-q@c Note: -*-texinfo-*-
+@c Note: -*-texinfo-*-
@c
@c A menu is needed before every deeper *section nesting of @node's; run
@c M-x texinfo-all-menus-update
@node Notation manual
@chapter Notation manual
-@html
-<!--- @@WEB-TITLE@@=Notation manual --->
-@end html
-
+This chapter describes all the different types of notation supported
+by LilyPond. It is intended as a reference for users that are already
+somewhat familiar with using LilyPond.
@menu
* Note entry::
* Beaming::
* Accidentals::
* Expressive marks::
-* Articulations::
-* Fingering instructions::
* Repeats::
* Rhythmic music::
* Piano music::
@section Note entry
@cindex Note entry
-This chapter describes all the different types of notation supported
-by LilyPond. It is intended as a reference for users that are already
-somewhat familiar with using LilyPond.
-
+The basic elements of any piece of music are the notes. This section
+is about basic notation elements notes, rests and related constructs,
+such as stems, tuplets and ties.
@menu
* Notes::
@subsection Notes
-A note is printed by specifying its pitch and then its duration.
+A note is printed by specifying its pitch and then its duration:
@footnote{Notes constitute the most basic elements of LilyPond input,
but they do not form valid input on their own without a @code{\score}
block. However, for the sake of brevity and simplicity we will
by names. The notes are specified by the letters @code{a} through
@code{g}, while the octave is formed with notes ranging from @code{c}
to @code{b}. The pitch @code{c} is an octave below middle C and the
-letters span the octave above that C.
+letters span the octave above that C:
@lilypond[fragment,verbatim]
\clef bass
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} in Dutch, but both forms are accepted. Similarly, both
+@code{as}, but both forms are accepted. Similarly, both
@code{es} and @code{ees} are accepted.
+Half-flats and half-sharps are formed by adding @code{-eh} and
+@code{-ih}; the following is a series of Cs with increasing pitches:
+
+@cindex quarter tones
+@cindex semi-flats, semi-sharps
+
+@lilypond[verbatim,relative 2]
+ ceses4
+ ceseh
+ ces
+ ceh
+ c
+ cih
+ cis
+ cisih
+ cisis
+@end lilypond
+
There are predefined sets of note names for various other languages.
To use them, include the language specific init file. For
example: @code{\include "english.ly"}. The available language files
Note Names sharp flat
nederlands.ly c d e f g a bes b -is -es
english.ly c d e f g a bf b -s/-sharp -f/-flat
+ -x (double)
deutsch.ly c d e f g a b h -is -es
norsk.ly c d e f g a b h -iss/-is -ess/-es
svenska.ly c d e f g a b h -iss -ess
The optional octave specification takes the form of a series of
single quote (`@code{'}') characters or a series of comma
(`@code{,}') characters. Each @code{'} raises the pitch by one
-octave; each @code{,} lowers the pitch by an octave.
+octave; each @code{,} lowers the pitch by an octave:
@lilypond[fragment,verbatim,center]
c' c'' es' g' as' gisis' ais'
@end lilypond
-There is also a verbose syntax for pitch specification.
-
-@c TODO: junk this?
-@cindex @code{\pitch}
-@example
- \pitch @var{scmpitch}
-@end example
-
-
-where @var{scmpitch} is a Scheme object of the @code{Pitch} type.
-
@refcommands
-Notes can be hidden and unhidden with the following commands.
+Notes can be hidden and unhidden with the following commands:
-@cindex @code{\hideNotes }
+@cindex @code{\hideNotes}
@code{\hideNotes},
-@cindex @code{\unHideNotes }
+@cindex @code{\unHideNotes}
@code{\unHideNotes}.
@seealso
@noindent
-@internalsref{NoteEvent}, @internalsref{NoteHead}
+
+bla
+
+@internalsref{NoteEvent}, and @internalsref{NoteHead}.
@node Chromatic alterations
@subsection Chromatic alterations
@cindex cautionary accidental
@cindex parenthesized accidental
(an accidental within parentheses) can be obtained by adding the
-question mark `@code{?}' after the pitch.
+question mark `@code{?}' after the pitch:
@lilypond[fragment,verbatim]
cis' cis' cis'! cis'?
@node Chords
@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
+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.
-Rests are entered like notes, with the note name @code{r}.
+Rests are entered like notes, with the note name @code{r}:
@lilypond[singleline,verbatim]
r1 r2 r4 r8
A rest's vertical position may be explicitly specified by entering a
note with the @code{\rest} keyword appended. This makes manual
formatting in polyphonic music easier. Rest collision testing will
-leave these rests alone.
+leave these rests alone:
@lilypond[singleline,verbatim]
a'4\rest d'4\rest
@seealso
-@internalsref{RestEvent}, @internalsref{Rest}
+@internalsref{RestEvent}, and @internalsref{Rest}.
@c FIXME: naming.
@end lilypond
The @code{s} syntax is only available in Note mode and Chord mode. In
-other situations, you should use the @code{\skip} command.
+other situations, you should use the @code{\skip} command:
@lilypond[singleline,verbatim]
\score {
- \context Staff <
+ \new Staff <<
{ \time 4/8 \skip 2 \time 4/4 }
\notes\relative c'' { a2 a1 }
- >
+ >>
}
@end lilypond
@seealso
-@internalsref{SkipEvent}
+@internalsref{SkipEvent}.
@cindex duration
-@cindex @code{\duration}
In Note, Chord, and Lyrics mode, durations are designated by numbers
and dots: durations are entered as their reciprocal values. For example,
a quarter note is entered using a @code{4} (since it is a 1/4 note), while
a half note is entered using a @code{2} (since it is a 1/2 note). For notes
-longer than a whole you must use variables.
+longer than a whole you must use variables:
@c FIXME: what is an identifier? I do not think it's been introduced yet.
@c and if it has, I obviously skipped that part. - Graham
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.
+beats:
@lilypond[fragment,relative 2,verbatim]
\time 2/4
a4*2/3 gis4*2/3 a4*2/3
a4
@end lilypond
-Durations can also be produced using the verbose syntax
-@code{\duration @var{Scheme object}}.
-@lilypond[verbatim,fragment]
- c'\duration #(ly:make-duration 4 1)
-@end lilypond
-
-
@refcommands
Dots are normally moved up to avoid staff lines, except in polyphonic
situations. The following commands may be used to force a particular
-direction manually.
+direction manually:
-@cindex @code{\dotsUp }
+@cindex @code{\dotsUp}
@code{\dotsUp},
-@cindex @code{\dotsDown }
+@cindex @code{\dotsDown}
@code{\dotsDown},
@cindex @code{\dotsBoth}
@code{\dotsBoth}.
@seealso
-@internalsref{Dots}, @internalsref{DotColumn}.
+@internalsref{Dots}, and @internalsref{DotColumn}.
@refbugs
@node Stems
@subsection Stems
-Whenever a note is found, a
-@internalsref{Stem} object is created automatically. For whole notes
-and rests, stem objects are also created, but in those cases, the stem
-is invisible.
+Whenever a note is found, a @internalsref{Stem} object is created
+automatically. For whole notes and rests, they are also created but
+made invisible.
@refcommands
@cindex @code{\stemDown}
@code{\stemDown},
@cindex @code{\stemBoth}
-@code{\stemBoth},
+@code{\stemBoth}.
@node Ties
A tie connects two adjacent note heads of the same pitch. The tie in
effect extends the length of a note. Ties should not be confused with
slurs, which indicate articulation, or phrasing slurs, which indicate
-musical phrasing. A tie is entered using the tilde symbol `@code{~}'.
+musical phrasing. A tie is entered using the tilde symbol `@code{~}':
@lilypond[fragment,verbatim,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 connected. When no note heads match, no ties will be created.
In its meaning a tie is just a way of extending a note duration, similar
-to the augmentation dot: the following example are two ways of notating
-exactly the same concept.
+to the augmentation dot; in the following example there are two ways of
+notating exactly the same concept:
@c
@lilypond[fragment, singleline,quote]
\time 3/4 c'2. c'2 ~ c'4
@refcommands
-@cindex @code{\tieUp }
+@cindex @code{\tieUp}
@code{\tieUp},
-@cindex @code{\tieDown }
+@cindex @code{\tieDown}
@code{\tieDown},
-@cindex @code{\tieBoth }
+@cindex @code{\tieBoth}
@code{\tieBoth},
-@cindex @code{\tieDotted }
+@cindex @code{\tieDotted}
@code{\tieDotted},
@cindex @code{\tieSolid}
-@code{\tieSolid},
+@code{\tieSolid}.
@seealso
@internalsref{TieEvent}, @internalsref{NewTieEvent},
-@internalsref{Tie}, @ref{Automatic note splitting}.
+@internalsref{Tie}, and @ref{Automatic note splitting}.
If you want less
ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
@refbugs
Tieing only a subset of the note heads of a pair of chords is not
-supported in a simple way. It can be achieved by moving the
+supported in a simple way.
+
+@ignore
+It can be achieved by moving the
tie-engraver into the @internalsref{Thread} context and turning on and
off ties per @internalsref{Thread}.
+@end ignore
-Switching staves when a tie is active, will not produce a slanted tie.
+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
optimal.
@cindex @code{\times}
Tuplets are made out of a music expression by multiplying all durations
-with a fraction.
+with a fraction:
@cindex @code{\times}
@example
\times @var{fraction} @var{musicexpr}
@end example
-The duration of @var{musicexpr} will be multiplied by the fraction.
-In the sheet music, the fraction's denominator will be printed over
-the notes, optionally with a bracket. The most common tuplet is the
-triplet in which 3 notes have the length of 2, so the notes are 2/3
-of their written length:
+@noindent
+The duration of @var{musicexpr} will be multiplied by the fraction.
+The fraction's denominator will be printed over the notes, optionally
+with a bracket. The most common tuplet is the triplet in which 3
+notes have the length of 2, so the notes are 2/3 of their written
+length:
@lilypond[fragment,verbatim,center]
g'4 \times 2/3 {c'4 c' c'} d'4 d'4
bracket should last. With this, you can make lots of tuplets while
typing @code{\times} only once, saving lots of typing. In the next
example, there are two triplets shown, while @code{\times} was only
-used once.
+used once:
@lilypond[fragment, relative, singleline, verbatim]
\property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
@refcommands
-@cindex @code{\tupletUp }
+@cindex @code{\tupletUp}
@code{\tupletUp},
-@cindex @code{\tupletDown }
+@cindex @code{\tupletDown}
@code{\tupletDown},
@cindex @code{\tupletBoth}
-@code{\tupletBoth},
+@code{\tupletBoth}.
@seealso
-@internalsref{TupletBracket}, @internalsref{TimeScaledMusic}.
+@internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
@refbugs
@cindex easy notation
@cindex Hal Leonard
-The `easyplay' note head includes a note name inside the head. It is
-used in music aimed at beginners.
+The `easy play' note head includes a note name inside the head. It is
+used in music aimed at beginners:
@lilypond[singleline,verbatim,26pt]
\score {
}
@end lilypond
-The @code{EasyNotation} variable overrides a @internalsref{Score}
-context. You probably will want to print it with magnification or a
+The @code{EasyNotation} variable overrides a @internalsref{Score} context.
+You probably will want to print it with magnification or a
large font size to make it more readable. To print with
-magnification, you must create a DVI file (with @file{ly2dvi}) and
+magnification, you must create a DVI file (with @file{lilypond}) and
then enlarge it with something like @file{dvips -x 2000 file.dvi}.
See the @code{dvips} documentation for more details. To print with a
larger font, see @ref{Font Size}.
@cindex ghostscript
If you view the result with Xdvi, then staff lines will show through
-the letters. Printing the PostScript file obtained with ly2dvi does
-produce the correct result.
+the letters. Printing the PostScript file obtained does produce the
+correct result.
@node Easier music entry
@cindex Music entry
When entering music it is easy to introduce errors. This section deals
-with tricks and features of the input language that help when entering
-music, and find and correct mistakes. Some features of the input
-language ease entering music, but also have other applications. They
-are not described in this section.
+with tricks and features of the input language that were added solely
+to help entering music, and find and correct mistakes.
It is also possible to use external programs, for example GUI
interfaces, or MIDI transcription programs, to enter or edit
@menu
* Relative octaves::
+* Octave check::
* Bar check::
* Skipping corrected music::
* Automatic note splitting ::
When you copy existing music, it is easy to accidentally put a pitch
in the wrong octave and hard to find such an error. The relative
octave mode prevents these errors: a single error puts the rest of the
-piece off by one octave.
+piece off by one octave:
@cindex @code{\relative}
@example
The octave of notes that appear in @var{musicexpr} are calculated as
follows: If no octave changing marks are used, the basic interval
between this and the last note is always taken to be a fourth or less
-(This distance is determined without regarding alterations; a
+(; this distance is determined without regarding alterations: a
@code{fisis} following a @code{ceses} will be put above the
-@code{ceses})
+@code{ceses}).
The octave changing marks @code{'} and @code{,} can be added to raise
or lower the pitch by an extra octave. Upon entering relative mode,
}
@end lilypond
-Octave changing marks are used for intervals greater than a fourth.
+Octave changing marks are used for intervals greater than a fourth:
@lilypond[fragment,verbatim,center]
\relative c'' {
c g c f, c' a, e'' }
@end lilypond
If the preceding item is a chord, the first note of the chord is used
-to determine the first note of the next chord.
+to determine the first note of the next chord:
@lilypond[fragment,verbatim,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}
want to use relative within transposed music, you must place an
additional @code{\relative} inside the @code{\transpose}.
+@node Octave check
+@subsection Octave check
+
+
+Octave checks make octave errors easier to correct.
+The syntax is
+@example
+ \octave @var{pitch}
+@end example
+
+This checks that @var{pitch} (without octave) yields @var{pitch} (with
+octave) in \relative mode. If not, a warning is printed, and the
+octave is corrected, for example, the first check is passed
+successfully. The second check fails with an error message. The
+octave is adjusted so the following notes are in the correct octave
+once again.
+@example
+ \relative c' @{
+ e
+ \octave a'
+ \octave b'
+ @}
+@end example
+
+
+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 central C. Hence, the @code{\octave} check may
+be deleted without changing the meaning of the piece.
+
+@lilypond[verbatim,fragment]
+ \relative c' {
+ e
+ \octave b
+ a
+ }
+@end lilypond
+
+
@node Bar check
@subsection Bar check
@code{barCheckSynchronize}, the beginning of the measure will be
relocated.
-In the next example, the second bar check will signal an error.
+In the next example, the second bar check will signal an error:
@example
\time 3/4 c2 e4 | g2 |
@end example
off typesetting completely during the interpretation phase. When
typesetting is switched off, the music is processed much more quickly.
This can be used to skip over the parts of a score that have already
-been checked for errors.
+been checked for errors:
@lilypond[fragment,singleline,verbatim]
\relative c'' { c8 d
Long notes can be converted automatically to tied notes. This is done
by replacing the @internalsref{Note_heads_engraver} by the
-@internalsref{Completion_heads_engraver}.
+@internalsref{Completion_heads_engraver}:
@example
\paper @{ \translator @{
@} @}
@end example
-For example,
+which will make long notes tied in the following example:
@example
\time 2/4
c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
@cindex adjusting staff symbol
@cindex StaffSymbol, using \property
-@cindex staff lines, setting number of
Notes, dynamic signs, etc. are grouped
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 staff lines, setting number of
+@cindex staff lines, setting thickness of
+@cindex thickness of staff lines, setting
+@cindex number of staff lines, setting
+
This object is created whenever a @internalsref{Staff} context is
created. The appearance of the staff symbol cannot be changed by
using @code{\override} or @code{\set}. At the moment that
@code{\property Staff} is interpreted, a @internalsref{Staff} context
is made, and the @internalsref{StaffSymbol} is created before any
@code{\override} is effective. Properties can be changed in a
-@code{\translator} definition, or by using @code{\outputproperty}.
+@code{\translator} definition, or by using @code{\applyoutput}.
@refbugs
@syntax
Setting or changing the key signature is done with the @code{\key}
-command.
+command:
@example
@code{\key} @var{pitch} @var{type}
@end example
@internalsref{Staff}.@code{keySignature}. Non-standard key signatures
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 keysignature. The
+tutorial explains why this is so in @ref{More about pitches}.
+
@refbugs
The ordering of a key cancellation is wrong when it is combined with
@seealso
-@internalsref{KeyChangeEvent}, @internalsref{KeySignature}.
+@internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
@cindex @code{keySignature}
\key f\major c''2 \clef alto g'2
@end lilypond
-Supported clef-names include
+Supported clef-names include:
@c Moved standard clefs to the top /MB
@table @code
+@cindex treble clef
+@cindex violin clef
@item treble, violin, G, G2
G clef on 2nd line
@item alto, C
+@cindex alto clef
C clef on 3rd line
@item tenor
- C clef on 4th line
+@cindex tenor clef
+ C clef on 4th line.
@item bass, F
+@cindex bass clef
F clef on 4th line
@item french
+@cindex french clef
G clef on 1st line, so-called French violin clef
@item soprano
+@cindex soprano clef
C clef on 1st line
@item mezzosoprano
+@cindex mezzosoprano clef
C clef on 2nd line
@item baritone
+@cindex baritone clef
C clef on 5th line
@item varbaritone
+@cindex varbaritone clef
F clef on 3rd line
@item subbass
+@cindex subbass clef
F clef on 5th line
@item percussion
percussion clef
@end table
By adding @code{_8} or @code{^8} to the clef name, the clef is
-transposed one octave down or up, respectively. @var{clefname} must
-be enclosed in quotes when it contains underscores or digits. For
+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
example,
-@example
- \clef "G_8"
-@end example
+
+
+@cindex choral tenor clef
+@lilypond[verbatim,fragment,relative]
+ \clef "G_8" c4
+@end lilypond
This command is equivalent to setting @code{clefGlyph},
@code{clefPosition} (which controls the Y position of the clef),
``Ottava'' brackets introduce an extra transposition of an octave for
the staff. They are created by invoking the function
-@code{set-octavation}
+@code{set-octavation}:
@cindex ottava
@cindex 15ma
@end lilypond
Internally the @code{set-octavation} function sets the properties
-@code{ottavation} (eg. to @code{"8va"}) and @code{centralCPosition}.
