in mensural
+style. These contexts initialize all relevant context properties and
+grob properties to proper values, so you can immediately go ahead
+entering the chant, as the following excerpt demonstrates
+
+@lilypond[quote,raggedright,verbatim,noindent]
+\score {
+ <<
+ \context MensuralVoice = "discantus" \transpose c c' {
+ \override Score.BarNumber #'transparent = ##t {
+ c'1\melisma bes a g\melismaEnd
+ f\breve
+ \[ f1\melisma a c'\breve d'\melismaEnd \]
+ c'\longa
+ c'\breve\melisma a1 g1\melismaEnd
+ fis\longa^\signumcongruentiae
+ }
+ }
+ \lyricsto "discantus" \new Lyrics {
+ San -- ctus, San -- ctus, San -- ctus
+ }
+ >>
+}
+@end lilypond
+
+
@node Figured bass
@subsection Figured bass
LilyPond has limited support for figured bass
-@lilypond[quote,verbatim,fragment]
+@lilypond[quote,raggedright,verbatim,fragment]
<<
\context Voice { \clef bass dis4 c d ais }
- \context FiguredBass \figures {
+ \context FiguredBass \figuremode {
< 6 >4 < 7 >8 < 6+ [_!] >
< 6 >4 <6 5 [3+] >
}
@end lilypond
The support for figured bass consists of two parts: there is an input
-mode, introduced by @code{\figures}, where you can enter bass figures
+mode, introduced by @code{\figuremode}, where you can enter bass figures
as numbers, and there is a context called @internalsref{FiguredBass} that
takes care of making @internalsref{BassFigure} objects.
In figures input mode, a group of bass figures is delimited by
-@code{<} and @code{>}. The duration is entered after the @code{>>}
+@code{<} and @code{>}. The duration is entered after the @code{>}
@example
<4 6>
@end example
-@lilypond[quote,fragment]
+@lilypond[quote,raggedright,fragment]
\context FiguredBass
-\figures { <4 6> }
+\figuremode { <4 6> }
@end lilypond
Accidentals are added when you append @code{-}, @code{!} and @code{+}
@example
<4- 6+ 7!>
@end example
-@lilypond[quote,fragment]
-\context FiguredBass
-\figures { <4- 6+ 7!> }
+@lilypond[quote,raggedright,fragment]
+ \context FiguredBass
+ \figuremode { <4- 6+ 7!> }
@end lilypond
-Spaces or dashes may be inserted by using @code{_}. Brackets are
+Spaces or dashes may be inserted by using @code{_}. Brackets are
introduced with @code{[} and @code{]}
@example
< [4 6] 8 [_! 12]>
@end example
-@lilypond[quote,fragment]
-\context FiguredBass
-\figures { < [4 6] 8 [_! 12]> }
+@lilypond[quote,raggedright,fragment]
+ \context FiguredBass
+ \figuremode { < [4 6] 8 [_! 12]> }
@end lilypond
Although the support for figured bass may superficially resemble chord
-support, it works much simpler. The @code{\figures} mode simply
+support, it works much simpler. The @code{\figuremode} mode simply
stores the numbers , and @internalsref{FiguredBass} context prints
-them as entered. There is no conversion to pitches, and no
+them as entered. There is no conversion to pitches, and no
realizations of the bass are played in the MIDI file.
-Internally, the code produces markup texts. You can use any of the
-markup text properties to override formatting. For example, the
+Internally, the code produces markup texts. You can use any of the
+markup text properties to override formatting. For example, the
vertical spacing of the figures may be set with @code{baseline-skip}.
@seealso
@section Contemporary notation
In the 20th century, composers have greatly expanded the musical
-vocabulary. With this expansion, many innovations in musical notation
-have been tried. The book by Stone (1980) gives a comprehensive
-overview (see @ref{Literature list}). In general, the use of new,
-innovative notation makes a piece harder to understand and perform and
-its use should therefore be avoided if possible. For this reason,
-support for contemporary notation in LilyPond is limited.
