X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fnl%2Flearning%2Ffundamental.itely;h=7103fbe174f625428ff9fe35491ee6090fba922b;hb=9f757add4f76eb86029405b1cf3e4d0f2fdc7ce6;hp=2589572db49c6f28157182c5765baeb37e187b0d;hpb=a75190dd0a48ac1a8e436cd9867542f4774af36b;p=lilypond.git diff --git a/Documentation/nl/learning/fundamental.itely b/Documentation/nl/learning/fundamental.itely index 2589572db4..7103fbe174 100644 --- a/Documentation/nl/learning/fundamental.itely +++ b/Documentation/nl/learning/fundamental.itely @@ -12,7 +12,7 @@ @c Translation checker: @c Translation checker committish: -@c \version "2.17.18" +@c \version "2.19.22" @node Fundamentele concepten @translationof Fundamental concepts @@ -91,8 +91,8 @@ als je het eenvoudige invoer geeft. LilyPond behandelt invoer zoals dit: @example -\relative c'' @{ - c4 a d c +\relative @{ + c''4 a d c @} @end example @@ -104,8 +104,8 @@ als een afkorting voor dit: \score @{ \new Staff @{ \new Voice @{ - \relative c'' @{ - c4 a b c + \relative @{ + c''4 a b c @} @} @} @@ -246,8 +246,8 @@ variabelen, zoals getoond in @ref{Stukken organiseren met variabelen}. Alle sjablonen gebruiken dat: @example -melodie = \relative c' @{ - c4 a b c +melodie = \relative @{ + c'4 a b c @} \score @{ @@ -367,8 +367,8 @@ At this stage, we could start filling in notes. Inside the curly braces next to @code{\new Voice = "vocal"}, we could start writing @example -\relative c'' @{ - r4 d8\noBeam g, c4 r +\relative @{ + r4 d''8\noBeam g, c4 r @} @end example @@ -386,10 +386,10 @@ So, adding a few notes and a bass clef for the left hand, we now have a piece of real music: @lilypond[verbatim,quote,ragged-right] -melody = \relative c'' { r4 d8\noBeam g, c4 r } +melody = \relative { r4 d''8\noBeam g, c4 r } text = \lyricmode { And God said, } -upper = \relative c'' { 2~ } -lower = \relative c { b2 e } +upper = \relative { 2~ } +lower = \relative { b,2 e } \score { << @@ -435,8 +435,8 @@ duration of three notes: @lilypond[verbatim,quote,ragged-right] \new Staff { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -462,8 +462,8 @@ as follows: @lilypond[verbatim,quote,ragged-right] \new Staff = "main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -545,8 +545,8 @@ So, for example, a phrasing slur can start before a manually inserted beam and end before the end of the beam -- not very musical, perhaps, but possible: -@lilypond[quote,verbatim,ragged-right,relative=2] -g8\( a b[ c b\) a] g4 +@lilypond[quote,verbatim,ragged-right] +\relative { g'8\( a b[ c b\) a] g4 } @end lilypond In general, different kinds of brackets, bracket-like constructs, @@ -556,11 +556,13 @@ a slur extending into a tuplet (line 2), a beam and a slur extending into a tuplet, a tie crossing two tuplets, and a phrasing slur extending out of a tuplet (lines 3 and 4). -@lilypond[quote,verbatim,ragged-right,relative=1] -r16[ g \tuplet 3/2 { r16 e'8] } -g,16( a \tuplet 3/2 { b16 d) e } -g,8[( a \tuplet 3/2 { b8 d) e~] } | -\tuplet 5/4 { e32\( a, b d e } a4.\) +@lilypond[quote,verbatim,ragged-right] +\relative { + r16[ g' \tuplet 3/2 { r16 e'8] } + g,16( a \tuplet 3/2 { b16 d) e } + g,8[( a \tuplet 3/2 { b8 d) e~] } | + \tuplet 5/4 { e32\( a, b d e } a4.\) +} @end lilypond @@ -612,9 +614,11 @@ A single voice can contain many notes in a chord, of course, so when exactly are multiple voices needed? Look first at this example of four chords: -@lilypond[quote,verbatim,ragged-right,relative=1] -\key g \major -4 +@lilypond[quote,verbatim,ragged-right] +\relative { + \key g \major + 4 +} @end lilypond This can be expressed using just the single angle bracket chord @@ -647,22 +651,26 @@ of polyphony. Here's how we split the chords above into two voices and add both the passing note and a slur: -@lilypond[quote,verbatim,ragged-right,relative=2] -\key g \major -% Voice "1" Voice "2" -<< { g4 fis8( g) a4 g } \\ { d4 d d d } >> +@lilypond[quote,verbatim,ragged-right] +\relative { + \key g \major + % Voice "1" Voice "2" + << { g'4 fis8( g) a4 g } \\ { d4 d d d } >> +} @end lilypond Notice how the stems of the second voice now point down. Here's another simple example: -@lilypond[quote,verbatim,ragged-right,relative=2] -\key d \minor -% Voice "1" Voice "2" -<< { r4 g g4. a8 } \\ { d,2 d4 g } >> | -<< { bes4 bes c bes } \\ { g4 g g8( a) g4 } >> | -<< { a2. r4 } \\ { fis2. s4 } >> | +@lilypond[quote,verbatim,ragged-right] +\relative { + \key d \minor + % Voice "1" Voice "2" + << { r4 g' g4. a8 } \\ { d,2 d4 g } >> | + << { bes4 bes c bes } \\ { g4 g g8( a) g4 } >> | + << { a2. r4 } \\ { fis2. s4 } >> | +} @end lilypond It is not necessary to use a separate @code{<< \\ >>} construct @@ -671,19 +679,20 @@ can help the legibility of the code, but if there are many notes in each bar it may be better to split out each voice separately, like this: -@lilypond[quote,verbatim,ragged-right,relative=2] -\key d \minor -<< { - % Voice "1" - r4 g g4. a8 | - bes4 bes c bes | - a2. r4 | -} \\ { - % Voice "2" - d,2 d4 g | - g4 g g8( a) g4 | - fis2. s4 | -} >> +@lilypond[quote,verbatim,ragged-right] +<< + \key d \minor + \relative { % Voice "1" + r4 g' g4. a8 | + bes4 bes c bes | + a2. r4 | + } \\ + \relative { % Voice "2" + d'2 d4 g | + g4 g g8( a) g4 | + fis2. s4 | + } +>> @end lilypond @@ -704,12 +713,12 @@ voice in context @code{"1"} and the lowest voice in context of slurs, stems, ties, dynamics etc., is set appropriately. @lilypond[quote,verbatim] -\new Staff \relative c' { +\new Staff \relative { % Main voice - c16 d e f + c'16 d e f % Voice "1" Voice "2" Voice "3" << { g4 f e } \\ { r8 e4 d c8~ } >> | - << { d2 e } \\ { c8 b16 a b8 g~ g2 } \\ { s4 b c2 } >> | + << { d2 e } \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> | } @end lilypond @@ -728,9 +737,9 @@ split across the same voices in two constructs, shown here in the blue triangle voice. @lilypond[quote,verbatim] -\new Staff \relative c' { +\new Staff \relative { % Main voice - c16 d e f + c'16 d e f << % Bar 1 { \voiceOneStyle @@ -747,7 +756,7 @@ blue triangle voice. { d2 e } \\ % Voice 2 continues - { c8 b16 a b8 g~ g2 } + { c8 b16 a b8 g~ 2 } \\ { \voiceThreeStyle @@ -820,10 +829,10 @@ later sections. @c The following should appear as music without code @lilypond[quote,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % Voice one - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % Voice two { % Ignore these for now - they are explained in Ch 4 @@ -867,12 +876,12 @@ not understand. @c The following should appear as music without code @c The three voice styles should be defined in -init @lilypond[quote,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << { % Voice one \voiceOneStyle - c2 aes4. bes8 + c''2 aes4. bes8 } \\ % Voice two { \voiceTwoStyle @@ -900,10 +909,10 @@ we have learnt, using the @code{<< \\ >>} construct to enter the music of the first bar in three voices: @lilypond[quote,verbatim,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } \\ { 2 des } \\ { aes'2 f4 fes } + { c''2 aes4. bes8 } \\ { 2 des } \\ { aes'2 f4 fes } >> | 1 | } @@ -923,10 +932,10 @@ and placing the music in voice four. This is done by simply adding another pair of @code{\\}. @lilypond[quote,verbatim,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % Voice one - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % Voice two { 2 des } \\ % Omit Voice three @@ -985,8 +994,8 @@ the previous section: @example \new Staff @{ - \relative c' @{ - << @{ e4 f g a @} \\ @{ c,4 d e f @} >> + \relative @{ + << @{ e'4 f g a @} \\ @{ c,4 d e f @} >> @} @} @end example @@ -996,8 +1005,8 @@ is equivalent to @example \new Staff << - \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @} - \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @} + \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @} + \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @} >> @end example @@ -1006,8 +1015,8 @@ Both of the above would produce @c The following example should not display the code @lilypond[ragged-right,quote] \new Staff << - \new Voice = "1" { \voiceOne \relative c' { e4 f g a } } - \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } } + \new Voice = "1" { \voiceOne \relative { e'4 f g a } } + \new Voice = "2" { \voiceTwo \relative { c'4 d e f } } >> @end lilypond @@ -1028,27 +1037,27 @@ Let us see in some simple examples exactly what effect markup, ties, slurs, and dynamics: @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { % Default behavior or behavior after \oneVoice - c4 d8~ d e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \voiceOne - c4 d8~ d e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice - c,4 d8~ d e4( f | g4 a) b-> c | + c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \voiceTwo - c4 d8~ d e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice - c,4 d8~ d e4( f | g4 a) b-> c | + c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @@ -1064,10 +1073,10 @@ notes demonstrate that the main melody is now in a single voice context, permitting a phrasing slur to be drawn over them. @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' { +\new Staff \relative { \voiceOneStyle % This section is homophonic - c16^( d e f + c'16^( d e f % Start simultaneous section of three voices << % Continue the main voice in parallel @@ -1076,7 +1085,7 @@ permitting a phrasing slur to be drawn over them. \new Voice { % Set stems, etc., down \voiceTwo - r8 e4 d c8~ | c8 b16 a b8 g~ g2 | + r8 e4 d c8~ | 8 b16 a b8 g~ 2 | } % Initiate third voice \new Voice { @@ -1099,15 +1108,15 @@ voice appears only briefly this might be a more natural way to typeset the music: @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' { - c16^( d e f +\new Staff \relative { + c'16^( d e f << { g4 f e | d2 e) | } \new Voice { \voiceTwo r8 e4 d c8~ | << - { c8 b16 a b8 g~ g2 | } + { c8 b16 a b8 g~ 2 | } \new Voice { \voiceThree s4 b c2 | @@ -1128,17 +1137,17 @@ spacing notes to step over sections where the voice is silent, as here: @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' << +\new Staff \relative << % Initiate first voice \new Voice { \voiceOne - c16^( d e f g4 f e | d2 e) | + c'16^( d e f g4 f e | d2 e) | } % Initiate second voice \new Voice { % Set stems, etc, down \voiceTwo - s4 r8 e4 d c8~ | c8 b16 a b8 g~ g2 | + s4 r8 e4 d c8~ | 8 b16 a b8 g~ 2 | } % Initiate third voice \new Voice { @@ -1224,10 +1233,10 @@ name assigned to the Voice. @lilypond[quote,verbatim] << \new Voice = "one" { - \relative c'' { + \relative { \autoBeamOff \time 2/4 - c4 b8. a16 | g4. f8 | e4 d | c2 | + c''4 b8. a16 | g4. f8 | e4 d | c2 | } } \new Lyrics \lyricsto "one" { @@ -1270,14 +1279,14 @@ rather than music. @lilypond[quote,verbatim] global = { \key f \major \time 6/8 \partial 8 } -SopOneMusic = \relative c'' { - c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ c4 +SopOneMusic = \relative { + c''8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 } SopOneLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, __ } -SopTwoMusic = \relative c' { - r8 | r4. r4 c8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes' +SopTwoMusic = \relative { + r8 | r4. r4 c'8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes' } SopTwoLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, @@ -1329,10 +1338,10 @@ examples this is often called @q{global}. @lilypond[quote,verbatim] keyTime = { \key c \major \time 4/4 \partial 4 } -SopMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } +SopMusic = \relative { c'4 | e4. e8 g4 g | a4 a g } +AltoMusic = \relative { c'4 | c4. c8 e4 e | f4 f e } +TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 } +BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 } VerseOne = \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, } @@ -1395,8 +1404,8 @@ appear explicitly in the input file must be added to the output. For example, compare the input and output of the following example: -@lilypond[quote,verbatim,relative=2] -cis4 cis2. | a4 a2. | +@lilypond[quote,verbatim] +\relative { cis''4 cis2. | a4 a2. | } @end lilypond The input is rather sparse, but in the output, bar lines, @@ -1508,8 +1517,8 @@ annotated real-music example: \clef "treble" \key g \minor \new Voice { % create voice for RH notes - \relative c'' { % start of RH notes - d4 ees16 c8. | + \relative { % start of RH notes + d''4 ees16 c8. | d4 ees16 c8. | } % end of RH notes } % end of RH voice @@ -1519,14 +1528,14 @@ annotated real-music example: \key g \minor \new Voice { % create LH voice one \voiceOne - \relative g { % start of LH voice one notes + \relative { % start of LH voice one notes g8 ees, | g8 ees, | } % end of LH voice one notes } % end of LH voice one \new Voice { % create LH voice two \voiceTwo - \relative g { % start of LH voice two notes + \relative { % start of LH voice two notes g4 ees | g4 ees | } % end of LH voice two notes @@ -1628,8 +1637,7 @@ from the name, or vice versa. @tab Engraves clefs @item Completion_heads_engraver @tab Splits notes which cross bar lines -@c The old Dynamic_engraver is deprecated. -jm -@item New_dynamic_engraver +@item Dynamic_engraver @tab Creates hairpins and dynamic texts @item Forbid_line_break_engraver @tab Prevents line breaks if a musical element is still active @@ -1747,13 +1755,13 @@ because we omitted the context name. @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { + \new Staff \relative { \set Staff.instrumentName = #"Soprano" - c2 c + c''2 c } - \new Staff \relative c' { + \new Staff \relative { \set instrumentName = #"Alto" % Wrong! - d2 d + d'2 d } >> @end lilypond @@ -1792,12 +1800,12 @@ So this turns off extra naturals in one staff: @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - aeses2 aes + \new Staff \relative { + aeses'2 aes } - \new Staff \relative c'' { + \new Staff \relative { \set Staff.extraNatural = ##f - aeses2 aes + aeses'2 aes } >> @end lilypond @@ -1807,12 +1815,12 @@ and this turns them off in all staves: @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - aeses2 aes + \new Staff \relative { + aeses'2 aes } - \new Staff \relative c'' { + \new Staff \relative { \set Score.extraNatural = ##f - aeses2 aes + aeses'2 aes } >> @end lilypond @@ -1836,17 +1844,19 @@ font size, which affects the size of the note heads (among other things) several times. The change is from the default value, not the most recently set value. -@lilypond[quote,verbatim,ragged-right,relative=1] -c4 d -% make note heads smaller -\set fontSize = #-4 -e4 f | -% make note heads larger -\set fontSize = #2.5 -g4 a -% return to default size -\unset fontSize -b4 c | +@lilypond[quote,verbatim,ragged-right] +\relative { + c'4 d + % make note heads smaller + \set fontSize = #-4 + e4 f | + % make note heads larger + \set fontSize = #2.5 + g4 a + % return to default size + \unset fontSize + b4 c | +} @end lilypond We have now seen how to set the values of several different types of @@ -1882,13 +1892,13 @@ like this: @lilypond[quote,verbatim,ragged-right] << \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } \new Staff \with { extraNatural = ##f } { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } >> @@ -1925,8 +1935,8 @@ throughout the @code{\score} or @code{\book} block in which the @lilypond[verbatim,quote] \score { \new Staff { - \relative c'' { - cisis4 e d cis + \relative { + cisis''4 e d cis } } \layout { @@ -1945,13 +1955,13 @@ within the score: \score { << \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } >> @@ -2013,8 +2023,8 @@ produced by the @code{Staff_symbol_engraver}. \new Staff \with { \remove "Staff_symbol_engraver" } -\relative c' { - c4 d +\relative { + c'4 d \set fontSize = #-4 % make note heads smaller e4 f | \set fontSize = #2.5 % make note heads larger @@ -2044,15 +2054,15 @@ range from that voice only: \new Voice \with { \consists "Ambitus_engraver" } { - \relative c'' { + \relative { \voiceOne - c4 a b g + c''4 a b g } } \new Voice { - \relative c' { + \relative { \voiceTwo - c4 e d f + c'4 e d f } } >> @@ -2069,15 +2079,15 @@ the notes in all the voices on that staff: } << \new Voice { - \relative c'' { + \relative { \voiceOne - c4 a b g + c''4 a b g } } \new Voice { - \relative c' { + \relative { \voiceTwo - c4 e d f + c'4 e d f } } >> @@ -2099,24 +2109,24 @@ staff in a four-staff score, we could write \score { << \new Staff { - \relative c'' { - c4 a b g + \relative { + c''4 a b g } } \new Staff { - \relative c' { - c4 a b g + \relative { + c'4 a b g } } \new Staff { \clef "G_8" - \relative c' { - c4 a b g + \relative { + c'4 a b g } } \new Staff { \clef "bass" - \relative c { + \relative { c4 a b g } } @@ -2178,7 +2188,7 @@ soprano and cello. In this case, we would start with the @example \version @w{"@version{}"} -melody = \relative c' @{ +melody = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2207,7 +2217,7 @@ Now we want to add a cello part. Let's look at the @q{Notes only} example: @example \version @w{"@version{}"} -melody = \relative c' @{ +melody = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2245,7 +2255,7 @@ different notes. @example \version @w{"@version{}"} -sopranoMusic = \relative c' @{ +sopranoMusic = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2256,7 +2266,7 @@ sopranoLyrics = \lyricmode @{ Aaa Bee Cee Dee @} -celloMusic = \relative c @{ +celloMusic = \relative @{ \clef "bass" \key c \major \time 4/4 @@ -2313,7 +2323,7 @@ This looks a bit messy; the indentation is messed up now. That is easily fixed. Here's the complete soprano and cello template. @lilypond[quote,verbatim,ragged-right,addversion] -sopranoMusic = \relative c' { +sopranoMusic = \relative { \clef "treble" \key c \major \time 4/4 @@ -2324,7 +2334,7 @@ sopranoLyrics = \lyricmode { Aaa Bee Cee Dee } -celloMusic = \relative c { +celloMusic = \relative { \clef "bass" \key c \major \time 4/4 @@ -2370,44 +2380,44 @@ from Handel's Messiah: @lilypond[quote,ragged-right] global = { \key d \major \time 4/4 } -sopranoMusic = \relative c'' { +sopranoMusic = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } sopranoWords = \lyricmode { Wor -- thy | is the lamb | that was slain | } -altoMusic = \relative a' { +altoMusic = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 | } altoWords = \sopranoWords -tenorMusic = \relative c' { +tenorMusic = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } tenorWords = \sopranoWords -bassMusic = \relative c' { +bassMusic = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords -upper = \relative a' { +upper = \relative { \clef "treble" \global - r4 2 4 | + r4 2 4 | 4. 8 2 | 4 2 | } -lower = \relative c, { +lower = \relative { \clef "bass" \global - 4 2 4 | + 4 2 4 | 4. 8 2 | 4 2 | } @@ -2601,39 +2611,39 @@ for the three bars of the example above gives: @lilypond[quote,verbatim,ragged-right,addversion] global = { \key d \major \time 4/4 } -sopranoMusic = \relative c'' { +sopranoMusic = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } sopranoWords = \lyricmode { Wor -- thy | is the lamb | that was slain | } -altoMusic = \relative a' { +altoMusic = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 | } altoWords = \sopranoWords -tenorMusic = \relative c' { +tenorMusic = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } tenorWords = \sopranoWords -bassMusic = \relative c' { +bassMusic = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords -upper = \relative a' { +upper = \relative { \clef "treble" \global - r4 2 4 | + r4 2 4 | 4. 