-
-@seealso
+@code{ottavation} (eg. to @code{"8va"}) and
+@code{centralCPosition}. The function also takes arguments -1 (for 8va
+bassa) and 2 (for 15ma).
-@internalsref{OttavaBracket}
+@internalsref{OttavaSpanner}.
@refbugs
@syntax
The time signature is set or changed by the @code{\time}
-command.
+command:
@lilypond[fragment,verbatim]
\time 2/4 c'2 \time 3/4 c'2.
@end lilypond
@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)}.
+@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-]-) |
+ g8[ g] d[ d] g[ g] a8[( bes g]) |
#(set-time-signature 5 8 '(3 2))
a4. g4
}
@seealso
-@internalsref{TimeSignature}, @internalsref{Timing_engraver}.
+@internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
@refbugs
Partial measures, for example in upsteps, are entered using the
@code{\partial} command:
-@lilypond[fragment,verbatim]
-\partial 16*5 c'16 c4 | a'2. ~ a'8. a'16 | g'1
+@lilypond[fragment,verbatim,relative 1]
+\partial 16*5 c16 cis d dis e | a2. c,4 | b2
@end lilypond
The syntax for this command is
@refcommands
-@cindex @code{\cadenzaOn }
+@cindex @code{\cadenzaOn}
@code{\cadenzaOn},
-@cindex @code{\cadenzaOff }
-@code{\cadenzaOff},
+@cindex @code{\cadenzaOff}
+@code{\cadenzaOff}.
@node Bar lines
@subsection Bar lines
Bar lines delimit measures, but are also used to indicate repeats.
-Normally, tehy are inserted automatically. Line breaks may only
+Normally, they are inserted automatically. Line breaks may only
happen on barlines.
@syntax
Special types
of barlines can be forced with the @code{\bar} command:
+@c
@lilypond[relative=1,fragment,verbatim]
c4 \bar "|:" c4
@end lilypond
-The following bar types are available
+The following bar types are available:
@lilypond[fragment, relative, singleline, verbatim]
c4
\bar "|" c
\bar ".|." c
\bar "|."
@end lilypond
+For allowing linebreaks, there is a special command,
+@example
+ \bar "empty"
+@end example
+This will insert an invisible barline, and allow linebreaks at this
+point.
In scores with many staves, a @code{\bar} command in one staff is
-automatically applied to all staffs. 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[fragment, verbatim]
-< \context StaffGroup <
- \context Staff = up { e'4 d'
+<< \context StaffGroup <<
+ \new Staff { e'4 d'
\bar "||"
f' e' }
- \context Staff = down { \clef bass c4 g e g } >
-\context Staff = pedal { \clef bass c2 c2 } >
+ \new Staff { \clef bass c4 g e g } >>
+\new Staff { \clef bass c2 c2 } >>
@end lilypond
@code{defaultBarType}. The contents of @code{repeatCommands} are used
to override default measure bars.
-@code{whichBar} can also be set directly, using @code{\property} or
-@code{\bar}. These settings take precedence over the automatic
+Property @code{whichBar} can also be set directly, using @code{\property}
+or @code{\bar}. These settings take precedence over the automatic
@code{whichBar} settings.
@cindex whichBar
The bar line objects that are created at @internalsref{Staff} level
-are called @internalsref{BarLine}, the bar lines that span staffs are
+are called @internalsref{BarLine}, the bar lines that span staves are
@internalsref{SpanBar}s.
+@cindex bar lines at start of system
+@cindex start of system
+
+The barlines at the start of each system are
+@internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
+@internalsref{SystemStartBracket}. They are spanner objects and
+typically must be tuned from a @code{\translator} block.
+
@node Polyphony
@section Polyphony
small, short-lived voices or for single chords:
@lilypond[verbatim,fragment]
-\context Voice = VA \relative c'' {
- c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f' \\ d >
+\context Staff \relative c'' {
+ c4 << { f d e } \\ { b c2 } >>
+ c4 << g' \\ b, \\ f' \\ d >>
}
@end lilypond
This can also be done by instantiating @internalsref{Voice} contexts
by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
-a stem directions and horizontal shift for each part.
+a stem directions and horizontal shift for each part:
@c
@lilypond[singleline, verbatim]
\relative c''
-\context Staff < \context Voice = VA { \voiceOne cis2 b }
- \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
- \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
+\context Staff << \new Voice { \voiceOne cis2 b }
+ \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
+ \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
@end lilypond
Normally, note heads with a different number of dots are not merged, but
when the object property @code{merge-differently-dotted} is set in
-the @internalsref{NoteCollision} object, they are:
+the @internalsref{NoteCollision} object, they are merged:
@lilypond[verbatim,fragment,singleline]
-\relative c'' \context Voice < {
+\relative c'' \context Voice << {
g8 g8
\property Staff.NoteCollision \override
#'merge-differently-dotted = ##t
g8 g8
- } \\ { g8.-[ f16-] g8.-[ f16-] }
- >
+ } \\ { g8.[ f16] g8.[ f16] }
+ >>
@end lilypond
Similarly, you can merge half note heads with eighth notes, by setting
@code{merge-differently-headed}:
@lilypond[fragment, relative=2,verbatim]
-\context Voice < {
+\context Voice << {
c8 c4.
\property Staff.NoteCollision
\override #'merge-differently-headed = ##t
- c8 c4. } \\ { c2 c2 } >
+ c8 c4. } \\ { c2 c2 } >>
@end lilypond
-LilyPond also vertically shifts rests that are opposite of a stem.
+LilyPond also vertically shifts rests that are opposite of a stem:
@lilypond[singleline,fragment,verbatim]
-\context Voice < c''4 \\ r4 >
+\context Voice << c''4 \\ r4 >>
@end lilypond
-@cindex @code{\oneVoice }
+@cindex @code{\oneVoice}
@code{\oneVoice},
-@cindex @code{\voiceOne }
+@cindex @code{\voiceOne}
@code{\voiceOne},
-@cindex @code{\voiceTwo }
+@cindex @code{\voiceTwo}
@code{\voiceTwo},
-@cindex @code{\voiceThree }
+@cindex @code{\voiceThree}
@code{\voiceThree},
-@cindex @code{\voiceFour }
-@code{\voiceFour},
+@cindex @code{\voiceFour}
+@code{\voiceFour}.
The following commands specify in what chords of the current voice
should be shifted: the outer voice has @code{\shiftOff}, and the inner
@cindex @code{\shiftOnnn}
@code{\shiftOnnn},
@cindex @code{\shiftOff}
-@code{\shiftOff},
+@code{\shiftOff}.
property of the @internalsref{NoteColumn} object and pitched rests can
be used to override typesetting decisions.
-When using @code{merge-differently-headed} with upstem 8th or shorter
+When using @code{merge-differently-headed} with an upstem 8th or a shorter
note, and a downstem half note, the 8th note gets the wrong offset.
@node Beaming
@section Beaming
Beams are used to group short notes into chunks that are aligned with
-the metrum. They are inserted automatically in most cases.
+the metrum. They are inserted automatically in most cases:
@lilypond[fragment,verbatim, relative=2]
\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
In some cases it may be necessary to override the automatic beaming
algorithm. For example, the auto beamer will not put beams over rests
or bar lines. Such beams are specified by manually: the begin and end
-point are marked with @code{[} and @code{]}.
+point are marked with @code{[} and @code{]}:
@lilypond[fragment,relative,verbatim]
\context Staff {
- r4 r8-[ g' a r8-] r8 g-[ | a-] r8
+ r4 r8[ g' a r8] r8 g[ | a] r8
}
@end lilypond
@lilypond[fragment,relative,verbatim]
\context Staff {
- f8-[ r16 f g a-]
- f8-[ r16 \property Voice.stemLeftBeamCount = #1 f g a-]
+ f8[ r16 f g a]
+ f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
}
@end lilypond
@cindex @code{stemRightBeamCount}
all 16th or shorter beams at beat positions, as defined by the
@code{beatLength} property . This accomplishes the same effect as
twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
-but it take less typing.
+but it take less typing:
@lilypond[relative=1,verbatim,noindent]
- c16-[ c c c c c c c-]
+ c16[ c c c c c c c]
\property Voice.subdivideBeams = ##t
- c16-[ c c c c c c c-]
+ c16[ c c c c c c c]
\property Score.beatLength = #(ly:make-moment 1 8)
- c16-[ c c c c c c c-]
+ c16[ c c c c c c c]
@end lilypond
@cindex subdivideBeams
between the note heads. This behavior can be tuned through the object
property @code{auto-knee-gap}.
+Normally, line breaks are forbidden when beams cross bar lines. This
+behavior can be changed by setting @code{allowBeamBreak}.
+
+@cindex @code{allowBeamBreak}
+@cindex beams and line breaks
+
@cindex beams, kneed
@cindex kneed beams
@cindex auto-knee-gap
@refbugs
-@cindex hara kiri
+@cindex Frenched staves
+
+Automatically kneed beams cannot be used together with hidden staves.
-Automatically kneed beams cannot be used together with Hara Kiri
-staves.
@menu
entered as @code{(ly:make-moment 1 4)}.
The same syntax can be used to specify beam starting points. In this
-example, automatic beams can only end on a dotted quarter note.
+example, automatic beams can only end on a dotted quarter note:
@example
\property Voice.autoBeamSettings \override
#'(end * * * *) = #(ly:make-moment 3 8)
@refcommands
-@cindex @code{\autoBeamOff }
+@cindex @code{\autoBeamOff}
@code{\autoBeamOff},
-@cindex @code{\autoBeamOn }
-@code{\autoBeamOn},
+@cindex @code{\autoBeamOn}
+@code{\autoBeamOn}.
@refbugs
-It is not possible to specify beaming parameters for beams with mixed
-durations, that differ from the beaming parameters of all separate
-durations, i.e., you will have to specify manual beams to get:
+The rules for ending a beam depend on the shortest note in a beam.
+So, while it is possible to have different ending rules for eight
+beams and sixteenth beams, a beam that contains both eight and
+sixteenth notes will use the rules for the sixteenth beam.
+
+In the example below, the autobeamer makes eight beams and sixteenth
+end at 3 eights; the third beam can only be corrected by specifying
+manual beaming.
@lilypond[singleline,fragment,relative,noverbatim,quote]
\property Voice.autoBeamSettings
\override #'(end * * * *) = #(ly:make-moment 3 8)
- \time 12/8 c'8 c c c16 c c c c c c-[ c c c-] c8 c c4
+ % rather show case where it goes wrong
+ %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
+ \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
@end lilypond
It is not possible to specify beaming parameters that act differently in
different parts of a measure. This means that it is not possible to use
creation of the piano staff:
@example
\score @{
- \notes \relative c'' <
- \context Staff = sa @{ cis4 d e2 @}
- \context GrandStaff <
+ \notes \relative c'' <<
+ \new Staff @{ cis4 d e2 @}
+ \context GrandStaff <<
\pianoAccidentals
- \context Staff = sb @{ cis4 d e2 @}
- \context Staff = sc @{ es2 c @}
- >
- \context Staff = sd @{ es2 c @}
- >
+ \new Staff @{ cis4 d e2 @}
+ \new Staff @{ es2 c @}
+ >>
+ \new Staff @{ es2 c @}
+ >>
@}
@end example
@lilypond[singleline]
\score {
- \notes \relative c'' <
- \context Staff = sa { cis4 d e2 }
- \context GrandStaff <
+ \notes \relative c'' <<
+ \new Staff { cis4 d e2 }
+ \context GrandStaff <<
\pianoAccidentals
- \context Staff = sb { cis4 d e2 }
- \context Staff = sc { es2 c }
- >
- \context Staff = sd { es2 c }
- >
+ \new Staff { cis4 d e2 }
+ \new Staff { es2 c }
+ >>
+ \new Staff { es2 c }
+ >>
\paper {
\translator {
\StaffContext
because accidentals from one voice do not get cancelled in other
voices:
@lilypond[singleline,relative,fragment,verbatim,quote]
- \context Staff <
+ \context Staff <<
\voiceAccidentals
- <
+ <<
{ es g } \\
{ c, e }
- > >
+ >> >>
@end lilypond
Hence you should only use @code{\voiceAccidentals} 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 you use
+used by one musician (e.g. a conductor) then you use
@code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
instead.
century.
The rule is more complex than @code{\defaultAccidentals}.
You get all the same accidentals, but temporary
- accidentals also get cancelled in other octaves. Further more,
+ accidentals also get cancelled in other octaves. Furthermore,
in the same octave, they also get cancelled in the following measure:
@lilypond[singleline,fragment,verbatim]
\modernAccidentals
This rule is similar to @code{\modernAccidentals}, but the
``extra'' accidentals (the ones not typeset by
@code{\defaultAccidentals}) are typeset as cautionary accidentals.
- They are printed in reduced size or with parentheses.
+ They are printed in reduced size or with parentheses:
@lilypond[singleline,fragment,verbatim]
\modernCautionaries
cis' c'' cis'2 | c'' c'
@node Customized accidental rules
@subsection Customized accidental rules
-This section must be considered gurus-only, and hence it must be
-sufficient with a short description of the system and a reference to
-the internal documentation.
-
-The algorithm tries several different rules, and uses the rule
-that gives the highest number of accidentals. Each rule consists of
+For determining when to print an accidental, several different rules
+are tried. The rule that gives the highest number of accidentals is
+used. Each rule consists of
@table @var
@item context:
In which context is the rule applied. For example, if
@refcommands
-@cindex @code{\defaultAccidentals }
+@cindex @code{\defaultAccidentals}
@code{\defaultAccidentals},
-@cindex @code{\voiceAccidentals }
+@cindex @code{\voiceAccidentals}
@code{\voiceAccidentals},
-@cindex @code{\modernAccidentals }
+@cindex @code{\modernAccidentals}
@code{\modernAccidentals},
-@cindex @code{\modernCautionaries }
+@cindex @code{\modernCautionaries}
@code{\modernCautionaries},
-@cindex @code{\modernVoiceAccidentals }
+@cindex @code{\modernVoiceAccidentals}
@code{\modernVoiceAccidentals},
-@cindex @code{\modernVoiceCautionaries }
+@cindex @code{\modernVoiceCautionaries}
@code{\modernVoiceCautionaries},
-@cindex @code{\pianoAccidentals }
+@cindex @code{\pianoAccidentals}
@code{\pianoAccidentals},
-@cindex @code{\pianoCautionaries }
+@cindex @code{\pianoCautionaries}
@code{\pianoCautionaries},
-@cindex @code{\noResetKey }
+@cindex @code{\noResetKey}
@code{\noResetKey},
-@cindex @code{\forgetAccidentals }
-@code{\forgetAccidentals},
+@cindex @code{\forgetAccidentals}
+@code{\forgetAccidentals}.
@seealso
-@internalsref{Accidental_engraver}, @internalsref{Accidental},
+@internalsref{Accidental_engraver}, @internalsref{Accidental}, and
@internalsref{AccidentalPlacement}.
Currently the simultaneous notes are considered to be entered in
sequential mode. This means that in a chord the accidentals are
-typeset as if the notes in the chord happened one at a time - in the
+typeset as if the notes in the chord happened once at a time - in the
order in which they appear in the input file.
This is only a problem when there are simultaneous notes whose
@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
This problem can be solved by manually inserting @code{!} and @code{?}
@node Expressive marks
@section Expressive marks
+
+@c todo: should change ordering
+@c where to put text spanners, metronome marks,
+@c fingering?
+
@menu
* Slurs ::
* Phrasing slurs::
* Metronome marks::
* Text spanners::
* Analysis brackets::
+* Articulations::
+* Fingering instructions::
+* Text scripts::
+* Grace notes::
+* Glissando ::
+* Dynamics::
@end menu
@node Slurs
@syntax
They are entered using parentheses:
-@lilypond[fragment,verbatim,center]
- f'-( g'-)-( a'-) a'8-[ b'-(-] a'4 g'2 f'4-)
- <<c' e'>>2-( <<b d'>>2-)
+@lilypond[relative 1,fragment,verbatim,center]
+ f( g)( a) a8 b( a4 g2 f4)
+ <c e>2( <b d>2)
@end lilypond
ends. If you want to override this layout you can do this through the
object property @code{attachment} of @internalsref{Slur} in
@internalsref{Voice} context. Its value is a pair of symbols, specifying
-the attachment type of the left and right end points.
+the attachment type of the left and right end points:
@lilypond[fragment,relative,verbatim]
\slurUp
\property Voice.Stem \set #'length = #5.5
- g'8-(g g4-)
+ g'8(g g4)
\property Voice.Slur \set #'attachment = #'(stem . stem)
- g8-( g g4-)
+ g8( g g4)
@end lilypond
If a slur would strike through a stem or beam, the slur will be moved
@lilypond[fragment,relative,verbatim]
\stemUp \slurUp
- d32-( d'4 d8..-)
+ d32( d'4 d8..)
\property Voice.Slur \set #'attachment = #'(stem . stem)
- d,32-( d'4 d8..-)
+ d,32( d'4 d8..)
@end lilypond
@refcommands
-@cindex @code{\slurUp }
+@cindex @code{\slurUp}
@code{\slurUp},
-@cindex @code{\slurDown }
+@cindex @code{\slurDown}
@code{\slurDown},
-@cindex @code{\slurBoth }
+@cindex @code{\slurBoth}
@code{\slurBoth},
-@cindex @code{\slurDotted }
+@cindex @code{\slurDotted}
@code{\slurDotted},
-@cindex @code{\slurSolid }
-@code{\slurSolid},
+@cindex @code{\slurSolid}
+@code{\slurSolid}.
@seealso
-@seeinternals{Slur}, @internalsref{SlurEvent}.
+@seeinternals{Slur}, and @internalsref{SlurEvent}.