+vocabulary. With this expansion, many innovations in musical notation
+have been tried. The book ``Music Notation in the 20th century'' by
+Kurt Stone gives a comprehensive overview (see @ref{Literature
+list}). In general, the use of new, innovative notation makes a piece
+harder to understand and perform and its use should therefore be
+avoided. For this reason, support for contemporary notation in
+LilyPond is limited.
@menu
@subsection Polymetric notation
Double time signatures are not supported explicitly, but they can be
-faked. In the next example, the markup for the time signature is
-created with a markup text. This markup text is inserted in the
+faked. In the next example, the markup for the time signature is
+created with a markup text. This markup text is inserted in the
@internalsref{TimeSignature} grob.
@lilypond[verbatim,raggedright]
% create 2/4 + 5/8
tsMarkup =\markup {
- \number {
- \column < "2" "4" >
- \musicglyph #"scripts-stopped"
- \bracket \column < "5" "8" >
- }
+ \number {
+ \column < "2" "4" >
+ \musicglyph #"scripts-stopped"
+ \bracket \column < "5" "8" >
+ }
}
{
- \override Staff.TimeSignature #'print-function = #Text_item::print
- \override Staff.TimeSignature #'text = #tsMarkup
+ \override Staff.TimeSignature #'print-function = #Text_interface::print
+ \override Staff.TimeSignature #'text = #tsMarkup
\time 3/2
- c'2 \bar ":" c'4 c'4.
+ c'2 \bar ":" c'4 c'4.
}
@end lilypond
context.
@verbatim
-\paper{
- \context{
- \Score
- \remove "Timing_engraver"
- }
- \context{
- \Staff
- \consists "Timing_engraver"
- }
+\layout{
+ \context{ \Score \remove "Timing_engraver" }
+ \context{ \Staff \consists "Timing_engraver" }
}
@end verbatim
Now, each staff has its own time signature.
@verbatim
<<
- \new Staff {
- \time 3/4
- c4 c c | c c c |
- }
-
- \new Staff {
- \time 2/4
- c4 c | c c | c c
- }
- \new Staff {
- \time 3/8
- c4. c8 c c c4. c8 c c
- }
+ \new Staff {
+ \time 3/4
+ c4 c c | c c c |
+ }
+ \new Staff {
+ \time 2/4
+ c4 c | c c | c c
+ }
+ \new Staff {
+ \time 3/8
+ c4. c8 c c c4. c8 c c
+ }
>>
@end verbatim
-@lilypond[raggedright]
-\paper{
- \context{
- \Score
- \remove "Timing_engraver"
- }
- \context{
- \Staff
- \consists "Timing_engraver"
- }
+@lilypond[quote,raggedright]
+\layout{
+ \context{ \Score \remove "Timing_engraver" }
+ \context{ \Staff \consists "Timing_engraver" }
}
\relative c' <<
- \new Staff {
- \time 3/4
- c4 c c | c c c |
- }
-
- \new Staff {
- \time 2/4
- c4 c | c c | c c
- }
- \new Staff {
- \time 3/8
- c4. c8 c c c4. c8 c c
- }
+ \new Staff {
+ \time 3/4
+ c4 c c | c c c |
+ }
+ \new Staff {
+ \time 2/4
+ c4 c | c c | c c
+ }
+ \new Staff {
+ \time 3/8
+ c4. c8 c c c4. c8 c c
+ }
>>
@end lilypond
This notation can be created by setting a common time signature for
each staff but replacing it manually using
-@code{timeSignatureFraction} to the desired fraction. Then the printed
+@code{timeSignatureFraction} to the desired fraction. Then the printed
durations in each staff are scaled to the common time signature.
The latter is done with @code{\compressmusic}, which is similar to
@code{\times}, but does not create a tuplet bracket.
