@node Notation manual
@chapter Notation manual
+This chapter describes all the different types of notation supported
+by LilyPond. It is intended as a reference for users that are already
+somewhat familiar with using LilyPond.
+
@menu
* Note entry::
* Easier music 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::
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
@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:
@seealso
@noindent
+
+bla
+
@internalsref{NoteEvent}, and @internalsref{NoteHead}.
@node Chromatic alterations
@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.
@lilypond[singleline,verbatim]
\score {
- \context Staff <
+ \new Staff <<
{ \time 4/8 \skip 2 \time 4/4 }
\notes\relative c'' { a2 a1 }
- >
+ >>
}
@end lilypond
@cindex duration
-@cindex @code{\duration}
In Note, Chord, and Lyrics mode, durations are designated by numbers
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
@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
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
@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.
\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
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
@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}
@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
@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
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. Argument @var{clefname}
+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),
@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{OttavaSpanner}.
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
Special types
of barlines can be forced with the @code{\bar} command:
+@c
@lilypond[relative=1,fragment,verbatim]
c4 \bar "|:" c4
@end lilypond
\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 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
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
@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 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] }
- >
+ >>
@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[singleline,fragment,verbatim]
-\context Voice < c''4 \\ r4 >
+\context Voice << c''4 \\ r4 >>
@end lilypond
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
@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
@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
@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
@node Articulations
-@section Articulations
+@subsection Articulations
@cindex Articulations
@cindex articulations
@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
played with your thumb (used in cello music):
@lilypond[verbatim, singleline, fragment]
- <<a' a''-3>>8(_\thumb[ <<b' b''-3>>)_\thumb
- <<c'' c'''-3>>(_\thumb <<d'' d'''-3>>)_\thumb]
+ <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
+ <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:
@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}.
-@menu
-* Text scripts::
-* Grace notes::
-* Glissando ::
-* Dynamics::
-@end menu
-
@node Text scripts
@subsection Text scripts
@cindex Text scripts
@cindex ornaments
@cindex grace notes
-Grace notes are ornaments that are written out, like accaciatura and
-appogiatura notes.
+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]
+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] } c4
+ c4 \grace c16 c4
+ \grace { c16[ d16] } c2 c4
@end lilypond
-From the point of view of typesetting, their characteristic is that
-grace notes take up take up no logical time in a measure. Internally,
-timing for grace notes is done using a second time. Every point in
-musical 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:
+@noindent
+Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
+@code{\grace} command does not start a slur.
+
+Internally, timing for grace notes is done using a second, `grace'
+time. Every point in time consists of two rational numbers: one
+denotes the logical time, one denotes the grace timing. The above
+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
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. These notes are called accaciaturas, and should generally be
-played as short as possible. An appogiatura takes a fixed fraction of
-the main note, is and denoted without a slash.
-
-Such slashless notes are obtained by setting the object property
-@code{stroke-style} of the @internalsref{Stem} object. 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] } } >
+ << { 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
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
@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}:
@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}
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
\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
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
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
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:
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 {
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
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
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
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
\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
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
@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.
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
@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
@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
@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
@lilypond[fragment,relative,verbatim]
\property PianoStaff.Arpeggio \override
#'molecule-callback = \arpeggioBracket
- <<c' e g c>>-\arpeggio
+ <c' e g c>\arpeggio
@end lilypond
@refcommands
@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}.
more complex orderings, the best way is to setup the hierarchy of
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
\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
@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}, and @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
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
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
@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:
\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
@cindex @code{m}
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
+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
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{>>}:
+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
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
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.
* Multi measure rests::
* Automatic part combining::
* Hiding staves::
+* Different editions from one source::
* Sound output for transposing instruments::
@end menu
the start of the staff. For the first start, @code{instrument} is
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:
+@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
@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
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
polyphony:
@lilypond[verbatim,singleline,fragment]
- \context Staff <
+ \context Staff <<
\context Voice=one \partcombine Voice
\context Thread=one \relative c'' {
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
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
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}
@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
Support for ancient notation is still under heavy development.
