X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fnotation.itely;h=772940bfeaf0c01244f493949e9610bc32de2ab2;hb=65c9f2edb8ae873e593687ad75e546820ed7647c;hp=6c1756acfed4f9076bf1758233e3fbabda399b92;hpb=cae1b39741a43547e3f4add29416f24d681e1156;p=lilypond.git diff --git a/Documentation/user/notation.itely b/Documentation/user/notation.itely index 6c1756acfe..772940bfea 100644 --- a/Documentation/user/notation.itely +++ b/Documentation/user/notation.itely @@ -9,7 +9,7 @@ @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 +by LilyPond. It is intended as a reference for users who are already somewhat familiar with LilyPond. @menu @@ -39,7 +39,7 @@ somewhat familiar with LilyPond. @section Note entry @cindex Note entry -This section is about basic notation elements notes, rests and +This section is about basic notation elements like notes, rests, and related constructs, such as stems, tuplets and ties. @menu @@ -103,18 +103,18 @@ names are the Dutch note names. In Dutch, @code{aes} is contracted to ceses4 ces c -cis +cis cisis @end lilypond There are predefined sets of note names for various other languages. -To use them, include the language specific init file. For +To use them, include the language specific init file. For example: @code{\include "english.ly"}. The available language files and the note names they define are @anchor{note name} @anchor{note names} -@example +@example 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 @@ -123,10 +123,9 @@ 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 italiano.ly do re mi fa sol la sib si -d -b -catalan.ly do re mi fa sol la sib si -d/-s -b -espanol.ly do re mi fa sol la sib si -s -b - -@end example +catalan.ly do re mi fa sol la sib si -d/-s -b +espanol.ly do re mi fa sol la sib si -s -b +@end example @cindex @code{'} @cindex @code{,} @@ -147,7 +146,7 @@ c' c'' es' g' as' gisis' ais' Notes can be hidden and unhidden with the following commands @cindex @code{\hideNotes} -@code{\hideNotes}, +@code{\hideNotes}, @cindex @code{\unHideNotes} @code{\unHideNotes}. @@ -169,7 +168,7 @@ can be forced by adding an exclamation mark @code{!} after the pitch. A cautionary accidental @cindex cautionary accidental @cindex parenthesized accidental -(i.e. an accidental within parentheses) can be obtained by adding the +(i.e., an accidental within parentheses) can be obtained by adding the question mark `@code{?}' after the pitch. @lilypond[quote,raggedright,fragment,verbatim] @@ -197,7 +196,7 @@ Half-flats and half-sharps are formed by adding @code{-eh} and { ceseh ceh cih cisih } @end lilypond -Micro tones are also exported to the MIDI file +Micro tones are also exported to the MIDI file @refbugs @@ -285,7 +284,7 @@ The @code{s} skip command does create @internalsref{Staff} and commands. For example, the following results in an empty staff. @lilypond[quote,raggedright,verbatim] -{ s4 } +{ s4 } @end lilypond The fragment @code{@{ \skip 4 @} } would produce an empty page. @@ -313,29 +312,29 @@ a half note is entered using a @code{2} (since it is a 1/2 note). For notes longer than a whole you must use the variables @code{\longa} and @code{\breve} -@example -c'\breve +@example +c'\breve c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64 -r\longa r\breve -r1 r2 r4 r8 r16 r32 r64 r64 -@end example +r\longa r\breve +r1 r2 r4 r8 r16 r32 r64 r64 +@end example @lilypond[quote] \score { \relative c'' { - a\breve*1/2 \autoBeamOff - a1 a2 a4 a8 a16 a32 a64 a64 + a\breve*1/2 \autoBeamOff + a1 a2 a4 a8 a16 a32 a64 a64 \bar "empty" \break - r\longa*1/4 r\breve *1/2 - r1 r2 r4 r8 r16 r32 r64 r64 + r\longa*1/4 r\breve *1/2 + r1 r2 r4 r8 r16 r32 r64 r64 } \layout { raggedright = ##t \context { \Staff \remove "Clef_engraver" - \override StaffSymbol #'transparent = ##t + \override StaffSymbol #'transparent = ##t \override TimeSignature #'transparent = ##t \override BarLine #'transparent = ##t \consists "Pitch_squash_engraver" @@ -348,7 +347,7 @@ If the duration is omitted then it is set to the previously entered duration. The default for the first note is a quarter note. @lilypond[quote,raggedright,verbatim,fragment] -{ a a a2 a a4 a a1 a } +{ a a a2 a a4 a a1 a } @end lilypond @@ -371,15 +370,15 @@ situations. The following commands may be used to force a particular direction manually @cindex @code{\dotsUp} -@code{\dotsUp}, +@code{\dotsUp}, @cindex @code{\dotsDown} -@code{\dotsDown}, +@code{\dotsDown}, @cindex @code{\dotsNeutral} @code{\dotsNeutral}. @seealso -Program reference: @internalsref{Dots}, and @internalsref{DotColumn}. +Program reference: @internalsref{Dots}, and @internalsref{DotColumn}. @node Scaling durations @subsection Scaling durations @@ -403,7 +402,7 @@ b16*4 c4 This manual: @ref{Tuplets} -@c TODO: I'm not certain that Stems belong here in the manual. -gp +@c TODO: I'm not certain that Stems belong here in the manual. -gp @node Stems @subsection Stems @@ -414,11 +413,11 @@ made invisible. @refcommands @cindex @code{\stemUp} -@code{\stemUp}, +@code{\stemUp}, @cindex @code{\stemDown} -@code{\stemDown}, +@code{\stemDown}, @cindex @code{\stemNeutral} -@code{\stemNeutral}. +@code{\stemNeutral}. @node Ties @@ -455,7 +454,7 @@ values should be aligned to subdivisions of the measure, eg. @lilypond[fragment,quote,raggedright] \relative { - r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4 + r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4 } @end lilypond @@ -468,17 +467,17 @@ lines. @cindex @code{\tieUp} -@code{\tieUp}, +@code{\tieUp}, @cindex @code{\tieDown} -@code{\tieDown}, +@code{\tieDown}, @cindex @code{\tieNeutral} -@code{\tieNeutral}, +@code{\tieNeutral}, @cindex @code{\tieDotted} -@code{\tieDotted}, +@code{\tieDotted}, @cindex @code{\tieSolid} @code{\tieSolid}. -@seealso +@seealso In this manual: @ref{Automatic note splitting}. @@ -490,7 +489,7 @@ Program reference: @internalsref{TieEvent}, @internalsref{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. +optimal. @node Tuplets @subsection Tuplets @@ -537,15 +536,15 @@ instead. @cindex @code{tupletNumberFormatFunction} -@cindex tuplet formatting +@cindex tuplet formatting @refcommands @cindex @code{\tupletUp} -@code{\tupletUp}, +@code{\tupletUp}, @cindex @code{\tupletDown} -@code{\tupletDown}, +@code{\tupletDown}, @cindex @code{\tupletNeutral} @code{\tupletNeutral}. @@ -614,7 +613,7 @@ or @example \relative @var{musicexpr} @end example - + The octave of notes that appear in @var{musicexpr} are calculated as follows: if no octave changing marks are used, the basic interval between this and the last note is always taken to be a fourth or @@ -633,7 +632,7 @@ is specified, then middle C is used as a start. Here is the relative mode shown in action @lilypond[quote,fragment,raggedright,verbatim] \relative c'' { - b c d c b c bes a + b c d c b c bes a } @end lilypond @@ -649,7 +648,7 @@ to determine the first note of the next chord @lilypond[quote,raggedright,fragment,verbatim] \relative c' { - c + c } @@ -667,11 +666,11 @@ be placed inside @code{\transpose}. @subsection Octave check -Octave checks make octave errors easier to correct: a note may be +Octave checks make octave errors easier to correct: a note may be followed by @code{=}@var{quotes} which indicates what its absolute octave should be. In the following example, @example -\relative c'' @{ c='' b=' d,='' @} +\relative c'' @{ c='' b=' d,='' @} @end example @noindent @@ -715,11 +714,11 @@ is a @code{a'}, above middle C. That means that the @code{\octave} check passes successfully, so the check could be deleted without changing the output of the piece. -@lilypond[quote,raggedright,verbatim,fragment] +@lilypond[quote,raggedright,verbatim,fragment] \relative c' { e \octave b - a + a } @end lilypond @@ -737,16 +736,16 @@ during interpretation, it should fall on a measure boundary. If it does not, a warning is printed. In the next example, the second bar check will signal an error @example -\time 3/4 c2 e4 | g2 | +\time 3/4 c2 e4 | g2 | @end example -Bar checks can also be used in lyrics, for example +Bar checks can also be used in lyrics, for example @example \lyricmode @{ \time 2/4 Twin -- kle | Twin -- kle -@} +@} @end example @@ -769,7 +768,7 @@ by assigning a music expression to @code{pipeSymbol}, pipeSymbol = \bar "||" { c'2 c' | c'2 c } -@end lilypond +@end lilypond @node Skipping corrected music @@ -807,7 +806,7 @@ In the following examples, notes crossing the bar line are split and tied. \remove "Note_heads_engraver" \consists "Completion_heads_engraver" } { - c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 + c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 } @end lilypond @@ -857,16 +856,16 @@ such as key signatures, clefs and time signatures. @cindex adjusting staff symbol -Notes, dynamic signs, etc. are grouped +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. +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 +@cindex thickness of staff lines, setting +@cindex number of staff lines, setting @seealso @@ -895,7 +894,7 @@ staff. Setting or changing the key signature is done with the @code{\key} command @example - @code{\key} @var{pitch} @var{type} +@code{\key} @var{pitch} @var{type} @end example @cindex @code{\minor} @@ -952,11 +951,11 @@ Supported clef-names include @item treble, violin, G, G2 G clef on 2nd line @item alto, C -@cindex alto clef +@cindex alto clef C clef on 3rd line @item tenor -@cindex tenor clef - C clef on 4th line. +@cindex tenor clef + C clef on 4th line. @item bass, F @cindex bass clef F clef on 4th line @@ -991,7 +990,7 @@ must be enclosed in quotes when it contains underscores or digits. For example, -@cindex choral tenor clef +@cindex choral tenor clef @lilypond[quote,raggedright,verbatim,fragment,relative=1] \clef "G_8" c4 @end lilypond @@ -1011,9 +1010,9 @@ possibilities when setting properties manually. c'4 \set Staff.clefGlyph = #"clefs-C" c'4 - \set Staff.clefOctavation = #7 + \set Staff.clefOctavation = #7 c'4 - \set Staff.clefOctavation = #0 + \set Staff.clefOctavation = #0 \set Staff.clefPosition = #0 c'4 \clef "bass" @@ -1043,7 +1042,7 @@ the staff. They are created by invoking the function \relative c''' { a2 b #(set-octavation 1) - a b + a b #(set-octavation 0) a b } @@ -1051,7 +1050,7 @@ the staff. They are created by invoking the function The @code{set-octavation} function also takes -1 (for 8va bassa) and 2 (for 15ma) as arguments. Internally the function sets the properties -@code{ottavation} (e.g. to @code{"8va"}) and +@code{ottavation} (e.g., to @code{"8va"}) and @code{centralCPosition}. For overriding the text of the bracket, set @code{ottavation} after invoking @code{set-octavation}, i.e., @@ -1092,7 +1091,7 @@ staff. The time signature is set or changed by the @code{\time} command @lilypond[quote,raggedright,fragment,verbatim] -\time 2/4 c'2 \time 3/4 c'2. +\time 2/4 c'2 \time 3/4 c'2. @end lilypond The symbol that is printed can be customized with the @code{style} @@ -1133,7 +1132,7 @@ measure is subdivided in 2, 2, 2 and 3. This is passed to \score { \relative c'' { #(set-time-signature 9 8 '(2 2 2 3)) - g8[ g] d[ d] g[ g] a8[( bes g]) | + g8[ g] d[ d] g[ g] a8[( bes g]) | #(set-time-signature 5 8 '(3 2)) a4. g4 } @@ -1168,16 +1167,16 @@ Automatic beaming does not use the measure grouping specified with Partial measures, for example in upsteps, are entered using the @code{\partial} command @lilypond[quote,raggedright,fragment,verbatim,relative=2] -\partial 16*5 c16 cis d dis e | a2. c,4 | b2 +\partial 16*5 c16 cis d dis e | a2. c,4 | b2 @end lilypond -The syntax for this command is +The syntax for this command is @example - \partial @var{duration} +\partial @var{duration} @end example This is internally translated into @example - \set Timing.measurePosition = -@var{length of duration} +\set Timing.measurePosition = -@var{length of duration} @end example @cindex @code{|} The property @code{measurePosition} contains a rational number @@ -1191,10 +1190,10 @@ the @code{\partial} should follow the grace notes @lilypond[verbatim,quote,raggedright,relative,fragment] { - \grace f16 + \grace f16 \partial 4 g4 - a2 g2 + a2 g2 } @end lilypond @@ -1205,12 +1204,12 @@ the @code{\partial} should follow the grace notes @cindex @code{\bar} Bar lines and bar numbers are calculated automatically. For unmetered -music (e.g. cadenzas), this is not desirable. By setting +music (cadenzas, for example), this is not desirable. By setting @code{Score.timing} to false, this automatic timing can be switched off. Empty bar lines, @example - \bar "" +\bar "" @end example @noindent @@ -1219,7 +1218,7 @@ indicate where line breaks can occur. @refcommands @cindex @code{\cadenzaOn} -@code{\cadenzaOn}, +@code{\cadenzaOn}, @cindex @code{\cadenzaOff} @code{\cadenzaOff}. @@ -1250,8 +1249,8 @@ The following bar types are available For allowing line breaks, there is a special command, @example - \bar "" -@end example +\bar "" +@end example This will insert an invisible bar line, and allow line breaks at this point. @@ -1294,7 +1293,7 @@ You are encouraged to use @code{\repeat} for repetitions. See @seealso -In this manual: @ref{Repeats}, @ref{System start delimiters} +In this manual: @ref{Repeats}, @ref{System start delimiters}. Program reference: @internalsref{BarLine} (created at @@ -1317,68 +1316,73 @@ The bookkeeping deals with the following variables @table @code @item currentBarNumber - the measure number +The measure number. + @item measureLength - the length of the measures in the current time signature. For a 4/4 - time this is 1, and for 6/8 it is 3/4. +The length of the measures in the current time signature. For a 4/4 +time this is@tie{}1, and for 6/8 it is 3/4. + @item measurePosition - the point within the measure where we currently are. This quantity - is reset to 0 whenever it exceeds @code{measureLength}. When that happens, - @code{currentBarNumber} is incremented. +The point within the measure where we currently are. This quantity +is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that +happens, @code{currentBarNumber} is incremented. + @item timing - if set to true, the above variables are updated for every time - step. When set to false, the engraver stays in the current measure - indefinitely. +If set to true, the above variables are updated for every time +step. When set to false, the engraver stays in the current measure +indefinitely. @end table Timing can be changed by setting any of these variables explicitly. In the next example, the 4/4 time signature is printed, but @code{measureLength} is set to 5/4. After a while, the measure is shortened by 1/8, by setting @code{measurePosition} to -3/8 at 2/4 in -the measure, so the next bar line will fall at 2/4 + 3/8. +the measure, so the next bar line will fall at 2/4 + 3/8. -@lilypond[raggedright,verbatim,relative,fragment] - \set Score.measureLength = #(ly:make-moment 5 4) - c1 c4 - c1 c4 - c4 c4 - \set Score.measurePosition = #(ly:make-moment -3 8) - b8 b b - c4 c1 +@lilypond[quote,raggedright,verbatim,relative,fragment] +\set Score.measureLength = #(ly:make-moment 5 4) +c1 c4 +c1 c4 +c4 c4 +\set Score.measurePosition = #(ly:make-moment -3 8) +b8 b b +c4 c1 @end lilypond @node Controlling formatting of prefatory matter @subsection Controlling formatting of prefatory matter -TODO Somebody needs to explain this example, but I don't know what -they're trying to do, so it won't be me. -gp +@c This section will be moved to somewhere else soon. +This example demonstrates how to place prefactory matter +(such as the clef and key signature) at the end of a line. -@lilypond[verbatim] +@lilypond[quote,verbatim] \transpose c c' { - \override Staff.Clef #'break-visibility = #end-of-line-visible - \override Staff.KeySignature #'break-visibility = #end-of-line-visible - \set Staff.explicitClefVisibility = #end-of-line-visible - \set Staff.explicitKeySignatureVisibility = #end-of-line-visible - - % We want the time sig to take space, otherwise there is not - % enough white at the start of the line. - % - - \override Staff.TimeSignature #'transparent = ##t - \set Score.defaultBarType = #"empty" - - c1 d e f g a b c - \key d \major - \break - - % see above. - \time 4/4 - - d e fis g a b cis d - \key g \major - \break - \time 4/4 + \override Staff.Clef + #'break-visibility = #end-of-line-visible + \override Staff.KeySignature + #'break-visibility = #end-of-line-visible + \set Staff.explicitClefVisibility = #end-of-line-visible + \set Staff.explicitKeySignatureVisibility = #end-of-line-visible + + % We want the time sig to take space, otherwise there is not + % enough white at the start of the line. + + \override Staff.TimeSignature #'transparent = ##t + \set Score.defaultBarType = #"empty" + + c1 d e f g a b c + \key d \major + \break + + % see above. + \time 4/4 + + d e fis g a b cis d + \key g \major + \break + \time 4/4 } @end lilypond @@ -1391,7 +1395,7 @@ a piece of music. Polyphony in LilyPond refers to having more than one voice on the same staff. @menu -* Writing polyphonic music:: +* Writing polyphonic music:: @end menu @node Writing polyphonic music @@ -1406,8 +1410,8 @@ small, short-lived voices or for single chords @lilypond[quote,raggedright,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 @@ -1415,7 +1419,7 @@ The separator causes @internalsref{Voice} contexts@footnote{Polyphonic voices are sometimes called ``layers'' in other notation packages} @cindex layers to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In -each of these contexts, vertical direction of slurs, stems, etc. is set +each of these contexts, vertical direction of slurs, stems, etc., is set appropriately. @cindex @code{\voiceOne} @@ -1429,9 +1433,9 @@ a stem directions and horizontal shift for each part @lilypond[quote,raggedright,verbatim] \relative c'' \context Staff << - \new Voice { \voiceOne cis2 b } - \new Voice { \voiceThree b4 ais ~ ais4 gis4 } - \new Voice { \voiceTwo fis4~ fis4 f ~ f } >> + \new Voice { \voiceOne cis2 b } + \new Voice { \voiceThree b4 ais ~ ais4 gis4 } + \new Voice { \voiceTwo fis4~ fis4 f ~ f } >> @end lilypond @noindent @@ -1444,8 +1448,8 @@ when the object property @code{merge-differently-dotted} is set in the @internalsref{NoteCollision} object, they are merged @lilypond[quote,verbatim,fragment,raggedright,relative=2] \context Voice << { - g8 g8 - \override Staff.NoteCollision + g8 g8 + \override Staff.NoteCollision #'merge-differently-dotted = ##t g8 g8 } \\ { g8.