8 2 | 4 2 | } -lower = \relative c, { +lower = \relative { \clef "bass" \global - 4 2 4 | + 4 2 4 | 4. 8 2 | 4 2 | } @@ -2932,20 +2942,20 @@ is to add the music, and combine all the parts together. composer = "J S Bach" } keyTime = { \key c \minor \time 4/4 } -ManualOneVoiceOneMusic = \relative g' { - g4 g f ees | +ManualOneVoiceOneMusic = \relative { + g'4 g f ees | d2 c | } -ManualOneVoiceTwoMusic = \relative c' { - ees16 d ees8~ ees16 f ees d c8 d~ d c~ | - c8 c4 b8 c8. g16 c b c d | +ManualOneVoiceTwoMusic = \relative { + ees'16 d ees8~ 16 f ees d c8 d~ d c~ | + 8 c4 b8 c8. g16 c b c d | } -ManualTwoMusic = \relative c' { - c16 b c8~ c16 b c g a8 g~ g16 g aes ees | - f16 ees f d g aes g f ees d ees8~ ees16 f ees d | +ManualTwoMusic = \relative { + c'16 b c8~ 16 b c g a8 g~ 16 g aes ees | + f16 ees f d g aes g f ees d ees8~ 16 f ees d | } -PedalOrganMusic = \relative c { - r8 c16 d ees d ees8~ ees16 a, b g c b c8 | +PedalOrganMusic = \relative { + r8 c16 d ees d ees8~ 16 a, b g c b c8 | r16 g ees f g f g8 c,2 | } @@ -2998,7 +3008,7 @@ Music Glossary: By this point, you've seen this kind of thing: @lilypond[quote,verbatim,ragged-right] -hornNotes = \relative c'' { c4 b dis c } +hornNotes = \relative { c''4 b dis c } \score { { @@ -3010,8 +3020,8 @@ hornNotes = \relative c'' { c4 b dis c } You may even realize that this could be useful in minimalist music: @lilypond[quote,verbatim,ragged-right] -fragmentA = \relative c'' { a4 a8. b16 } -fragmentB = \relative c'' { a8. gis16 ees4 } +fragmentA = \relative { a'4 a8. b16 } +fragmentB = \relative { a'8. gis16 ees4 } violin = \new Staff { \fragmentA \fragmentA | @@ -3037,9 +3047,9 @@ fthenp =_\markup { \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p } -violin = \relative c'' { +violin = \relative { \repeat volta 2 { - c4._\dolce b8 a8 g a b | + c''4._\dolce b8 a8 g a b | \padText c4.^"hi there!" d8 e' f g d | c,4.\fthenp b8 c4 c-. | @@ -3062,9 +3072,9 @@ variables. It's a lot harder to read, especially the last line. @example -violin = \relative c'' @{ +violin = \relative @{ \repeat volta 2 @{ - c4._\markup @{ \italic \bold dolce @} b8 a8 g a b | + c''4._\markup @{ \italic \bold dolce @} b8 a8 g a b | \once \override TextScript.padding = #5.0 c4.^"hi there!" d8 e' f g d | c,4.\markup @{ @@ -3089,14 +3099,14 @@ can think of these as functions). @lilypond[quote,verbatim,ragged-right] padText = #(define-music-function - (parser location padding) + (padding) (number?) #{ \once \override TextScript.padding = #padding #}) -\relative c''' { - c4^"piu mosso" b a b | +\relative { + c'''4^"piu mosso" b a b | \padText #1.8 c4^"piu mosso" d e f | \padText #2.6 @@ -3127,7 +3137,7 @@ suppose that the file @file{horn-music.ly} contains the following part of a horn/@/bassoon duo @example -hornNotes = \relative c @{ +hornNotes = \relative @{ \time 2/4 r4 f8 a | cis4 f | e4 d | @} @@ -3164,7 +3174,7 @@ tuning of a normal French Horn in@tie{}F. The transposition can be seen in the following output @lilypond[quote,ragged-right] -\transpose f c' \relative c { +\transpose f c' \relative { \time 2/4 r4 f8 a | cis4 f | e4 d | } @@ -3195,7 +3205,7 @@ This command sets the property @code{skipBars} in the this option to the music above, leads to the following result @lilypond[quote,ragged-right] -\transpose f c' \relative c { +\transpose f c' \relative { \time 2/4 \set Score.skipBars = ##t R2*3 | @@ -3222,7 +3232,7 @@ that the other voice is in @code{bassoonNotes} in the file leading to @lilypond[quote,ragged-right] -\relative c << +\relative << \new Staff { \clef "treble" \time 2/4