@refbugs
A phrasing slur (or phrasing mark) connects chords and is used to
indicate a musical sentence. It is started using @code{\(} and @code{\)}
-respectively.
+respectively:
@lilypond[fragment,verbatim,center,relative]
- \time 6/4 c'-\( d-( e-) f-( e-) d-\)
+ \time 6/4 c'\( d( e) f( e) d\)
@end lilypond
Typographically, the phrasing slur behaves almost exactly like a
@refcommands
-@cindex @code{\phrasingSlurUp }
+@cindex @code{\phrasingSlurUp}
@code{\phrasingSlurUp},
-@cindex @code{\phrasingSlurDown }
+@cindex @code{\phrasingSlurDown}
@code{\phrasingSlurDown},
-@cindex @code{\phrasingSlurBoth }
+@cindex @code{\phrasingSlurBoth}
@code{\phrasingSlurBoth},
@seealso
-See also @internalsref{PhrasingSlur},
+See also @internalsref{PhrasingSlur}, and
@internalsref{PhrasingSlurEvent}.
@refbugs
@node Breath marks
@subsection Breath marks
-Breath marks are entered using @code{\breathe}.
+Breath marks are entered using @code{\breathe}:
@lilypond[fragment,relative,verbatim]
@end lilypond
The glyph of the breath mark can be tweaked by overriding the
-@code{text} property of the @code{BreathingSign} layout object with the name of
-any glyph of @ref{The Feta font}. For example,
+@code{text} property of the @code{BreathingSign} layout object with
+any markup text. For example,
@lilypond[fragment,verbatim,relative]
c'4
-\property Voice.BreathingSign \override #'text = #"scripts-rvarcomma"
+\property Voice.BreathingSign \override #'text
+ = #(make-musicglyph-markup "scripts-rvarcomma")
\breathe
d4
@end lilypond
@seealso
-@internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
+@internalsref{BreathingSign}, @internalsref{BreathingSignEvent}, and
@inputfileref{input/regression,breathing-sign.ly}.
@end example
In the MIDI output, they are interpreted as a tempo change, and in the
-paper output, a metronome marking is printed
+paper output, a metronome marking is printed:
@cindex @code{\tempo}
@lilypond[fragment,verbatim]
\tempo 8.=120 c''1
@seealso
-@internalsref{TempoEvent}
+@internalsref{MetronomeChangeEvent}.
start and ending note of the spanner.
The string to be printed, as well as the style, is set through object
-properties.
+properties:
@lilypond[fragment,relative,verbatim]
\relative c' { c1
\property Voice.TextSpanner \set #'direction = #-1
\property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
- c2-\startTextSpan b c-\stopTextSpan a }
+ c2\startTextSpan b c\stopTextSpan a }
@end lilypond
@seealso
@internalsref{TextSpanEvent},
-@internalsref{TextSpanner}, @inputfileref{input/regression,text-spanner.ly}.
+@internalsref{TextSpanner}, and
+@inputfileref{input/regression,text-spanner.ly}.
@node Analysis brackets
pieces. LilyPond supports a simple form of nested horizontal brackets.
To use this, add the @internalsref{Horizontal_bracket_engraver} to
@internalsref{Staff} context. A bracket is started with
-@code{\startGroup} and closed with @code{\stopGroup}.
+@code{\startGroup} and closed with @code{\stopGroup}:
@lilypond[singleline,verbatim]
\score { \notes \relative c'' {
- c4-\startGroup-\startGroup
- c4-\stopGroup
- c4-\startGroup
- c4-\stopGroup-\stopGroup
+ c4\startGroup\startGroup
+ c4\stopGroup
+ c4\startGroup
+ c4\stopGroup\stopGroup
}
\paper { \translator {
\StaffContext \consists "Horizontal_bracket_engraver"
@seealso
-@internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent},
+@internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent}, and
@inputfileref{input/regression,note-group-bracket.ly}.
@node Articulations
-@section Articulations
+@subsection Articulations
@cindex Articulations
@cindex articulations
A variety of symbols can appear above and below notes to indicate
different characteristics of the performance. They are added to a note
by adding a dash and the character signifying the
-articulation. They are demonstrated here.
+articulation. They are demonstrated here:
@lilypondfile[notexidoc]{script-abbreviations.ly}
+The meanings of these shorthands can be changed: see
+@file{ly/script-init.ly} for examples.
+
+
The script is automatically placed, but if you need to force
directions, you can use @code{_} to force them down, or @code{^} to
put them up:
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
+can be forced up or down using @code{^} and @code{_},
+eg.
+@lilypond[verbatim,fragment,relative 2]
+ c\fermata c^\fermata c_\fermata
+@end lilypond
-Other symbols can be added using the syntax
-@var{note}@code{-\}@var{name}, e.g. @code{c4-\fermata}. Again, they
-can be forced up or down using @code{^} and @code{_}.
@cindex accent
@cindex marcato
@refcommands
-@cindex @code{\scriptUp }
+@cindex @code{\scriptUp}
@code{\scriptUp},
-@cindex @code{\scriptDown }
+@cindex @code{\scriptDown}
@code{\scriptDown},
@cindex @code{\scriptBoth}
-@code{\scriptBoth},
+@code{\scriptBoth}.
@seealso
-@internalsref{ScriptEvent}, @internalsref{Script}.
+@internalsref{ScriptEvent}, and @internalsref{Script}.
@refbugs
-All of these note ornaments appear in the printed output but have no
+ These note ornaments appear in the printed output but have no
effect on the MIDI rendering of the music.
@node Fingering instructions
-@section Fingering instructions
+@subsection Fingering instructions
@cindex fingering
You can use the thumb-script to indicate that a note should be
played with your thumb (used in cello music):
-@lilypond[verbatim, singleline, fragmnt]
- <<a' a''-3>>8-(_\thumb-[ <<b' b''-3>>-)_\thumb
- <<c'' c'''-3>>-(_\thumb <<d'' d'''-3>>-)_\thumb-]
+@lilypond[verbatim, singleline, fragment]
+ <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
+ <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
@end lilypond
Fingerings for chords can also be added to individual notes
-of the chord by adding them after the pitches
+of the chord by adding them after the pitches:
@lilypond[verbatim,singleline,fragment,relative=1]
- << c-1 e-2 g-3 b-5 >> 4
+ < c-1 e-2 g-3 b-5 > 4
@end lilypond
-Setting @code{fingerHorizontalDirection} will put the fingerings next
-to the note head.
+Setting @code{fingeringOrientations} will put fingerings next
+to note heads:
@lilypond[verbatim,singleline,fragment,relative=1]
- \property Voice.fingerHorizontalDirection = #LEFT
- << c-1 es-2 g-4 bes-5 >> 4
- \property Voice.fingerHorizontalDirection = #RIGHT
- << c-1 es-2 g-4 bes-5 >> 4
+ \property Voice.fingeringOrientations = #'(left down)
+ <c-1 es-2 g-4 bes-5 > 4
+ \property Voice.fingeringOrientations = #'(up right down)
+ <c-1 es-2 g-4 bes-5 > 4
@end lilypond
@seealso
-@internalsref{FingerEvent} and @internalsref{Fingering}.
+@internalsref{FingerEvent}, and @internalsref{Fingering}.
-@menu
-* Text scripts::
-* Grace notes::
-* Glissando ::
-* Dynamics::
-@end menu
-
@node Text scripts
@subsection Text scripts
@cindex Text scripts
@ref{Text markup}) above or below notes by using a string:
@code{c^"text"}. By default, these indications do not influence the
note spacing, but by using the command @code{\fatText}, the widths
-will be taken into account.
+will be taken into account:
@c
@lilypond[fragment,singleline,verbatim] \relative c' {
c4^"longtext" \fatText c4_"longlongtext" c4 }
@seealso
-@internalsref{TextScriptEvent}, @internalsref{TextScript},
+@internalsref{TextScriptEvent}, @internalsref{TextScript}, and
@ref{Text markup}.
@node Grace notes
@subsection Grace notes
+
+@c should have blurb about accaciatura / appogiatura
+
@cindex @code{\grace}
@cindex ornaments
@cindex grace notes
-Grace notes are ornaments that are written out
+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
+@code{\appoggiatura}, as demonstrated in the following example:
+
+
+@cindex appoggiatura
+@cindex acciaccatura
-@lilypond[relative=2,verbatim,fragment] c4 \grace c16 c4 \grace {
-[c16 d16] } c4
+@lilypond[relative=2,verbatim,fragment]
+b4 \acciaccatura d8 c4 \appoggiatura e8 d4
+\acciaccatura { g16[ f] } e4
+@end lilypond
+
+Both are special forms of the @code{\grace} command. By prefixing this
+keyword to a music expression, a new one is formed, which will be
+printed in a smaller font and takes up no logical time in a measure.
+@lilypond[relative=2,verbatim,fragment]
+ c4 \grace c16 c4
+ \grace { c16[ d16] } c2 c4
@end lilypond
-In normal notation, grace notes take up no logical
-time in a measure. Such an idea is practical for normal notation, but
-is not strict enough to put it into a program. The model that LilyPond
-uses for grace notes internally is that all timing is done in two
-steps:
+@noindent
+Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
+@code{\grace} command does not start a slur.
-Every point in musical time consists of two rational numbers: one
+Internally, timing for grace notes is done using a second, `grace'
+time. Every point in time consists of two rational numbers: one
denotes the logical time, one denotes the grace timing. The above
-example is shown here with timing tuples.
+example is shown here with timing tuples:
-@lilypond[]
-\score { \notes \relative c''{
- c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
- c16_"(2/4,-1/8)"-[ d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
+@lilypond[singleline]
+<<
+ \relative c''{
+ c4 \grace c16 c4 \grace {
+ c16[ d16] } c2 c4
}
-\paper { linewidth = 12.\cm }
-}
+ \new Lyrics \lyrics {
+ \markup { (0,0) } 4
+ \grace { \markup {
+ ( \fraction 1 4 , \fraction -1 16 ) } 16 }
+ \markup { (\fraction 1 4 , 0 ) } 4
+ \grace {
+ \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
+ \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
+ }
+ \markup { ( \fraction 2 4 , 0 ) }
+ } >>
@end lilypond
The placement of grace notes is synchronized between different staves.
In the following example, there are two sixteenth graces notes for
-every eighth grace note.
+every eighth grace note:
@lilypond[relative=2,verbatim,fragment]
-< \context Staff = SA { e4 \grace { c16-[ d e f-] } e4 }
- \context Staff = SB { c'4 \grace { g8-[ b-] } c4 } >
+<< \new Staff { e4 \grace { c16[ d e f] } e4 }
+ \new Staff { c'4 \grace { g8[ b] } c4 } >>
@end lilypond
-Unbeamed eighth notes and shorter by default have a slash through the
-stem. This can be controlled with object property @code{stroke-style} of
-@internalsref{Stem}. For proper matching of override and reverts of
-such properties, it is necessary to use a Scheme function.
-
-The following fragment overrides the default formatting Grace style stems.
-@example
- #(add-to-grace-init "Voice" 'Stem 'stroke-style '())
-@end example
-
-The @code{\override} is carefully matched with a @code{\revert}.
-
-@cindex slash
-@cindex grace slash
-@lilypond[fragment,verbatim]
-\relative c'' \context Voice {
- \grace c8 c4 \grace { c16-[ c16-] } c4
- \grace {
- \property Voice.Stem \override #'stroke-style = #'()
- c16
- \property Voice.Stem \revert #'stroke-style
- } c4
-}
-@end lilypond
-
-If you want to end a note with a grace note, then the standard trick
-is to put the grace notes before a phantom ``space note'', e.g.
+If you want to end a note with a grace, then the standard trick
+is to put the grace notes after a ``space note'', e.g.
@lilypond[fragment,verbatim, relative=2]
\context Voice {
- < { d1^\trill ( }
- { s2 \grace { c16-[ d-] } } >
- )c4
+ << { d1^\trill ( }
+ { s2 \grace { c16[ d] } } >>
+ c4)
}
@end lilypond
By adjusting the duration of the skip note (here it is a half-note),
the space between the main-note and the grace is adjusted.
-A @code{\grace} section has some default values, and LilyPond will
-use those default values unless you specify otherwise inside the
-@code{\grace} section. For example, if you specify \slurUp
-@emph{before} your @code{\grace} section, a slur which starts inside
-the @code{\grace} will not be forced up, even if the slur ends outside
-of the @code{\grace}. Note the difference between the first and
-second bars in this example:
-@lilypond[fragment,verbatim]
-\relative c'' \context Voice {
- \slurUp
- \grace {
- a4-( }
- ) a4 a4-( a2-)
- \slurBoth
-
- \grace {
- \slurUp
- a4-( }
- ) a4 a4-( a2-)
- \slurBoth
+A @code{\grace} section will introduce special typesetting settings,
+for example, to produce smaller type, and set directions. Hence, when
+introducing layout tweaks, they should be inside the grace section,
+for example,
+@lilypond[fragment,verbatim,relative 1]
+\new Voice {
+ \acciaccatura {
+ \property Voice.Stem \override #'direction = #-1
+ f16->
+ \property Voice.Stem \revert #'direction
+ }
+ g4
}
@end lilypond
+@noindent
+The overrides should also be reverted inside the grace section.
+
+If the layout of grace sections must be changed throughout the music,
+then this can be accomplished through the function
+@code{add-grace-property}. The following example
+undefines the Stem direction grace section, so stems do not always
+point up.
+
+@example
+ \new Staff @{
+ #(add-grace-property "Voice" Stem direction '())
+ @dots{}
+ @}
+@end example
+
+@noindent
+Another option is to change the variables @code{startGraceMusic},
+@code{stopGraceMusic}, @code{startAccacciaturaMusic},
+@code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
+@code{stopAppoggiaturaMstuic}. More information is in the file
+@file{ly/grace-init.ly}
+
@seealso
-@internalsref{GraceMusic},
+@internalsref{GraceMusic}.
@refbugs
A score that starts with an @code{\grace} section needs an explicit
@code{\context Voice} declaration, otherwise the main note and grace
-note end up on different staffs.
+note end up on different staves.
Grace note synchronization can also lead to surprises. Staff notation,
such as key signatures, barlines, etc. are also synchronized. Take
-care when you mix staves with grace notes and staves without, for example:
+care when you mix staves with grace notes and staves without, for example,
@lilypond[relative=2,verbatim,fragment]
-< \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
- \context Staff = SB { c4 \bar "|:" d4 } >
+<< \new Staff { e4 \bar "|:" \grace c16 d4 }
+ \new Staff { c4 \bar "|:" d4 } >>
@end lilypond
Grace sections should only be used within sequential music
expressions. Nesting or juxtaposing grace sections is not supported,
and might produce crashes or other errors.
-Overriding settings for grace music globally cannot be done in a
-modular way. A kludge (@code{add-to-grace-init}) is defined in
-@file{ly/grace-init.ly}.
+Overriding settings cannot be done in separate styles for appoggiatura
+and acciaccatura.
@node Glissando
a note:
@lilypond[fragment,relative,verbatim]
- c'-\glissando c'
+ c'\glissando c'
@end lilypond
@seealso
-@internalsref{Glissando}, @internalsref{GlissandoEvent}.
+@internalsref{Glissando}, and @internalsref{GlissandoEvent}.
@refbugs
-Additional texts (such as @emph{gliss.}) is not supported.
+Adding additional texts (such as @emph{gliss.}) is not supported.
@node Dynamics
Absolute dynamic marks are specified using an variable after a
-note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
+note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
@code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
@code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
-@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
+@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
@lilypond[verbatim,singleline,fragment,relative]
- c'-\ppp c-\pp c -\p c-\mp c-\mf c-\f c-\ff c-\fff
- c2-\sf c-\rfz
+ c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
+ c2\sf c\rfz
@end lilypond
@cindex @code{\cr}
A crescendo mark is started with @code{\<} and terminated with
@code{\!}. A decrescendo is started with @code{\>} and also terminated
with @code{\!}. Because these marks are bound to notes, if you must
-use spacer notes if multiple marks during one note are needed.
+use spacer notes if multiple marks during one note are needed:
@lilypond[fragment,verbatim,center,quote]
- c''-\< c''-\! d''-\decr e''-\rced
- < f''1 { s4 s4-\< s4-\! \> s4-\! } >
+ c''\< c''\! d''\decr e''\rced
+ << f''1 { s4 s4\< s4\! \> s4\! } >>
@end lilypond
This may give rise to very short hairpins. Use @code{minimum-length}
-in @internalsref{Voice}.@internalsref{HairPin} to lengthen them, for
+in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
example:
@example
\context Voice {
\property Voice.crescendoText = \markup { \italic "cresc. poco" }
\property Voice.crescendoSpanner = #'dashed-line
- a'2-\mf-\< a a a-\!
+ a'2\< a a a\!\mf
}
@end lilypond
@refcommands
-@cindex @code{\dynamicUp }
+@cindex @code{\dynamicUp}
@code{\dynamicUp},
-@cindex @code{\dynamicDown }
+@cindex @code{\dynamicDown}
@code{\dynamicDown},
-@cindex @code{\dynamicBoth }
-@code{\dynamicBoth},
+@cindex @code{\dynamicBoth}
+@code{\dynamicBoth}.
@cindex direction, of dynamics
@seealso
-@internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent},
+@internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
@internalsref{AbsoluteDynamicEvent}.
Dynamics are objects of @internalsref{DynamicText} and
@internalsref{Hairpin}. Vertical positioning of these symbols is
handled by the @internalsref{DynamicLineSpanner} object.
-If you want to adjust padding or vertical direction of the dynamics,
-you must set properties for the @internalsref{DynamicLineSpanner}
-object.
+If you want to adjust padding or vertical direction of the dynamics, you
+must set properties for the @internalsref{DynamicLineSpanner} object.
@node Repeats
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, all these repetitions
-can be rendered in MIDI accurately.
+in a uniform syntax. One of the advantages is that they can be
+rendered in MIDI accurately.