[ f16] g8.[ f16] } >> @@ -1465,7 +1469,7 @@ LilyPond also vertically shifts rests that are opposite of a stem, for example @lilypond[quote,raggedright,fragment,verbatim] -\context Voice << c''4 \\ r4 >> +\context Voice << c''4 \\ r4 >> @end lilypond @@ -1474,24 +1478,24 @@ for example @cindex @code{\oneVoice} -@code{\oneVoice}, +@code{\oneVoice}, @cindex @code{\voiceOne} -@code{\voiceOne}, +@code{\voiceOne}, @cindex @code{\voiceTwo} -@code{\voiceTwo}, +@code{\voiceTwo}, @cindex @code{\voiceThree} -@code{\voiceThree}, +@code{\voiceThree}, @cindex @code{\voiceFour} @code{\voiceFour}. @cindex @code{\shiftOn} -@code{\shiftOn}, +@code{\shiftOn}, @cindex @code{\shiftOnn} -@code{\shiftOnn}, +@code{\shiftOnn}, @cindex @code{\shiftOnnn} -@code{\shiftOnnn}, +@code{\shiftOnnn}, @cindex @code{\shiftOff} @code{\shiftOff}: these commands specify in what chords of the current voice should be shifted. The outer voices (normally: voice one and @@ -1504,16 +1508,16 @@ When LilyPond cannot cope, the @code{force-hshift} property of the @internalsref{NoteColumn} object and pitched rests can be used to override typesetting decisions. -@lilypond[verbatim,raggedright] +@lilypond[quote,verbatim,raggedright] \relative << { } \\ { - \once \override NoteColumn #'force-hshift = #1.7 + \once \override NoteColumn #'force-hshift = #1.7 -} >> +} >> @end lilypond @@ -1523,7 +1527,7 @@ be used to override typesetting decisions. Program reference: the objects responsible for resolving collisions are @internalsref{NoteCollision} and @internalsref{RestCollision}. -Examples: +Examples: @inputfileref{input/@/regression,collision@/-dots@/.ly}, @inputfileref{input/@/regression,collision@/-head-chords@/.ly}, @inputfileref{input/@/regression,collision@/-heads@/.ly}, @@ -1553,7 +1557,7 @@ grouped. @cindex Automatic beams @menu -* Automatic beams:: +* Automatic beams:: * Manual beams:: * Setting automatic beam behavior:: * Beam formatting:: @@ -1565,7 +1569,7 @@ grouped. LilyPond inserts beams automatically @lilypond[quote,raggedright,fragment,verbatim,relative=2] -\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8 +\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8 @end lilypond When these automatic decisions are not good enough, beaming can be @@ -1582,7 +1586,7 @@ from being beamed @seealso -Program reference: @internalsref{Beam}. +Program reference: @internalsref{Beam}. @node Manual beams @@ -1670,7 +1674,7 @@ texts and accidentals. @node Setting automatic beam behavior -@subsection Setting automatic beam behavior +@subsection Setting automatic beam behavior @cindex @code{autoBeamSettings} @cindex @code{(end * * * *)} @@ -1688,10 +1692,10 @@ are defined in @file{scm/@/auto@/-beam@/.scm}. The value of @code{autoBeamSettings} is changed with two functions, @example - #(override-auto-beam-setting - '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b} - [@var{context}]) - #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m})) +#(override-auto-beam-setting + '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b} + [@var{context}]) +#(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m})) @end example Here, @var{be} is the symbol @code{begin} or @code{end}, and @var{context} is an optional context (default: @code{'Voice}). It @@ -1707,7 +1711,7 @@ also possible to adjust settings at higher contexts, by adding a For example, if automatic beams should end on every quarter note, use the following @example - #(override-auto-beam-setting '(end * * * *) 1 4 'Staff) +#(override-auto-beam-setting '(end * * * *) 1 4 'Staff) @end example Since the duration of a quarter note is 1/4 of a whole note, it is entered as @code{(ly:make-moment 1 4)}. @@ -1715,7 +1719,7 @@ entered as @code{(ly:make-moment 1 4)}. The same syntax can be used to specify beam starting points. In this example, automatic beams can only end on a dotted quarter note @example - #(override-auto-beam-setting '(end * * * *) 3 8) +#(override-auto-beam-setting '(end * * * *) 3 8) @end example In 4/4 time signature, this means that automatic beams could end only on 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times @@ -1726,7 +1730,7 @@ should only be applied in @var{N}/@var{M} time signature is formed by replacing the second asterisks by @var{N} and @var{M}. For example, a rule for 6/8 time exclusively looks like @example - #(override-auto-beam-setting '(begin * * 6 8) @dots{}) +#(override-auto-beam-setting '(begin * * 6 8) @dots{}) @end example If a rule should be to applied only to certain types of beams, use the @@ -1747,7 +1751,7 @@ beaming should be switched off. This is done by setting @refcommands @cindex @code{\autoBeamOff} -@code{\autoBeamOff}, +@code{\autoBeamOff}, @cindex @code{\autoBeamOn} @code{\autoBeamOn}. @@ -1790,14 +1794,15 @@ down. However, this behaviour can be altered with the @lilypond[quote,raggedright,relative=2,fragment,verbatim] { - b8[ b] - \override Beam #'neutral-direction = #-1 - b[ b] - \override Beam #'neutral-direction = #1 - b[ b] + b8[ b] + \override Beam #'neutral-direction = #-1 + b[ b] + \override Beam #'neutral-direction = #1 + b[ b] } @end lilypond + @node Accidentals @section Accidentals @@ -1805,14 +1810,14 @@ This section describes how to change the way that accidentals are inserted automatically before notes. @menu -* Automatic accidentals:: +* Automatic accidentals:: @end menu @node Automatic accidentals @subsection Automatic accidentals @cindex Automatic accidentals -Common rules for typesetting accidents have been placed in a +Common rules for typesetting accidentals have been placed in a function. This function is called as follows @cindex @code{set-accidental-style} @@ -1821,7 +1826,7 @@ function. This function is called as follows @end example The function can take two arguments: the name of the accidental style, -and an optional argument that denotes the context which should be +and an optional argument that denotes the context that should be changed. If no context name is supplied, @code{Staff} is the default, but you may wish to apply the accidental style to a single @code{Voice} instead. @@ -1854,7 +1859,7 @@ voices, which is often an unwanted result The @code{voice} option should be used if the voices are to be read solely by individual musicians. If the staff is to be -used by one musician (e.g. a conductor) then +used by one musician (e.g., a conductor) then @code{modern} or @code{modern-cautionary} should be used instead. @@ -1893,7 +1898,7 @@ the same @internalsref{Staff}. This rule is the same as @code{modern-voice}, but with the extra accidentals (the ones not typeset by @code{voice}) typeset as cautionaries. Even though all accidentals typeset by -@code{default} @emph{are} typeset by this variable then +@code{default} @emph{are} typeset by this variable, some of them are typeset as cautionaries. @item piano @@ -1905,8 +1910,8 @@ across the staves in the same @internalsref{GrandStaff} or @item piano-cautionary @cindex @code{#(set-accidental-style 'piano-cautionary)} -As @code{#(set-accidental-style 'piano)} but with the extra accidentals -typeset as cautionaries. +Same as @code{#(set-accidental-style 'piano)} but with the extra +accidentals typeset as cautionaries. @item no-reset @cindex @code{no-reset} accidental style @@ -1922,7 +1927,7 @@ This is sort of the opposite of @code{no-reset}: Accidentals are not remembered at all---and hence all accidentals are typeset relative to the key signature, regardless of what was before in the music - + @lilypond[quote,raggedright,fragment,verbatim,relative=1] #(set-accidental-style 'forget) \key d\major c4 c cis cis d d dis dis @@ -1945,7 +1950,7 @@ they appear in the input file. This is a problem when accidentals in a chord depend on each other, which does not happen for the default accidental style. The problem -can be solved by manually inserting @code{!} and @code{?} for the +can be solved by manually inserting @code{!} and @code{?} for the problematic notes. @@ -1984,47 +1989,47 @@ A slur indicates that notes are to be played bound or @emph{legato}. They are entered using parentheses @lilypond[quote,raggedright,relative=2,fragment,verbatim] - f( g a) a8 b( a4 g2 f4) - 2( 2) +f( g a) a8 b( a4 g2 f4) +2( 2) @end lilypond The direction of a slur can be set with the generic commands @example - \override Slur #'direction = #UP - \slurUp % shortcut for the previous line +\override Slur #'direction = #UP +\slurUp % shortcut for the previous line @end example @noindent However, there is a convenient shorthand for forcing slur directions. By adding @code{_} or @code{^} before the opening -parentheses, the direction is also set. For example, +parentheses, the direction is also set. For example, @lilypond[relative=2,raggedright,quote,verbatim,fragment] - c4_( c) c^( c) +c4_( c) c^( c) @end lilypond Some composers write two slurs when they want legato chords. This can be achieved in LilyPond by setting @code{doubleSlurs}, @lilypond[verbatim,raggedright,relative,fragment,quote] - \set doubleSlurs = ##t - 4 ( ) -@end lilypond +\set doubleSlurs = ##t +4 ( ) +@end lilypond + - @refcommands @cindex @code{\slurUp} -@code{\slurUp}, +@code{\slurUp}, @cindex @code{\slurDown} -@code{\slurDown}, +@code{\slurDown}, @cindex @code{\slurNeutral} -@code{\slurNeutral}, +@code{\slurNeutral}, @cindex @code{\slurDotted} -@code{\slurDotted}, +@code{\slurDotted}, @cindex @code{\slurSolid} @code{\slurSolid}. @@ -2044,7 +2049,7 @@ indicate a musical sentence. It is written using @code{\(} and @code{\)} respectively @lilypond[quote,raggedright,fragment,verbatim,relative=1] - \time 6/4 c'\( d( e) f( e) d\) +\time 6/4 c'\( d( e) f( e) d\) @end lilypond Typographically, the phrasing slur behaves almost exactly like a @@ -2059,9 +2064,9 @@ will only affect normal slurs and not phrasing slurs. @refcommands @cindex @code{\phrasingSlurUp} -@code{\phrasingSlurUp}, +@code{\phrasingSlurUp}, @cindex @code{\phrasingSlurDown} -@code{\phrasingSlurDown}, +@code{\phrasingSlurDown}, @cindex @code{\phrasingSlurNeutral} @code{\phrasingSlurNeutral}. @@ -2081,21 +2086,21 @@ Breath marks are entered using @code{\breathe} @lilypond[quote,raggedright,fragment,relative=1,verbatim] - c'4 \breathe d4 +c'4 \breathe d4 @end lilypond The glyph of the breath mark can be tuned by overriding the @code{text} property of the @code{BreathingSign} layout object with any markup text. For example, @lilypond[quote,raggedright,fragment,verbatim,relative=1] - c'4 - \override BreathingSign #'text - = #(make-musicglyph-markup "scripts-rvarcomma") - \breathe - d4 +c'4 +\override BreathingSign #'text + = #(make-musicglyph-markup "scripts-rvarcomma") +\breathe +d4 @end lilypond -@seealso +@seealso Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}. @@ -2111,21 +2116,21 @@ Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}. @cindex metronome marking Metronome settings can be entered as follows -@example - \tempo @var{duration} = @var{per-minute} +@example +\tempo @var{duration} = @var{per-minute} @end example In the MIDI output, they are interpreted as a tempo change. In the layout output, a metronome marking is printed @cindex @code{\tempo} @lilypond[quote,raggedright,verbatim,fragment] - \tempo 8.=120 c''1 +\tempo 8.=120 c''1 @end lilypond @seealso Program reference: @internalsref{MetronomeChangeEvent}. - + @node Text scripts @subsection Text scripts @@ -2139,25 +2144,25 @@ It is possible to place arbitrary strings of text or markup text (see @code{c^"text"}. By default, these indications do not influence the note spacing, but by using the command @code{\fatText}, the widths will be taken into account -@c + @lilypond[quote,fragment,raggedright,verbatim,relative=1] - c4^"longtext" \fatText c4_"longlongtext" c4 +c4^"longtext" \fatText c4_"longlongtext" c4 @end lilypond More complex formatting may also be added to a note by using the markup command, @lilypond[fragment,raggedright,verbatim,quote] - c'4^\markup { bla \bold bla } +c'4^\markup { bla \bold bla } @end lilypond The @code{\markup} is described in more detail in @ref{Text markup}. - + @refcommands @cindex @code{\fatText} -@code{\fatText}, +@code{\fatText}, @cindex @code{\emptyText} @code{\emptyText}. @@ -2172,7 +2177,7 @@ Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}. @subsection Text spanners @cindex Text spanners -Some performance indications, e.g. @i{rallentando} or @i{accelerando}, +Some performance indications, e.g., @i{rallentando} or @i{accelerando}, are written as text and are extended over many measures with dotted lines. Such texts are created using text spanners; attach @code{\startTextSpan} and @code{\stopTextSpan} to the first and last @@ -2182,10 +2187,10 @@ The string to be printed, as well as the style, is set through object properties @lilypond[quote,raggedright,fragment,relative=1,verbatim] - c1 - \override TextSpanner #'direction = #-1 - \override TextSpanner #'edge-text = #'("rall " . "") - c2\startTextSpan b c\stopTextSpan a +c1 +\override TextSpanner #'direction = #-1 +\override TextSpanner #'edge-text = #'("rall " . "") +c2\startTextSpan b c\stopTextSpan a @end lilypond @@ -2212,7 +2217,7 @@ to @internalsref{Staff} context. A bracket is started with @lilypond[quote,raggedright,verbatim] \score { - \relative c'' { + \relative c'' { c4\startGroup\startGroup c4\stopGroup c4\startGroup @@ -2229,7 +2234,7 @@ to @internalsref{Staff} context. A bracket is started with Program reference: @internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent}. -Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}. +Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}. @node Articulations @@ -2257,16 +2262,16 @@ below the staff, and @code{^} will place them above. @lilypond[quote,raggedright,fragment,verbatim] - c''4^^ c''4_^ +c''4^^ c''4_^ @end lilypond Other symbols can be added using the syntax @var{note}@code{\}@var{name}. Again, they can be forced up or down using @code{^} and @code{_}, -e.g. +e.g., @lilypond[quote,raggedright,verbatim,fragment,relative=2] - c\fermata c^\fermata c_\fermata +c\fermata c^\fermata c_\fermata @end lilypond @@ -2274,6 +2279,7 @@ e.g. @cindex accent @cindex marcato @cindex staccatissimo +@cindex espressivo @cindex fermata @cindex stopped @cindex staccato @@ -2310,17 +2316,17 @@ The vertical ordering of scripts is controlled with the will be put to the note. In this example, the @internalsref{TextScript} (the sharp symbol) first has the lowest priority, so it is put lowest in the first example. In the second, the -prall trill (the @internalsref{Script}) has the lowest, so it on the +prall trill (the @internalsref{Script}) has the lowest, so it is on the inside. When two objects have the same priority, the order in which they are entered decides which one comes first. @lilypond[verbatim,relative=3,raggedright,fragment,quote] - \once \override TextScript #'script-priority = #-100 - a4^\prall^\markup { \sharp } - - \once \override Script #'script-priority = #-100 - a4^\prall^\markup { \sharp } +\once \override TextScript #'script-priority = #-100 +a4^\prall^\markup { \sharp } + +\once \override Script #'script-priority = #-100 +a4^\prall^\markup { \sharp } @end lilypond @@ -2337,7 +2343,7 @@ MIDI rendering of the music. -@node Running trills +@node Running trills @subsection Running trills Long running trills are made with @code{\startTrillSpan} and @@ -2370,13 +2376,13 @@ Program reference: @internalsref{TrillSpanner}, Fingering instructions can be entered using @example - @var{note}-@var{digit} +@var{note}-@var{digit} @end example For finger changes, use markup texts -@c + @lilypond[quote,verbatim,raggedright,fragment,relative=1] - c4-1 c-2 c-3 c-4 - c^\markup { \finger "2-3" } +c4-1 c-2 c-3 c-4 +c^\markup { \finger "2-3" } @end lilypond @cindex finger change @@ -2385,16 +2391,15 @@ For finger changes, use markup texts @cindex subscript You can use the thumb-script to indicate that a note should be -played with the thumb (e.g. in cello music) - +played with the thumb (e.g., in cello music) @lilypond[quote,verbatim,raggedright,fragment,relative=2] - 8 +8 @end lilypond Fingerings for chords can also be added to individual notes of the chord by adding them after the pitches @lilypond[quote,verbatim,raggedright,fragment,relative=2] - < c-1 e-2 g-3 b-5 >4 +< c-1 e-2 g-3 b-5 >4 @end lilypond @noindent @@ -2402,21 +2407,21 @@ In this case, setting @code{fingeringOrientations} will put fingerings next to note heads @lilypond[quote,verbatim,raggedright,fragment,relative=1] - \set fingeringOrientations = #'(left down) - 4 - \set fingeringOrientations = #'(up right down) - 4 +\set fingeringOrientations = #'(left down) + 4 +\set fingeringOrientations = #'(up right down) + 4 @end lilypond Using this feature, it is also possible to put fingering instructions very close to note heads in monophonic music, @lilypond[verbatim,raggedright,quote,fragment] - \set fingeringOrientations = #'(right) - 4 +\set fingeringOrientations = #'(right) +4 @end lilypond - + @seealso Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}. @@ -2449,8 +2454,8 @@ are entered with the commands @code{\acciaccatura} and @cindex acciaccatura @lilypond[quote,raggedright,relative=2,verbatim,fragment] - b4 \acciaccatura d8 c4 \appoggiatura e8 d4 - \acciaccatura { g16[ f] } e4 +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 @@ -2458,8 +2463,8 @@ 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[quote,raggedright,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 @@ -2467,27 +2472,27 @@ 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 +timing. 