Dot placement for chords is not perfect. In some cases, dots overlap:
@lilypond[]
- \context Voice { <f,4. c'' d e f> }
+ <<f, c'' d e f>>4.
@end lilypond
musical phrasing. A tie is entered using the tilde symbol `@code{~}'.
@lilypond[fragment,verbatim,center]
- e' ~ e' <c' e' g'> ~ <c' e' g'>
+ e' ~ e' <<c' e' g'>> ~ <<c' e' g'>>
@end lilypond
When a tie is applied to a chord, all note heads (whose pitches match) are
for every tied chord.
@lilypond[fragment,verbatim,center]
\property Voice.sparseTies = ##t
- <c' e' g'> ~ <c' e' g'>
+ <<c' e' g'>> ~ <<c' e' g'>>
@end lilypond
In its meaning a tie is just a way of extending a note duration, similar
@lilypond[fragment,verbatim,center]
\relative c' {
- c <c e g>
- <c' e g>
- <c, e' g>
+ c <<c e g>>
+ <<c' e g>>
+ <<c, e' g>>
}
@end lilypond
@cindex @code{\notes}
If you use xemacs instead of emacs, you use @code{(gnuserve-start)} in
your @file{.emacs}, and set @code{XEDITOR} to @code{gnuclient -q +%l %f}
-For using Vim, set @code{XEDITOR} to @code{gvim --remote +%l %f}, or use this
-argument with xdvi's @code{-editor} option.
+For using Vim, set @code{XEDITOR} to @code{gvim --remote +%l %f}, or
+use this argument with xdvi's @code{-editor} option.
+
@cindex NEdit
For using NEdit, set @code{XEDITOR} to @code{nc -noask +%l %f}, or
use this argument with xdvi's @code{-editor} option.
If can also make your editor jump to the exact location of the note
-you clicked. This is only supported on Emacs. Users of version 20 must
-apply the patch @file{emacsclient.patch}. Users of version 21 must
-apply @file{server.el.patch} (version 21.2 and earlier). At the top
-of the @code{ly} file, replace the @code{set!} line with the following
-line,
+you clicked. This is only supported on Emacs and VIM. Users of Emacs version
+20 must apply the patch @file{emacsclient.patch}. Users of version 21
+must apply @file{server.el.patch} (version 21.2 and earlier). At the
+top of the @code{ly} file, replace the @code{set-point-and-click} line
+with the following line,
@example
#(ly:set-point-and-click 'line-column)
@end example
@cindex line-colomn-location
-and set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}.
+and set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}. Vim
+users can set @var{XEDITOR} to @code{gvim --remote +:%l:norm%c| %f}.
+
+
@refbugs
@cindex Staff notation
@menu
-* Staff symbol::
+* Staff symbol::
* Key signature::
* Clef::
* Time signature::
value of @code{timeSignatureFraction} also causes a time signature
symbol to be printed.
+More options are available through the Scheme function
+@code{set-time-signature}. In combination with the
+@internalsref{Measure_grouping_engraver}, it will create
+@internalsref{MeasureGrouping} signs. Such signs ease reading
+rhythmically complex modern music. In the following example, the 9/8
+measure is subdivided in 2, 2, 2 and 3. This is passed to
+@code{set-time-signature} as the third argument @code{(2 2 2 3)}.
+
+@lilypond[verbatim]
+\score { \notes \relative c'' {
+ #(set-time-signature 9 8 '(2 2 2 3))
+ g8 g d d g g a8-[-( bes g-]-) |
+ #(set-time-signature 5 8 '(3 2))
+ a4. g4
+ }
+ \paper {
+ linewidth = -1.0
+ \translator { \StaffContext
+ \consists "Measure_grouping_engraver"
+ }}}
+@end lilypond
+
@c . {Partial}
@subsection Partial
@cindex Partial
@lilypond[singleline,fragment,verbatim]
\property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
-cis'4 <c'' c'> r2 | cis'4 <c' c''> r2 | <cis' c''> r | <c'' cis'> r |
+cis'4 <<c'' c'>> r2 | cis'4 <<c' c''>> r2 | <<cis' c''>> r | <<c'' cis'>> r |
@end lilypond
The only solution is to manually insert the problematic
* Breath marks::
* Tempo::
* Text spanners::
+* Analysis brackets::
@end menu
@node Slurs
@end lilypond
+@node Analysis brackets
+@subsection Analysis brackets
+@cindex brackets
+@cindex phrasing brackets
+@cindex musicological analysis
+@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
+@code{\groupOpen} and closed with @code{\groupClose}. This produces
+@internalsref{HorizontalBracket} objects.
+
+@lilypond[singleline,verbatim]
+\score { \notes \relative c'' {
+ c4-\groupOpen-\groupOpen
+ c4-\groupClose
+ c4-\groupOpen
+ c4-\groupClose-\groupClose
+ }
+ \paper { \translator {
+ \StaffContext \consists "Horizontal_bracket_engraver"
+ }}}
+@end lilypond
+
@c . {Ornaments}
@node Ornaments
@section Ornaments
@item 'end-repeat
Print a :| bar line
@item (volta . @var{text})
- Print a volta bracket saying @var{text}.