In this example, music with the time signatures of 3/4, 9/8 and 10/8 are
-used in parallel. In the second staff, shown durations are multiplied by
+used in parallel. In the second staff, shown durations are multiplied by
2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
-@lilypond[raggedright,verbatim]
-\relative c' <<
- \new Staff {
- \time 3/4
- c4 c c | c c c |
- }
- \new Staff {
- \time 3/4
- \set Staff.timeSignatureFraction = #'(9 . 8)
- \compressmusic #'(2 . 3)
- \repeat unfold 6 { c8[ c c] }
- }
- \new Staff {
- \time 3/4
- \set Staff.timeSignatureFraction = #'(10 . 8)
- \compressmusic #'(3 . 5)
- { \repeat unfold 2 { c8[ c c] }
- \repeat unfold 2 { c8[ c] }
- | c4. c4. \times 2/3 { c8 c c } c4 }
+@lilypond[raggedright,verbatim,fragment]
+\relative c' { <<
+ \new Staff {
+ \time 3/4
+ c4 c c | c c c |
+ }
+ \new Staff {
+ \time 3/4
+ \set Staff.timeSignatureFraction = #'(9 . 8)
+ \compressmusic #'(2 . 3)
+ \repeat unfold 6 { c8[ c c] }
+ }
+ \new Staff {
+ \time 3/4
+ \set Staff.timeSignatureFraction = #'(10 . 8)
+ \compressmusic #'(3 . 5) {
+ \repeat unfold 2 { c8[ c c] }
+ \repeat unfold 2 { c8[ c] }
+ | c4. c4. \times 2/3 { c8 c c } c4
}
->>
+ }
+>> }
@end lilypond
applying the function @code{makeClusters} to a sequence of
chords, e.g.
@c
-@lilypond[quote,relative=2,verbatim]
-\makeClusters { <c e > <b f'> }
+@lilypond[quote,raggedright,relative=2,fragment,verbatim]
+ \makeClusters { <c e > <b f'> }
@end lilypond
The following example (from
@inputfileref{input/regression,cluster.ly}) shows what the result
looks like
-@lilypondfile[quote]{cluster.ly}
+@lilypondfile[raggedright,quote]{cluster.ly}
Ordinary notes and clusters can be put together in the same staff,
even simultaneously. In such a case no attempt is made to
@node Special fermatas
-@subsection Special Fermatas
+@subsection Special fermatas
@cindex fermatas, special
@lilypond[quote,raggedright]
<<
- \oldaddlyrics {
- b'
- ^\shortfermata
- _\shortfermata
- r
- b'
- ^\fermata
- _\fermata
-
- r
- b'
- ^\longfermata
- _\longfermata
-
- r
- b'
- ^\verylongfermata
- _\verylongfermata
+ \oldaddlyrics {
+ b'2
+ ^\shortfermata
+ _\shortfermata
r
- }
- \context Lyrics \lyrics {
- \override LyricText #'font-family = #'typewriter
- "shortfermata" "fermata" "longfermata" "verylongfermata"
- }
+
+ b'
+ ^\fermata
+ _\fermata
+ r
+
+ b'
+ ^\longfermata
+ _\longfermata
+ r
+
+ b'
+ ^\verylongfermata
+ _\verylongfermata
+ r
+ }
+ \context Lyrics \lyricmode {
+ \override LyricText #'font-family = #'typewriter
+ "shortfermata" "fermata" "longfermata" "verylongfermata"
+ }
>>
@end lilypond
@subsection Feathered beams
Feathered beams are not supported natively, but they can be faked by
-forcing two beams to overlap. Here is an example,
-
-@lilypond[raggedright]
-\relative \new Staff <<
- \new Voice
- {
- \stemUp
- \once \override Voice.Beam #'positions = #'(0 . 0.5)
- c8[ c c c c ]
- }
- \new Voice {
- \stemUp
- \once \override Voice.Beam #'positions = #'(0 . -0.5)
- c[ c c c c]
- }
+forcing two beams to overlap. Here is an example,
+
+@c don't change relative setting witout changing positions!