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[quote,raggedright] << - \relative c''{ - c4 \grace c16 c4 \grace { - c16[ d16] } c2 c4 + \relative c''{ + c4 \grace c16 c4 \grace { + c16[ d16] } c2 c4 } \new Lyrics \lyricmode { \override LyricText #'font-family = #'typewriter - + \markup { (0,0) } 4 \grace { \markup { - ( \fraction 1 4 , \fraction -1 16 ) } 16 } + ( \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 ) } } >> @@ -2495,18 +2500,38 @@ example is shown here with timing tuples The placement of grace notes is synchronized between different staves. -In the following example, there are two sixteenth graces notes for +In the following example, there are two sixteenth grace notes for every eighth grace note -@lilypond[quote,raggedright,relative=2,verbatim,fragment] +@lilypond[quote,raggedright,relative=2,verbatim,fragment] << \new Staff { e4 \grace { c16[ d e f] } e4 } \new Staff { c4 \grace { g8[ b] } c4 } >> @end lilypond -If you want to end a note with a grace, the standard trick is to put -the grace notes after a ``space note'' +If you want to end a note with a grace, use the @code{\afterGrace} +command. It takes two arguments: the main note, and the grace notes +following the main note. + +@lilypond[raggedright, verbatim,relative=2,fragment] +c1 \afterGrace d1 { c16[ d] } c4 +@end lilypond + +This will put the grace notes after a ``space'' lasting 3/4 of the +length of the main note. The fraction 3/4 can be changed by setting +@code{afterGraceFraction}, ie. + +@example +afterGraceFraction = #(cons 7 8) +@end example + +@noindent +will put the grace note at 7/8 of the main note. + + +The same effect can be achieved manually by doing + @lilypond[quote,raggedright,fragment,verbatim,relative=2] \context Voice { @@ -2521,6 +2546,8 @@ 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 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, @@ -2546,8 +2573,8 @@ point up. @example \new Staff @{ - #(add-grace-property 'Voice 'Stem 'direction '()) - @dots{} + #(add-grace-property 'Voice 'Stem 'direction '()) + @dots{} @} @end example @@ -2566,23 +2593,23 @@ Program reference: @internalsref{GraceMusic}. @refbugs A score that starts with a @code{\grace} section needs an explicit -@code{\context Voice} declaration, otherwise the main note and grace +@code{\context Voice} declaration, otherwise the main note and the grace note end up on different staves. Grace note synchronization can also lead to surprises. Staff notation, -such as key signatures, bar lines, etc. are also synchronized. Take +such as key signatures, bar lines, etc., are also synchronized. Take care when you mix staves with grace notes and staves without, for example, @lilypond[quote,raggedright,relative=2,verbatim,fragment] << \new Staff { e4 \bar "|:" \grace c16 d4 } - \new Staff { c4 \bar "|:" d4 } >> + \new Staff { c4 \bar "|:" d4 } >> @end lilypond @noindent This can be remedied by inserting grace skips, for the above example @example -\new Staff @{ c4 \bar "|:" \grace s16 d4 @} +\new Staff @{ c4 \bar "|:" \grace s16 d4 @} @end example Grace sections should only be used within sequential music @@ -2592,12 +2619,12 @@ and might produce crashes or other errors. @node Glissando @subsection Glissando -@cindex Glissando +@cindex Glissando @cindex @code{\glissando} A glissando is a smooth change in pitch. It is denoted by a line or a -wavy line between two notes. It is requested by attaching +wavy line between two notes. It is requested by attaching @code{\glissando} to a note @lilypond[quote,raggedright,fragment,relative=2,verbatim] @@ -2610,7 +2637,7 @@ Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}. Example files: @file{input/@/regression/@/glissando@/.ly}. - + @refbugs @@ -2648,8 +2675,8 @@ Absolute dynamic marks are specified using a command after a note @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz} @lilypond[quote,verbatim,raggedright,fragment,relative=2] - c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff - c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz +c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff +c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz @end lilypond @cindex @code{\<} @@ -2660,29 +2687,29 @@ Absolute dynamic marks are specified using a command after a note A crescendo mark is started with @code{\<} and terminated with @code{\!}. A decrescendo is started with @code{\>} and also terminated -with @code{\!}. Because these marks are bound to notes, if you must -use spacer notes if multiple marks are needed during one note +with @code{\!}. Because these marks are bound to notes, you must +use spacer notes if multiple marks are needed during one note @lilypond[quote,raggedright,fragment,verbatim,relative=2] - c\< c\! d\> e\! - << f1 { s4 s4\< s4\! \> s4\! } >> +c\< c\! d\> e\! +<< f1 { 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 example @example - \override Staff.Hairpin #'minimum-length = #5 +\override Staff.Hairpin #'minimum-length = #5 @end example You can also use a text saying @emph{cresc.} instead of hairpins. Here is an example how to do it @lilypond[quote,raggedright,fragment,relative=2,verbatim] - \setTextCresc - c \< d e f\! - \setHairpinCresc - e\> d c b\! +\setTextCresc +c \< d e f\! +\setHairpinCresc +e\> d c b\! @end lilypond @cindex crescendo @@ -2690,20 +2717,23 @@ is an example how to do it You can also supply your own texts @lilypond[quote,raggedright,fragment,relative=1,verbatim] - \set crescendoText = \markup { \italic "cresc. poco" } - \set crescendoSpanner = #'dashed-line - a'2\< a a a\!\mf +\set crescendoText = \markup { \italic "cresc. poco" } +\set crescendoSpanner = #'dashed-line +a'2\< a a a\!\mf @end lilypond @cindex diminuendo +To create new dynamic marks or text that should be aligned +with dynamics, see @ref{New dynamic marks}. + @refcommands @cindex @code{\dynamicUp} -@code{\dynamicUp}, +@code{\dynamicUp}, @cindex @code{\dynamicDown} -@code{\dynamicDown}, +@code{\dynamicDown}, @cindex @code{\dynamicNeutral} @code{\dynamicNeutral}. @@ -2727,7 +2757,7 @@ Repetition is a central concept in music, and multiple notations exist for repetitions. @menu -* Repeat types:: +* Repeat types:: * Repeat syntax:: * Repeats and MIDI:: * Manual repeat commands:: @@ -2767,10 +2797,10 @@ used to typeset two lines of lyrics in songs with repeats, see Make tremolo beams. These are not played in MIDI output by default. @item percent -Make beat or measure repeats. These look like percent signs. These are not played -in MIDI output by default. +Make beat or measure repeats. These look like percent signs. These +are not played in MIDI output by default. -@end table +@end table @node Repeat syntax @subsection Repeat syntax @@ -2780,15 +2810,15 @@ LilyPond has one syntactic construct for specifying different types of repeats. The syntax is @example - \repeat @var{variant} @var{repeatcount} @var{repeatbody} +\repeat @var{variant} @var{repeatcount} @var{repeatbody} @end example If you have alternative endings, you may add @cindex @code{\alternative} @example - \alternative @code{@{} @var{alternative1} - @var{alternative2} - @var{alternative3} @dots{} @code{@}} +\alternative @{ @var{alternative1} + @var{alternative2} + @var{alternative3} @dots{} @} @end example where each @var{alternative} is a music expression. If you do not give enough alternatives for all of the repeats, the first alternative @@ -2804,7 +2834,7 @@ c1 With alternative endings @lilypond[quote,raggedright,fragment,verbatim,relative=2] c1 -\repeat volta 2 {c4 d e f} +\repeat volta 2 {c4 d e f} \alternative { {d2 d} {f f,} } @end lilypond @@ -2819,21 +2849,21 @@ c1 It is possible to shorten volta brackets by setting @code{voltaSpannerDuration}. In the next example, the -bracket only lasts one measure, which is a duration of 3/4. +bracket only lasts one measure, which is a duration of 3/4. @lilypond[verbatim,raggedright,quote] \relative c''{ - \time 3/4 - c c c - \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4) - \repeat "volta" 5 { d d d } - \alternative { { e e e f f f } - { g g g } } + \time 3/4 + c c c + \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4) + \repeat "volta" 5 { d d d } + \alternative { { e e e f f f } + { g g g } } } @end lilypond - + @seealso @@ -2842,18 +2872,18 @@ Examples: Brackets for the repeat are normally only printed over the topmost staff. This can be adjusted by setting the @code{voltaOnThisStaff} property @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}, -@inputfileref{input/@/regression,volta@/-chord@/-names@/.ly} +@inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}. @refbugs A nested repeat like -@example +@example \repeat @dots{} \repeat @dots{} -\alternative -@end example +\alternative +@end example @noindent is ambiguous, since it is is not clear to which @code{\repeat} the @@ -2882,11 +2912,11 @@ in the MIDI output. This is achieved by applying the @code{\unfoldrepeats} music function. This functions changes all repeats to unfold repeats. -@lilypond[verbatim,fragment,linewidth] +@lilypond[quote,verbatim,fragment,linewidth=8.0\cm] \unfoldrepeats { \repeat tremolo 8 {c'32 e' } \repeat percent 2 { c''8 d'' } - \repeat volta 2 {c'4 d' e' f'} + \repeat volta 2 {c'4 d' e' f'} \alternative { { g' a' a' g' } {f' e' d' c' } @@ -2901,14 +2931,14 @@ unfolded repeats) and one for notation (with volta, tremolo, and percent repeats). For example, @example - \score @{ - @var{..music..} - \layout @{ .. @} - @} - \score @{ - \unfoldrepeats @var{..music..} - \midi @{ .. @} - @} +\score @{ + @var{..music..} + \layout @{ .. @} +@} +\score @{ + \unfoldrepeats @var{..music..} + \midi @{ .. @} +@} @end example @node Manual repeat commands @@ -2917,21 +2947,23 @@ percent repeats). For example, @cindex @code{repeatCommands} The property @code{repeatCommands} can be used to control the layout of -repeats. Its value is a Scheme list of repeat commands, where each repeat -command can be +repeats. Its value is a Scheme list of repeat commands. @table @asis -@item @code{start-repeat}, - which prints a @code{|:} bar line; -@item @code{end-repeat}, - which prints a @code{:|} bar line; -@item @code{(volta @var{text})}, - which prints a volta bracket saying @var{text}: The text can be specified as +@item @code{start-repeat} +Print a @code{|:} bar line. + +@item @code{end-repeat} +Print a @code{:|} bar line. + +@item @code{(volta @var{text})} +Print a volta bracket saying @var{text}: The text can be specified as a text string or as a markup text, see @ref{Text markup}. Do not forget to change the font, as the default number font does not contain alphabetic characters; -@item @code{(volta #f)}, which - stops a running volta bracket. + +@item @code{(volta #f)} +Stop a running volta bracket. @end table @lilypond[quote,raggedright,verbatim,fragment,relative=2] @@ -2960,7 +2992,7 @@ style @lilypond[quote,verbatim,raggedright] \new Voice \relative c' { \repeat "tremolo" 8 { c16 d16 } - \repeat "tremolo" 4 { c16 d16 } + \repeat "tremolo" 4 { c16 d16 } \repeat "tremolo" 2 { c16 d16 } } @end lilypond @@ -2968,7 +3000,7 @@ style Tremolo marks can also be put on a single note. In this case, the note should not be surrounded by braces. @lilypond[quote,verbatim,raggedright] - \repeat "tremolo" 4 c'16 +\repeat "tremolo" 4 c'16 @end lilypond Similar output is obtained using the tremolo subdivision, described in @@ -2998,11 +3030,12 @@ length is omitted, the last value (stored in @code{tremoloFlags}) is used @lilypond[quote,raggedright,verbatim,fragment] - c'2:8 c':32 | c': c': | +c'2:8 c':32 | c': c': | @end lilypond -@c [TODO : stok is te kort bij 32en] -@c somebody want to translate that into English? :) +@c [TODO: stok is te kort bij 32en] +@c somebody want to translate that into English? +@c `Stem is too short for 32nds' (wl) @refbugs @@ -3027,7 +3060,7 @@ patterns that divide the measure length are replaced by slashes @lilypond[quote,verbatim,raggedright] \new Voice \relative c' { - \repeat "percent" 4 { c4 } + \repeat "percent" 4 { c4 } \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 } } @end lilypond @@ -3106,31 +3139,30 @@ Program reference: @internalsref{DrumNoteEvent}. @cindex drums A percussion part for more than one instrument typically uses a -multi line staff where each position in the staff refers to one piece +multiline staff where each position in the staff refers to one piece of percussion. To typeset the music, the notes must be interpreted in a @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts -@c @lilypond[quote,raggedright,verbatim] up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat } down = \drummode { bassdrum4 snare8 bd r bd sn4 } \new DrumStaff << - \new DrumVoice { \voiceOne \up } - \new DrumVoice { \voiceTwo \down } + \new DrumVoice { \voiceOne \up } + \new DrumVoice { \voiceTwo \down } >> @end lilypond The above example shows verbose polyphonic notation. The short polyphonic notation, described in @ref{Polyphony}, can also be used if -the @internalsref{DrumVoices} are instantiated by hand first. For example, +the @internalsref{DrumVoices} are instantiated by hand first. For example, -@lilypond[quote,raggedright,fragment,verbatim] +@lilypond[quote,raggedright,fragment,verbatim] \new DrumStaff << - \context DrumVoice = "1" { s1 *2 } - \context DrumVoice = "2" { s1 *2 } + \context DrumVoice = "1" { s1 *2 } + \context DrumVoice = "2" { s1 *2 } \drummode { bd4 sn4 bd4 sn4 << @@ -3138,7 +3170,7 @@ the @internalsref{DrumVoices} are instantiated by hand first. For example, \\ { bd4 sn4 bd4 sn4 } >> - } + } >> @end lilypond @@ -3151,33 +3183,36 @@ The following variables have been predefined @item drums-style This is the default. It typesets a typical drum kit on a five-line staff -@lilypond[quote,raggedright] -nam = \lyricmode { cymc cyms cymr hh hhc hho hhho hhp cb hc - bd sn ss tomh tommh tomml toml tomfh tomfl } -mus = \drummode { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc - bd sn ss tomh tommh tomml toml tomfh tomfl s16 } +@lilypond[quote,linewidth=10.0\cm] +nam = \lyricmode { + cymc cyms cymr hh hhc hho hhho hhp + cb hc bd sn ss tomh tommh tomml toml tomfh tomfl } +mus = \drummode { + cymc cyms cymr hh hhc hho hhho hhp \break + cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 } \score { - << \new DrumStaff\with { - \remove Bar_engraver - \remove Time_signature_engraver - \override Stem #'transparent = ##t - \override Stem #'Y-extent-callback = ##f - minimumVerticalExtent = #'(-4.0 . 5.0) - } \mus - \context Lyrics \nam - >> - \layout { - %% need to do this, because of indented @itemize - linewidth= 9 \cm - \context { \Score - \override LyricText #'font-family = #'typewriter - \override BarNumber #'transparent =##T -}}} + << \new DrumStaff \with { + \remove Bar_engraver + \remove Time_signature_engraver + \override Stem #'transparent = ##t + \override Stem #'Y-extent-callback = ##f + minimumVerticalExtent = #'(-4.0 . 5.0) + } \mus + \context Lyrics \nam + >> + \layout { + \context { + \Score + \override LyricText #'font-family = #'typewriter + \override BarNumber #'transparent =##T + } + } +} @end lilypond -The drum scheme supports six different toms. When there fewer toms, simply -select the toms that produce the desired result, i.e. to get toms on -the three middle lines you use @code{tommh}, @code{tomml} and +The drum scheme supports six different toms. When there are fewer toms, +simply select the toms that produce the desired result, i.e., to get toms +on the three middle lines you use @code{tommh}, @code{tomml}, and @code{tomfh}. @item timbales-style @@ -3185,90 +3220,98 @@ This typesets timbales on a two line staff @lilypond[quote,raggedright] nam = \lyricmode { timh ssh timl ssl cb } -mus = \drummode { timh ssh timl ssl cb s16 } +mus = \drummode { timh ssh timl ssl cb s16 } << - \context DrumStaff \with { - \remove Bar_engraver - \remove Time_signature_engraver - \override Stem #'transparent = ##t - \override Stem #'Y-extent-callback = ##f - \override StaffSymbol #'line-count = #2 - \override StaffSymbol #'staff-space = #2 - minimumVerticalExtent = #'(-3.0 . 