+ Print a volta bracket saying @var{text} (the text can be specified
+ as a text string or as a markup text, see @ref{Text markup}).
@item (volta . #f)
Stop a running volta bracket
@end table
up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
down = \notes { bassdrum4 snare8 bd r bd sn4 }
\include "nederlands.ly"
-bass = \notes \transpose c, { a4. e8 r e g e }
+bass = \notes \transpose c c,, { a4. e8 r e g e }
\score {
<
\apply #(drums->paper 'drums) \context Staff = drums <
The symbols that are printed can be modified by setting
@code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
Sustain, Sostenuto or UnaCorda. Refer to the generated documentation of
-@rgrob{SustainPedal}, for example, for more information.
+@internalsref{SustainPedal}, for example, for more information.
Pedals can also be indicated by a sequence of brackets, by setting the
@code{pedal-type} property of SustainPedal objects:
@cindex @code{\arpeggio}
You can specify an arpeggio sign on a chord by attaching an
-@code{\arpeggio} to a note of the chord.
+@code{\arpeggio} to a chord.
@lilypond[fragment,relative,verbatim]
- \context Voice <c\arpeggio e g c>
+ <<c e g c>>-\arpeggio
@end lilypond
When an arpeggio crosses staves in piano music, you attach an arpeggio
@lilypond[fragment,relative,verbatim]
\context PianoStaff <
\property PianoStaff.connectArpeggios = ##t
- \context Voice = one { <c'\arpeggio e g c> }
- \context Voice = other { \clef bass <c,,\arpeggio e g>}
+ \context Voice = one { <<c' e g c>>-\arpeggio }
+ \context Voice = other { \clef bass <<c,, e g>>-\arpeggio}
>
@end lilypond
@lilypond[fragment,relative,verbatim]
\context Voice {
\property Voice.Arpeggio \set #'arpeggio-direction = #1
- <c\arpeggio e g c>
+ <<c e g c>>-\arpeggio
\property Voice.Arpeggio \set #'arpeggio-direction = #-1
- <c\arpeggio e g c>
+ <<c e g c>>-\arpeggio
}
@end lilypond
\property PianoStaff.connectArpeggios = ##t
\property PianoStaff.Arpeggio \override
#'molecule-callback = \arpeggioBracket
- \context Voice = one { <c'\arpeggio e g c> }
- \context Voice = other { \clef bass <c,,\arpeggio e g>}
+ \context Voice = one { <<c' e g c>>-\arpeggio }
+ \context Voice = other { \clef bass <<c,, e g>>-\arpeggio }
>
@end lilypond
\notes {
a,4 c' a e' e c' a e'
}
-
>
@end lilypond
LilyPond has support for both entering and printing chords.
@lilypond[verbatim,singleline]
-twoWays = \notes \transpose c'' {
+twoWays = \notes \transpose c c' {
\chords {
c1 f:sus4 bes/f
}
- <c e g>
- <f bes c'>
- <f bes d'>
+ <<c e g>>
+ <<f bes c'>>
+ <<f bes d'>>
}
\score {
using @code{\transpose}.
@lilypond[fragment,verbatim]
-\transpose c'' {
+\transpose c c' {
\chords {
c1 c:3- c:7 c:8
c:9 c:9-.5+.7+ c:3-.5-
which replaces the 5th with a 4th.
@lilypond[fragment,verbatim]
-\transpose c'' {
+\transpose c c' {
\chords {
c1:m c:min7 c:maj c:aug c:dim c:sus
}
separated by dots.
@lilypond[fragment,verbatim,center]
- \transpose c'' {
+ \transpose c c' {
\chords {
c1^3 c:7^5.3 c:8^7
}
is not in the chord, a warning will be printed.
@lilypond[fragment,verbatim,center]
- \transpose c''' {
+ \transpose c c'' {
\chords {
c1 c/e c/g c:7/e
}
so it becomes the lowest note in the chord.
@lilypond[fragment,verbatim,center]
- \transpose c''' {
+ \transpose c c'' {
\chords {
c1 c/+c c/+g c:7/+b
}
@lilypond[verbatim,singleline]
scheme = \notes {
- \chords {a1 b c} <d f g> <e g b>
+ \chords {a1 b c} <<d f g>> <<e g b>>
}
\score {
\notes<
\context ChordNames \scheme
- \context Staff \transpose c'' \scheme
+ \context Staff \transpose c c' \scheme
>
}
@end lilypond
\context ChordNames {
\property ChordNames.chordChanges = ##t
\scheme }
- \context Staff \transpose c'' \scheme
+ \context Staff \transpose c c' \scheme
>
\paper{linewidth= 9.\cm}
}
@lilypond[verbatim,center,singleline]
scheme = \notes {
- <c'1 e' g'>
- <e' g' c''>
- <e e' g' c''>
+ <<c' e' g'>>1
+ <<e' g' c''>>
+ <<e e' g' c''>>
}
\score {
\context ChordNames = jazz {
\property ChordNames.ChordName \override
#'style = #'jazz \scheme }
- \context Staff \transpose c'' \scheme
+ \context Staff \transpose c c' \scheme
>
}
@end lilypond
@end example
@lilypond[noindent,noquote]
\score {
- \context Staff \notes \transpose c''' {
+ \context Staff \notes \transpose c c'' {
\property Score.BarNumber \override #'break-visibility = #end-of-line-invisible
\property Score.barNumberVisibility = #(every-nth-bar-number-visible 5)
\property Score.BarNumber \override #'molecule-callback =
A music expression can be transposed with @code{\transpose}. The syntax
is
@example
- \transpose @var{pitch} @var{musicexpr}
+ \transpose @var{from} @var{to} @var{musicexpr}
@end example
-This means that middle C in @var{musicexpr} is transposed to
-@var{pitch}.