The following types of repetition are supported:
alternative is assumed to be played more than once.
Normal notation repeats are used like this:
-@lilypond[fragment,verbatim]
- c'1
- \repeat volta 2 { c'4 d' e' f' }
- \repeat volta 2 { f' e' d' c' }
+@lilypond[fragment,verbatim,relative 1]
+ c1
+ \repeat volta 2 { c4 d e f }
+ \repeat volta 2 { f e d c }
@end lilypond
With alternative endings:
-@lilypond[fragment,verbatim]
- c'1
- \repeat volta 2 {c'4 d' e' f'}
- \alternative { {d'2 d'} {f' f} }
+@lilypond[fragment,verbatim,relative 1]
+ c1
+ \repeat volta 2 {c4 d e f}
+ \alternative { {d2 d} {f f,} }
@end lilypond
-@lilypond[fragment,verbatim]
+@lilypond[fragment,verbatim,relative 1]
\context Staff {
- \relative c' {
\partial 4
\repeat volta 4 { e | c2 d2 | e2 f2 | }
\alternative { { g4 g g } { a | a a a a | b2. } }
- }
}
@end lilypond
@table @asis
@item the symbol @code{start-repeat},
- which prints a @code{|:} bar line.
-@item The symbol @code{end-repeat},
- which prints a @code{:|} bar line
-@item The list @code{(volta @var{text})}
- which prints a volta bracket saying @var{text}. The text can be specified as
+ which prints a @code{|:} bar line,
+@item the symbol @code{end-repeat},
+ which prints a @code{:|} bar line,
+@item the list @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
forget to change the font, as the default number font does not contain
-alphabetic characters.
-@item The list @code{(volta #f)}, which
- stops a running volta bracket
+alphabetic characters. Or,
+@item the list @code{(volta #f)}, which
+ stops a running volta bracket:
@end table
-@lilypond[verbatim, fragment]
- c''4
+@lilypond[verbatim, fragment,relative 2]
+ c4
\property Score.repeatCommands = #'((volta "93") end-repeat)
- c''4 c''4
+ c4 c4
\property Score.repeatCommands = #'((volta #f))
- c''4 c''4
+ c4 c4
@end lilypond
@internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
@internalsref{VoltaRepeatedMusic},
-@internalsref{UnfoldedRepeatedMusic}
+@internalsref{UnfoldedRepeatedMusic}, and
@internalsref{FoldedRepeatedMusic}.
@node Tremolo repeats
@cindex tremolo beams
To place tremolo marks between notes, use @code{\repeat} with tremolo
-style.
+style:
@lilypond[verbatim,center,singleline]
\score {
\context Voice \notes\relative c' {
@seealso
Tremolo beams are @internalsref{Beam} objects. Single stem tremolos
-are @internalsref{StemTremolo}. The music expression is
+are @internalsref{StemTremolo}s. The music expression is
@internalsref{TremoloEvent}.
`@code{:}[@var{length}]' after the note. The length must be at least 8.
A @var{length} value of 8 gives one line across the note stem. If the
length is omitted, then then the last value (stored in
-@code{Voice.tremoloFlags}) is used.
+@code{Voice.tremoloFlags}) is used:
@lilypond[verbatim,fragment,center]
c'2:8 c':32 | c': c': |
In the @code{percent} style, a note pattern can be repeated. It is
printed once, and then the pattern is replaced with a special sign.
Patterns of a one and two measures are replaced by percent-like signs,
-patterns that divide the measure length are replaced by slashes.
+patterns that divide the measure length are replaced by slashes:
@lilypond[verbatim,singleline]
\context Voice { \repeat "percent" 4 { c'4 }
Include @file{drumpitch-init.ly} to use drum pitches. This file
defines the pitches from the Scheme variable @code{drum-pitch-names},
the definition of which can be read in @file{scm/drums.scm}. Each
-piece of percussion has a full name and an abbreviated name, and both
+piece of percussion has a full name and an abbreviated name, and either
the full name or the abbreviation may be used in input files.
To typeset the music on a staff apply the function @code{drums->paper}
up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
down = \notes { bassdrum4 snare8 bd r bd sn4 }
\score {
- \apply #(drums->paper 'drums) \context Staff <
+ \apply #(drums->paper 'drums) \context Staff <<
\clef percussion
- \context Voice = up { \voiceOne \up }
- \context Voice = down { \voiceTwo \down }
- >
+ \new Voice { \voiceOne \up }
+ \new Voice { \voiceTwo \down }
+ >>
}
@end lilypond
In the above example the music was transformed using the list @code{'drums}.
-Currently the following lists are defined in @file{scm/drums.scm}:
+The following lists are defined in @file{scm/drums.scm}:
@table @code
@item 'drums
-To typeset a typical drum kit on a five-line staff.
+to typeset a typical drum kit on a five-line staff:
@lilypond[noindent]
\include "drumpitch-init.ly"
mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
\score {
- <
- \apply #(drums->paper 'drums) \context Staff <
+ <<
+ \apply #(drums->paper 'drums) \context Staff <<
\clef percussion
\mus
- >
+ >>
\context Lyrics \nam
- >
+ >>
\paper {
linewidth = 100.0\mm
\translator {
@end lilypond
The drum scheme supports six different toms. When there fewer toms, simply
-select the toms that produce the desired result, i.e., to get toms on
+select the toms that produce the desired result, i.e. to get toms on
the three middle lines you use @code{tommh}, @code{tomml} and
@code{tomfh}.
Because general MIDI does not contain rimshots the sidestick is used
for this purpose instead.
@item 'timbales
-To typeset timbales on a two line staff.
+to typeset timbales on a two line staff:
@lilypond[singleline]
\include "drumpitch-init.ly"
nam = \lyrics { timh ssh timl ssl cb }
mus = \notes { timh ssh timl ssl cb s16 }
\score {
- <
- \apply #(drums->paper 'timbales) \context Staff <
+ <<
+ \apply #(drums->paper 'timbales) \context Staff <<
\clef percussion
\mus
- >
+ >>
\context Lyrics \nam
- >
+ >>
\paper {
\translator {
\StaffContext
}
@end lilypond
@item 'congas
-To typeset congas on a two line staff.
+to typeset congas on a two line staff:
@lilypond[singleline]
\include "drumpitch-init.ly"
nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
\score {
- <
- \apply #(drums->paper 'congas) \context Staff <
+ <<
+ \apply #(drums->paper 'congas) \context Staff <<
\clef percussion
\mus
- >
+ >>
\context Lyrics \nam
- >
+ >>
\paper {
\translator {
\StaffContext
}
@end lilypond
@item 'bongos
-To typeset bongos on a two line staff.
+to typeset bongos on a two line staff:
@lilypond[singleline]
\include "drumpitch-init.ly"
nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
\score {
- <
- \apply #(drums->paper 'bongos) \context Staff <
+ <<
+ \apply #(drums->paper 'bongos) \context Staff <<
\clef percussion
\mus
- >
+ >>
\context Lyrics \nam
- >
+ >>
\paper {
\translator {
\StaffContext
}
@end lilypond
@item 'percussion
-To typeset all kinds of simple percussion on one line staves.
+to typeset all kinds of simple percussion on one line staves:
@lilypond[singleline]
\include "drumpitch-init.ly"
nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
\score {
- <
- \apply #(drums->paper 'percussion) \context Staff <
+ <<
+ \apply #(drums->paper 'percussion) \context Staff <<
\clef percussion
\mus
- >
+ >>
\context Lyrics \nam
- >
+ >>
\paper {
\translator {
\StaffContext
up = \notes { hh8 hh hh hh hhp4 hhp }
down = \notes { bd4 sn bd toml8 toml }
\score {
- \apply #(drums->paper 'mydrums) \context Staff <
+ \apply #(drums->paper 'mydrums) \context Staff <<
\clef percussion
- \context Voice = up { \voiceOne \up }
- \context Voice = down { \voiceTwo \down }
- >
+ \new Voice { \voiceOne \up }
+ \new Voice { \voiceTwo \down }
+ >>
}
@end lilypond
the existing list:
@example
-#(set-drum-kit mydrums (append `(
+#(set-drum-kit 'mydrums (append `(
(bassdrum default #f ,(ly:make-pitch -1 2 0))
(lowtom diamond #f ,(ly:make-pitch -1 6 0))
) (get-drum-kit 'drums)))
@end example
-The file @file{drumpitch-init.ly} replaces the normal pitch names, so
-you have to reinclude @file{nederlands.ly} after the
-drum-pattern-definitions to enter normal notes.
+You can easily combine percussion notation with pitched notation.
+Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
+names, so you will have to reinclude @file{nederlands.ly} after the
+drum-pattern-definitions to enter normal notes:
@c
@lilypond[singleline,verbatim]
\include "drumpitch-init.ly"
\include "nederlands.ly"
bass = \notes \transpose c c,, { a4. e8 r e g e }
\score {
- <
- \apply #(drums->paper 'drums) \context Staff = drums <
+ <<
+ \apply #(drums->paper 'drums) \new Staff <<
\clef percussion
- \context Voice = up { \voiceOne \up }
- \context Voice = down { \voiceTwo \down }
- >
- \context Staff = bass { \clef "F_8" \bass }
- >
+ \new Voice { \voiceOne \up }
+ \new Voice { \voiceTwo \down }
+ >>
+ \new Staff { \clef "F_8" \bass }
+ >>
}
@end lilypond
@example
\score @{
- \apply #(drums->paper 'mydrums) \context Staff <
+ \apply #(drums->paper 'mydrums) \context Staff <<
\clef percussion
@{ \up @} \\
@{ \down @}
- >
+ >>
\paper@{@}
@}
\score @{
- \context Staff <
+ \context Staff <<
\property Staff.instrument = #'drums
\up \down
- >
+ >>
\midi@{@}
@}
@end example
included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
Dynamics are not centered, but kludges do exist. See
-@inputfileref{input/templates,piano-dynamics.ly}.
+@inputfileref{input/template,piano-dynamics.ly}.
@cindex cross staff stem
@cindex stem, cross staff
staff. The syntax for this is
@example
\autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
-@end example
+@end example
+The two staffs of the piano staff must be named @code{up} and
+@code{down}.
+
The autochanger switches on basis of pitch (central C is the turning
point), and it looks ahead skipping over rests to switch in
advance. Here is a practical example:
@lilypond[verbatim,singleline,quote]
-\score { \notes \context PianoStaff <
+\score { \notes \context PianoStaff <<
\context Staff = "up" {
- \autochange Staff \context Voice = VA < \relative c' {
- g4 a b c d r4 a g } > }
+ \autochange Staff \context Voice = VA << \relative c' {
+ g4 a b c d r4 a g } >> }
\context Staff = "down" {
\clef bass
s1*2
-} > }
+} >> }
@end lilypond
@noindent
@seealso
-@internalsref{AutoChangeMusic}
+@internalsref{AutoChangeMusic}.
@refbugs
The staff switches often do not end up in optimal places. For high
-quality output staff switches should be specified manually.
+quality output, staff switches should be specified manually.
Piano pedal instruction can be expressed by attaching
@code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
-note or chord.
+note or chord:
@lilypond[fragment,verbatim]
- c'4-\sustainDown c'4-\sustainUp
+ c'4\sustainDown c'4\sustainUp
@end lilypond
What is printed can be modified by setting @code{pedal@var{X}Strings},
@lilypond[fragment,verbatim]
\property Staff.pedalSustainStyle = #'bracket
- c''4-\sustainDown d''4 e''4
- a'4-\sustainUp-\sustainDown
- f'4 g'4 a'4-\sustainUp
+ c''4\sustainDown d''4 e''4
+ a'4\sustainUp\sustainDown
+ f'4 g'4 a'4\sustainUp
@end lilypond
A third style of pedal notation is a mixture of text and brackets,
@lilypond[fragment,verbatim]
\property Staff.pedalSustainStyle = #'mixed
-c''4-\sustainDown d''4 e''4
-c'4-\sustainUp-\sustainDown
- f'4 g'4 a'4-\sustainUp
+c''4\sustainDown d''4 e''4
+c'4\sustainUp\sustainDown
+ f'4 g'4 a'4\sustainUp
@end lilypond
The default `*Ped' style for sustain and damper pedals corresponds to
for a sostenuto pedal:
@lilypond[fragment,verbatim]
-c''4-\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4-\sostenutoUp
+c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\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 the detailed documentation of
-@internalsref{PianoPedalBracket}) can be modified. For example, the bracket
-may be extended to the end of the note head.
+@code{PianoPedalBracket} objects (see
+@internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
+bracket may be extended to the end of the note head:
@lilypond[fragment,verbatim]
\property Staff.PianoPedalBracket \override
#'shorten-pair = #'(0 . -1.0)
-c''4-\sostenutoDown d''4 e''4 c'4
-f'4 g'4 a'4-\sostenutoUp
+c''4\sostenutoDown d''4 e''4 c'4
+f'4 g'4 a'4\sostenutoUp
@end lilypond
@node Arpeggio
@cindex @code{\arpeggio}
You can specify an arpeggio sign on a chord by attaching an
-@code{\arpeggio} to a chord.
+@code{\arpeggio} to a chord:
@lilypond[fragment,relative,verbatim]
- <<c e g c>>-\arpeggio
+ <c e g c>\arpeggio
@end lilypond
When an arpeggio crosses staves, you attach an arpeggio to the chords
in both staves, and set
-@internalsref{PianoStaff}.@code{connectArpeggios}.
+@internalsref{PianoStaff}.@code{connectArpeggios}:
@lilypond[fragment,relative,verbatim]
- \context PianoStaff <
+ \context PianoStaff <<
\property PianoStaff.connectArpeggios = ##t
- \context Voice = one { <<c' e g c>>-\arpeggio }
- \context Voice = other { \clef bass <<c,, e g>>-\arpeggio }
- >
+ \new Staff { <c' e g c>\arpeggio }
+ \new Staff { \clef bass <c,, e g>\arpeggio }
+ >>
@end lilypond
The direction of the arpeggio is sometimes denoted by adding an
arrowhead to the wiggly line. This can be typeset by setting
-@code{arpeggio-direction}.
+@code{arpeggio-direction}:
@lilypond[fragment,relative,verbatim]
\context Voice {
\property Voice.Arpeggio \set #'arpeggio-direction = #1
- <<c e g c>>-\arpeggio
+ <c e g c>\arpeggio
\property Voice.Arpeggio \set #'arpeggio-direction = #-1
- <<c e g c>>-\arpeggio
+ <c e g c>\arpeggio
}
@end lilypond
arpeggiate the chord. To draw these brackets, set the
@code{molecule-callback} property of @code{Arpeggio} or
@code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
-@code{\arpeggio} statements within the chords as before.
+@code{\arpeggio} statements within the chords as before:
@lilypond[fragment,relative,verbatim]
\property PianoStaff.Arpeggio \override
#'molecule-callback = \arpeggioBracket
- <<c' e g c>>-\arpeggio
+ <c' e g c>\arpeggio
@end lilypond
@refcommands
-@cindex @code{\arpeggioBracket }
+@cindex @code{\arpeggioBracket}
@code{\arpeggioBracket},
@cindex @code{\arpeggio}
-@code{\arpeggio},
+@code{\arpeggio}.
@seealso
-@internalsref{ArpeggioEvent} expression lead to
+@internalsref{ArpeggioEvent} music expressions lead to
@internalsref{Arpeggio} objects. Cross staff arpeggios are
@internalsref{PianoStaff}.@internalsref{Arpeggio}.
@code{PianoStaff.followVoice} is set to true:
@lilypond[fragment,relative,verbatim]
- \context PianoStaff <
+ \context PianoStaff <<
\property PianoStaff.followVoice = ##t
\context Staff \context Voice {
c1
b2 a
}
\context Staff=two { \clef bass \skip 1*2 }
- >
+ >>
@end lilypond
The associated object is @internalsref{VoiceFollower}.
@refcommands
-@cindex @code{\showStaffSwitch }
+@cindex @code{\showStaffSwitch}
@code{\showStaffSwitch},
-@cindex @code{\hideStaffSwitch }
-@code{\hideStaffSwitch},
+@cindex @code{\hideStaffSwitch}
+@code{\hideStaffSwitch}.
@node Vocal music
Subsequent characters of a word can be any character that is not a digit
and not white space. One important consequence of this is that a word
can end with @code{@}}. The following example is usually a bug. The
-syllable includes a @code{@}}, and hence the opening brace is not balanced.
+syllable includes a @code{@}}, and hence the opening brace is not balanced:
@example
\lyrics @{ twinkle@}
@end example
@seealso
-@internalsref{LyricEvent}, @internalsref{HyphenEvent},
+@internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
@internalsref{ExtenderEvent}.
@refbugs
@node The Lyrics context
@subsection The Lyrics context
-Lyrics are printed by interpreting them in @internalsref{Lyrics}
-context:
+Lyrics are printed by interpreting them in @internalsref{Lyrics} context:
@example
\context Lyrics \lyrics @dots{}
@end example
entered. The lyrics can also be aligned under a given melody
automatically. In this case, it is no longer necessary to enter the
correct duration for each syllable. This is achieved by combining the
-melody and the lyrics with the @code{\addlyrics} expression
+melody and the lyrics with the @code{\addlyrics} expression:
@example
\addlyrics
\notes @dots{}
Normally, this will put the lyrics below the staff. For different or
more complex orderings, the best way is to setup the hierarchy of
-staffs and lyrics first, e.g.
+staves and lyrics first, e.g.