4.0) - drumStyleTable = #timbales-style - } \mus - \context Lyrics { - \override LyricText #'font-family = #'typewriter - - \nam } + \context DrumStaff \with { + \remove Bar_engraver + \remove Time_signature_engraver + \override Stem #'transparent = ##t + \override Stem #'Y-extent-callback = ##f + \override StaffSymbol #'line-count = #2 + \override StaffSymbol #'staff-space = #2 + minimumVerticalExtent = #'(-3.0 . 4.0) + drumStyleTable = #timbales-style + } \mus + \context Lyrics { + \override LyricText #'font-family = #'typewriter + \nam + } >> @end lilypond + @item congas-style This typesets congas on a two line staff @lilypond[quote,raggedright] nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl } -mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 } +mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 } + << - \context DrumStaff\with { - \remove Bar_engraver - \remove Time_signature_engraver - drumStyleTable = #congas-style - \override StaffSymbol #'line-count = #2 - - %% this sucks; it will lengthen stems. - \override StaffSymbol #'staff-space = #2 - \override Stem #'transparent = ##t - \override Stem #'Y-extent-callback = ##f - } \mus - \context Lyrics { - \override LyricText #'font-family = #'typewriter -\nam } + \context DrumStaff \with { + \remove Bar_engraver + \remove Time_signature_engraver + drumStyleTable = #congas-style + \override StaffSymbol #'line-count = #2 + + %% this sucks; it will lengthen stems. + \override StaffSymbol #'staff-space = #2 + \override Stem #'transparent = ##t + \override Stem #'Y-extent-callback = ##f + } \mus + \context Lyrics { + \override LyricText #'font-family = #'typewriter + \nam + } >> @end lilypond + @item bongos-style This typesets bongos on a two line staff @lilypond[quote,raggedright] nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl } -mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 } +mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 } + << - \context DrumStaff\with { - \remove Bar_engraver - \remove Time_signature_engraver - \override StaffSymbol #'line-count = #2 - drumStyleTable = #bongos-style - - %% this sucks; it will lengthen stems. - \override StaffSymbol #'staff-space = #2 - \override Stem #'transparent = ##t - \override Stem #'Y-extent-callback = ##f - } \mus - \context Lyrics { - \override LyricText #'font-family = #'typewriter -\nam } + \context DrumStaff\with { + \remove Bar_engraver + \remove Time_signature_engraver + \override StaffSymbol #'line-count = #2 + drumStyleTable = #bongos-style + + %% this sucks; it will lengthen stems. + \override StaffSymbol #'staff-space = #2 + \override Stem #'transparent = ##t + \override Stem #'Y-extent-callback = ##f + } \mus + \context Lyrics { + \override LyricText #'font-family = #'typewriter + \nam + } >> @end lilypond @item percussion-style -to typeset all kinds of simple percussion on one line staves +To typeset all kinds of simple percussion on one line staves. + @lilypond[quote,raggedright] nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc } -mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 } +mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 } + << - \context DrumStaff\with{ - \remove Bar_engraver - drumStyleTable = #percussion-style - \override StaffSymbol #'line-count = #1 - \remove Time_signature_engraver - \override Stem #'transparent = ##t - \override Stem #'Y-extent-callback = ##f - } \mus - \context Lyrics { - \override LyricText #'font-family = #'typewriter - \nam - } + \context DrumStaff\with{ + \remove Bar_engraver + drumStyleTable = #percussion-style + \override StaffSymbol #'line-count = #1 + \remove Time_signature_engraver + \override Stem #'transparent = ##t + \override Stem #'Y-extent-callback = ##f + } \mus + \context Lyrics { + \override LyricText #'font-family = #'typewriter + \nam + } >> @end lilypond @end table @@ -3278,19 +3321,18 @@ list at the top of your file @lilypond[quote,raggedright,verbatim] #(define mydrums '( - (bassdrum default #f -1) - (snare default #f 0) - (hihat cross #f 1) - (pedalhihat xcircle "stopped" 2) - (lowtom diamond #f 3))) + (bassdrum default #f -1) + (snare default #f 0) + (hihat cross #f 1) + (pedalhihat xcircle "stopped" 2) + (lowtom diamond #f 3))) up = \drummode { hh8 hh hh hh hhp4 hhp } down = \drummode { bd4 sn bd toml8 toml } \new DrumStaff << - \set DrumStaff.drumStyleTable - = #(alist->hash-table mydrums) - \new DrumVoice { \voiceOne \up } - \new DrumVoice { \voiceTwo \down } + \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums) + \new DrumVoice { \voiceOne \up } + \new DrumVoice { \voiceTwo \down } >> @end lilypond @@ -3312,6 +3354,7 @@ for this purpose instead. Piano staves are two normal staves coupled with a brace. The staves are largely independent, but sometimes voices can cross between the two staves. The same notation is also used for harps and other key +@c Is this `harp' or `harpsichord'? instruments. The @internalsref{PianoStaff} is especially built to handle this cross-staffing behavior. In this section we discuss the @internalsref{PianoStaff} and some other pianistic peculiarities. @@ -3324,7 +3367,7 @@ handle this cross-staffing behavior. In this section we discuss the * Arpeggio:: * Staff switch lines:: * Cross staff stems:: -@end menu +@end menu @refbugs @@ -3350,7 +3393,7 @@ staff. The syntax for this is @quotation @example - \autochange @dots{}@var{music}@dots{} +\autochange @dots{}@var{music}@dots{} @end example @end quotation @@ -3370,10 +3413,10 @@ no effect on the pitches of @var{music}, so, if necessary, put @end quotation -The autochanger switches on basis of pitch (middle C is the turning +The autochanger switches on basis of the pitch (middle C is the turning point), and it looks ahead skipping over rests to switch in advance. Here is a practical example - + @lilypond[quote,verbatim,raggedright] \context PianoStaff \autochange \relative c' @@ -3397,7 +3440,7 @@ The staff switches may not end up in optimal places. For high quality output, staff switches should be specified manually. -@code{\autochange} cannot be inside @code{\times}. +@code{\autochange} cannot be inside @code{\times}. Internally, the @code{\partcombine} interprets both arguments as @code{Voice}s named @code{one} and @code{two}, and then decides when @@ -3427,13 +3470,13 @@ usually the setup for a score will start with a setup of the staves, @example << \context Staff = up @{ - \skip 1 * 10 %@emph{ keep staff alive} + \skip 1 * 10 % @emph{keep staff alive} @} \context Staff = down @{ - \skip 1 * 10 %@emph{idem} + \skip 1 * 10 % @emph{idem} @} >> -@end example +@end example and the @context{Voice} is inserted afterwards @@ -3458,7 +3501,7 @@ Piano pedal instruction can be expressed by attaching note or chord @lilypond[quote,raggedright,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}, @@ -3471,21 +3514,21 @@ Pedals can also be indicated by a sequence of brackets, by setting the @code{pedalSustainStyle} property to bracket objects @lilypond[quote,raggedright,fragment,verbatim,relative=2] - \set Staff.pedalSustainStyle = #'bracket - c\sustainDown d e - b\sustainUp\sustainDown - b g \sustainUp a \sustainDown \bar "|." +\set Staff.pedalSustainStyle = #'bracket +c\sustainDown d e +b\sustainUp\sustainDown +b g \sustainUp a \sustainDown \bar "|." @end lilypond A third style of pedal notation is a mixture of text and brackets, -obtained by setting the @code{pedalSustainStyle} style property to +obtained by setting the @code{pedalSustainStyle} property to @code{mixed} @lilypond[quote,raggedright,fragment,verbatim,relative=2] - \set Staff.pedalSustainStyle = #'mixed - c\sustainDown d e - b\sustainUp\sustainDown - b g \sustainUp a \sustainDown \bar "|." +\set Staff.pedalSustainStyle = #'mixed +c\sustainDown d e +b\sustainUp\sustainDown +b g \sustainUp a \sustainDown \bar "|." @end lilypond The default `*Ped.' style for sustain and damper pedals corresponds to @@ -3493,18 +3536,19 @@ style @code{#'text}. The sostenuto pedal uses @code{mixed} style by default. @lilypond[quote,raggedright,fragment,verbatim,relative=2] - c\sostenutoDown d e c, f g a\sostenutoUp +c\sostenutoDown d e c, f g a\sostenutoUp @end lilypond -For fine-tuning of the appearance of a pedal bracket, the properties +For fine-tuning the appearance of a pedal bracket, the properties @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of @code{PianoPedalBracket} objects (see -@internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the -bracket may be extended to the right edge of the note head +@internalsref{PianoPedalBracket} in the Program reference) can be +modified. For example, the bracket may be extended to the right edge +of the note head @lilypond[quote,raggedright,fragment,verbatim,relative=2] - \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0) - c\sostenutoDown d e c, f g a\sostenutoUp +\override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0) +c\sostenutoDown d e c, f g a\sostenutoUp @end lilypond @node Arpeggio @@ -3519,7 +3563,7 @@ You can specify an arpeggio sign on a chord by attaching an @lilypond[quote,raggedright,fragment,relative=1,verbatim] - \arpeggio +\arpeggio @end lilypond When an arpeggio crosses staves, you attach an arpeggio to the chords @@ -3529,8 +3573,8 @@ in both staves, and set @lilypond[quote,raggedright,fragment,relative=1,verbatim] \context PianoStaff << \set PianoStaff.connectArpeggios = ##t - \new Staff { \arpeggio } - \new Staff { \clef bass \arpeggio } + \new Staff { \arpeggio } + \new Staff { \clef bass \arpeggio } >> @end lilypond @@ -3552,8 +3596,8 @@ arpeggiate the chord @c todo: ugh, lousy typography. Look for real example. --hwn @lilypond[quote,raggedright,fragment,relative=1,verbatim] - \arpeggioBracket - \arpeggio +\arpeggioBracket +\arpeggio @end lilypond @refcommands @@ -3589,7 +3633,7 @@ arpeggios in one @internalsref{PianoStaff} at the same point in time. @cindex @code{followVoice} -Whenever a voice switches to another staff a line connecting the notes +Whenever a voice switches to another staff, a line connecting the notes can be printed automatically. This is switched on by setting @code{PianoStaff.followVoice} to true @@ -3602,7 +3646,7 @@ can be printed automatically. This is switched on by setting b2 a } \context Staff=two { \clef bass \skip 1*2 } ->> +>> @end lilypond @seealso @@ -3612,7 +3656,7 @@ Program reference: @internalsref{VoiceFollower}. @refcommands @cindex @code{\showStaffSwitch} -@code{\showStaffSwitch}, +@code{\showStaffSwitch}, @cindex @code{\hideStaffSwitch} @code{\hideStaffSwitch}. @@ -3620,9 +3664,9 @@ Program reference: @internalsref{VoiceFollower}. @node Cross staff stems @subsection Cross staff stems -The chords which cross staves may be produced by increasing the length -of the stem in the lower stave, so it reaches the stem in the upper -stave, or vice versa. +Chords that cross staves may be produced by increasing the length +of the stem in the lower staff, so it reaches the stem in the upper +staff, or vice versa. @lilypond[raggedright,verbatim,quote] stemExtend = \once \override Stem #'length = #22 @@ -3649,18 +3693,21 @@ There are three different issues when printing vocal music @itemize @bullet @item - Song texts must be entered as texts, not notes. For example, the -input @code{d} should be interpreted as a one letter syllable, not the note D. +Song texts must be entered as text, not notes. For example, the +input@tie{}@code{d} should be interpreted as a one letter syllable, not the +note@tie{}D. + @item - Song texts must be printed as text, not as notes. +Song texts must be printed as text, not as notes. + @item - Song texts must be aligned with the notes of their melody +Song texts must be aligned with the notes of their melody. @end itemize -The simplest solution to printing music uses the @code{\addlyrics} +The simplest solution for printing music uses the @code{\addlyrics} function to solve all these problems at once. However, these three functions can be controlled separately, which is necessary -for complex vocal music. +for complex vocal music. @menu @@ -3679,27 +3726,27 @@ for complex vocal music. The easiest way to add lyrics to a melody is to append @cindex \addlyrics @example - \addlyrics @{ @var{the lyrics} @} +\addlyrics @{ @var{the lyrics} @} @end example @noindent to a melody. Here is an example, @lilypond[raggedright,verbatim,fragment,quote] - \time 3/4 - \relative { c2 e4 g2. } - \addlyrics { play the game } +\time 3/4 +\relative { c2 e4 g2. } +\addlyrics { play the game } @end lilypond More stanzas can be added by adding more -@code{\addlyrics} sections +@code{\addlyrics} sections @lilypond[raggedright,verbatim,fragment,quote] - \time 3/4 - \relative { c2 e4 g2. } - \addlyrics { play the game } - \addlyrics { speel het spel } - \addlyrics { joue le jeu } +\time 3/4 +\relative { c2 e4 g2. } +\addlyrics { play the game } +\addlyrics { speel het spel } +\addlyrics { joue le jeu } @end lilypond @c TODO - this isn't such a great place for this note, but I can't @@ -3713,15 +3760,16 @@ fancy things, in which case you should investigate @code{\lyricsto} or @code{\lyricmode}. @example - @{ MUSIC @} - \addlyrics @{ LYRICS @} +@{ MUSIC @} +\addlyrics @{ LYRICS @} @end example +@noindent is the same as @example - \context Voice = blah @{ music @} - \lyricsto "blah" \lyricsmode \new lyrics @{ LYRICS @} +\context Voice = blah @{ music @} +\lyricsto "blah" \lyricsmode \new lyrics @{ LYRICS @} @end example @@ -3733,14 +3781,14 @@ is the same as @cindex @code{\lyricmode} @cindex punctuation -Lyrics are entered in a special input mode. This mode is is introduced +Lyrics are entered in a special input mode. This mode is introduced by the keyword @code{\lyricmode}, or by using @code{addlyrics} or @code{lyricsto}. In this mode you can enter lyrics, with punctuation and accents, and the input @code{d} is not parsed as a pitch, but rather as a one letter syllable. Syllables are entered like notes, but with pitches replaced by text. For example, @example - \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @} +\lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @} @end example @@ -3751,7 +3799,7 @@ is that a word can end with @code{@}}. The following example is usually a mistake in the input file. The syllable includes a @code{@}}, so the opening brace is not balanced @example - \lyricmode @{ twinkle@} +\lyricmode @{ twinkle @} @end example @cindex @code{\property}, in @code{\lyricmode} @@ -3760,27 +3808,27 @@ Similarly, a period which follows an alphabetic sequence is included in the resulting string. As a consequence, spaces must be inserted around property commands @example - \override Score . LyricText #'font-shape = #'italic +\override Score . LyricText #'font-shape = #'italic @end example @cindex @code{_} @cindex spaces, in lyrics @cindex quotes, in lyrics -Any @code{_} character which appears in an unquoted word is converted +Any @code{_} character that appears in an unquoted word is converted to a space. This provides a mechanism for introducing spaces into words without using quotes. Quoted words can also be used in Lyrics mode to specify words that cannot be written with the above rules. The following example incorporates double quotes @example - \lyricmode @{ He said: "\"Let" my peo ple "go\"" @} +\lyricmode @{ He said: "\"Let" my peo ple "go\"" @} @end example This example is slightly academic, since it gives better looking -results to use single quotes, @code{``} and @code{''} +results using single quotes, @code{``} and @code{''} @example - \lyricmode @{ He said: ``Let my peo ple go'' @} +\lyricmode @{ He said: ``Let my peo ple go'' @} @end example @@ -3825,7 +3873,7 @@ next one. Such a line is called an extender line, and it is entered as @seealso -Program reference: @internalsref{HyphenEvent}, +Program reference: @internalsref{HyphenEvent}, @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and @internalsref{LyricExtender} @@ -3834,12 +3882,12 @@ Examples: @inputfileref{input/@/test,lyric@/-hyphen@/-retain@/.ly}. @node The Lyrics context -@subsection The Lyrics context +@subsection The Lyrics context Lyrics are printed by interpreting them in a @internalsref{Lyrics} context @example - \context Lyrics \lyricmode @dots{} +\context Lyrics \lyricmode @dots{} @end example @cindex automatic syllable durations @@ -3852,11 +3900,10 @@ automatically. In this case, it is no longer necessary to enter the correct duration for each syllable. This is achieved by combining the melody and the lyrics with the @code{\lyricsto} expression @example -\lyricsto @var{name} \new Lyrics @dots{} +\lyricsto @var{name} \new Lyrics @dots{} @end example This aligns the lyrics to the -@c notes of the @internalsref{Voice} context called @var{name}, which has to exist. Therefore, normally the @code{Voice} is specified first, and then the lyrics are specified with @code{\lyricsto}. The command @@ -3864,9 +3911,9 @@ then the lyrics are specified with @code{\lyricsto}. The command @code{\lyricmode} keyword may be omitted. For different or more complex orderings, the best way is to setup the -hierarchy of staves and lyrics first, e.g. +hierarchy of staves and lyrics first, e.g., @example -\context ChoirStaff << +\context ChoirStaff << \context Lyrics = sopranoLyrics @{ s1 @} \context Voice = soprano @{ @emph{music} @} \context Lyrics = tenorLyrics @{ s1 @} @@ -3875,40 +3922,40 @@ hierarchy of staves and lyrics first, e.g. @end example and then combine the appropriate melodies and lyric lines @example - \lyricsto "soprano" \context Lyrics = sopranoLyrics - @emph{the lyrics} +\lyricsto "soprano" \context Lyrics = sopranoLyrics + @emph{the lyrics} @end example @noindent The final input would resemble @example -<<\context ChoirStaff << @emph{setup the music} >> +<<\context ChoirStaff << @emph{setup the music} >> \lyricsto "soprano" @emph{etc} \lyricsto "alto" @emph{etc} @emph{etc} >> -@end example +@end example The @code{\lyricsto} command detects melismata: it only puts one syllable under a tied or slurred group of notes. If you want to force an unslurred group of notes to be a melisma, insert @code{\melisma} after the first note of the group, and @code{\melismaEnd} after the -last one, e.g. +last one, e.g., @lilypond[quote,relative=2,raggedright,fragment,verbatim] << \context Voice = "lala" { \time 3/4 f4 g8 - \melisma + \melisma f e f \melismaEnd e2 } \lyricsto "lala" \new Lyrics { - la di __ daah + la di __ daah } >> @end lilypond @@ -3929,19 +3976,19 @@ information. @end ignore Lyrics can also be entered without @code{\lyricsto}. In this case the -durations of each syllable must be entered explicitly, for example, +duration of each syllable must be entered explicitly, for example, -@verbatim - play2 the4 game2. - sink2 or4 swim2. -@end verbatim +@example +play2 the4 game2. +sink2 or4 swim2. +@end example The alignment to a melody can be specified with the @code{associatedVoice} property, -@verbatim - \set associatedVoice = #"lala" -@end verbatim +@example +\set associatedVoice = #"lala" +@end example @noindent The value of the property (here: @code{"lala"}) should be the name of @@ -3954,7 +4001,7 @@ Here is an example demonstrating manual lyric durations, << \context Voice = melody { \time 3/4 c2 e4 g2. - } + } \new Lyrics \lyricmode { \set associatedVoice = #"melody" play2 the4 game2. @@ -3981,10 +4028,10 @@ Program reference: @internalsref{LyricCombineMusic}, Examples: @ref{Small ensembles}, @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}, -@c TODO: make separate section for melismata +@c TODO: make separate section for melismata @inputfileref{input/@/test,lyrics@/-melisma@/-variants@/.ly}. @inputfileref{input/@/test,lyrics@/-melisma@/-faster@/.ly}. - + @refbugs Melismata are not detected automatically, and extender lines must be @@ -4013,7 +4060,7 @@ in the text, as shown here, @lilypond[verbatim,raggedright,quote] << \relative \context Voice = "lahlah" { - \set Staff.autoBeaming = ##f + \set Staff.autoBeaming = ##f c4 \slurDotted f8.