LilyPond input that was used to generate that image.
Try it on this image
-@lilypond[quote,raggedright,relative=2]
+@lilypond[fragment,quote,raggedright,relative=2]
c-\markup { \bold \huge { Click here. } }
@end lilypond
@end ifhtml
* Printing lyrics::
* A lead sheet::
* Listening to output::
-* Titling::
+* Adding titles::
* Single staff polyphony::
* Piano staves::
* Organizing larger pieces::
@noindent
the result looks like this
-@lilypond[quote,notime,relative=1]
+@lilypond[fragment,quote,notime,relative=1]
c d e f g a b
@end lilypond
@end example
@c FIXME: have NOTIME also remove Score.timing?
-@lilypond[quote,notime,relative=1]
+@lilypond[fragment,quote,notime,relative=1]
\set Score.timing = ##f
\set Staff.autoBeaming = ##f
{ a1 a2 a4 a16 a32 s16_" " }
a a8 a a2 a
@end example
-@lilypond[quote,notime,relative=1]
+@lilypond[fragment,quote,notime,relative=1]
\set Score.timing = ##f
{ a a8 a a2 a s16_" " }
@end lilypond
r2 r4 r8 r16
@end example
-@lilypond[quote,notime]
+@lilypond[fragment,quote,notime]
\set Score.timing = ##f
r2 r4 r8 r16 s16_" "
@end lilypond
a2. a4 a8. a16
@end example
-@lilypond[quote,notime,relative=1]
+@lilypond[fragment,quote,notime,relative=1]
\set Score.timing = ##f
{ a2. a4 a8. a16 s16_" " }
@end lilypond
@end example
@c A clef here may lead to confusion, remove it.
-@lilypond[quote]
+@lilypond[fragment,quote]
\override Staff.Clef #'transparent = ##t
\time 3/4
s4_" "
\clef tenor
@end example
-@lilypond[quote,notime]
+@lilypond[fragment,quote,notime]
\set Score.timing = ##f
\clef violin
s4_" "
Remember to enclose the notes and commands in curly braces
@code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
-@lilypond[quote,noindent,linewidth=55\staffspace]
+@lilypond[fragment,quote,noindent,linewidth=55\staffspace]
{
\time 3/4
\clef bass
@example
lilypond (GNU LilyPond) 2.2.0
-Running lilypond-bin...
+Running lilypond...
Now processing `/home/fred/ly/test.ly'
Parsing...
Interpreting music...[1]
cis1 ees fisis aeses
@end example
-@lilypond[quote,notime]
+@lilypond[fragment,quote,notime]
\set Score.timing = ##f
\transpose c c' { cis1 ees fisis aeses s16_" " }
@end lilypond
g
@end example
-@lilypond[quote,notime,fragment]
+@lilypond[fragment,quote,notime,fragment]
\key d \major
g'1
\key c \minor
@end ignore
-@lilypond[quote,noindent,linewidth=50\staffspace]
+@lilypond[fragment,quote,noindent,linewidth=50\staffspace]
\transpose c c' {
\time 4/4
\key g \minor
@lilypond[quote,notime,fragment,verbatim]
\relative {
- c'' f c g c
+ c' f c g c
}
@end lilypond
expression}. We have already seen in the previous examples;
a single note is a music expression
-@lilypond[quote,verbatim,relative=3]
+@lilypond[fragment,quote,verbatim,relative=3]
a4
@end lilypond
Enclosing group of notes in braces creates a new music
expression
-@lilypond[quote,verbatim,relative=3]
+@lilypond[fragment,quote,verbatim,relative=3]
{ a4 g4 }
@end lilypond
Here, the expression from the previous example is combined with two
notes
-@lilypond[quote,verbatim,relative=3]
+@lilypond[fragment,quote,verbatim,relative=3]
{ { a4 g } f g }
@end lilypond
@code{>>}. In the following example, three sequences (all containing
two notes) are combined simultaneously
-@lilypond[quote,verbatim,relative=3]
+@lilypond[fragment,quote,verbatim,relative=3]
<<
{ a4 g }
{ f e }
Like mathematical expressions, music expressions can be nested
arbitrarily deep@footnote{The reason for getting three staves in the
-previous example but just a single staff in current one will be explained
-later.}
+previous example but just a single staff in the current one will be
+explained later.}
-@lilypond[quote,verbatim,relative=2]
+@lilypond[fragment,quote,verbatim,relative=2]
{
c <<c e>>
<< { e f } { c <<b d>> } >>
@c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
-@lilypond[quote,verbatim,raggedright]
+@lilypond[fragment,quote,verbatim,raggedright]
<<
\new Staff {
\time 3/4
Common accents can be added to a note using a dash (@samp{-}) and a
single character
-@lilypond[quote,verbatim,relative=2]
+@lilypond[fragment,quote,verbatim,relative=2]
c-. c-- c-> c-^ c-+ c-_
@end lilypond
Similarly, fingering indications can be added to a note using a dash
(@samp{-}) and the digit to be printed
-@lilypond[quote,verbatim,relative=2]
+@lilypond[fragment,quote,verbatim,relative=2]
c-3 e-5 b-2 a-1
@end lilypond
Dynamic signs are made by adding the markings (with a backslash) to
the note
-@lilypond[quote,verbatim,relative=2]
+@lilypond[fragment,quote,verbatim,relative=2]
c\ff c\mf
@end lilypond
@code{\>}. An ending dynamic, for example @code{\f}, will finish the
crescendo, or the command @code{\!} can be used
-@lilypond[quote,verbatim,relative=2]
+@lilypond[fragment,quote,verbatim,relative=2]
c2\< c2\ff\> c2 c2\!