+@lilypond[raggedright,relative=1,fragment,verbatim]
+\new Staff <<
+ \new Voice
+ {
+ \stemUp
+ \once \override Voice.Beam #'positions = #'(0 . 0.5)
+ c8[ c c c c ]
+ }
+ \new Voice {
+ \stemUp
+ \once \override Voice.Beam #'positions = #'(0 . -0.5)
+ c[ c c c c]
+ }
>>
@end lilypond
@node Educational use
@section Educational use
+With the amount of control that LilyPond offers, one can make great
+teaching tools in addition to great musical scores.
+
@menu
* Balloon help::
-* Blank music paper::
-* Notation for excercises::
+* Blank music sheet::
+* Hidden notes::
* Easy Notation note heads::
@end menu
The following example demonstrates its use.
@lilypond[quote,verbatim,fragment,raggedright,relative=2]
-\context Voice
-\applyoutput
- #(add-balloon-text 'NoteHead "heads, or tails?"
+\context Voice {
+ \applyoutput
+ #(add-balloon-text 'NoteHead "heads, or tails?"
'(1 . -3))
-c8
+ c8
+}
@end lilypond
@noindent
The function @code{add-balloon-text} takes the name of a grob, the
label to print, and the position where to put the label relative to
-the object. In the above example, the text ``heads or tails?'' ends
+the object. In the above example, the text ``heads or tails?'' ends
3 spaces below and 1 space to the right of the marked head.
@cindex balloon
-@node Blank music paper
-@subsection Blank music paper
+@node Blank music sheet
+@subsection Blank music sheet
-A blank music paper can be produced also by using invisible notes, and
+A blank music sheet can be produced also by using invisible notes, and
removing @code{Bar_number_engraver}.
-@lilypond
+@lilypond[]
emptymusic = {
\repeat unfold 2 % Change this for more lines.
{ s1\break }
\bar "|."
}
\new Score \with {
- \override TimeSignature #'transparent = ##t
- defaultBarType = #""
- \remove Bar_number_engraver
+ \override TimeSignature #'transparent = ##t
+ defaultBarType = #""
+ \remove Bar_number_engraver
} <<
- \context Staff \emptymusic
- \context TabStaff \emptymusic
+ \context Staff \emptymusic
+ \context TabStaff \emptymusic
>>
@end lilypond
-@node Notation for excercises
-@subsection Notation for excercises
-
-@cindex Blank Notes
+@node Hidden notes
+@subsection Hidden notes
-Invisible (or transparent) notes can be useful, when weird tricks are
-needed; especially, a slur cannot be attach to a rest or spacer rest.
+@cindex Hidden notes
+@cindex Invisible notes
+@cindex Transparent notes
+Hidden (or invisible or transparent) notes can be useful in preparing theory
+or composition exercises.
-@lilypond
-blanknotes = { \override NoteHead #'transparent = ##t
- \override Stem #'transparent = ##t }
-unblanknotes = { \revert NoteHead #'transparent
- \revert Stem #'transparent }
+@lilypond[quote,raggedright,verbatim,relative=2,fragment]
+ c4 d4
+ \hideNotes
+ e4 f4
+ \unHideNotes
+ g4 a
+@end lilypond
+Hidden notes are also great for performing weird tricks. For example,
+slurs cannot be attached to rests or spacer rests, but you may with
+to include that in your score -- string instruments use this notation
+when doing pizzicato to indicate that the note should ring for as long
+as possible.
-\relative c'' {
- c4 d4
- \blanknotes e4 f4 \unblanknotes
- g4 a
-}
+@lilypond[quote,raggedright,verbatim,relative=0,fragment]
+ \clef bass
+ << {
+ c4^"pizz"( \hideNotes c)
+ \unHideNotes c( \hideNotes c)
+ } {
+ s4 r s r
+ } >>
@end lilypond
used in music for beginners
@lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
-\setEasyHeads
-c'2 e'4 f' | g'1
+ \setEasyHeads
+ c'2 e'4 f' | g'1
@end lilypond
The command @code{\setEasyHeads} overrides settings for the
projects / lilypond.git / blobdiff