[( g16]) @@ -4050,13 +4097,12 @@ For example, More complex variations in text underlay are possible. It is possible to switch the melody for a line of lyrics during the text. This is -done by setting the @code{associatedVoice} property. In the example +done by setting the @code{associatedVoice} property. In the example @lilypond[raggedright,quote] - << \relative \context Voice = "lahlah" { - \set Staff.autoBeaming = ##f + \set Staff.autoBeaming = ##f c4 << \context Voice = alternative { @@ -4079,10 +4125,10 @@ done by setting the @code{associatedVoice} property. In the example } \new Lyrics \lyricsto "lahlah" { % Tricky: need to set associatedVoice - % one syllable too soon! + % one syllable too soon! \set associatedVoice = alternative % applies to "ran" Ty -- - ran -- + ran -- no -- \set associatedVoice = lahlah % applies to "rus" sau -- rus Rex @@ -4092,18 +4138,18 @@ done by setting the @code{associatedVoice} property. In the example @noindent the text for the first stanza is set to a melody called ``lahlah'', -@verbatim -\new Lyrics \lyricsto "lahlah" { +@example +\new Lyrics \lyricsto "lahlah" @{ Ju -- ras -- sic Park -} -@end verbatim +@} +@end example The second stanza initially is set to the @code{lahlah} context, but for the syllable ``ran'', it switches to a different melody. This is achieved with @example - \set associatedVoice = alternative +\set associatedVoice = alternative @end example @noindent @@ -4113,16 +4159,16 @@ containing the triplet. Again, the command must be one syllable too early, before ``Ty'' in this case. -@verbatim -\new Lyrics \lyricsto "lahlah" { +@example +\new Lyrics \lyricsto "lahlah" @{ \set associatedVoice = alternative % applies to "ran" Ty -- - ran -- + ran -- no -- \set associatedVoice = lahlah % applies to "rus" sau -- rus Rex -} -@end verbatim +@} +@end example @noindent The underlay is switched back to the starting situation by assigning @@ -4139,9 +4185,9 @@ The underlay is switched back to the starting situation by assigning @cindex stanza number @cindex singer's names -@cindex name of singer +@cindex name of singer -Stanza numbers can be added by setting @code{stanza}, e.g. +Stanza numbers can be added by setting @code{stanza}, e.g., @lilypond[quote,raggedright,verbatim,relative=2,fragment] \new Voice { @@ -4187,23 +4233,23 @@ Program reference: Layout objects @internalsref{LyricText} and @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 +in a part of music. It may also denote the pitch range that a musical instrument is capable of playing. Ambits are printed on vocal parts, so performers can easily determine it meets their capabilities. -It denoted at the beginning of a piece near the initial clef. The -range is graphically specified by two note heads, that represent the +Ambits are denoted at the beginning of a piece near the initial clef. +The range is graphically specified by two note heads that represent the minimum and maximum pitch. To print such ambits, add the @internalsref{Ambitus_engraver} to the @internalsref{Voice} context, for example, @example - \layout @{ - \context @{ - \Voice - \consists Ambitus_engraver - @} +\layout @{ + \context @{ + \Voice + \consists Ambitus_engraver @} +@} @end example This results in the following output @@ -4221,7 +4267,7 @@ This results in the following output } @end lilypond -If you have multiple voices in a single staff, and you want a single +If you have multiple voices in a single staff and you want a single ambitus per staff rather than per each voice, add the @internalsref{Ambitus_engraver} to the @internalsref{Staff} context rather than to the @internalsref{Voice} context. Here is an example, @@ -4249,14 +4295,14 @@ rather than to the @internalsref{Voice} context. Here is an example, This example uses one advanced feature, @example - \override Ambitus #'X-offset-callbacks - = #(list (lambda (grob axis) -1.0)) +\override Ambitus #'X-offset-callbacks + = #(list (lambda (grob axis) -1.0)) @end example @noindent This code moves the ambitus to the left. The same effect could have been achieved with @code{extra-offset}, but then the formatting system -would not reserve space for the moved object. +would not reserve space for the moved object. @seealso @@ -4264,7 +4310,7 @@ Program reference: @internalsref{Ambitus}, @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead}, @internalsref{AmbitusAccidental}. -Examples: @inputfileref{input/@/regression,ambitus@/.ly}. +Examples: @inputfileref{input/@/regression,ambitus@/.ly}. @refbugs @@ -4281,18 +4327,17 @@ include extra information for other instruments in the future. * Harmonic notes:: @end menu -@node Harmonic notes, , Other instrument specific notation, Other instrument specific notation +@node Harmonic notes, , Other instrument specific notation, Other instrument specific notation @subsection Harmonic notes @cindex artificial harmonics @cindex harmonics Artificial harmonics are notated with a different notehead style. They -are entered by -marking the harmonic pitch with @code{\harmonic}. +are entered by marking the harmonic pitch with @code{\harmonic}. @lilypond[raggedright,verbatim,quote,fragment] - 4 +4 @end lilypond @@ -4317,14 +4362,14 @@ offers limited support for tablature. @cindex Tablatures basic The string number associated to a note is given as a backslash -followed by a number, e.g. @code{c4\3} for a C quarter on the third +followed by a number, e.g., @code{c4\3} for a C quarter on the third string. By default, string 1 is the highest one, and the tuning defaults to the standard guitar tuning (with 6 strings). The notes are printed as tablature, by using @internalsref{TabStaff} and @internalsref{TabVoice} contexts @lilypond[quote,raggedright,fragment,verbatim] - \context TabStaff { +\context TabStaff { a,4\5 c'\2 a\3 e'\1 e\4 c'\2 a\3 e'\1 } @@ -4344,7 +4389,7 @@ e16 fis gis a b4 e16 fis gis a b4 @end example @lilypond[quote,raggedright] -frag = { +frag = { \key e \major e16 fis gis a b4 \set TabStaff.minimumFret = #8 @@ -4368,12 +4413,12 @@ string selector may easily select the same string to two notes in a chord. -@node Non-guitar tablatures, , Tablatures basic, Tablatures +@node Non-guitar tablatures, , Tablatures basic, Tablatures @subsection Non-guitar tablatures @cindex Non-guitar tablatures You can change the number of strings, by setting the number of lines -in the @internalsref{TabStaff}. +in the @internalsref{TabStaff}. You can change the tuning of the strings. A string tuning is given as a Scheme list with one integer number for each string, the number @@ -4384,13 +4429,12 @@ by default middle C, in string order. In the next example, @code{stringTunings} is set for the pitches e, a, d, and g @lilypond[quote,raggedright,fragment,verbatim] - \context TabStaff << - \set TabStaff.stringTunings = #'(-5 -10 -15 -20) - - { - a,4 c' a e' e c' a e' - } - >> +\context TabStaff << + \set TabStaff.stringTunings = #'(-5 -10 -15 -20) + { + a,4 c' a e' e c' a e' + } +>> @end lilypond @refbugs @@ -4403,7 +4447,7 @@ Program reference: @internalsref{Tab_note_heads_engraver}. @node Popular music, Orchestral music, Tablatures, Notation manual -@section Popular music +@section Popular music This section discusses issues that arise when writing popular music. @@ -4420,7 +4464,7 @@ This section discusses issues that arise when writing popular music. @cindex Chords LilyPond has support for printing chord names. Chords may be entered -in musical chord notation, i.e. @code{< .. >}, but they can also be +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 @@ -4436,7 +4480,7 @@ twoWays = \transpose c c' { } << \context ChordNames \twoWays - \context Voice \twoWays >> + \context Voice \twoWays >> @end lilypond This example also shows that the chord printing routines do not try to @@ -4446,8 +4490,8 @@ an inversion. @c this menu isn't needed. @ignore @menu -* Chords mode:: -* Printing chord names:: +* Chords mode:: +* Printing chord names:: @end menu @end ignore @@ -4460,7 +4504,7 @@ names. A chord is entered by the root, which is entered like a normal pitch @lilypond[quote,raggedright,fragment,verbatim] - \chordmode { es4. d8 c2 } +\chordmode { es4. d8 c2 } @end lilypond @noindent @@ -4471,15 +4515,14 @@ The mode is introduced by the keyword @code{\chordmode}. Other chords may be entered by suffixing a colon and introducing a modifier (which may include a number if desired) -@c @lilypond[quote,fragment,verbatim] - \chordmode { e1:m e1:7 e1:m7 } +\chordmode { e1:m e1:7 e1:m7 } @end lilypond The first number following the root is taken to be the `type' of the chord, thirds are added to the root until it reaches the specified number @lilypond[quote,fragment,verbatim] - \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 } +\chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 } @end lilypond @cindex root of chord @@ -4488,45 +4531,50 @@ number More complex chords may also be constructed adding separate steps to a chord. Additions are added after the number following -the colon, and are separated by dots -@c +the colon and are separated by dots @lilypond[quote,verbatim,fragment] - \chordmode { c:5.6 c:3.7.8 c:3.6.13 } +\chordmode { c:5.6 c:3.7.8 c:3.6.13 } @end lilypond Chord steps can be altered by suffixing a @code{-} or @code{+} sign to the number @lilypond[quote,verbatim,fragment] - \chordmode { c:7+ c:5+.3- c:3-.5-.7- } +\chordmode { c:7+ c:5+.3- c:3-.5-.7- } @end lilypond -Removals are specified similarly, and are introduced by a caret. They +Removals are specified similarly and are introduced by a caret. They must come after the additions @lilypond[quote,verbatim,fragment] - \chordmode { c^3 c:7^5 c:9^3.5 } +\chordmode { c^3 c:7^5 c:9^3.5 } @end lilypond Modifiers can be used to change pitches. The following modifiers are supported + @table @code @item m - is the minor chord. This modifier lowers the 3rd and (if present) the 7th step. +The minor chord. This modifier lowers the 3rd and (if present) the 7th step. + @item dim - is the diminished chord. This modifier lowers the 3rd, 5th and (if present) - the 7th step. +The diminished chord. This modifier lowers the 3rd, 5th and (if present) +the 7th step. + @item aug - is the augmented chord. This modifier raises the 5th step. +The augmented chord. This modifier raises the 5th step. + @item maj - is the major 7th chord. This modifier raises the 7th step if present. +The major 7th chord. This modifier raises the 7th step if present. + @item sus - is the suspended 4th or 2nd. This modifier removes the 3rd +The suspended 4th or 2nd. This modifier removes the 3rd step. Append either @code{2} or @code{4} to add the 2nd or 4th step to the chord. @end table + Modifiers can be mixed with additions @lilypond[quote,verbatim,fragment] - \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 } + \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 } @end lilypond -@cindex modifiers, in chords. +@cindex modifiers, in chords. @cindex @code{aug} @cindex @code{dim} @cindex @code{maj} @@ -4536,9 +4584,8 @@ Modifiers can be mixed with additions Since an unaltered 11 does not sound good when combined with an unaltered 3, the 11 is removed in this case (unless it is added explicitly) -@c @lilypond[quote,raggedright,fragment,verbatim] - \chordmode { c:13 c:13.11 c:m13 } +\chordmode { c:13 c:13.11 c:m13 } @end lilypond @cindex @code{/} @@ -4547,18 +4594,18 @@ An inversion (putting one pitch of the chord on the bottom), as well as bass notes, can be specified by appending @code{/}@var{pitch} to the chord @lilypond[quote,raggedright,fragment,verbatim] - \chordmode { c1 c/g c/f } +\chordmode { c1 c/g c/f } @end lilypond @cindex @code{/+} -A bass note can be added instead of transposed out of the chord, -by using @code{/+}@var{pitch}. +A bass note can be added instead transposed out of the chord, +by using @code{/+}@var{pitch}. @lilypond[quote,raggedright,fragment,verbatim] \chordmode { c1 c/+g c/+f } @end lilypond -Chords is a mode similar to @code{\lyricmode} etc. Most +Chords is a mode similar to @code{\lyricmode}, etc. Most of the commands continue to work, for example, @code{r} and @code{\skip} can be used to insert rests and spaces, and property commands may be used to change various settings. @@ -4589,7 +4636,7 @@ described above, or directly using @code{<} and @code{>} @lilypond[quote,verbatim,raggedright] harmonies = { - \chordmode {a1 b c} + \chordmode {a1 b c} } << \context ChordNames \harmonies @@ -4602,7 +4649,6 @@ You can make the chord changes stand out by setting display chord names when there is a change in the chords scheme and at the start of a new line -@c originally this had linewidth=9\cm, but I though that raggedright would be better @lilypond[quote,verbatim,raggedright] harmonies = \chordmode { c1:m c:m \break c:m c:m d @@ -4626,10 +4672,10 @@ for showing repeats. voltaOnThisStaff = ##t \consists Bar_engraver \consists "Volta_engraver" -} +} \repeat volta 2 \chordmode { f1:maj f:7 bes:7 - c:maj + c:maj } \alternative { es e } @@ -4645,16 +4691,16 @@ following properties @item chordNameExceptions This is a list that contains the chords that have special formatting. -The exceptions list should be encoded as encoded as -@verbatim - @{ 1 \markup @{ \\super \"7\" \"wahh\" @} @} -@end verbatim +The exceptions list should be encoded as +@example +@{ 1 \markup @{ \super "7" "wahh" @} @} +@end example To get this information into @code{chordNameExceptions} takes a little -manoeuvring. The following code transforms @code{chExceptionMusic} +manoeuvring. The following code transforms @code{chExceptionMusic} (which is a sequential music) into a list of exceptions. @example - (sequential-music-to-chord-exceptions chExceptionMusic #t) +(sequential-music-to-chord-exceptions chExceptionMusic #t) @end example Then, @example @@ -4681,7 +4727,7 @@ it is major. Predefined options are @code{whiteTriangleMarkup} and @item chordNameSeparator Different parts of a chord name are normally separated by a slash. By setting @code{chordNameSeparator}, you can specify other -separators, e.g. +separators, e.g., @lilypond[quote,raggedright,fragment,verbatim] \context ChordNames \chordmode { c:7sus4 @@ -4700,7 +4746,7 @@ B-chord) can be produced by storing a new function in this property. @cindex @code{chordNoteNamer} @item chordNoteNamer -The default is to print single pitch, e.g. the bass note, using the +The default is to print single pitch, e.g., the bass note, using the @code{chordRootNamer}. The @code{chordNoteNamer} property can be set to a specialized function to change this behavior. For example, the base can be printed in lower case. @@ -4715,19 +4761,19 @@ demonstrated here, There are also two other chord name schemes implemented: an alternate Jazz chord notation, and a systematic scheme called Banter chords. The -alternate jazz notation is also shown on the chart in @ref{Chord name +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}. @cindex Banter @cindex jazz chords -@cindex chords, jazz +@cindex chords, jazz @refcommands @cindex @code{\germanChords} -@code{\germanChords}, +@code{\germanChords}, @cindex @code{\semiGermanChords} @code{\semiGermanChords}. @@ -4759,7 +4805,7 @@ may result in strange chord names when chords are entered with the @cindex fret diagrams @cindex chord diagrams -Fret diagrams can be added to music as a markup to the desired note. The +Fret diagrams can be added to music as a markup to the desired note. The markup contains information about the desired fret diagram, as shown in the following example @@ -4776,7 +4822,7 @@ following example } } fis' fis' fis' - c' ^\markup \override #'(dot-radius . 