@end lilypond
articulation. The starting note and ending note are marked with
@samp{(} and @samp{)}, respectively
-@lilypond[quote,fragment,relative=2,verbatim]
+@lilypond[fragment,quote,fragment,relative=2,verbatim]
d4( c16)( cis d e c cis d e)( d4)
@end lilypond
@{ I want to break free __ @}
@end example
-@lilypond[quote,raggedright]
+@lilypond[fragment,quote,raggedright]
<<
\relative {
r4 c \times 2/3 { f g g }
Twin -- kle twin -- kle
@end example
-@lilypond[quote,raggedright]
+@lilypond[fragment,quote,raggedright]
<<
\relative {
\time 2/4
The melody for this song is as follows
-@lilypond[quote,fragment,relative=2]
+@lilypond[fragment,quote,fragment,relative=2]
r4 c \times 2/3 { f4 g g }
\times 2/3 { g4( a2) }
@end lilypond
connecting and controlling digital instruments. A MIDI file is like a
tape recording of a MIDI instrument.
-To create a MIDI from a music piece of music, add a
-@code{\midi} block causes LilyPond to create a MIDI file, so you
-can listen to the music you entered. It is great for checking the
-music: octaves that are off or accidentals that were mistyped stand
-out very much when listening to the musical transcription.
+To create a MIDI from a music piece of music, add a @code{\midi}
+block. This causes LilyPond to create a MIDI file, so you can listen
+to what you just entered. It is great for checking the music.
+Octaves that are off or accidentals that were mistyped stand out very
+much when listening to the musical transcription.
The @code{\midi} block is added to @code{\score}, for example,
@cindex paper block
-@node Titling
-@section Titling
+@node Adding titles
+@section Adding titles
Bibliographic information is entered in a separate block, the
@code{\header} block. The name of the piece, its composer, etc., are
@cindex multiple voices
@cindex voices, more -- on a staff
When different melodic lines are combined on a single staff they are
-printed as polyphonic voices: each voice has its own stems, slurs and
+printed as polyphonic voices; each voice has its own stems, slurs and
beams, and the top voice has the stems up, while the bottom voice has
them down.
{ r4 g4 f2 f4 } >>
@end lilypond
-For polyphonic music typesetting, spacer rests can also be convenient: these
+For polyphonic music typesetting, spacer rests can also be convenient; these
are rests that do not print. It is useful for filling up voices that
temporarily do not play. Here is the same example with a spacer rest
instead of a normal rest---just use @samp{s} instead of @samp{r}
@node An orchestral part
@section An orchestral part
-In orchestral music, all notes are printed twice: in a part for
+In orchestral music, all notes are printed twice; in a part for
the musicians, and in a full score for the conductor. Identifiers can
-be used to avoid double work: the music is entered once, and stored in
+be used to avoid double work. The music is entered once, and stored in
a variable. The contents of that variable is then used to generate
both the part and the score.
substitutes the contents of @file{horn-music.ly} at this position in
the file, so @code{hornNotes} is defined afterwards. The command
@code{\transpose f@tie{}c'} indicates that the argument, being
-@code{\hornNotes}, should be transposed by a fifth downwards: sounding
+@code{\hornNotes}, should be transposed by a fifth downwards. Sounding
@samp{f} is denoted by notated @code{c'}, which corresponds with
tuning of a normal French Horn in@tie{}F. The transposition can be seen
in the following output
\end@{lilypond@}
\noindent
-In this example two things happened: a
+In this example two things happened. A
\verb+\score+ block was added, and the line width was set to natural
length.
If there is no @code{\score} block in the fragment,
@code{lilypond-book} will supply one
-@lilypond[quote]
+@lilypond[fragment,quote]
c'4
@end lilypond
@noindent
-In this example two things happened: a
+In this example two things happened. A
@code{score} block was added, and the line width was set to natural
length.
Options are put in brackets.
-@lilypond[quote,staffsize=26,verbatim]
+@lilypond[fragment,quote,staffsize=26,verbatim]
c'4 f16
@end lilypond
projects / lilypond.git / blobdiff