@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
@lilypond[singleline,verbatim]
\score {
- \context Staff <<
+ \new Staff <<
{ \time 4/8 \skip 2 \time 4/4 }
\notes\relative c'' { a2 a1 }
>>
@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
@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
@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
@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
is denoted by a set of alterations (flats or sharps) at the start of
the staff.
-WARNING! The key signature only changes the output, not the music
-itself. An F-sharp in the key of D major is still an F-sharp, not
-an F -- you must type @code{fis}, not @code{f}. If you don't modify
-a pitch with @code{-is} or @code{-es}, LilyPond will assume that
-you want a natural note. See this example:
-
-@quotation
-@example
-\key d \major
-fis4 f fes fis
-g2 fis
-@end example
-@end quotation
-
-@lilypond[noindent]
-\score{ \notes { \relative c'{
-\key d \major
-fis4 f fes fis
-g2 fis
-}}}
-@end lilypond
-
-
@syntax
Setting or changing the key signature is done with the @code{\key}
@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
@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,
@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
@lilypond[verbatim,fragment]
\context Staff \relative c'' {
- c4 << { f d e } \\ { b c2 } >> c4 << g' \\ b, \\ f' \\ d >>
+ c4 << { f d e } \\ { b c2 } >>
+ c4 << g' \\ b, \\ f' \\ d >>
}
@end lilypond
@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
@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
@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
@internalsref{FingerEvent}, and @internalsref{Fingering}.
-@menu
-* Text scripts::
-* Grace notes::
-* Glissando ::
-* Dynamics::
-@end menu
-
@node Text scripts
@subsection Text scripts
@cindex Text scripts
@lilypond[relative=2,verbatim,fragment]
b4 \acciaccatura d8 c4 \appoggiatura e8 d4
-\acciaccatura { g16 f } e4
+\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
+ c4 \grace c16 c4
+ \grace { c16[ d16] } c2 c4
@end lilypond
+
+@noindent
Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
@code{\grace} command does not start a slur.
<<
\relative c''{
c4 \grace c16 c4 \grace {
- c16[ d16] } c4
+ c16[ d16] } c2 c4
}
\new Lyrics \lyrics {
\markup { (0,0) } 4
-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 ( }
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 2]
+@lilypond[fragment,verbatim,relative 1]
\new Voice {
\acciaccatura {
\property Voice.Stem \override #'direction = #-1
@refbugs
-Additional texts (such as @emph{gliss.}) is not supported.
+Adding additional texts (such as @emph{gliss.}) is not supported.
@node Dynamics
\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
@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.
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
@seealso
-@internalsref{ArpeggioEvent} expression lead to
+@internalsref{ArpeggioEvent} music expressions lead to
@internalsref{Arpeggio} objects. Cross staff arpeggios are
@internalsref{PianoStaff}.@internalsref{Arpeggio}.
staves and lyrics first, e.g.
@example
\context ChoirStaff \notes <<
- \new Lyrics @{ s1 @}
- \new Staff @{ s1 @}
- \new Lyrics @{ s1 @}
- \new Staff @{ s1 @}
+ \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
- \new Staff @emph{the music}
- \new Lyrics @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 <<
- \new Lyrics @dots{}
- \new Staff @dots{}
+ \context Lyrics = @dots{}
+ \context Staff = @dots{}
\addlyrics @dots{}
>>
@end example
@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
@}
@end example
-For example,
-
+This results in the following output:
@lilypond[singleline]
upper = \notes \relative c {
\clef "treble"
@internalsref{Ambitus_engraver} to the @internalsref{Staff} context
rather than to the @internalsref{Voice} context.
-If you have a score with multiple staves and you want the ambitus to
-appear only in some of the staves, then you have to declare a new
-context type derived from the @internalsref{Voice} context or
-@internalsref{Staff} context. The derived context must consist of the
-@internalsref{Ambitus_engraver} and it must be accepted by a proper
-parent context, in the below example the @internalsref{Staff} context
-or @internalsref{Score} context, respectively. The original context
-and the derived context can then be used in parallel in the same
-score.
-
-@lilypond[singleline]
-voiceA = \notes \transpose c c'' {
- c4 d e c e f g2
-}
-voiceB = \notes \transpose c c' {
- e4 f g2 g8 a g f e4 c
-}
-\score {
- \context ChoirStaff <<
- \new Staff <<
- \new VoiceWithAmbitus { \stemUp \voiceA }
- \new VoiceWithAmbitus { \stemDown \voiceB }
- >>
- \new StaffWithAmbitus <<
- \new Voice { \stemUp \voiceA }
- \new Voice { \stemDown \voiceB }
- >>
- \new Staff <<
- \new Voice { \stemUp \voiceA }
- \new Voice { \stemDown \voiceB }
- >>
- >>
- \paper {
- raggedright = ##t
- \translator {
- \VoiceContext
- \name "VoiceWithAmbitus"
- \alias "Voice"
- \consists Ambitus_engraver
- }
- \translator {
- \StaffContext
- \name "StaffWithAmbitus"
- \alias "Staff"
- \consists Ambitus_engraver
- }
- \translator {
- \StaffContext
- \accepts "VoiceWithAmbitus"
- }
- \translator {
- \ScoreContext
- \accepts "StaffWithAmbitus"
- }
- }
-}
-@end lilypond
-
+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. To avoid collision, multiple ambitus in a single staff
-should be printed horizontally one after the other rather than on top
-of each other in the same horizontal position.
+ambitus.
@node Tablatures
@section Tablatures
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
@lilypond[fragment,verbatim]
\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 {
@refbugs
-Most of the guitar special effects such as bend have not been
-implemented yet.
+No guitar special effects have been implemented.
@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
@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
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 {
\property Staff.instrument = \markup {
{ 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
}
@end lilypond
-In orchestral scores, the first page usually shows all staffs in
-full. To prevent empty staffs from being discarded from the first
-page, set @code{remove-first} to false in
-@internalsref{RemoveEmptyVerticalGroup}.
+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
@example
c1
\relative c' <<
- \tag #'part <<
- R1 \\
- @{
- \property Voice.fontSize = #-1
- c4_"cue" f2 g4 @}
+ \tag #'part <<
+ R1 \\
+ @{
+ \property Voice.fontSize = #-1
+ c4_"cue" f2 g4 @}
>>
- \tag #'score R1
+ \tag #'score R1
>>
c1
@end example
@example
\simultaneous @{
@var{the music}
- \apply #(remove-tag 'score) @var{the music}
- \apply #(remove-tag 'part) @var{the music}
+ \apply #(remove-tag 'score) @var{the music}
+ \apply #(remove-tag 'part) @var{the music}
@}
@end example
would yield
{ " " \musicglyph #"accidentals-vaticana-1"
" " \musicglyph #"accidentals-vaticana0" }
>
- \column <
+ \column <
"medicaea"
- { " " \musicglyph #"accidentals-medicaea-1" }
+ { " " \musicglyph #"accidentals-medicaea-1" }
>
- \column <
+ \column <
"hufnagel"
- { " " \musicglyph #"accidentals-hufnagel-1" }
+ { " " \musicglyph #"accidentals-hufnagel-1" }
>
\column <
"mensural"
}
}
\paper {
- raggedright = ##t
+ raggedright = ##t
interscoreline = 1
\translator {
\ScoreContext
@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
@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" }
@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
@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
In figures input mode, a group of bass figures is delimited by
@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
* 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}.
+(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
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
@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