@example
-\context ChoirStaff \notes <
- \context Lyrics = LA @{ s1 @}
- \context Staff = SA @{ s1 @}
- \context Lyrics = LB @{ s1 @}
- \context Staff = SB @{ s1 @}
->
+\context ChoirStaff \notes <<
+ \context Lyrics = sopr @{ s1 @}
+ \context Staff = soprStaff @{ s1 @}
+ \context Lyrics = tenor @{ s1 @}
+ \context Staff = tenorStaff @{ s1 @}
+>>
@end example
and then combine the appropriate melodies and lyric lines:
@example
\addlyrics
- \context Staff = SA @emph{the music}
- \context Lyrics = LA @emph{the lyrics}
+ \context Staff = soprStaff @emph{the music}
+ \context Lyrics = sopr @emph{the lyrics}
@end example
putting both together, you would get
@example
-\context ChoirStaff \notes <
- \context Lyrics = LA @dots{}
- \context Staff = SB @dots{}
+\context ChoirStaff \notes <<
+ \context Lyrics = @dots{}
+ \context Staff = @dots{}
\addlyrics @dots{}
->
+>>
@end example
@cindex SATB
@cindex choral score
A complete example of a SATB score setup is in the file
-@inputfileref{input/template,satb}.
+@inputfileref{input/template,satb.ly}.
@seealso
-@internalsref{LyricCombineMusic}, @internalsref{Lyrics},
-@inputfileref{input/template,satb}.
+@internalsref{LyricCombineMusic}, @internalsref{Lyrics}, and
+@inputfileref{input/template,satb.ly}.
@refbugs
done automatically when corresponding lyric lines and melodies are
marked.
-To this end, give the @internalsref{Voice} context an identity,
+To this end, give the @internalsref{Voice} context an identity:
@example
\context Voice = duet @{
\time 3/4
Then set the @internalsref{LyricsVoice} contexts to names starting with
that identity followed by a dash. In the preceding example, the
@internalsref{Voice} identity is @code{duet}, so the identities of the
-@internalsref{LyricsVoices} are marked @code{duet-1} and @code{duet-2}.
+@internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
@example
\context LyricsVoice = "duet-1" @{
Hi, my name is bert. @}
@internalsref{Voice} must also be used to get melismata correct in
conjunction with rests.
-The complete example is shown here.
+The complete example is shown here:
@lilypond[singleline,verbatim]
\score {
\addlyrics
\notes \relative c'' \context Voice = duet { \time 3/4
g2 e4 a2 f4 g2. }
- \lyrics \context Lyrics <
+ \lyrics \context Lyrics <<
\context LyricsVoice = "duet-1" {
\property LyricsVoice . stanza = "Bert"
Hi, my name is bert. }
\context LyricsVoice = "duet-2" {
\property LyricsVoice . stanza = "Ernie"
Ooooo, ch\'e -- ri, je t'aime. }
- >
+ >>
}
@end lilypond
Stanza numbers, or the names of the singers can be added by setting
@code{LyricsVoice.Stanza} (for the first system) and
@code{LyricsVoice.stz} for the following systems. Notice how dots are
-surrounded with spaces in @code{\lyrics} mode.
+surrounded with spaces in @code{\lyrics} mode:
@example
\property LyricsVoice . stanza = "Bert"
@subsection Ambitus
@cindex ambitus
-The term @emph{ambitus} denotes a range of pitches for a given voice in
-a part of music. It also may denote the pitch range that a musical
-instrument is capable of playing. Most musical instruments have their
-ambitus standardized (or at least there is agreement upon the minimal
-ambitus of a particular type of instrument), such that a composer or
-arranger of a piece of music can easily meet the ambitus constraints of
-the targeted instrument. However, the ambitus of the human voice
-depends on individual physiological state, including education and
-training of the voice. Therefore, a singer potentially has to check for
-each piece of music if the ambitus of that piece meets his individual
-capabilities. This is why the ambitus of a piece may be of particular
-value to vocal performers.
+The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
+for a given voice in a part of music. It also may denote the pitch
+range that a musical instrument is capable of playing. Most musical
+instruments have their ambitus standardized (or at least there is
+agreement upon the minimal ambitus of a particular type of
+instrument), such that a composer or arranger of a piece of music can
+easily meet the ambitus constraints of the targeted instrument.
+However, the ambitus of the human voice depends on individual
+physiological state, including education and training of the voice.
+Therefore, a singer potentially has to check for each piece of music
+if the ambitus of that piece meets his individual capabilities. This
+is why the ambitus of a piece may be of particular value to vocal
+performers.
The ambitus is typically notated on a per-voice basis at the very
beginning of a piece, e.g. nearby the initial clef or time signature of
each staff. The range is graphically specified by two noteheads, that
represent the minimum and maximum pitch. Some publishers use a textual
notation: they put the range in words in front of the corresponding
-staff. Lilypond currently only supports the graphical ambitus notation.
+staff. LilyPond only supports the graphical ambitus notation.
To apply, add the @internalsref{Ambitus_engraver} to the
@internalsref{Voice} context, i.e.
@example
- \paper @{ \translator @{
+ \paper @{
+ \translator @{
\VoiceContext
\consists Ambitus_engraver
- @} @}
+ @}
+ @}
@end example
-For example,
-
+This results in the following output:
@lilypond[singleline]
upper = \notes \relative c {
\clef "treble"
}
\score {
\context ChoirStaff {
- <
- \context Staff = one { \upper }
- \context Staff = three { \lower }
- >
+ <<
+ \new Staff { \upper }
+ \new Staff { \lower }
+ >>
}
\paper {
\translator {
- \VoiceContext
+ \StaffContext
\consists Ambitus_engraver
}
}
}
@end lilypond
+If you have multiple voices in a single staff, and you want a single
+ambitus per staff rather than per each voice, then add the
+@internalsref{Ambitus_engraver} to the @internalsref{Staff} context
+rather than to the @internalsref{Voice} context.
+
+It is possible to tune individual ambituses for multiple voices on a
+single staff, for example by erasing or shifting them horizontally. An
+example is in @inputfileref{input/test,ambitus-mixed.ly}
@seealso
-@internalsref{Ambitus}, @inputfileref{input/regression,ambitus.ly}.
+@internalsref{Ambitus}, @inputfileref{input/regression,ambitus.ly},
+@inputfileref{input/test,ambitus-mixed.ly}.
+
+@refbugs
+
+There is no collision handling in the case of multiple per-voice
+ambitus.
@node Tablatures
@section Tablatures
string. By default, string 1 is the highest one, and the tuning
defaults to the standard guitar tuning (with 6 strings). The notes
are printed as tablature, by using @internalsref{TabStaff} and
-@internalsref{TabVoice} contexts.
+@internalsref{TabVoice} contexts:
@lilypond[fragment,verbatim]
\notes \context TabStaff {
When no string is specified, the first string that does not give a
fret number less than @code{minimumFret} is selected. The default
-value for @code{minimumFret} is 0.
+value for @code{minimumFret} is 0:
@example
e8 fis gis a b cis' dis' e'
}
\score {
- \context StaffGroup <
+ \context StaffGroup <<
\context Staff { \clef "G_8" \frag }
\context TabStaff { \frag }
- >
+ >>
}
@end lilypond
You can change the number of strings, by setting the number of lines
in the @internalsref{TabStaff} (the @code{line-count} property of
@internalsref{TabStaff} can only be changed using
-@code{\outputproperty}, for more information, see @ref{Tuning
+@code{\applyoutput}, for more information, see @ref{Tuning
objects}).
You can change the tuning of the strings. A string tuning is given as
being the pitch (measured in semitones relative to central 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: thus the notes are e, a, d, and
-g.
+by default middle C, in string order. Thus, the notes are e, a, d, and
+g:
@lilypond[fragment,verbatim]
- \context TabStaff <
+ \context TabStaff <<
- \outputproperty #(make-type-checker 'staff-symbol-interface)
- #'line-count = #4
+ \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface)
+ 'line-count 4)
\property TabStaff.stringTunings = #'(-5 -10 -15 -20)
\notes {
a,4 c' a e' e c' a e'
}
- >
+ >>
@end lilypond
It is possible to change the Scheme function to format the tablature
note text. The default is @code{fret-number-tablature-format}, which
uses the fret number. For instruments that do not use this notation,
you can create a special tablature formatting function. This function
-takes three argument: the string number, the string tuning and the
-note pitch.
+takes three argument: string number, string tuning and note pitch.
@refbugs
-Most of the guitar special effects such as bend have not been
-implemented yet.
+No guitar special effects have been implemented.
@cindex Chords
LilyPond has support for both printing chord names. Chords may be
-entered in musical chord notation, i.e. @code{<< .. >>}, but they can
+entered in musical chord notation, i.e. @code{< .. >}, but they can
also be entered by name. Internally, the chords are represented as a
-set of pitches, so they can be transposed.
+set of pitches, so they can be transposed:
@lilypond[verbatim,singleline]
\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 {
- < \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
Chord mode is a mode where you can input sets of pitches using common
names. It is introduced by the keyword @code{\chords}.
In chords mode, a chord is entered by the root, which is entered
-like a common pitch, for example,
+like a common pitch:
@lilypond[fragment,verbatim,quote, relative=1]
\chords { es4. d8 c2 }
@end lilypond
@cindex chord mode
Other chords may be entered by suffixing a colon, and introducing a
-modifier, and optionally, a number, for example
+modifier, and optionally, a number:
@c
@lilypond[fragment,verbatim,quote]
\chords { e1:m e1:7 e1:m7 }
@end lilypond
The first number following the root is taken to be the `type' of the
chord, thirds are added to the root until it reaches the specified
-number, for example.
+number:
@lilypond[fragment,verbatim]
\chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
@end lilypond
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. For example
+the colon, and are separated by dots:
@c
@lilypond[verbatim,fragment,quote]
\chords { c:5.6 c:3.7.8 c:3.6.13 }
@end lilypond
Chord steps can be altered by suffixing a @code{-} or @code{+} sign
-to the number, for example:
+to the number:
@lilypond[verbatim,fragment,quote]
\chords { c:7+ c:5+.3- c:3-.5-.7- }
@end lilypond
Removals are specified similarly, and are introduced by a caret. They
-must come after the additions.
+must come after the additions:
@lilypond[verbatim,fragment]
\chords { c^3 c:7^5 c:9^3.5 }
@end lilypond
Modifiers can be used to change pitches. The following modifiers are
-supported
+supported:
@table @code
@item m
is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
@item dim
is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
- the 7th step
+ the 7th step.
@item aug
is the augmented chord. This modifier raises the 5th step.
@item maj
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.
+Modifiers can be mixed with additions:
@lilypond[verbatim,fragment]
\chords { c:sus4 c:7sus4 c:dim7 c:m6 }
@end lilypond
@cindex @code{sus}
@cindex @code{m}
-Since the unaltered 11 does sound well when combined with the
-unaltered 3, the 11 is removed in this case, unless it is added
-explicitly). For example,
+Since an unaltered 11 does not sound good when combined with an
+unaltered 13, the 11 is removed in this case (unless it is added
+explicitly):
+@c
@lilypond[fragment,verbatim]
\chords { c:13 c:13.11 c:m13 }
@end lilypond
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.
+@code{/}@var{pitch} to the chord:
@lilypond[fragment,verbatim,center]
\chords { c1 c/g c/f }
@end lilypond
Each step can only be present in a chord once. The following
simply produces the augmented chord, since @code{5+} is interpreted
-last.
+last:
@cindex clusters
@lilypond[verbatim,fragment]
\chords { c:5.5-.5+ }
@cindex chord names
@cindex chords
-For displaying printed chord names, use the @internalsref{ChordNames}
-context. The chords may be entered either using the notation
-described above, or directly using @code{<<} and @code{>>}.
+For displaying printed chord names, use the @internalsref{ChordNames} context.
+The chords may be entered either using the notation
+described above, or directly using @code{<} and @code{>}:
@lilypond[verbatim,singleline]
scheme = \notes {
- \chords {a1 b c} <<d' f' a'>> <<e' g' b'>>
+ \chords {a1 b c} <d' f' a'> <e' g' b'>
}
\score {
- \notes<
+ \notes<<
\context ChordNames \scheme
\context Staff \scheme
- >
+ >>
}
@end lilypond
You can make the chord changes stand out by setting
@internalsref{ChordNames}.@code{chordChanges} to true. This will only
display chord names when there is a change in the chords scheme and at
-the start of a new line.
+the start of a new line:
@lilypond[verbatim, linewidth=9cm]
scheme = \chords {
c1:m c:m \break c:m c:m d
}
\score {
- \notes <
+ \notes <<
\context ChordNames {
\property ChordNames.chordChanges = ##t
\scheme }
\context Staff \transpose c c' \scheme
- >
+ >>
}
@end lilypond
The default chord name layout is a system for Jazz music, proposed by
-Klaus Ignatzek (See @ref{Literature}). It can be tuned through the
+Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
following properties:
@table @code
function. Special note names (for example, the German ``H'' for a
B-chord) can be produced by storing a new function in this property.
+The pre-defined variables @code{\germanChords},
+@code{\semiGermanChords} set these variables.
+
+
@cindex chordNoteNamer
@item chordNoteNamer
The default is to print single pitch, e.g. the bass note, using 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}.
+@inputfileref{input/test,chord-names-jazz.ly}.
@cindex Banter
@cindex jazz chords
@refcommands
-@cindex @code{\germanChords }
+@cindex @code{\germanChords}
@code{\germanChords},
-@cindex @code{\semiGermanChords }
-@code{\semiGermanChords},
+@cindex @code{\semiGermanChords}
+@code{\semiGermanChords}.
@inputfileref{input/regression,chord-name-exceptions.ly},
@inputfileref{input/test,chord-names-jazz.ly},
@inputfileref{input/test,chord-names-german.ly},
-@file{scm/chords-ignatzek.scm}, @file{scm/chord-entry.scm}
+@file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
@refbugs
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.
+@code{< .. >} syntax.
* Transpose::
* Multi measure rests::
* Automatic part combining::
-* Frenched scores::
+* Hiding staves::
+* Different editions from one source::
* Sound output for transposing instruments::
@end menu
@node Multiple staff contexts
@subsection Multiple staff contexts
-Polyphonic scores consist of many staffs. These staffs 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. This is done with the
@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[fragment,verbatim]
\relative c'' {
c1 \mark "A"
The @code{\mark} command can also be used to put signs like coda,
segno and fermatas on a barline. Use @code{\markup} to
-to access the appropriate symbol.
+to access the appropriate symbol:
@lilypond[fragment,verbatim,relative=1]
c1 \mark \markup { \musicglyph #"scripts-ufermata" }
In this case, during line breaks,
marks must also be printed at the end of the line, and not at the
-beginning. Use the following to force that behavior
+beginning. Use the following to force that behavior:
@example
\property Score.RehearsalMark \override
#'break-visibility = #begin-of-line-invisible
@end example
-See @inputfileref{input/test,boxed-molecule.ly}. for putting boxes
+See @inputfileref{input/test,boxed-molecule.ly} for putting boxes
around the marks.
@cindex fermatas
@seealso
-@internalsref{MarkEvent}, @internalsref{RehearsalMark},
+@internalsref{MarkEvent}, @internalsref{RehearsalMark}, and
@inputfileref{input/test,boxed-molecule.ly}.
Bar numbers can be typeset at regular intervals instead of at the
beginning of each line. This is illustrated in the following example,
whose source is available as
-@inputfileref{input/test,bar-number-regular-interval.ly}
+@inputfileref{input/test,bar-number-regular-interval.ly}:
@lilypondfile[notexidoc]{bar-number-regular-interval.ly}
@seealso
-@internalsref{BarNumber}.
-@inputfileref{input/test,bar-number-every-five-reset.ly}.
-@inputfileref{input/test,bar-number-regular-interval.ly}
+@internalsref{BarNumber},
+@inputfileref{input/test,bar-number-every-five-reset.ly}, and
+@inputfileref{input/test,bar-number-regular-interval.ly}.
@refbugs
Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
-there is one at the top. To solve this, In that case, the
-@internalsref{padding} property of @internalsref{BarNumber} can be
+there is one at the top. To solve this, the
+@code{padding} property of @internalsref{BarNumber} can be
used to position the number correctly.
@node Instrument names
@subsection Instrument names
-In an orchestral score, instrument names are printed left of the
-staffs.
+In an orchestral score, instrument names are printed left side of the
+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
-used, for the next ones @code{instr} is used.
+used, for the next ones @code{instr} is used:
+@quotation
@lilypond[verbatim,singleline]
\property Staff.instrument = "ploink " { c''4 }
@end lilypond
+@end quotation
You can also use markup texts to construct more complicated instrument
-names.
+names:
+@quotation
@lilypond[fragment,verbatim,singleline]
- \notes \context Staff = treble {
+ \notes {
\property Staff.instrument = \markup {
- \column << "Clarinetti"
+ \column < "Clarinetti"
{ "in B"
\smaller \musicglyph #"accidentals--1"
}
- >>
+ >
}
{ c''1 }
}
@end lilypond
-
+@end quotation
@seealso
-@internalsref{InstrumentName}
+@internalsref{InstrumentName}.
@refbugs
@code{\transpose} distinguishes between enharmonic pitches: both
@code{\transpose c cis} or @code{\transpose c des} will transpose up
half a tone. The first version will print sharps and the second
-version will print flats.
+version will print flats:
@lilypond[singleline, verbatim]
mus =\notes { \key d \major cis d fis g }
@seealso
-@internalsref{TransposedMusic}, @internalsref{UntransposableMusic}.
+@internalsref{TransposedMusic}, and @internalsref{UntransposableMusic}.
@refbugs
@cindex @code{R}
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.
+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
+be expanded, and the appropriate number is added automatically:
@lilypond[fragment,verbatim]
\time 4/4 r1 | R1 | R1*2
R1*13/8*12
@end lilypond
-A @code{R} spanning a single measure is printed as either a whole rest
+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.
@cindex text on multi-measure rest
@var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
replaced. If you need both texts and the number, you must add the
number by hand. A variable (@code{\fermataMarkup}) is provided for
-adding fermatas.
+adding fermatas:
@lilypond[verbatim,fragment]
@internalsref{MultiMeasureRestEvent},
@internalsref{MultiMeasureTextEvent},
-@internalsref{MultiMeasureRestMusicGroup},
-@internalsref{MultiMeasureRest},
+@internalsref{MultiMeasureRestMusicGroup}, and
+@internalsref{MultiMeasureRest}.