Regardless of all of the current limitations (see the bugs section
-below for details), it currently includes features for mensural
+below for details), it includes features for mensural
notation and Gregorian Chant notation. There is also limited support
for figured bass notation.
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 currently not handled correctly.
+Augmentum dots within ligatures are not handled correctly.
@node Ancient note heads
@syntax
Use the @code{style} property of grob @internalsref{Accidental} to
-select ancient accidentals. Currently supported styles are
+select ancient accidentals. Supported styles are
@code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
@lilypond[singleline,26pt]
\fatText
s
^\markup {
- \column <<
+ \column <
"vaticana"
{ " " \musicglyph #"accidentals-vaticana-1"
" " \musicglyph #"accidentals-vaticana0" }
- >>
- \column <<
+ >
+ \column <
"medicaea"
- { " " \musicglyph #"accidentals-medicaea-1" }
- >>
- \column <<
+ { " " \musicglyph #"accidentals-medicaea-1" }
+ >
+ \column <
"hufnagel"
- { " " \musicglyph #"accidentals-hufnagel-1" }
- >>
- \column <<
+ { " " \musicglyph #"accidentals-hufnagel-1" }
+ >
+ \column <
"mensural"
{ " " \musicglyph #"accidentals-mensural-1"
" " \musicglyph #"accidentals-mensural1" }
- >>
+ >
}
}
\paper {
- raggedright = ##t
+ raggedright = ##t
interscoreline = 1
\translator {
\ScoreContext
@syntax
Use the @code{style} property of grob @internalsref{Rest} to select
-ancient accidentals. Currently supported styles are @code{classical},
+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
@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
Use the @code{flag-style} property of grob @internalsref{Stem} to
select ancient flags. Besides the @code{default} flag style,
-currently only @code{mensural} style is supported:
+ only @code{mensural} style is supported:
@lilypond[fragment,singleline,verbatim]
\property Voice.Stem \set #'flag-style = #'mensural
@syntax
-There is limited support for mensural time signatures. Currently, the
+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
@lilypond
\score {
\notes {
- \property Score.timing = ##f
- \property Score.barAlways = ##t
- s_\markup { "$\\backslash$time 4/4" }
- ^\markup { " " \musicglyph #"timesig-neo\_mensural4/4" }
+ \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" }
@end lilypond
Use the @code{style} property of grob @internalsref{TimeSignature} to
-select ancient time signatures. Currently supported styles are
+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}
@refbugs
-Mensural signature glyphs are currently mapped to time fractions in a
+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
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 currently not at all accessible through the @code{\time} command.
+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 currently
+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
\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 {
@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.
@example
\paper @{
- \translator @{
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
- @}
+ \translator @{
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Mensural_ligature_engraver
+ @}
@}
@end 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
@refbugs
-Scandicus Deminutus: Punctum Auctum Ascendens overlaps with
-Semivocalis head; this looks awful.
-
Trigonus: apply equal spacing, regardless of pitch.
-Flexa and similar figurae: the left appendix should be adjusted with
-respect to the position of this head (on staffline or on staffspace)
-and the vertical position of the subsequent head.
-
@node Figured bass
@subsection Figured bass
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
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
introduced with @code{[} and @code{]}:
@example
- < [4 6] 8 [_! 12]>
+ < [4 6] 8 [_! 12]>
@end example
@lilypond[fragment]
\context FiguredBass
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
@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
@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
* Tuning objects ::
* Constructing a tweak::
* Applyoutput::
-* Outputproperty::
* Font selection::
* Text markup::
@end menu
@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
@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.]
@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.
@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
@code{Voice}, for example, @internalsref{Staff} or
@internalsref{Score}.
-The internals document also contains alphabetical lists of
+@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, 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}.
-
-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}.
+(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))
-@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
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:
@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
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
@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
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:
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
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
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}
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
-@code{lilypond} and @code{ly2dvi}).
+@code{lilypond-book} and @code{lilypond}).
@refcommands
@seealso
-@ref{Invoking ly2dvi},
+@ref{Invoking lilypond},
@inputfileref{input/regression,between-systems.ly}, and
@internalsref{NonMusicalPaperColumn}.
@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