0.35) { + c' ^\markup \override #'(dot-radius . 0.35) { \override #'(finger-code . in-dot) { \override #'(dot-color . white) { \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);" @@ -4791,10 +4837,10 @@ following example There are three different fret-diagram markup interfaces: standard, terse, and verbose. The three interfaces produce equivalent markups, but have varying amounts of information in the markup string. Details about the -markup interfaces are found at @ref{Overview of text markup commands}. +markup interfaces are found at @ref{Overview of text markup commands}. You can set a number of graphical properties according to your preference. -Details about the property interface to fret diagrams are found at +Details about the property interface to fret diagrams are found at @internalsref{fret-diagram-interface}. @@ -4812,8 +4858,8 @@ to the @internalsref{Staff} or @internalsref{Voice} context. Then, the following command @example - \set squashedPosition = #0 - \override NoteHead #'style = #'slash +\set squashedPosition = #0 +\override NoteHead #'style = #'slash @end example @noindent @@ -4839,7 +4885,7 @@ the following example @node Orchestral music @section Orchestral music -@cindex Writing parts +@cindex Writing parts Orchestral music involves some special notation, both in the full score and the individual parts. This section explains how to tackle @@ -4864,7 +4910,7 @@ some common problems in orchestral music. @end menu @node System start delimiters -@subsection System start delimiters +@subsection System start delimiters Polyphonic scores consist of many staves. These staves can be constructed in three different ways @@ -4878,10 +4924,11 @@ connected. This is done with the @internalsref{GrandStaff} context. \new Staff { c1 c } \new Staff { c c } >> -@end lilypond +@end lilypond -@item The group is started with a bracket, and bar lines are connected. This is done with the +@item The group is started with a bracket, and bar lines are connected. +This is done with the @internalsref{StaffGroup} context @lilypond[verbatim,raggedright,quote] @@ -4890,7 +4937,7 @@ connected. This is done with the @internalsref{GrandStaff} context. \new Staff { c1 c } \new Staff { c c } >> -@end lilypond +@end lilypond @item The group is started with a vertical line. Bar lines are not @@ -4901,7 +4948,7 @@ connected. This is the default for the score. \new Staff { c1 c } \new Staff { c c } >> -@end lilypond +@end lilypond @end itemize @@ -4927,22 +4974,22 @@ in every context, and that type is determined by the property In an orchestral context, cadenzas present a special problem: when constructing a score that includes a cadenza, all other instruments should skip just as many notes as the length of the -cadenza, otherwise they will start too soon or too late. +cadenza, otherwise they will start too soon or too late. A solution to this problem are the functions @code{mmrest-of-length} -and @code{skip-of-length}. These Scheme functions take a piece music -as argument, and generate a @code{\skip} or multi rest, exactly as +and @code{skip-of-length}. These Scheme functions take a piece of music +as argument, and generate a @code{\skip} or multi-rest, exactly as long as the piece. The use of @code{mmrest-of-length} is demonstrated -in the following example. +in the following example. @lilypond[verbatim,raggedright,quote] -cadenza = \relative c' { +cadenza = \relative c' { c4 d8 << { e f g } \\ { d4. } >> g4 f2 g4 g } - + \new GrandStaff << - \new Staff { \cadenza c'4 } + \new Staff { \cadenza c'4 } \new Staff { #(ly:export (mmrest-of-length cadenza)) c'4 @@ -4962,19 +5009,21 @@ cadenza = \relative c' { To print a rehearsal mark, use the @code{\mark} command -@lilypond[quote,raggedright,fragment,verbatim,relative=1] - c1 \mark \default - c1 \mark \default - c1 \mark #8 - c1 \mark \default - c1 \mark \default +@lilypond[quote,raggedright,fragment,verbatim,relative=2] +c1 \mark \default +c1 \mark \default +c1 \mark #8 +c1 \mark \default +c1 \mark \default @end lilypond @noindent -(The letter I is skipped in accordance with engraving traditions.) -@c umm, is the manual the right place for feature requests? :) -gp +(The letter@tie{}`I' is skipped in accordance with engraving traditions.) +@c umm, is the manual the right place for feature requests? :) -gp @c FIXME - should make that tunable. +To use boxed bar numbers instead of letters, see @ref{Bar numbers}. + The mark is incremented automatically if you use @code{\mark \default}, but you can also use an integer argument to set the mark manually. The value to use is stored in the property @@ -4984,21 +5033,19 @@ The style is defined by the property @code{markFormatter}. It is a function taking the current mark (an integer) and the current context as argument. It should return a markup object. In the following example, @code{markFormatter} is set to a canned procedure. After a -few measures, it is set to function that produces a boxed number. +few measures, it is set to function that produces a boxed number. -@c fragproblem? -gp -@lilypond[quote,raggedright,verbatim,relative=2] -{ - \set Score.markFormatter = #format-mark-numbers - c1 \mark \default - c1 \mark \default - \set Score.markFormatter - = #(lambda (mark context) - (make-bold-markup - (make-box-markup (number->string mark)))) - c1 \mark \default - c1 \mark \default -} +@lilypond[fragment,quote,raggedright,verbatim,relative=2] +\set Score.markFormatter = #format-mark-numbers +c1 \mark \default +c1 \mark \default +\set Score.markFormatter + = #(lambda (mark context) + (make-bold-markup + (make-box-markup (number->string mark)))) +c1 \mark \default +c1 \mark \default +c1 @end lilypond The file @file{scm/@/translation@/-functions@/.scm} contains the definitions @@ -5013,29 +5060,26 @@ formatting functions. @cindex bar lines, symbols on The @code{\mark} command can also be used to put signs like coda, -segno and fermatas on a bar line. Use @code{\markup} to -to access the appropriate symbol +segno, and fermata on a bar line. Use @code{\markup} to +access the appropriate symbol -@c fragproblem? -gp -@lilypond[quote,raggedright,verbatim,relative=2] -{ - c1 \mark \markup { \musicglyph #"scripts-ufermata" } - c1 -} +@lilypond[fragment,quote,raggedright,verbatim,relative=2] +c1 \mark \markup { \musicglyph #"scripts-ufermata" } +c1 @end lilypond In the case of a line break, marks must also be printed at the end of the line, and not at the beginning. Use the following to force that behavior @example - \override Score.RehearsalMark - #'break-visibility = #begin-of-line-invisible +\override Score.RehearsalMark + #'break-visibility = #begin-of-line-invisible @end example @cindex fermatas @cindex coda @cindex segno -@cindex bar lines, putting symbols on +@cindex bar lines, putting symbols on @seealso @@ -5055,7 +5099,7 @@ Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly}, @subsection Bar numbers -@cindex bar numbers +@cindex Bar numbers @cindex measure numbers @cindex @code{currentBarNumber} @@ -5070,11 +5114,26 @@ whose source is available as @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly} +Bar numbers can be typeset manually by tweaking the +@code{markFormatter} property + +@lilypond[verbatim,raggedright,quote] +\relative c' { + \set Score.markFormatter + = #(lambda (mark context) + (make-bold-markup + (make-box-markup + (number->string (ly:context-property context + 'currentBarNumber))))) + + c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|." +} +@end lilypond + Bar numbers can be manually changed by setting the @code{Staff.currentBarNumber} property -@c fragproblem? -gp -@lilypond[raggedright,quote] +@lilypond[verbatim,raggedright,quote] \relative c' { \repeat unfold 4 {c4 c c c} \break \set Score.currentBarNumber = #50 @@ -5100,30 +5159,30 @@ used to position the number correctly. @node Instrument names @subsection Instrument names -In an orchestral score, instrument names are printed left side of the -staves. +In an orchestral score, instrument names are printed at the left side +of the staves. This can be achieved by setting @internalsref{Staff}.@code{instrument} and @internalsref{Staff}.@code{instr}. This will print a string before -the start of the staff. For the first start, @code{instrument} is -used, for the next ones @code{instr} is used. +the start of the staff. For the first staff, @code{instrument} is +used, for the following ones, @code{instr} is used. @lilypond[quote,verbatim,raggedright,relative=1,fragment] - \set Staff.instrument = "Ploink " - \set Staff.instr = "Plk " - c1 - \break - c'' +\set Staff.instrument = "Ploink " +\set Staff.instr = "Plk " +c1 +\break +c'' @end lilypond You can also use markup texts to construct more complicated instrument names, for example @lilypond[quote,fragment,verbatim,raggedright] - \set Staff.instrument = \markup { - \column < "Clarinetti" { "in B" - \smaller \flat } > } -{ c''1 } +\set Staff.instrument = \markup { + \column { "Clarinetti" + \line { "in B" \smaller \flat } } } +c''1 @end lilypond For longer instrument names, it may be useful to increase the @@ -5135,7 +5194,7 @@ Program reference: @internalsref{InstrumentName}. @refbugs -When you put a name on a grand staff or piano staff the width of the +When you put a name on a grand staff or piano staff, the width of the brace is not taken into account. You must add extra spaces to the end of the name to avoid a collision. @@ -5148,7 +5207,7 @@ the name to avoid a collision. A music expression can be transposed with @code{\transpose}. The syntax is @example - \transpose @var{from} @var{to} @var{musicexpr} +\transpose @var{from} @var{to} @var{musicexpr} @end example This means that @var{musicexpr} is transposed by the interval between @@ -5156,11 +5215,11 @@ the pitches @var{from} and @var{to}: any note with pitch @code{from} is changed to @code{to}. -For example, consider a piece written in the key of D major. If +For example, consider a piece written in the key of D-major. If this piece is a little too low for its performer, it can be -transposed up to E major with +transposed up to E-major with @example - \transpose d e @dots{} +\transpose d e @dots{} @end example Consider a part written for violin (a C instrument). If @@ -5168,8 +5227,8 @@ this part is to be played on the A clarinet, the following transposition will produce the appropriate part @example - \transpose a c @dots{} -@end example +\transpose a c @dots{} +@end example @code{\transpose} distinguishes between enharmonic pitches: both @code{\transpose c cis} or @code{\transpose c des} will transpose up @@ -5203,13 +5262,13 @@ you must put @code{\transpose} outside of @code{\relative}, since @subsection Instrument transpositions The key of a transposing instrument can also be specified. This -applies to many wind instruments, for example, clarinets (B-flat, A and -E-flat), horn (F) and trumpet (B-flat, C, D and E-flat). +applies to many wind instruments, for example, clarinets (B-flat, A, and +E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat). The transposition is entered after the keyword @code{\transposition} @example - \transposition bes %% B-flat clarinet +\transposition bes %% B-flat clarinet @end example @noindent @@ -5218,36 +5277,36 @@ this property is used for MIDI output and quotations. It does not affect how notes are printed in the current staff. The pitch to use for @code{\transposition} should correspond to the -transposition of the notes. For example, when entering a score in -concert pitch, typically all voices are entered in C, so +transposition of the notes. For example, when entering a score in +concert pitch, typically all voices are entered in C, so they should be entered as @example - clarinet = @{ - \transposition c' - ... - @} - saxophone = @{ - \transposition c' - .. - @} +clarinet = @{ + \transposition c' + ... +@} +saxophone = @{ + \transposition c' + ... +@} @end example The command @code{\transposition} should be used when the music is entered from a (transposed) orchestral part. For example, in classical horn parts, the tuning of the instrument is often changed -during a piece. When copying the notes from the part, use -@code{\transposition}, e.g. +during a piece. When copying the notes from the part, use +@code{\transposition}, e.g., @example - \transposition d' - c'4^"in D" - ... - \transposition g' - c'4^"in G" - ... +\transposition d' +c'4^"in D" +... +\transposition g' +c'4^"in G" +... @end example - + @cindex transposition, MIDI @@ -5261,16 +5320,16 @@ during a piece. When copying the notes from the part, use @cindex @code{R} -Multi measure rests are entered using `@code{R}'. It is specifically +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 +multi-measure 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[quote,raggedright,fragment,verbatim] - \time 4/4 r1 | R1 | R1*2 - \set Score.skipBars = ##t R1*17 R1*4 +\time 4/4 r1 | R1 | R1*2 +\set Score.skipBars = ##t R1*17 R1*4 @end lilypond The @code{1} in @code{R1} is similar to the duration notation used for @@ -5278,13 +5337,13 @@ notes. Hence, for time signatures other than 4/4, you must enter other durations. This can be done with augmentation dots or fractions @lilypond[quote,raggedright,fragment,verbatim] - \set Score.skipBars = ##t - \time 3/4 - R2. | R2.*2 - \time 13/8 - R1*13/8 - R1*13/8*12 | - \time 10/8 R4*5*4 | +\set Score.skipBars = ##t +\time 3/4 +R2. | R2.*2 +\time 13/8 +R1*13/8 +R1*13/8*12 | +\time 10/8 R4*5*4 | @end lilypond An @code{R} spanning a single measure is printed as either a whole rest @@ -5295,10 +5354,10 @@ If there are only a few measures of rest, LilyPond prints ``church rests'' rest, use @code{MultiMeasureRest.expand-limit}. @lilypond[quote,raggedright,fragment,verbatim] - \set Score.skipBars = ##t - R1*2 | R1*5 | R1*9 - \override MultiMeasureRest #'expand-limit = 1 - R1*2 | R1*5 | R1*9 +\set Score.skipBars = ##t +R1*2 | R1*5 | R1*9 +\override MultiMeasureRest #'expand-limit = 1 +R1*2 | R1*5 | R1*9 @end lilypond @@ -5307,28 +5366,27 @@ rest, use @code{MultiMeasureRest.expand-limit}. @cindex fermata on multi-measure rest Texts can be added to multi-measure rests by using the -@var{note}-@code{markup} syntax (see @ref{Text markup}). +@var{note}-@code{markup} syntax (see @ref{Text markup}). A variable (@code{\fermataMarkup}) is provided for adding fermatas - @lilypond[quote,raggedright,verbatim,fragment] - \set Score.skipBars = ##t - \time 3/4 - R2.*10^\markup { "Ad lib" } - R2.^\fermataMarkup +\set Score.skipBars = ##t +\time 3/4 +R2.*10^\markup { \italic "ad lib." } +R2.