The layout object @internalsref{MultiMeasureRestNumber} is for the
default number, and @internalsref{MultiMeasureRestText} for user
multimeasure rest. Multi measure rests do not take part in rest
collisions.
-Be careful when entering multimeasure rests followed by whole notes,
+Be careful when entering multimeasure rests followed by whole
+notes. The following will enter two notes lasting four measures each:
@example
R1*4 cis cis
@end example
-will enter two notes lasting four measures each. When @code{skipBars}
-is set, then the result will look OK, but the bar numbering will be
-off.
+When @code{skipBars} is set, then the result will look OK, but the
+bar numbering will be off.
@node Automatic part combining
@subsection Automatic part combining
The following example demonstrates the basic functionality of the part
combiner: putting parts on one staff, and setting stem directions and
-polyphony.
+polyphony:
@lilypond[verbatim,singleline,fragment]
- \context Staff <
+ \context Staff <<
\context Voice=one \partcombine Voice
\context Thread=one \relative c'' {
- g a-( b-) r
+ g a( b) r
}
\context Thread=two \relative c'' {
g r4 r f
}
- >
+ >>
@end lilypond
The first @code{g} appears only once, although it was
`Solo II'.
If you just want the merging parts, and not the textual markings, you
-may set the property @var{soloADue} to false.
+may set the property @var{soloADue} to false:
@lilypond[verbatim,singleline,fragment]
- \context Staff <
+ \context Staff <<
\property Staff.soloADue = ##f
\context Voice=one \partcombine Voice
\context Thread=one \relative c'' {
\context Thread=two \relative c'' {
d,2 a4 g'
}
- >
+ >>
@end lilypond
@seealso
@internalsref{PartCombineMusic},
-@internalsref{Thread_devnull_engraver},
+@internalsref{Thread_devnull_engraver}, and
@internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
@refbugs
In @code{soloADue} mode, when the two voices play the same notes on and
off, the part combiner may typeset @code{a2} more than once in a
-measure.
+measure:
@lilypond[fragment,singleline]
- \context Staff <
+ \context Staff <<
\context Voice=one \partcombine Voice
\context Thread=one \relative c'' {
c b c b c a c a
\context Thread=two \relative c'' {
b b b b f a f a
}
- >
+ >>
@end lilypond
-The part combiner is slated to be rewritten [TODO: explain why].
+The part combiner is rather buggy, and it will be replaced by a better
+mechanism in the near future.
@cindex @code{Thread_devnull_engraver}
@cindex @code{Voice_engraver}
@cindex @code{A2_engraver}
-@node Frenched scores
-@subsection Frenched scores
+@node Hiding staves
+@subsection Hiding staves
+
+@cindex Frenched scores
+@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'.
switched on by default. When these line of these contexts turn out
empty after the line-breaking process, they are removed.
-
-For normal staffs, a specialized @internalsref{Staff} context is
-available, which does the same: staffs containing nothing (or only
+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
-in this example disappears in the second line.
+in this example disappears in the second line:
@lilypond[verbatim]
\score {
- \notes \relative c' <
- \context Staff = SA { e4 f g a \break c1 }
- \context Staff = SB { c4 d e f \break R1 }
- >
+ \notes \relative c' <<
+ \new Staff { e4 f g a \break c1 }
+ \new Staff { c4 d e f \break R1 }
+ >>
\paper {
linewidth = 6.\cm
\translator { \RemoveEmptyStaffContext }
}
@end lilypond
+The first page shows all staffs in full. If they should be removed
+from the first page too, set @code{remove-first} to false
+in @internalsref{RemoveEmptyVerticalGroup}.
+
+@node Different editions from one source
+@subsection Different editions from one source
+
+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.
+
+In the following example, we see two versions of a piece of music, one
+for the full score, and one with cue notes for the instrumental part:
+
+@example
+ c1
+ \relative c' <<
+ \tag #'part <<
+ R1 \\
+ @{
+ \property Voice.fontSize = #-1
+ c4_"cue" f2 g4 @}
+ >>
+ \tag #'score R1
+ >>
+ c1
+@end example
+
+The same can be applied to articulations, texts, etc.: they are
+made by prepending
+@example
+ -\tag #@var{your-tag}
+@end example
+to an articulation, for example,
+@example
+ 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,
+@example
+\simultaneous @{
+ @var{the music}
+ \apply #(remove-tag 'score) @var{the music}
+ \apply #(remove-tag 'part) @var{the music}
+@}
+@end example
+would yield
+
+@lilypondfile[notexidoc]{tag-filter.ly}
+
+The argument of the @code{\tag} command should be a symbol, or a list
+of symbols, for example,
+@example
+ \tag #'(original-part transposed-part) @dots{}
+@end example
+
+@seealso
+
+@inputfileref{input/regression,tag-filter.ly}
+
@node Sound output for transposing instruments
@subsection Sound output for transposing instruments
and untransposed instruments, you have to instruct LilyPond the pitch
offset (in semitones) for the transposed instruments. This is done
using the @code{transposing} property. It does not affect printed
-output.
+output:
@cindex @code{transposing}
@cindex Petrucci
@cindex mensural
-@c [TODO: write introduction on ancient notation]
+@c [TODO: write more comprehensive introduction on ancient notation]
+
+Support for ancient notation is still under heavy development.
+Regardless of all of the current limitations (see the bugs section
+below for details), it includes features for mensural
+notation and Gregorian Chant notation. There is also limited support
+for figured bass notation.
+
+Many graphical objects provide a @code{style} property, see
+@ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
+rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
+signatures}. By manipulating such a grob property, the typographical
+appearance of the affected graphical objects can be accomodated for a
+specific notation flavour without need for introducing any new
+notational concept.
+
+
+Other aspects of ancient notation can not that easily be expressed as
+in terms of just changing a style property of a graphical object.
+Therefore, some notational concepts are introduced specifically for
+ancient notation, see @ref{Custodes}, @ref{Divisiones},
+@ref{Ligatures}, and @ref{Figured bass}.
+
@menu
* Ancient note heads::
-* Ancient clefs ::
+* Ancient accidentals::
+* Ancient rests::
+* Ancient clefs::
+* Ancient flags::
+* Ancient time signatures::
* Custodes::
* Divisiones::
* Ligatures::
* Figured bass::
+* Vaticana style contexts::
@end menu
+If this all is way too much of documentation for you, and you just
+want to dive into typesetting without worrying too much about the
+details on how to customize a context, then you may have a look at the
+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.
+
+@refbugs
+
+Ligatures need special spacing that has not yet been implemented. As
+a result, there is too much space between ligatures most of the time,
+and line breaking often is unsatisfactory. Also, lyrics do not
+correctly align with ligatures.
+
+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.
+
@node Ancient note heads
@subsection Ancient note heads
-To get a longa note head, you have to use mensural note heads. This
-is accomplished by setting the @code{style} property of the
-NoteHead object to @code{mensural}. There is also a note head style
-@code{baroque} which gives mensural note heads for @code{\longa} and
-@code{\breve} but standard note heads for shorter notes.
+@cindex note heads
+
+@syntax
+
+For ancient notation, a note head style other than the @code{default}
+style may be chosen. This is accomplished by setting the @code{style}
+property of the NoteHead object to the desired value (@code{baroque},
+@code{neo_mensural} or @code{mensural}). The @code{baroque} style
+differs from the @code{default} style only in using a square shape for
+@code{\breve} note heads. The @code{neo_mensural} style differs from
+the @code{baroque} style in that it uses rhomboidal heads for whole
+notes and all smaller durations. Stems are centered on the note
+heads. This style is in particular useful when transcribing mensural
+music, e.g. for the incipit. The @code{mensural} style finally
+produces note heads that mimick the look of note heads in historic
+printings of the 16th century.
+
+The following example demonstrates the @code{neo_mensural} style:
+
+@lilypond[fragment,singleline,verbatim]
+ \property Voice.NoteHead \set #'style = #'neo_mensural
+ a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
+@end lilypond
+
+When typesetting a piece in Gregorian Chant notation, a Gregorian
+ligature engraver will automatically select the proper note heads,
+such there is no need to explicitly set the note head style. Still,
+the note head style can be set e.g. to @code{vaticana_punctum} to
+produce punctum neumes. Similarly, a mensural ligature engraver is
+used to automatically assemble mensural ligatures. See
+@ref{Ligatures} for how ligature engravers work.
+
+@seealso
+
+@inputfileref{input/regression,note-head-style.ly} gives an overview
+over all available note head styles.
+
+@ref{Percussion staves} use note head styles of their own that are
+frequently used in contemporary music notation.
+
+@node Ancient accidentals
+@subsection Ancient accidentals
+
+@cindex accidentals
+
+@syntax
+
+Use the @code{style} property of grob @internalsref{Accidental} to
+select ancient accidentals. Supported styles are
+@code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
+
+@lilypond[singleline,26pt]
+\score {
+ \notes {
+ \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
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator{
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ \remove "Time_signature_engraver"
+ \remove "Staff_symbol_engraver"
+ minimumVerticalExtent = ##f
+ }
+ }
+}
+@end lilypond
+
+As shown, not all accidentals are supported by each style. When
+trying to access an unsupported accidental, LilyPond will switch to a
+different style, as demonstrated in
+@inputfileref{input/test,ancient-accidentals.ly}.
+
+Similarly to local accidentals, the style of the key signature can be
+controlled by the @code{style} property of the
+@internalsref{KeySignature} grob.
+
+@seealso
+
+@ref{Pitches}, @ref{Chromatic alterations} and @ref{Accidentals} give
+a general introduction into the use of accidentals. @ref{Key
+signature} gives a general introduction into the use of key
+signatures.
+
+
+@node Ancient rests
+@subsection Ancient rests
+
+@cindex rests
+
+@syntax
+
+Use the @code{style} property of grob @internalsref{Rest} to select
+ancient accidentals. Supported styles are @code{classical},
+@code{neo_mensural} and @code{mensural}. @code{classical} differs
+from the @code{default} style only in that the quarter rest looks like
+a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
+well for e.g. the incipit of a transcribed mensural piece of music.
+The @code{mensural} style finally mimicks the appearance of rests as
+in historic prints of the 16th century.
+
+The following example demonstrates the @code{neo_mensural} style:
@lilypond[fragment,singleline,verbatim]
- \property Voice.NoteHead \set #'style = #'mensural
- a'\longa
+ \property Voice.Rest \set #'style = #'neo_mensural
+ r\longa r\breve r1 r2 r4 r8 r16
@end lilypond
-@node Ancient clefs
+There are no 32th and 64th rests specifically for the mensural or
+neo-mensural style. Instead, the rests from the default style will be
+taken. See @inputfileref{input/test,rests.ly} for a chart of all
+rests.
+
+There are no rests in Gregorian Chant notation; instead, it uses
+@ref{Divisiones}.
+
+@seealso
+
+@ref{Rests} gives a general introduction into the use of rests.
+
+
+@node Ancient clefs
@subsection Ancient clefs
-LilyPond supports a variety of clefs, many of them ancient.
+@cindex clefs
-For modern clefs, see section @ref{Clef}. For the percussion clef, see
-section @ref{Percussion staves}. For the @code{TAB} clef, see section
-@ref{Tablatures}.
+@syntax
+
+LilyPond supports a variety of clefs, many of them ancient.
The following table shows all ancient clefs that are supported via the
@code{\clef} command. Some of the clefs use the same glyph, but
differ only with respect to the line they are printed on. In such
cases, a trailing number in the name is used to enumerate these clefs.
Still, you can manually force a clef glyph to be typeset on an
-arbitrary line, as described in section @ref{Clef}. The note printed
-to the right side of each clef in the example column denotes the
-@code{c'} with respect to that clef.
+arbitrary line, as described in @ref{Clef}. The note printed to the
+right side of each clef in the example column denotes the @code{c'}
+with respect to that clef.
@multitable @columnfractions .3 .3 .3 .1
@end lilypond
@item
-@code{clefs-mensural_c'} @tab
+@code{clefs-mensural_c} @tab
historic style mensural C clef @tab
@code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
@code{mensural_c4} @tab
@code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
@lilypond[relative 0, notime]
\context Staff
-\outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
+\applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
\property Staff.TimeSignature \set #'transparent = ##t
\clef "vaticana_do2" c
@end lilypond
@code{vaticana_fa1}, @code{vaticana_fa2} @tab
@lilypond[relative 0, notime]
\context Staff
-\outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
+\applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
\property Staff.TimeSignature \set #'transparent = ##t
\clef "vaticana_fa2" c
@end lilypond
@code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
@lilypond[relative 0, notime]
\context Staff
-\outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
+\applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
\property Staff.TimeSignature \set #'transparent = ##t
\clef "medicaea_do2" c
@end lilypond
@code{medicaea_fa1}, @code{medicaea_fa2} @tab
@lilypond[relative 0, notime]
\context Staff
-\outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
+\applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
\property Staff.TimeSignature \set #'transparent = ##t
\clef "medicaea_fa2" c
@end lilypond
@code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
@lilypond[relative 0, notime]
\context Staff
-\outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
+\applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
\property Staff.TimeSignature \set #'transparent = ##t
\clef "hufnagel_do2" c
@end lilypond
@code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
@lilypond[relative 0, notime]
\context Staff
-\outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
+\applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
\property Staff.TimeSignature \set #'transparent = ##t
\clef "hufnagel_fa2" c
@end lilypond
Petrucci used C clefs with differently balanced left-side vertical
beams, depending on which staffline it is printed.
+@seealso
+
+For modern clefs, see @ref{Clef}. For the percussion clef, see
+@ref{Percussion staves}. For the @code{TAB} clef, see
+@ref{Tablatures}.
+
+
+@node Ancient flags
+@subsection Ancient flags
+
+@cindex flags
+
+@syntax
+
+Use the @code{flag-style} property of grob @internalsref{Stem} to
+select ancient flags. Besides the @code{default} flag style,
+ only @code{mensural} style is supported:
+
+@lilypond[fragment,singleline,verbatim]
+ \property Voice.Stem \set #'flag-style = #'mensural
+ \property Voice.Stem \set #'thickness = #1.0
+ \property Voice.NoteHead \set #'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
+behaviour, 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[fragment,singleline]
+ \property Voice.Stem \set #'flag-style = #'mensural
+ \property Voice.Stem \set #'thickness = #1.0
+ \property Voice.Stem \set #'adjust-if-on-staffline = ##f
+ \property Voice.NoteHead \set #'style = #'mensural
+ \autoBeamOff
+ c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
+ c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
+@end lilypond
+
+There is no particular flag style for neo-mensural notation. Hence,
+when typesetting e.g. the incipit of a transcibed piece of mensural
+music, the default flag style should be used. There are no flags in
+Gregorian Chant notation.
+
+
+@node Ancient time signatures
+@subsection Ancient time signatures
+
+@cindex time signatures
+
+@syntax
+
+There is limited support for mensural time signatures. The
+glyphs are hard-wired to particular time fractions. In other words,
+to get a particular mensural signature glyph with the @code{\time n/m}
+command, @code{n} and @code{m} have to be chosen according to the
+following table:
+
+@lilypond
+\score {
+ \notes {
+ \property Score.timing = ##f
+ \property Score.barAlways = ##t
+ s_\markup { "$\\backslash$time 4/4" }
+ ^\markup { " " \musicglyph #"timesig-neo\_mensural4/4" }
+ s
+ s_\markup { "$\\backslash$time 2/2" }
+ ^\markup { " " \musicglyph #"timesig-neo\_mensural2/2" }
+ s
+ s_\markup { "$\\backslash$time 6/4" }
+ ^\markup { " " \musicglyph #"timesig-neo\_mensural6/4" }
+ s
+ s_\markup { "$\\backslash$time 6/8" }
+ ^\markup { " " \musicglyph #"timesig-neo\_mensural6/8" }
+ \break
+ s_\markup { "$\\backslash$time 3/2" }
+ ^\markup { " " \musicglyph #"timesig-neo\_mensural3/2" }
+ s
+ s_\markup { "$\\backslash$time 3/4" }
+ ^\markup { " " \musicglyph #"timesig-neo\_mensural3/4" }
+ s
+ s_\markup { "$\\backslash$time 9/4" }
+ ^\markup { " " \musicglyph #"timesig-neo\_mensural9/4" }
+ s
+ s_\markup { "$\\backslash$time 9/8" }
+ ^\markup { " " \musicglyph #"timesig-neo\_mensural9/8" }
+ \break
+ s_\markup { "$\\backslash$time 4/8" }
+ ^\markup { " " \musicglyph #"timesig-neo\_mensural4/8" }
+ s
+ s_\markup { "$\\backslash$time 2/4" }
+ ^\markup { " " \musicglyph #"timesig-neo\_mensural2/4" }
+ \break
+ }
+ \paper {
+ indent = 0.0
+ raggedright = ##t
+ \translator {
+ \StaffContext
+ \remove Staff_symbol_engraver
+ \remove Clef_engraver
+ \remove Time_signature_engraver
+ }
+ }
+}
+@end lilypond
+
+Use the @code{style} property of grob @internalsref{TimeSignature} to
+select ancient time signatures. Supported styles are
+@code{neo_mensural} and @code{mensural}. The above table uses the
+@code{neo_mensural} style. This style is appropriate e.g. for the
+incipit of transcriptions of mensural pieces. The @code{mensural}
+style mimicks the look of historical printings of the 16th century.
+
+@inputfileref{input/test,time.ly} gives an overview over all available
+ancient and modern styles.
+
+@seealso
+
+@ref{Time signature} gives a general introduction into the use of time
+signatures.
+
+@refbugs
+
+Mensural signature glyphs are mapped to time fractions in a
+hard-wired way. This mapping is sensible, but still arbitrary: given
+a mensural time signature, the time fraction represents a modern meter
+that usually will be a good choice when transcribing a mensural piece
+of music. For a particular piece of mensural music, however, the
+mapping may be unsatisfactory. In particular, the mapping assumes a
+fixed transcription of durations (e.g. brevis = half note in 2/2,
+i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
+are not at all accessible through the @code{\time} command.