+This means that @var{musicexpr} is transposed to by the interval
+between @var{from} is @var{to}.
@code{\transpose} distinguishes between enharmonic pitches: both
-@code{\transpose cis'} or @code{\transpose des'} will transpose up half
-a tone. The first version will print sharps and the second version
-will print flats.
+@code{\transpose c cis} or @code{\transpose c des} will transpose up
+half a tone. The first version will print sharps and the second
+version will print flats.
@lilypond[singleline, verbatim]
mus =\notes { \key d \major cis d fis g }
\score { \notes \context Staff {
\clef "F" \mus
\clef "G"
- \transpose g'' \mus
- \transpose f'' \mus
+ \transpose c g' \mus
+ \transpose c f' \mus
}}
@end lilypond
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,
-Lily will not expand empty measures, and the appropriate number is added
-automatically.
+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, Lily will not expand
+empty measures, and the appropriate number is added automatically.
@lilypond[fragment,verbatim]
\time 4/4 r1 | R1 | R1*2
@cindex whole rests for a full measure
-The object for this object is @internalsref{MultiMeasureRest}.
+The object for this object is @internalsref{MultiMeasureRest}, and
+@internalsref{MultiMeasureRestNumber}.
@refbugs
Currently, there is no way to automatically condense multiple rests
into a single multimeasure rest. Multi measure rests do not take part
-in rest collisions. There is no way to put texts centered on
-multi-measure rests.
+in rest collisions.
+
+Multi-measure rests do not accept @var{note}-@code{text} syntax for
+putting texts and scripts on the rest. This has to be done by setting
+@code{#'text} in @internalsref{MultiMeasureRestNumber}. An identifier is
+provided for a fermata:
+
+@cindex text on multi-measure rest
+@cindex script on multi-measure rest
+@cindex fermata on multi-measure rest
+
+@lilypond[verbatim,fragment]
+ \time 3/4
+ \setMmRestFermata R2.
+@end lilypond
+
@cindex condensing rests
@menu
* Ancient note heads::
-* Ancient clefs::
+* Ancient clefs ::
* Custodes::
* Ligatures::
* Figured bass::
@lilypond[singleline,verbatim]
\score {
- \notes \transpose c'' {
+ \notes \transpose c c' {
\[ g c a f d' \]
a g f
\[ e f a g \]
@lilypond[singleline,verbatim]
\score {
- \notes \transpose c'' {
+ \notes \transpose c c' {
\property Score.timing = ##f
\property Score.defaultBarType = "empty"
\property Voice.NoteHead \set #'style = #'neo_mensural
@lilypond[singleline,verbatim]
\score {
- \notes \transpose c'' {
+ \notes \transpose c c' {
\property Score.timing = ##f
\property Score.defaultBarType = "empty"
\property Voice.NoteHead \set #'style = #'neo_mensural
object, and set a object property in that object.
@menu
-* Tuning groups of objects ::
-* Tuning per object ::
+* Tuning groups of objects ::
+* Tuning per object ::
* Font selection::
* Text markup::
@end menu
\context Staff \outputproperty
#(make-type-checker 'note-head-interface)
#'extra-offset = #'(0.5 . 0.75)
- <c8 e g> }
+ <<c e g>>8 }
@end lilypond
@cindex @code{extra-offset}
@lilypond
\score {
- \context PianoStaff \notes \transpose c''' <
+ \context PianoStaff \notes \transpose c c'' <
\context Staff = up { s1 }
- \context Staff = down { [c8 c \translator Staff=up <c d> c
+ \context Staff = down { [c8 c \translator Staff=up <<c d>> c
\translator Staff=down c c c] }
>
\paper { linewidth = -1 }
@cindex @code{indent}
@cindex @code{linewidth}
-The most basic settings influencing the spacing are @code{linewidth}
-and @code{indent}, both set in the @code{\paper} block. They control
-the indentation of the first line of music, and the lengths of the
-lines. If @code{linewidth} set to a negative value, a single
+The most basic settings influencing the spacing are @code{indent} and
+@code{linewidth}. They are set in the @code{\paper} block. They
+control the indentation of the first line of music, and the lengths of
+the lines. If @code{linewidth} set to a negative value, a single
unjustified line is produced. A similar effect for scores that are
longer than one line, can be produced by setting @code{raggedright} to
true in the @code{\paper} block.
projects / lilypond.git / blobdiff