^\fermataMarkup @end lilypond -If you want to have a text on the left end of a multi-measure rest, -attach the text to a zero-length skip note, i.e. +If you want to have text on the left end of a multi-measure rest, +attach the text to a zero-length skip note, i.e., @example - s1*0^"Allegro" - R1*4 +s1*0^"Allegro" +R1*4 @end example -@cindex whole rests for a full measure +@cindex whole rests for a full measure @seealso @@ -5343,19 +5401,20 @@ specified texts. @refbugs -It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers -over multi-measure rests. +It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers +over multi-measure rests. And the pitch of multi-measure rests (or +staff-centered rests) can not be influenced. @cindex condensing rests There is no way to automatically condense multiple rests into a single -multimeasure rest. Multi measure rests do not take part in rest +multi-measure rest. Multi-measure rests do not take part in rest collisions. -Be careful when entering multimeasure rests followed by whole +Be careful when entering multi-measure rests followed by whole notes. The following will enter two notes lasting four measures each @example - R1*4 cis cis +R1*4 cis cis @end example When @code{skipBars} is set, the result will look OK, but the bar numbering will be off. @@ -5376,7 +5435,7 @@ voices, and stem directions are set automatically. Also, solo and The syntax for part combining is @example - \partcombine @var{musicexpr1} @var{musicexpr2} +\partcombine @var{musicexpr1} @var{musicexpr2} @end example @@ -5392,7 +5451,7 @@ polyphony @end lilypond The first @code{g} appears only once, although it was -specified twice (once in each part). Stem, slur and tie directions are +specified twice (once in each part). Stem, slur, and tie directions are set automatically, depending whether there is a solo or unisono. The first part (with context called @code{one}) always gets up stems, and `solo', while the second (called @code{two}) always gets down stems and @@ -5413,7 +5472,7 @@ may set the property @code{printPartCombineTexts} to false Both arguments to @code{\partcombine} will be interpreted as @internalsref{Voice} contexts. If using relative octaves, -@code{\relative} should be specified for both music expressions, i.e. +@code{\relative} should be specified for both music expressions, i.e., @example \partcombine @@ -5438,9 +5497,9 @@ When @code{printPartCombineTexts} is set, when the two voices play the same notes on and off, the part combiner may typeset @code{a2} more than once in a measure. -@code{\partcombine} cannot be inside @code{\times}. +@code{\partcombine} cannot be inside @code{\times}. -@code{\partcombine} cannot be inside @code{\relative}. +@code{\partcombine} cannot be inside @code{\relative}. Internally, the @code{\partcombine} interprets both arguments as @code{Voice}s named @code{one} and @code{two}, and then decides when @@ -5456,18 +5515,17 @@ will be ignored. In orchestral scores, staff lines that only have rests are usually removed. This saves some space. This style is called `French Score'. -For @internalsref{Lyrics}, +For @internalsref{Lyrics}, @internalsref{ChordNames} and @internalsref{FiguredBass}, this is -switched on by default. When these line of these contexts turn out +switched on by default. When the lines of these contexts turn out empty after the line-breaking process, they are removed. For normal staves, a specialized @internalsref{Staff} context is available, which does the same: staves containing nothing (or only -multi measure rests) are removed. The context definition is stored in +multi-measure rests) are removed. The context definition is stored in @code{\RemoveEmptyStaffContext} variable. Observe how the second staff in this example disappears in the second line - @lilypond[quote,raggedright,verbatim] \layout { \context { \RemoveEmptyStaffContext } @@ -5485,7 +5543,7 @@ The first system shows all staves in full. If empty staves should be removed from the first system too, set @code{remove-first} to false in @internalsref{RemoveEmptyVerticalGroup}. -Another application is making ossia sections, i.e. alternative +Another application is making ossia sections, i.e., alternative melodies on a separate piece of staff, with help of a Frenched staff. See @inputfileref{input/@/test,ossia@/.ly} for an example. @@ -5501,27 +5559,27 @@ 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 - << - \tag #'part << - R1 \\ - @{ - \set fontSize = #-1 - c4_"cue" f2 g4 @} - >> - \tag #'score R1 +c1 +<< + \tag #'part << + R1 \\ + @{ + \set fontSize = #-1 + c4_"cue" f2 g4 @} >> - c1 + \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} +-\tag #@var{your-tag} @end example -to an articulation, for example, +to an articulation, for example, @example - c1-\tag #'part ^4 +c1-\tag #'part ^4 @end example This defines a note with a conditional fingering indication. @@ -5543,7 +5601,7 @@ would yield 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{} +\tag #'(original-part transposed-part) @dots{} @end example @@ -5556,54 +5614,56 @@ Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}. Multiple rests are not merged if you create the score with both tagged sections. + @node Quoting other voices @subsection Quoting other voices With quotations, fragments of other parts can be inserted into a part directly. Before a part can be quoted, it must be marked especially as -quotable. This is done with code @code{\addquote} command. +quotable. This is done with the @code{\addquote} command. @example - \addquote @var{name} @var{music} +\addquote @var{name} @var{music} @end example @noindent Here, @var{name} is an identifying string. The @var{music} is any kind -of music. This is an example of @code{\addquote} +of music. Here is an example of @code{\addquote} -@verbatim -\addquote clarinet \relative c' { +@example +\addquote clarinet \relative c' @{ f4 fis g gis -} -@end verbatim +@} +@end example -This command must be entered at toplevel, i.e. outside any music +This command must be entered at toplevel, i.e., outside any music blocks. After calling @code{\addquote}, the quotation may then be done with -@code{\quote}, +@code{\quoteDuring} or @code{\cueDuring}, @example - \quote @var{name} @var{duration} +\quoteDuring #@var{name} @var{music} @end example -During a part, a piece of music can be quoted with the @code{\quote} -command. - +During a part, a piece of music can be quoted with the @code{\quoteDuring} +command. + @example -\quote clarinet 2. +\quoteDuring #"clarinet" @{ s2. @} @end example -This would cite three quarter notes (@code{2.} is a dotted half note) -of the previously added @code{clarinet} voice. +This would cite three quarter notes (the duration of @code{s2.}) of +the previously added @code{clarinet} voice. + More precisely, it takes the current time-step of the part being printed, and extracts the notes at the corresponding point of the @code{\addquote}d voice. Therefore, the argument to @code{\addquote} should be the entire part of the voice to be quoted, including any -rests at the beginning. +rests at the beginning. Quotations take into account the transposition of both source and target instruments, if they are specified using the @code{\transposition} command. @@ -5615,24 +5675,24 @@ instruments, if they are specified using the @code{\transposition} command. } { - e'8 f'8 \quote clarinet 2 + e'8 f'8 \quoteDuring #"clarinet" { s2 } } @end lilypond The type of events that are present in cue notes can be trimmed with -the @code{quotedEventTypes} property. The default value is -@code{(note-event rest-event)}, which means that only notes of and -rests of the cued voice end up in the @code{\quote}. +the @code{quotedEventTypes} property. The default value is +@code{(note-event rest-event)}, which means that only notes and +rests of the cued voice end up in the @code{\quoteDuring}. Setting @example \set Staff.quotedEventTypes = - #'(note-event articulation-event dynamic-event) + #'(note-event articulation-event dynamic-event) @end example @noindent will quote notes (but no rests), together with scripts and dynamics. - + @refbugs Only the contents of the first @internalsref{Voice} occurring in an @@ -5654,63 +5714,85 @@ Program reference: @internalsref{QuoteMusic}. @node Formatting cue notes @subsection Formatting cue notes +The previous section deals with inserting notes from another voice. +There is a more advanced music function called @code{\cueDuring}, +which makes formatting cue notes easier. -The previous section deals with inserting notes from another -voice. When making a part, these notes need to be specially formatted. -Here is an example of formatted cue notes +The syntax is -@c TODO: This should be done with \quote stuff, not manually. +@example + \cueDuring #@var{name} #@var{updown} @var{music} +@end example -@lilypond[raggedright,verbatim] +This will insert notes from the part @var{name} into a +@internalsref{Voice} called @code{cue}. This happens simultaneously +with @var{music}, which usually is a rest. When the cue notes start, +the staff in effect becomes polyphonic for a moment. The argument +@var{updown} determines whether the cue notes should be notated as a +first or second voice. + + +@lilypond[verbatim,raggedright] smaller = { - \set fontSize = #-1 - \override Stem #'length = #5.5 - \override Beam #'thickness = #0.384 - \override Beam #'space-function = + \set fontSize = #-2 + \override Stem #'length = #5.5 + \override Beam #'thickness = #0.384 + \override Beam #'space-function = #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult))) } -{ - \set Staff.instrument = #"Horn in F" +\addquote clarinet \relative { + R1*20 + r2 r8 c f f +} + +\new Staff \relative << + + % setup a context for cue notes. + \context Voice = cue { \smaller \skip 1*21 } + \set Score.skipBars = ##t - R1*21 - << { - \once \override Staff.MultiMeasureRest #'staff-position = #-6 - R1 - } + \new Voice { - s2 - \clef tenor - \smaller - r8^"Bsn." c'8 f'8[ f'8] - \clef treble + R1*20 + \cueDuring #"clarinet" #1 { + R1 + } + g4 g2. } - >> - c'8^"Horn" cis' - eis'4 fis'4 -} -@end lilypond +>> +@end lilypond -There are a couple of points to take care of: +Here are a couple of hints for successful cue notes @itemize @bullet @item -The multi rest of the original part should be moved up or down during -the cue. -@item Cue notes have smaller font sizes. @item -When cued notes have a clef change relative to the original part, the -clef should be restored after the cue section. This minimizes -confusion for the reader, + the cued part is marked with the instrument playing the cue. @item -When the original part starts, this should be marked with the name of -the instrument, in this case ``Horn.'' Of course, the cue part is -marked with the instrument playing the cue. + when the original part takes over again, this should be marked with + the name of the original instrument. + + @c really? Are you sure about that last point? I'll check after 3.0 -gp + +@c Yes, this is good practice. Otherwise, the start of the original +@c part can only be seen from the font size. This is not good enough +@c for sight-reading. It is possilbe to use other +@c markers (eg. a big close-bracket over the staff) to indicate the cue notes are +@c finished. +@c -hwn + + + any other changes introduced by the cued part should also be +undone. For example, if the cued instrument plays in a different clef, +the original clef should be stated once again. + @end itemize -@c really? Are you sure about that last point? I'll check after 3.0 -gp + + @node Ancient notation @@ -5744,7 +5826,7 @@ Many graphical objects provide a @code{style} property, see By manipulating such a grob property, the typographical appearance of the affected graphical objects can be accommodated for a specific -notation flavor without need for introducing any new notational +notation flavor without the need for introducing any new notational concept. In addition to the standard articulation signs described in section @@ -5756,7 +5838,7 @@ are provided. @ref{Ancient articulations} @end itemize -Other aspects of ancient notation can not that easily be expressed as +Other aspects of ancient notation can not that easily be expressed in terms of just changing a style property of a graphical object or adding articulation signs. Some notational concepts are introduced specifically for ancient notation, @@ -5818,29 +5900,29 @@ Here are all suptopics at a glance: For ancient notation, a note head style other than the @code{default} style may be chosen. This is accomplished by setting the @code{style} -property of the NoteHead object to @code{baroque}, @code{neomensural} -or @code{mensural}. The @code{baroque} style differs from the -@code{default} style only in using a square shape for @code{\breve} -note heads. The @code{neomensural} style differs from the -@code{baroque} style in that it uses rhomboidal heads for whole notes +property of the @internalsref{NoteHead} object to @code{baroque}, +@code{neomensural} or @code{mensural}. The @code{baroque} style +differs from the @code{default} style only in using a square shape +for @code{\breve} note heads. The @code{neomensural} style differs from +the @code{baroque} style in that it uses rhomboidal heads for whole notes and all smaller durations. Stems are centered on the note heads. -This style is in particular useful when transcribing mensural music, -e.g. for the incipit. The @code{mensural} style finally produces note +This style is particularly useful when transcribing mensural music, +e.g., for the incipit. The @code{mensural} style finally produces note heads that mimic the look of note heads in historic printings of the 16th century. The following example demonstrates the @code{neomensural} style @lilypond[quote,fragment,raggedright,verbatim] - \set Score.skipBars = ##t - \override NoteHead #'style = #'neomensural - a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 +\set Score.skipBars = ##t +\override NoteHead #'style = #'neomensural +a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 @end lilypond When typesetting a piece in Gregorian Chant notation, the @internalsref{Gregorian_ligature_engraver} will automatically select -the proper note heads, such there is no need to explicitly set the -note head style. Still, the note head style can be set e.g.@: to +the proper note heads, so there is no need to explicitly set the +note head style. Still, the note head style can be set, e.g., to @code{vaticana_punctum} to produce punctum neumes. Similarly, a @internalsref{Mensural_ligature_engraver} is used to automatically assemble mensural ligatures. See @ref{Ligatures} for how ligature @@ -5860,31 +5942,31 @@ overview over all available note head styles. Use the @code{style} property of grob @internalsref{Accidental} to select ancient accidentals. Supported styles are -@code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}. +@code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}. @lilypond[quote,raggedright,staffsize=26] \score { { \fatText s^\markup { - \column < - "vaticana" - { " " \musicglyph #"accidentals-vaticana-1" - " " \musicglyph #"accidentals-vaticana0" } - > - \column < + \column { + "vaticana" + \line { " " \musicglyph #"accidentals-vaticana-1" + " " \musicglyph #"accidentals-vaticana0" } + } + \column { "medicaea" - { " " \musicglyph #"accidentals-medicaea-1" } - > - \column < + \line { " " \musicglyph #"accidentals-medicaea-1" } + } + \column { "hufnagel" - { " " \musicglyph #"accidentals-hufnagel-1" } - > - \column < + \line { " " \musicglyph #"accidentals-hufnagel-1" } + } + \column { "mensural" - { " " \musicglyph #"accidentals-mensural-1" - " " \musicglyph #"accidentals-mensural1" } - > + \line { " " \musicglyph #"accidentals-mensural-1" + " " \musicglyph #"accidentals-mensural1" } + } } } \layout { @@ -5913,8 +5995,8 @@ controlled by the @code{style} property of the @seealso In this manual: @ref{Pitches}, @ref{Chromatic alterations} and -@ref{Accidentals} give a general introduction into the use of -accidentals. @ref{Key signature} gives a general introduction into +@ref{Accidentals} give a general introduction of the use of +accidentals. @ref{Key signature} gives a general introduction of the use of key signatures. Program reference: @internalsref{KeySignature}. @@ -5929,19 +6011,19 @@ Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}. Use the @code{style} property of grob @internalsref{Rest} to select ancient accidentals. Supported styles are @code{classical}, -@code{neomensural} and @code{mensural}. @code{classical} differs +@code{neomensural}, 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{neomensural} style suits -well for e.g. the incipit of a transcribed mensural piece of music. +well for, e.g., the incipit of a transcribed mensural piece of music. The @code{mensural} style finally mimics the appearance of rests as in historic prints of the 16th century. The following example demonstrates the @code{neomensural} style @lilypond[quote,fragment,raggedright,verbatim] - \set Score.skipBars = ##t - \override Rest #'style = #'neomensural - r\longa r\breve r1 r2 r4 r8 r16 +\set Score.skipBars = ##t +\override Rest #'style = #'neomensural +r\longa r\breve r1 r2 r4 r8 r16 @end lilypond There are no 32th and 64th rests specifically for the mensural or @@ -5994,7 +6076,7 @@ modern style mensural C clef @item petrucci style mensural C clefs, for use on different staff lines -(the examples shows the 2nd staff line C clef) +(the examples show the 2nd staff line C clef) @tab @code{petrucci-c1}, @code{petrucci-c2},@* @code{petrucci-c3}, @code{petrucci-c4},@* @@ -6057,7 +6139,7 @@ Editio Vaticana style do clef @code{vaticana-do3} @tab @lilypond[fragment,relative=1,notime] - \override Staff.StaffSymbol #'line-count = #4 + \override Staff.StaffSymbol #'line-count = #4 \clef "vaticana-do2" c @end lilypond @@ -6067,7 +6149,7 @@ Editio Vaticana style fa clef @code{vaticana-fa1}, @code{vaticana-fa2} @tab @lilypond[fragment,relative=1,notime] - \override Staff.StaffSymbol #'line-count = #4 + \override Staff.StaffSymbol #'line-count = #4 \clef "vaticana-fa2" c @end lilypond @@ -6078,7 +6160,7 @@ Editio Medicaea style do clef @code{medicaea-do3} @tab @lilypond[fragment,relative=1,notime] - \override Staff.StaffSymbol #'line-count = #4 + \override Staff.StaffSymbol #'line-count = #4 \clef "medicaea-do2" c @end lilypond @@ -6088,7 +6170,7 @@ Editio Medicaea style fa clef @code{medicaea-fa1}, @code{medicaea-fa2} @tab @lilypond[fragment,relative=1,notime] - \override Staff.StaffSymbol #'line-count = #4 + \override Staff.StaffSymbol #'line-count = #4 \clef "medicaea-fa2" c @end lilypond @@ -6099,7 +6181,7 @@ historic style hufnagel do clef @code{hufnagel-do3} @tab @lilypond[fragment,relative=1,notime] - \override Staff.StaffSymbol #'line-count = #4 + \override Staff.StaffSymbol #'line-count = #4 \clef "hufnagel-do2" c @end lilypond @@ -6109,7 +6191,7 @@ historic style hufnagel fa clef @code{hufnagel-fa1}, @code{hufnagel-fa2} @tab @lilypond[fragment,relative=1,notime] - \override Staff.StaffSymbol #'line-count = #4 + \override Staff.StaffSymbol #'line-count = #4 \clef "hufnagel-fa2" c @end lilypond @@ -6157,15 +6239,15 @@ The mensural g clef is mapped to the Petrucci g clef. Use the @code{flag-style} property of grob @internalsref{Stem} to select ancient flags. Besides the @code{default} flag style, - only @code{mensural} style is supported +only