+
+Mensural time signatures are supported typographically, but not yet
+musically. The internal representation of durations is
+based on a purely binary system; a ternary division such as 1 brevis =
+3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
+prolatione maiori) is not correctly handled: event times in ternary
+modes will be badly computed, resulting e.g. in horizontally
+misaligned note heads, and bar checks are likely to erroneously fail.
+
+The syntax and semantics of the @code{\time} command for mensural
+music is subject to change.
@node Custodes
@subsection Custodes
like the @emph{editio vaticana}. There are different custos glyphs
used in different flavours of notational style.
+@syntax
+
For typesetting custodes, just put a @internalsref{Custos_engraver} into the
@internalsref{Staff} context when declaring the @code{\paper} block,
-as shown in the following example.
+as shown in the following example:
@example
\paper @{
\fatText
s
^\markup {
- \column <<
+ \column <
"vaticana"
{ " " \musicglyph #"custodes-vaticana-u0" }
- >>
- \column <<
+ >
+ \column <
"medicaea"
{ " " \musicglyph #"custodes-medicaea-u0" }
- >>
- \column <<
+ >
+ \column <
"hufnagel"
{ " " \musicglyph #"custodes-hufnagel-u0" }
- >>
- \column <<
+ >
+ \column <
"mensural"
{ " " \musicglyph #"custodes-mensural-u0" }
- >>
+ >
}
}
\paper {
@seealso
-
-@internalsref{Custos}, @inputfileref{input/test,custos-style.ly} and
-@inputfileref{input/regression,custos.ly}.
+@internalsref{Custos} and @inputfileref{input/regression,custos.ly}.
@node Divisiones
and @code{\finalis} at proper places in the input. Some editions use
@emph{virgula} or @emph{caesura} instead of divisio minima.
Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
-@code{\caesura}.
-
+@code{\caesura}:
@lilypondfile[notexidoc]{divisiones.ly}
+@refcommands
+
+@cindex @code{\virgula}
+@code{\virgula},
+@cindex @code{\caesura}
+@code{\caesura},
+@cindex @code{\divisioMinima}
+@code{\divisioMinima},
+@cindex @code{\divisioMaior}
+@code{\divisioMaior},
+@cindex @code{\divisioMaxima}
+@code{\divisioMaxima},
+@cindex @code{\finalis}
+@code{\finalis}.
+
@seealso
@internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
-@inputfileref{input/test,divisiones.ly}, @ref{Breath marks}.
+@inputfileref{input/test,divisiones.ly}, and @ref{Breath marks}.
@node Ligatures
@subsection Ligatures
@c down the following paragraph by heart.
In musical terminology, a ligature is a coherent graphical symbol that
-represents at least two different notes. Ligatures originally appeared
+represents at least two distinct notes. Ligatures originally appeared
in the manuscripts of Gregorian chant notation roughly since the 9th
century as an allusion to the accent symbols of greek lyric poetry to
-denote ascending or descending sequences of notes. Both, the shape and
-the exact meaning of ligatures changed tremendously during the following
-centuries: In early notation, ligatures where used for monophonic tunes
-(Gregorian chant) and very soon denoted also the way of performance in
-the sense of articulation. With upcoming multiphony, the need for a
-metric system arised, since multiple voices of a piece have to be
-synchronized some way. New notation systems were invented that used
-the manifold shapes of ligatures to now denote rhythmical patterns
-(e.g. black mensural notation, mannered notation, ars nova). With the
-invention of the metric system of the white mensural notation, the need
-for ligatures to denote such patterns disappeared. Nevertheless,
-ligatures were still in use in the mensural system for a couple of
-decades until they finally disappeared during the late 16th / early 17th
-century. Still, ligatures have survived in contemporary editions of
-Gregorian chant such as the Editio Vaticana from 1905/08.
+denote ascending or descending sequences of notes. Both, the shape
+and the exact meaning of ligatures changed tremendously during the
+following centuries: In early notation, ligatures were used for
+monophonic tunes (Gregorian chant) and very soon denoted also the way
+of performance in the sense of articulation. With upcoming
+multiphony, the need for a metric system arised, since multiple voices
+of a piece have to be synchronized some way. New notation systems
+were invented that used the manifold shapes of ligatures to now denote
+rhythmical patterns (e.g. black mensural notation, mannered notation,
+ars nova). With the invention of the metric system of the white
+mensural notation, the need for ligatures to denote such patterns
+disappeared. Nevertheless, ligatures were still in use in the
+mensural system for a couple of decades until they finally disappeared
+during the late 16th / early 17th century. Still, ligatures have
+survived in contemporary editions of Gregorian chant such as the
+Editio Vaticana from 1905/08.
@syntax
@code{\]}. Some ligature styles (such as Editio Vaticana) may need
additional input syntax specific for this particular type of ligature.
By default, the @internalsref{LigatureBracket} engraver just puts a
-square bracket above the ligature.
+square bracket above the ligature:
@lilypond[singleline,verbatim]
\score {
\notes \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
To select a specific style of ligatures, a proper ligature engraver
has to be added to the @internalsref{Voice} context, as explained in
-the following subsections. Currently, only white mensural ligatures
+the following subsections. Only white mensural ligatures
are supported with certain limitations. Support for Editio Vaticana
will be added in the future.
@cindex White mensural ligatures
There is limited support for white mensural ligatures. The
-implementation is still experimental; it currently may output strange
+implementation is still experimental; it may output strange
warnings or even crash in some cases or produce weird results on more
-complex ligatures. To engrave white mensural ligatures, in the paper
-block the @internalsref{Mensural_ligature_engraver} has to be put into
-the @internalsref{Voice} context, and remove the
+complex ligatures.
+
+@syntax
+
+To engrave white mensural ligatures, in the paper block the
+@internalsref{Mensural_ligature_engraver} has to be put into the
+@internalsref{Voice} context, and remove the
@internalsref{Ligature_bracket_engraver}:
@example
\paper @{
- \translator @{
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
- @}
+ \translator @{
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Mensural_ligature_engraver
+ @}
@}
@end example
This is not only required for correct MIDI output, but also allows for
automatic transcription of the ligatures.
-Example:
+For example,
@example
- \property Score.timing = ##f
- \property Score.defaultBarType = "empty"
- \property Voice.NoteHead \set #'style = #'neo_mensural
- \property Staff.TimeSignature \set #'style = #'neo_mensural
- \clef "petrucci_g"
- \[ g\longa c\breve a\breve f\breve d'\longa \]
- s4
- \[ e1 f1 a\breve g\longa \]
+ \property Score.timing = ##f
+ \property Score.defaultBarType = "empty"
+ \property Voice.NoteHead \set #'style = #'neo_mensural
+ \property Staff.TimeSignature \set #'style = #'neo_mensural
+ \clef "petrucci_g"
+ \[ g\longa c\breve a\breve f\breve d'\longa \]
+ s4
+ \[ e1 f1 a\breve g\longa \]
@end example
@lilypond[singleline]
\score {
\notes \transpose c c' {
- \property Score.timing = ##f
- \property Score.defaultBarType = "empty"
- \property Voice.NoteHead \set #'style = #'neo_mensural
- \property Staff.TimeSignature \set #'style = #'neo_mensural
- \clef "petrucci_g"
- \[ g\longa c\breve a\breve f\breve d'\longa \]
- s4
- \[ e1 f1 a\breve g\longa \]
+ \property Score.timing = ##f
+ \property Score.defaultBarType = "empty"
+ \property Voice.NoteHead \set #'style = #'neo_mensural
+ \property Staff.TimeSignature \set #'style = #'neo_mensural
+ \clef "petrucci_g"
+ \[ g\longa c\breve a\breve f\breve d'\longa \]
+ s4
+ \[ e1 f1 a\breve g\longa \]
}
\paper {
- \translator {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
- }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Mensural_ligature_engraver
+ }
}
}
@end lilypond
@lilypond[singleline]
\score {
\notes \transpose c c' {
- \property Score.timing = ##f
- \property Score.defaultBarType = "empty"
- \property Voice.NoteHead \set #'style = #'neo_mensural
- \property Staff.TimeSignature \set #'style = #'neo_mensural
- \clef "petrucci_g"
- \[ g\longa c\breve a\breve f\breve d'\longa \]
- s4
- \[ e1 f1 a\breve g\longa \]
+ \property Score.timing = ##f
+ \property Score.defaultBarType = "empty"
+ \property Voice.NoteHead \set #'style = #'neo_mensural
+ \property Staff.TimeSignature \set #'style = #'neo_mensural
+ \clef "petrucci_g"
+ \[ g\longa c\breve a\breve f\breve d'\longa \]
+ s4
+ \[ e1 f1 a\breve g\longa \]
}
}
@end lilypond
+
@node Gregorian square neumes ligatures
@subsubsection Gregorian square neumes ligatures
@end multitable
+@syntax
Unlike most other neumes notation systems, the input language for
neumes does not necessarily reflect directly the typographical
appearance, but is designed to solely focuse on musical meaning. For
example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
-a torculus with a curved flexa shape and only a single Punctum head.
+a Porrectus with a curved flexa shape and only a single Punctum head.
There is no command to explicitly typeset the curved flexa shape; the
decision of when to typeset a curved flexa shape is purely taken from
the musical input. The idea of this approach is to separate the
@end multitable
-@refbugs
+@refcommands
+
+The following head prefixes are supported:
+
+@cindex @code{\virga}
+@code{\virga},
+@cindex @code{\stropha}
+@code{\stropha},
+@cindex @code{\inclinatum}
+@code{\inclinatum},
+@cindex @code{\auctum}
+@code{\auctum},
+@cindex @code{\descendens}
+@code{\descendens},
+@cindex @code{\ascendens}
+@code{\ascendens},
+@cindex @code{\oriscus}
+@code{\oriscus},
+@cindex @code{\quilisma}
+@code{\quilisma},
+@cindex @code{\deminutum}
+@code{\deminutum}.
+
+Head prefixes can be accumulated, though restrictions apply. For
+example, either @code{\descendens} or @code{\ascendens} can be applied
+to a head, but not both to the same head.
+
+@cindex @code{\pes}
+@cindex @code{\flexa}
+Two adjacent heads can be tied together with the @code{\pes} and
+@code{\flexa} infix commands for a rising and falling line of melody,
+respectively.
-Scandicus Deminutus: Punctum Auctum Ascendens overlaps with
-Semivocalis head; this looks awful.
+@refbugs
Trigonus: apply equal spacing, regardless of pitch.
LilyPond has limited support for figured bass:
@lilypond[verbatim,fragment]
-<
+<<
\context Voice \notes { \clef bass dis4 c d ais}
\context FiguredBass
\figures {
- < 6 >4 < 7 >8 < 6+ [_!] >
+ < 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
-as numbers, and there is a context called @internalsref{FiguredBass}
-that takes care of making @internalsref{BassFigure} objects.
+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>
+ <4 6>
@end example
@lilypond[fragment]
\context FiguredBass
@end lilypond
Accidentals are added when you append @code{-}, @code{!} and @code{+}
-to the numbers.
+to the numbers:
@example
<4- 6+ 7!>
@end lilypond
Spaces or dashes may be inserted by using @code{_}. Brackets are
-introduced with @code{[} and @code{]}.
+introduced with @code{[} and @code{]}:
@example
- < [4 6] 8 [_! 12]>
+ < [4 6] 8 [_! 12]>
@end example
@lilypond[fragment]
\context FiguredBass
@seealso
-@internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
-@internalsref{FiguredBass} context
+@internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
+and @internalsref{FiguredBass} context.
@refbugs
Slash notation for alterations is not supported.
+@node Vaticana style contexts
+@subsection Vaticana style contexts
+
+@cindex VaticanaVoiceContext
+@cindex VaticanaStaffContext
+
+The predefined @code{VaticanaVoiceContext} and
+@code{VaticanaStaffContext} can be used to easily engrave a piece of
+Gregorian Chant in the style of the Editio Vaticana. These contexts
+initialize all relevant context properties and grob properties to
+proper values. With these contexts, you can immediately go ahead
+entering the chant, as the following short excerpt demonstrates:
+
+@lilypond[raggedright,verbatim,noindent]
+\include "gregorian-init.ly"
+\score {
+ \addlyrics
+ \context VaticanaVoice {
+ \property Score.BarNumber \set #'transparent = ##t
+ \notes {
+ \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
+ \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
+ \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
+ }
+ }
+ \context Lyrics \lyrics {
+ San- ctus, San- ctus, San- ctus
+ }
+}
+@end lilypond
+
@node Contemporary notation
@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. For a comprehensive overview, refer to @cite{Stone
-1980} (see @ref{Literature}). 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.
+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.
@menu
A cluster is engraved as the envelope of a set of
cluster-notes. Cluster notes are created by applying the function
-@code{notes-to-clusters} to a sequence of chords, eg.
+@code{notes-to-clusters} to a sequence of chords, e.g.
@c
@lilypond[relative 1,verbatim]
- \apply #notes-to-clusters { <<c e >> <<b f'>> }
+ \apply #notes-to-clusters { <c e > <b f'> }
@end lilypond
The following example (from
@inputfileref{input/regression,cluster.ly}) shows what the result
-looks like.
+looks like:
@lilypondfile[notexidoc]{cluster.ly}
-By default, @internalsref{Cluster_engraver} is in the
+By default, @internalsref{Cluster_spanner_engraver} is in the
@internalsref{Voice} context. This allows putting ordinary notes and
clusters together in the same staff, even simultaneously. In such a
case no attempt is made to automatically avoid collisions between
@internalsref{ClusterSpanner}, @internalsref{ClusterSpannerBeacon},
@inputfileref{input/regression,cluster.ly},
-@internalsref{Cluster_engraver}, @internalsref{ClusterNoteEvent}.
+@internalsref{Cluster_spanner_engraver}, and @internalsref{ClusterNoteEvent}.
@refbugs
-Music expressions like @code{< @{ g8 e8 @} a4 >} are not printed
-accurately. Use @code{<<g a>>8 <<e a>>8} instead.
+Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
+accurately. Use @code{<g a>8 <e a>8} instead.
@lilypond[singleline]
\score {
- < \addlyrics \notes {
+ << \addlyrics \notes {
b'
^\shortfermata
_\shortfermata
}
\context Lyrics \lyrics {
"shortfermata" "fermata" "longfermata" "verylongfermata"
- } >
+ } >>
}
@end lilypond
Do not confuse layout properties with translation
properties. Translation properties always use a mixed caps style
-naming, and are manipulated using @code{\property}
+naming, and are manipulated using @code{\property}:
@example
\property Context.propertyName = @var{value}
@end example
* Tuning objects ::
* Constructing a tweak::
* Applyoutput::
-* Outputproperty::
* Font selection::
* Text markup::
@end menu
The definition of an object is a list of default object
properties. For example, the definition of the Stem object (available
in @file{scm/define-grobs.scm}), includes the following definitions
-for @internalsref{Stem}
+for @internalsref{Stem}:
@example
(thickness . 1.3)
@cindex @code{\once}
For changing more objects, the same command, without @code{\once} can
-be used.
+be used:
@example
\property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
@end example
of @var{objectname} in the context @var{context}, and this definition
stays in place until it is removed.
-An existing definition may be removed by the following command
+An existing definition may be removed by the following command:
@c
@example
\property @var{context}.@var{objectname} \revert @var{symbol}
@end lilypond
The following example gives exactly the same result as the previous
-one (assuming the system default for stem thickness is 1.3).
+one (assuming the system default for stem thickness is 1.3):
@c
@lilypond[verbatim,quote]
c'4 \property Voice.Stem \set #'thickness = #4.0
remove the default value, and this may give surprising results,
including crashes. In other words, @code{\override} and
@code{\revert} must be carefully balanced. The following are examples
-of correct nesting of @code{\override}, @code{\set}, @code{\revert}.
+of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
@itemize @bullet
@item
-A clumsy but correct form:
+a clumsy but correct form:
@example
\override \revert \override \revert \override \revert
@end example
@item
-Shorter version of the same:
+shorter version of the same:
@example
\override \set \set \revert
@end example
@item
-A short form, using only @code{\set}. This requires you to know the
+a short form, using only @code{\set}. This requires you to know the
default value:
@example
\set \set \set \set @var{to default value}
@end example
@item
-If there is no default (i.e. by default, the object property is unset),
+if there is no default (i.e. by default, the object property is unset),
then you can use
@example
\set \set \set \revert
@end example
@end itemize
-For the digirati, the object description is an Scheme association
+ The object description is an Scheme association
list. Since a Scheme list is a singly linked list, we can treat it as
a stack, and @code{\override} and @code{\revert} are push and pop
operations. The association list is stored in a normal context
\property Voice.NoteHead = #'()
@end example
will effectively erase @internalsref{NoteHead}s from the current
-@internalsref{Voice}. However, this mechanism is not guaranteed to
-work, and may cause crashes or other anomalous behavior.
+@internalsref{Voice}. Typically, this will blank the object. However,
+this mechanism should not be used: it may cause crashes or other
+anomalous behavior.
@seealso
@internalsref{OverrideProperty}, @internalsref{RevertProperty},
-@internalsref{PropertySet}, @internalsref{backend properties},
-@internalsref{All layout objects}.
+@internalsref{PropertySet}, @internalsref{All-backend-properties}, and
+@internalsref{All-layout-objects}.
@refbugs
The backend is not very strict in type-checking object properties.
-Cyclic references in @var{value} cause hangs and/or crashes.
-Similarly, reverting properties that are system defaults may also lead
+Cyclic references in Scheme values for properties cause hangs and/or
+crashes. Reverting properties that are system defaults may also lead
to crashes.
@node Constructing a tweak
included if you installed a binary distribution, typically in
@file{/usr/share/doc/lilypond}. They are also available on the web:
go to the @uref{http://lilypond.org,LilyPond website}, click
-``Documentation'', and then ``Program reference'' on the side bar. It
-is advisable to bookmark either the local HTML files if possible. They
-will load faster than the ones on the web. If you use the version
-from the web, you must check whether the documentation matches the
-program version: the documentation is generated from the definitions
-that the program uses, and therefore it is strongly tied to the
-LilyPond version.
