@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 accacciatura, 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{\accacciatura} and
+@code{\appoggiatura}, as demonstrated in the following example:
+
+
+@cindex appoggiatura
+@cindex accacciatura
+
+@lilypond[relative=2,verbatim,fragment]
+b4 \accacciatura d8 c4 \appoggiatura e8 d4
+\accacciatura { 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
+Unlike @code{\accacciatura} and @code{\appoggiatura}, the
+@code{\grace} command does not start a slur.
-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:
+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] } 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
@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:
-@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
-The @code{\override} is carefully matched with a @code{\revert}:
-
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.
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 2]
+\new Voice {
+ \accacciatura {
+ \property Voice.Stem \override #'direction = #-1
+ f16->
+ \property Voice.Stem \revert #'direction
+ }
+ g4
}
@end lilypond
+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
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 accacciatura.
@node Glissando
a note:
@lilypond[fragment,relative,verbatim]
- c'-\glissando c'
+ c'\glissando c'
@end lilypond
@seealso
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\mf\< a a a\!
}
@end lilypond
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
@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
@lilypond[fragment,relative,verbatim]
\context PianoStaff <
\property PianoStaff.connectArpeggios = ##t
- \new Staff { <<c' e g c>>-\arpeggio }
- \new Staff { \clef bass <<c,, e g>>-\arpeggio }
+ \new Staff { <<c' e g c>>\arpeggio }
+ \new Staff { \clef bass <<c,, e g>>\arpeggio }
>
@end lilypond
@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
projects / lilypond.git / blobdiff