the @code{mensural} style is supported @lilypond[quote,fragment,raggedright,verbatim] - \override Stem #'flag-style = #'mensural - \override Stem #'thickness = #1.0 - \override NoteHead #'style = #'mensural - \autoBeamOff - c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8 - c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32 +\override Stem #'flag-style = #'mensural +\override Stem #'thickness = #1.0 +\override NoteHead #'style = #'mensural +\autoBeamOff +c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8 +c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32 @end lilypond Note that the innermost flare of each mensural flag always is @@ -6249,7 +6331,7 @@ select ancient time signatures. Supported styles are incipit of transcriptions of mensural pieces. The @code{mensural} style mimics the look of historical printings of the 16th century. -The following examples shows the differences in style, +The following examples show the differences in style, @lilypond[raggedright,fragment,relative=1,quote] { @@ -6257,14 +6339,14 @@ The following examples shows the differences in style, \time 2/2 c1^\markup { \hspace #-2.0 \typewriter default } - \override Staff.TimeSignature #'style = #'numbered + \override Staff.TimeSignature #'style = #'numbered \time 2/2 c1^\markup { \hspace #-2.0 \typewriter numbered } \override Staff.TimeSignature #'style = #'mensural \time 2/2 c1^\markup { \hspace #-2.0 \typewriter mensural } - + \override Staff.TimeSignature #'style = #'neomensural \time 2/2 c1^\markup { \hspace #-2.0 \typewriter neomensural } @@ -6276,7 +6358,7 @@ The following examples shows the differences in style, @seealso -This manual: @ref{Time signature} gives a general introduction into +This manual: @ref{Time signature} gives a general introduction to the use of time signatures. @refbugs @@ -6286,13 +6368,13 @@ example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must be made by hand, by setting @example - breveTP = #(ly:make-duration -1 0 3 2) - @dots{} - @{ c\breveTP f1 @} +breveTP = #(ly:make-duration -1 0 3 2) +@dots{} +@{ c\breveTP f1 @} @end example @noindent -This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note. +This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note. The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not addressable with @code{\time}. Use a @code{\markup} instead @@ -6376,29 +6458,28 @@ The result looks like this @end lilypond The custos glyph is selected by the @code{style} property. The styles -supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and +supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and @code{mensural}. They are demonstrated in the following fragment @lilypond[quote,raggedright,fragment] \new Lyrics \lyricmode { - \markup { \column < - \typewriter "vaticana" - { " " \musicglyph #"custodes-vaticana-u0" } - > } - \markup { \column < + \markup { \column { + \typewriter "vaticana" + \line { " " \musicglyph #"custodes-vaticana-u0" } + } } + \markup { \column { \typewriter "medicaea" - { " " \musicglyph #"custodes-medicaea-u0" } - >} - \markup { \column < + \line { " " \musicglyph #"custodes-medicaea-u0" } + }} + \markup { \column { \typewriter "hufnagel" - { " " \musicglyph #"custodes-hufnagel-u0" } - >} - \markup { \column < + \line { " " \musicglyph #"custodes-hufnagel-u0" } + }} + \markup { \column { \typewriter "mensural" - { " " \musicglyph #"custodes-mensural-u0" } - >} + \line { " " \musicglyph #"custodes-mensural-u0" } + }} } - @end lilypond @seealso @@ -6418,8 +6499,8 @@ Examples: @inputfileref{input/@/regression,custos@/.ly}. A @emph{divisio} (plural: @emph{divisiones}; Latin word for `division') is a staff context symbol that is used to structure Gregorian music into phrases and sections. The musical meaning of -@emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima} -can be characterized as short, medium and long pause, somewhat like +@emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima} +can be characterized as short, medium, and long pause, somewhat like the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not only marks the end of a chant, but is also frequently used within a single antiphonal/responsorial chant to mark the end of each section. @@ -6515,12 +6596,12 @@ Augmentum dots within ligatures are not handled correctly. @cindex Mensural ligatures @cindex White mensural ligatures -There is limited support for white mensural ligatures. +There is limited support for white mensural ligatures. -To engrave white mensural ligatures, in the layout block the -@internalsref{Mensural_ligature_engraver} has to be put into the +To engrave white mensural ligatures, in the layout block put the +@internalsref{Mensural_ligature_engraver} into the @internalsref{Voice} context, and remove the -@internalsref{Ligature_bracket_engraver} +@internalsref{Ligature_bracket_engraver}, like this @example \layout @{ @@ -6535,7 +6616,7 @@ To engrave white mensural ligatures, in the layout block the There is no additional input language to describe the shape of a white mensural ligature. The shape is rather determined solely from the pitch and duration of the enclosed notes. While this approach may -take a new user a while to get accustomed, it has the great advantage +take a new user a while to get accustomed to, it has the great advantage that the full musical information of the ligature is known internally. This is not only required for correct MIDI output, but also allows for automatic transcription of the ligatures. @@ -6543,14 +6624,14 @@ automatic transcription of the ligatures. For example, @example - \set Score.timing = ##f - \set Score.defaultBarType = "empty" - \override NoteHead #'style = #'neomensural - \override Staff.TimeSignature #'style = #'neomensural - \clef "petrucci-g" - \[ g\longa c\breve a\breve f\breve d'\longa \] - s4 - \[ e1 f1 a\breve g\longa \] +\set Score.timing = ##f +\set Score.defaultBarType = "empty" +\override NoteHead #'style = #'neomensural +\override Staff.TimeSignature #'style = #'neomensural +\clef "petrucci-g" +\[ g\longa c\breve a\breve f\breve d'\longa \] +s4 +\[ e1 f1 a\breve g\longa \] @end example @lilypond[quote,raggedright] \score { @@ -6558,7 +6639,7 @@ For example, \set Score.timing = ##f \set Score.defaultBarType = "empty" \override NoteHead #'style = #'neomensural - \override Staff.TimeSignature #'style = #'neomensural + \override Staff.TimeSignature #'style = #'neomensural \clef "petrucci-g" \[ g\longa c\breve a\breve f\breve d'\longa \] s4 @@ -6583,7 +6664,7 @@ to the following \set Score.timing = ##f \set Score.defaultBarType = "empty" \override NoteHead #'style = #'neomensural - \override Staff.TimeSignature #'style = #'neomensural + \override Staff.TimeSignature #'style = #'neomensural \clef "petrucci-g" \[ g\longa c\breve a\breve f\breve d'\longa \] s4 @@ -6606,7 +6687,7 @@ There is limited support for Gregorian square neumes notation (following the style of the Editio Vaticana). Core ligatures can already be typeset, but essential issues for serious typesetting are still lacking, such as (among others) horizontal alignment of multiple -ligatures, lyrics alignment and proper accidentals handling. +ligatures, lyrics alignment and proper handling of accidentals. The following table contains the extended neumes table of the 2nd @@ -7149,7 +7230,7 @@ ligatures in the above neumes table. The letter in the first column in each line of the below table indicates to which ligature in the above table it refers. The second column gives the name of the ligature. The third column shows the code fragment that produces this -ligature, using @code{g}, @code{a} and @code{b} as example pitches. +ligature, using @code{g}, @code{a}, and @code{b} as example pitches. @multitable @columnfractions .02 .31 .67 @item @@ -7556,12 +7637,12 @@ entering the chant, as the following excerpt demonstrates << \context MensuralVoice = "discantus" \transpose c c' { \override Score.BarNumber #'transparent = ##t { - c'1\melisma bes a g\melismaEnd - f\breve - \[ f1\melisma a c'\breve d'\melismaEnd \] - c'\longa - c'\breve\melisma a1 g1\melismaEnd - fis\longa^\signumcongruentiae + c'1\melisma bes a g\melismaEnd + f\breve + \[ f1\melisma a c'\breve d'\melismaEnd \] + c'\longa + c'\breve\melisma a1 g1\melismaEnd + fis\longa^\signumcongruentiae } } \lyricsto "discantus" \new Lyrics { @@ -7584,7 +7665,7 @@ LilyPond has limited support for figured bass @lilypond[quote,raggedright,verbatim,fragment] << - \context Voice { \clef bass dis4 c d ais } + \context Voice { \clef bass dis4 c d ais } \context FiguredBass \figuremode { < 6 >4 < 7 >8 < 6+ [_!] > < 6 >4 <6 5 [3+] > @@ -7607,32 +7688,32 @@ In figures input mode, a group of bass figures is delimited by \figuremode { <4 6> } @end lilypond -Accidentals are added when you append @code{-}, @code{!} and @code{+} +Accidentals are added when you append @code{-}, @code{!}, and @code{+} to the numbers @example <4- 6+ 7!> @end example @lilypond[quote,raggedright,fragment] - \context FiguredBass - \figuremode { <4- 6+ 7!> } +\context FiguredBass +\figuremode { <4- 6+ 7!> } @end lilypond Spaces or dashes may be inserted by using @code{_}. Brackets are introduced with @code{[} and @code{]} @example -< [4 6] 8 [_! 12]> +< [4 6] 8 [_! 12] > @end example @lilypond[quote,raggedright,fragment] - \context FiguredBass - \figuremode { < [4 6] 8 [_! 12]> } +\context FiguredBass +\figuremode { < [4 6] 8 [_! 12] > } @end lilypond Although the support for figured bass may superficially resemble chord support, it works much simpler. The @code{\figuremode} mode simply -stores the numbers , and @internalsref{FiguredBass} context prints -them as entered. There is no conversion to pitches, and no +stores the numbers and @internalsref{FiguredBass} context prints +them as entered. There is no conversion to pitches and no realizations of the bass are played in the MIDI file. Internally, the code produces markup texts. You can use any of the @@ -7641,8 +7722,8 @@ vertical spacing of the figures may be set with @code{baseline-skip}. @seealso -Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object, -and @internalsref{FiguredBass} context. +Program reference: @internalsref{BassFigureEvent} music, +@internalsref{BassFigure} object, and @internalsref{FiguredBass} context. @refbugs @@ -7677,13 +7758,12 @@ created with a markup text. This markup text is inserted in the @internalsref{TimeSignature} grob. @lilypond[verbatim,raggedright] - % create 2/4 + 5/8 -tsMarkup =\markup { - \number { - \column < "2" "4" > - \musicglyph #"scripts-stopped" - \bracket \column < "5" "8" > +tsMarkup =\markup { + \number { + \column { "2" "4" } + \musicglyph #"scripts-stopped" + \bracket \column { "5" "8" } } } @@ -7696,42 +7776,42 @@ tsMarkup =\markup { @end lilypond Each staff can also have its own time signature. This is done by -moving the @internalsref{Timing_engraver} to @internalsref{Staff} +moving the @internalsref{Timing_engraver} to the @internalsref{Staff} context. -@verbatim -\layout{ - \context{ \Score \remove "Timing_engraver" } - \context{ \Staff \consists "Timing_engraver" } -} -@end verbatim +@example +\layout @{ + \context @{ \Score \remove "Timing_engraver" @} + \context @{ \Staff \consists "Timing_engraver" @} +@} +@end example Now, each staff has its own time signature. -@verbatim +@example << - \new Staff { + \new Staff @{ \time 3/4 c4 c c | c c c | - } - \new Staff { + @} + \new Staff @{ \time 2/4 c4 c | c c | c c - } - \new Staff { + @} + \new Staff @{ \time 3/8 c4. c8 c c c4. c8 c c - } + @} >> -@end verbatim +@end example @lilypond[quote,raggedright] \layout{ \context{ \Score \remove "Timing_engraver" } \context{ \Staff \consists "Timing_engraver" } -} +} -\relative c' << +\relative c' << \new Staff { \time 3/4 c4 c c | c c c | @@ -7759,12 +7839,12 @@ The latter is done with @code{\compressmusic}, which is similar to @code{\times}, but does not create a tuplet bracket. -In this example, music with the time signatures of 3/4, 9/8 and 10/8 are -used in parallel. In the second staff, shown durations are multiplied by -2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are +In this example, music with the time signatures of 3/4, 9/8, and 10/8 are +used in parallel. In the second staff, shown durations are multiplied by +2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are multiplied by 3/5, so that 3/5 * 10/8 = 3/4. -@lilypond[raggedright,verbatim,fragment] +@lilypond[quote,raggedright,verbatim,fragment] \relative c' { << \new Staff { \time 3/4 @@ -7781,7 +7861,7 @@ multiplied by 3/5, so that 3/5 * 10/8 = 3/4. \set Staff.timeSignatureFraction = #'(10 . 8) \compressmusic #'(3 . 5) { \repeat unfold 2 { c8[ c c] } - \repeat unfold 2 { c8[ c] } + \repeat unfold 2 { c8[ c] } | c4. c4. \times 2/3 { c8 c c } c4 } } @@ -7806,10 +7886,9 @@ aligned vertically, but bar lines distort the regular spacing. A cluster indicates a continuous range of pitches to be played. They can be denoted as the envelope of a set of notes. They are entered by applying the function @code{makeClusters} to a sequence of -chords, e.g. -@c +chords, e.g., @lilypond[quote,raggedright,relative=2,fragment,verbatim] - \makeClusters { } +\makeClusters { } @end lilypond The following example (from @@ -7848,7 +7927,7 @@ of differing lengths. The following fermatas are supported @lilypond[quote,raggedright] << - \oldaddlyrics { + \oldaddlyrics { b'2 ^\shortfermata _\shortfermata @@ -7871,7 +7950,7 @@ of differing lengths. The following fermatas are supported } \context Lyrics \lyricmode { \override LyricText #'font-family = #'typewriter - "shortfermata" "fermata" "longfermata" "verylongfermata" + "shortfermata" "fermata" "longfermata" "verylongfermata" } >> @end lilypond @@ -7885,7 +7964,7 @@ such as fermatas to notes. Feathered beams are not supported natively, but they can be faked by forcing two beams to overlap. Here is an example, -@c don't change relative setting witout changing positions! +@c don't change relative setting witout changing positions! @lilypond[raggedright,relative=1,fragment,verbatim] \new Staff << \new Voice @@ -7896,7 +7975,7 @@ forcing two beams to overlap. Here is an example, } \new Voice { \stemUp - \once \override Voice.Beam #'positions = #'(0 . -0.5) + \once \override Voice.Beam #'positions = #'(0 . -0.5) c[ c c c c] } >> @@ -7913,7 +7992,8 @@ teaching tools in addition to great musical scores. @menu * Balloon help:: * Blank music sheet:: -* Hidden notes:: +* Hidden notes:: +* Shaped note heads :: * Easy Notation note heads:: @end menu @@ -7936,8 +8016,8 @@ The following example demonstrates its use. @noindent The function @code{add-balloon-text} takes the name of a grob, the -label to print, and the position where to put the label relative to -the object. In the above example, the text ``heads or tails?'' ends +label to print, and the position where to put the label relative to +the object. In the above example, the text ``heads or tails?'' ends 3 spaces below and 1 space to the right of the marked head. @cindex balloon @@ -7959,9 +8039,9 @@ A blank music sheet can be produced also by using invisible notes, and removing @code{Bar_number_engraver}. -@lilypond[] -emptymusic = { - \repeat unfold 2 % Change this for more lines. +@lilypond[quote,verbatim] +emptymusic = { + \repeat unfold 2 % Change this for more lines. { s1\break } \bar "|." } @@ -7987,27 +8067,64 @@ Hidden (or invisible or transparent) notes can be useful in preparing theory or composition exercises. @lilypond[quote,raggedright,verbatim,relative=2,fragment] - c4 d4 - \hideNotes - e4 f4 - \unHideNotes - g4 a +c4 d4 +\hideNotes +e4 f4 +\unHideNotes +g4 a @end lilypond Hidden notes are also great for performing weird tricks. For example, -slurs cannot be attached to rests or spacer rests, but you may with +slurs cannot be attached to rests or spacer rests, but you may wish to include that in your score -- string instruments use this notation when doing pizzicato to indicate that the note should ring for as long as possible. @lilypond[quote,raggedright,verbatim,relative=0,fragment] - \clef bass - << { - c4^"pizz"( \hideNotes c) - \unHideNotes c( \hideNotes c) - } { - s4 r s r - } >> +\clef bass +<< { + c4^"pizz"( \hideNotes c) + \unHideNotes c( \hideNotes c) +} { + s4 r s r +} >> +@end lilypond + + +@node Shaped note heads +@subsection Shaped note heads + +In shaped note head notation, the shape of the note head corresponds +to the harmonic function of a note in the scale. This notation was +popular in the 19th century American song books. + +Shaped note heads can be produced by setting @code{\aikenHeads} or +@code{\sacredHarpHeads}, depending on the style desired. + +@lilypond[verbatim,relative=1,fragment] + \aikenHeads + c8 d4 e8 a2 g1 + \sacredHarpHeads + c8 d4. e8 a2 g1 +@end lilypond + +Shapes are determined on the step in the scale, where the base of the +scale is determined by the @code{\key} command + +@findex \key +@findex shapeNoteStyles +@findex \aikenHeads +@findex \sacredHarpHeads + +Shaped note heads are implemented through the @code{shapeNoteStyles} +property. Its value is a vector of symbols. The k-th element indicates +the style to use for the k-th step of the scale. Arbitrary +combinations are possible, eg., + + +@lilypond[verbatim,relative=1,fragment] + \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond) + c8 d4. e8 a2 g1 @end lilypond