+``Documentation'', select the correct version, and click then
+``Program reference.'' It is advisable to bookmark the local HTML
+files. They will load faster than the ones on the web. If you use the
+version from the web, you must check whether the documentation matches
+the program version: it is generated from the definitions that the
+program uses, and therefore it is strongly tied to the LilyPond
+version.
@c [TODO: revise for new site.]
-Suppose we want to move the fingering indication in the fragment below
+Suppose we want to move the fingering indication in the fragment below:
@lilypond[relative=2,verbatim]
c-2
@end lilypond
If you visit the documentation of @code{Fingering} (in @ref{Fingering
-instructions}), you will notice that it says
+instructions}), you will notice that there is written:
@quotation
@seealso
@internalsref{FingerEvent} and @internalsref{Fingering}.
+
@end quotation
+@separate
+
@noindent
In other words, the fingerings once entered, are internally stored as
@code{FingerEvent} music objects. When printed, a @code{Fingering}
layout object is created for every @code{FingerEvent}.
The Fingering object has a number of different functions, and each of
-those is captured in an interface. when we look up
-@internalsref{Fingering} in the generated documentation.
+those is captured in an interface. The interfaces are listed under
+@internalsref{Fingering} in the program reference.
@internalsref{finger-interface}.
For the vertical placement, we have to look under
-@code{side-position-interface}.
+@code{side-position-interface}:
@quotation
@code{side-position-interface}
Position a victim object (this one) next to other objects (the
- support). In this case, the direction signifies where to put the
+ support). In this case, the property @code{direction} signifies where to put the
victim object relative to the support (left or right, up or down?)
@end quotation
+
+@cindex padding
+@noindent
below this description, the variable @code{padding} is described as
@quotation
@table @code
By increasing the value of @code{padding}, we can move away the
fingering. The following command inserts 3 staff spaces of white
-between the note and the fingering
+between the note and the fingering:
@example
\once \property Voice.Fingering \set #'padding = #3
@end example
Inserting this command before the Fingering object is created,
-i.e. before @code{c2}, yields the following result.
+i.e. before @code{c2}, yields the following result:
@lilypond[relative=2,fragment,verbatim]
\once \property Voice.Fingering
@code{Voice}, for example, @internalsref{Staff} or
@internalsref{Score}.
-The internals document also contains alphabetical lists of
-@internalsref{All contexts}, @internalsref{All layout objects} and
-@internalsref{All music types}, so you can also find which objects to
+@seealso
+
+The program reference also contains alphabetical lists of
+@internalsref{Contexts}, @internalsref{All-layout-objects} and
+@internalsref{Music-expressions}, so you can also find which objects to
tweak by browsing the internals document.
@end example
@noindent
-where @var{proc} is a Scheme function, taking four arguments.
+where @var{proc} is a Scheme function, taking three arguments.
-When interpreted, the function @var{proc} is called for every layout object found
-in the context, with the following arguments:
+When interpreted, the function @var{proc} is called for every layout
+object found in the context, with the following arguments:
@itemize @bullet
-@item the layout object itself
-@item the context where the layout object was created
+@item the layout object itself,
+@item the context where the layout object was created, and
@item the context where @code{\applyoutput} is processed.
@end itemize
+
In addition, the cause of the layout object, i.e. the music
expression or object that was responsible for creating it, is in the
object property @code{cause}. For example, for a note head, this is a
@internalsref{NoteHead} event, and for a @internalsref{Stem} object,
this is a @internalsref{NoteHead} object.
-
-@node Outputproperty
-@subsection Outputproperty
-
-@cindex @code{\outputproperty}
-
-Another way of tuning objects is the more arcane @code{\outputproperty}
-feature. The syntax is as follows:
+Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
+center-line:
@example
-\outputproperty @var{predicate} @var{symbol} = @var{value}
-@end example
-Here @code{predicate} is a Scheme function taking an object argument, and
-returning a boolean. This statement is processed by the
-@code{Output_property_engraver}. It instructs the engraver to feed all
-objects that it sees to @var{predicate}. Whenever the predicate returns
-true, the object property @var{symbol} will be set to @var{value}.
+(define (blanker grob grob-origin context)
+ (if (and (memq (ly:get-grob-property grob 'interfaces)
+ note-head-interface)
+ (eq? (ly:get-grob-property grob 'staff-position) 0))
-You will need to combine this statement with @code{\context} to select
-the appropriate context to apply this to.
-@inputfileref{input/regression,output-property.ly} shows an example of
-the use of @code{\outputproperty}.
-
-@refbugs
+ (ly:set-grob-property! grob 'transparent #t)))
+@end example
-This command is slated for removal. Please use the
-@code{\applyoutput} command, see @ref{Applyoutput}.
@node Font selection
size. The font size of any context can be easily changed by setting
the @code{fontSize} property for that context. Its value is an
integer: negative numbers make the font smaller, positive numbers
-larger. An example is given below.
+larger. An example is given below:
@c
@lilypond[fragment,relative=1,verbatim,quote]
c4 c4 \property Voice.fontSize = #-1
Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
can also be adjusted with a more fine-grained mechanism. By setting
-the object properties described below, you can select a different font.
-All three mechanisms work for every object that supports
-@code{font-interface}.
+the object properties described below, you can select a different font;
+all three mechanisms work for every object that supports
+@code{font-interface}:
@table @code
@item font-family
- A symbol indicating the general class of the typeface. Supported are
+ is a symbol indicating the general class of the typeface. Supported are
@code{roman} (Computer Modern), @code{braces} (for piano staff
braces), @code{music} (the standard music font, including ancient
glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
@item font-shape
- A symbol indicating the shape of the font, there are typically several
+ is a symbol indicating the shape of the font, there are typically several
font shapes available for each font family. Choices are @code{italic},
- @code{caps} and @code{upright}
+ @code{caps} and @code{upright}.
@item font-series
-A symbol indicating the series of the font. There are typically several
+is a symbol indicating the series of the font. There are typically several
font series for each font family and shape. Choices are @code{medium}
and @code{bold}.
@item font-relative-size
- A number indicating the size relative the standard size. For example,
+ is a number indicating the size relative the standard size. For example,
with 20pt staff height, relative size -1 corresponds to 16pt staff
height, and relative size +1 corresponds to 23 pt staff height.
@item font-design-size
-A number indicating the design size of the font.
+is a number indicating the design size of the font.
This is a feature of the Computer Modern Font: each point size has a
slightly different design. Smaller design sizes are relatively wider,
LilyPond has an internal mechanism to typeset texts. You can access it
with the keyword @code{\markup}. Within markup mode, you can enter texts
-similar to lyrics: simply enter them, surrounded by spaces.
+similar to lyrics: simply enter them, surrounded by spaces:
@cindex markup
@lilypond[verbatim,fragment,relative=1]
The markup in the example demonstrates font switching commands. The
command @code{\bold} and @code{\italic} only apply to the first
following word; enclose a set of texts with braces to apply a command
-to more words.
+to more words:
@example
\markup @{ \bold @{ hi there @} @}
@end example
@cindex font size, texts
-The following size commands set abolute sizes
+The following size commands set absolute sizes:
@cindex @code{\teeny}
@cindex @code{\tiny}
The following font change commands are defined:
@table @code
@item \dynamic
-This changes to the font used for dynamic signs. This font does not
+changes to the font used in dynamic signs. This font does not
contain all characters of the alphabet, so when producing ``piu f'',
the ``piu'' should be done in a different font.
@item \number
-This changes to the font used for time signatures. It only contains
+changes to the font used in time signatures. It only contains
numbers and a few punctuation marks.
@item \italic
-Changes @code{font-shape} to @code{italic}
+changes @code{font-shape} to @code{italic}.
@item \bold
-Changes @code{font-series} to @code{bold}
+changes @code{font-series} to @code{bold}.
@end table
@cindex raising text
@cindex @code{\super}
Raising and lowering texts can be done with @code{\super} and
-@code{\sub}.
+@code{\sub}:
@lilypond[verbatim,fragment,relative=1]
c1^\markup { E "=" mc \super "2" }
If you want to give an explicit amount for lowering or raising, use
@code{\raise}. This command takes a Scheme valued first argument, and
-a markup object as second argument
+a markup object as second argument:
@c
@lilypond[verbatim,fragment,relative=1,quote]
c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
@end lilypond
The argument to @code{\raise} is the vertical displacement amount,
-measured in (global) staff spaces.
+measured in (global) staff spaces. @code{\raise} and @code{\super}
+raise objects in relation to their surrounding markups. They cannot be
+used to move a single text up or down, when it is above or below a
+note, since the mechanism that positions it next to the note cancels
+any vertical shift. For vertical positioning, use the @code{padding}
+and/or @code{extra-offset} properties.
Other commands taking single arguments include
@table @code
@item \magnify #@var{mag}
@cindex @code{\magnify}
This sets the font magnification for the its argument. In the following
-example, the middle A will be 10% larger.
+example, the middle A will be 10% larger:
@example
A \magnify #1.1 @{ A @} A
@end example
In markup mode you can compose expressions, similar to mathematical
expressions, XML documents and music expressions. The braces group
notes into horizontal lines. Other types of lists also exist: you can
-stack expressions grouped with @code{<<}, and @code{>>} vertically with
+stack expressions grouped with @code{<}, and @code{>} vertically with
the command @code{\column}. Similarly, @code{\center} aligns texts by
-their center lines.
+their center lines:
@lilypond[verbatim,fragment,relative=1]
- c1^\markup { \column << a bbbb c >> }
- c1^\markup { \center << a bbbb c >> }
- c1^\markup { \line << a b c >> }
+ c1^\markup { \column < a bbbb c > }
+ c1^\markup { \center < a bbbb c > }
+ c1^\markup { \line < a b c > }
@end lilypond
The markup mechanism is extensible. Refer to
-@file{scm/new-markup.scm} for more information on extending the markup
-mode.
+@file{scm/new-markup.scm} for more information.
@seealso
-@internalsref{Markup functions}, @file{scm/new-markup.scm}
+@internalsref{Markup-functions}, and @file{scm/new-markup.scm}.
@refbugs
Syntax errors for markup mode are confusing.
+Markup texts cannot be used in the titling of the @code{\header}
+field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
+for formatting.
+
+
+
@node Global layout
@section Global layout
line breaks and the spacing. These all influence each other. The
choice of spacing determines how densely each system of music is set,
which influences where line breaks breaks are chosen, and thus
-ultimately how many pages a piece of music takes. In this section, the
-algorithm for spacing music is explained, and how spacing can be
-tuned.
+ultimately how many pages a piece of music takes. This section
+explains how to tune the algorithm for spacing.
Globally spoken, this procedure happens in three steps: first,
flexible distances (``springs'') are chosen, based on durations. All
@cindex staff distance
@cindex between staves, distance
@cindex staffs per page
+@cindex space between staves
-
-The height of each system is determined automatically by lilypond, to
+The height of each system is determined automatically by LilyPond, to
keep systems from bumping into each other, some minimum distances are
set. By changing these, you can put staves closer together, and thus
put more systems onto one page.
@example
\property Staff.minimumVerticalExtent = #'(-4 . 4)
@end example
-This sets the vertical size of the current staff to 4 staff-space on
+This sets the vertical size of the current staff to 4 staff spaces on
either side of the center staff line. The argument of
@code{minimumVerticalExtent} is interpreted as an interval, where the
center line is the 0, so the first number is generally negative. The
. 4)}.
The piano staves are handled a little differently: to make cross-staff
-beaming work correctly, it necessary that the distance between staves
+beaming work correctly, it is necessary that the distance between staves
is fixed beforehand. This is also done with a
@internalsref{VerticalAlignment} object, created in
@internalsref{PianoStaff}. In this object the distance between the
@seealso
-Vertical aligment of staves is handled by the
+Vertical alignment of staves is handled by the
@internalsref{VerticalAlignment} object.
stretchable distances (``springs'') of differing lengths. Longer
durations get more space, shorter durations get less. The shortest
durations get a fixed amount of space (which is controlled by
-@code{shortest-duration-space} in the @internalsref{SpacingSpanner}
-object). The longer the duration, the more space it gets: doubling a
+@code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
+/The longer the duration, the more space it gets: doubling a
duration adds a fixed amount (this amount is controlled by
@code{spacing-increment}) of space to the note.
If one would follow the above procedure exactly, then adding a single
32th note to a score that uses 8th and 16th notes, would widen up the
entire score a lot. The shortest note is no longer a 16th, but a 32nd,
-thus adding 2 noteheads of space to every note. To prevent this, the
+thus adding 1 NHW to every note. To prevent this, the
shortest duration for spacing is not the shortest note in the score,
but the most commonly found shortest note. Notes that are even
-shorter this are followed by a space that is proportonial to their
+shorter this are followed by a space that is proportional to their
duration relative to the common shortest note. So if we were to add
only a few 16th notes to the example above, they would be followed by
half a NHW:
@lilypond[fragment, verbatim, relative=2]
- c2 c4. c8 c4. c16-[ c-] c4. c8 c8 c8 c4 c4 c4
+ c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
@end lilypond
The most common shortest duration is determined as follows: in every
(generated at @internalsref{Staff} context) contains the same property
for controlling the stem/barline spacing. The following example
shows these corrections, once with default settings, and once with
-exaggerated corrections.
+exaggerated corrections:
@lilypond
\score { \notes {
@cindex SpacingSpanner, overriding properties
Properties of the @internalsref{SpacingSpanner} must be overridden
-from the @code{\paper} block, since the @internalsref{SpacingSpanner}
-is created before any @code{\property} statements are interpreted.
+from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
+created before any @code{\property} statements are interpreted.
@example
\paper @{ \translator @{
\ScoreContext
@seealso
@internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
-@internalsref{StaffSpacing}, @internalsref{SeparationItem},
+@internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
@internalsref{SeparatingGroupSpanner}.
@refbugs
are defined respectively. The default @code{\paper} block is also
set. These files should be imported at toplevel, i.e.
@example
- \include "paper26.ly"
- \score @{ ... @}
+ \include "paper26.ly"
+ \score @{ ... @}
@end example
The default font size settings for each staff heights are generated
from the 20pt style sheet. For more details, see the file
@file{scm/font.scm}.
-l
@node Line breaking
For linebreaks at regular intervals use @code{\break} separated by
skips and repeated with @code{\repeat}:
@example
-< \repeat unfold 7 @{ s1 * 4 \break @}
+<< \repeat unfold 7 @{ s1 * 4 \break @}
@emph{the real music}
->
+>>
@end example
@noindent
@seealso
-@internalsref{BreakEvent}
+@internalsref{BreakEvent}.
@node Page layout
The page layout process happens outside the LilyPond formatting
engine: variables controlling page layout are passed to the output,
-and are further interpreted by @code{ly2dvi}. @code{ly2dvi} responds
-to the following variables in the @code{\paper} block. The variable
-@code{textheight} sets the total height of the music on each page.
-The spacing between systems is controlled with @code{interscoreline},
-its default is 16pt. The distance between the score lines will
-stretch in order to fill the full page @code{interscorelinefill} is
-set to a positive number. In that case @code{interscoreline}
-specifies the minimum spacing.
+and are further interpreted by @code{lilypond} wrapper program. It
+responds to the following variables in the @code{\paper} block. The
+variable @code{textheight} sets the total height of the music on each
+page. The spacing between systems is controlled with
+@code{interscoreline}, its default is 16pt. The distance between the
+score lines will stretch in order to fill the full page
+@code{interscorelinefill} is set to a positive number. In that case
+@code{interscoreline} specifies the minimum spacing.
@cindex @code{textheight}
@cindex @code{interscoreline}
@cindex page size
@cindex @code{papersize}
-To change the paper size, you must first set the
-@code{papersize} paper variable variable. Set it to
+To change the paper size, you must first set the @code{papersize} paper
+variable variable as in the example below. Set it to
the strings @code{a4}, @code{letter}, or @code{legal}. After this
specification, you must set the font as described above. If you want
the default font, then use the 20 point font.
The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
will set the paper variables @code{hsize} and @code{vsize} (used by
-Lilypond and @code{ly2dvi})
+@code{lilypond-book} and @code{lilypond}).
@refcommands
@cindex @code{\newpage}
-@code{\newpage},
+@code{\newpage}.
@seealso
-@ref{Invoking ly2dvi},
-@inputfileref{input/regression,between-systems.ly},
+@ref{Invoking lilypond},
+@inputfileref{input/regression,between-systems.ly}, and
@internalsref{NonMusicalPaperColumn}.
@refbugs
crescendi and decrescendi translate into MIDI volume levels. Dynamic
marks translate to a fixed fraction of the available MIDI volume
range, crescendi and decrescendi make the volume vary linearly between
-their two extremities. The fractions be adjusted by
+their two extremities. The fractions can be adjusted by
@code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
For each type of MIDI instrument, a volume range can be defined. This
gives a basic equalizer control, which can enhance the quality of
@cindex MIDI block
@itemize @bullet
- @item a @code{\tempo} definition
- @item context definitions
+ @item a @code{\tempo} definition, and
+ @item context definitions.
@end itemize
Assignments in the @code{\midi} block are not allowed.
+A number followed by a period is interpreted as a real number, so
+for setting the tempo for dotted notes, an extra space should be
+inserted, for example:
+
+@example
+ \midi @{ \tempo 4 . = 120 @}
+@end example
@cindex context definition
@cindex instrument names
@cindex @code{Staff.midiInstrument}
-@cindex @code{Staff.instrument}
The MIDI instrument name is set by the @code{Staff.midiInstrument}
-property or, if that property is not set, the @code{Staff.instrument}
property. The instrument name should be chosen from the list in
@ref{MIDI instruments}.
@refbugs
-If the selected string does not exactly match, then LilyPond uses the
-default (Grand Piano). It is not possible to select an instrument by
-number.
-
+If the selected string does not exactly match, then the default is
+used, which is the Grand Piano.
projects / lilypond.git / blobdiff