* Tablatures::
* Popular music::
* Orchestral music::
-* Formatting cue notes::
* Ancient notation::
* Contemporary notation::
* Educational use::
@node Rhythmic music
@section Rhythmic music
+Rhythmic music is primarily used for percussion and drum notation, but it can
+also be used to show the rhythms of melodies.
@menu
* Showing melody rhythms::
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}
@}
\context Staff = down @{
\skip 1 * 10 %@emph{idem}
@}
- >>
+>>
@end example
and the @context{Voice} is inserted afterwards
@example
- \context Staff = down
- \new Voice @{ @dots{} \change Staff = up @dots{} @}
+\context Staff = down
+ \new Voice @{ @dots{} \change Staff = up @dots{} @}
@end example
note or chord
@lilypond[quote,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},
@code{pedalSustainStyle} property to bracket objects
@lilypond[quote,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,
@code{mixed}
@lilypond[quote,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
default.
@lilypond[quote,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
@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
+@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,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
@lilypond[quote,fragment,relative=1,verbatim]
-<c e g c>\arpeggio
+ <c e g c>\arpeggio
@end lilypond
When an arpeggio crosses staves, you attach an arpeggio to the chords
@c todo: ugh, lousy typography. Look for real example. --hwn
@lilypond[quote,fragment,relative=1,verbatim]
-\arpeggioBracket
-<c' e g c>\arpeggio
+ \arpeggioBracket
+ <c' e g c>\arpeggio
@end lilypond
@refcommands
of the stem in the lower stave, so it reaches the stem in the upper
stave, or vice versa.
-@lilypond[raggedright,verbatim]
-stemExtend = \once \override Stem #'length = #22
-noFlag = \once \override Stem #'flag-style = #'no-flag
+@lilypond[raggedright,verbatim,quote]
+stemExtend = \once \override Stem #'length = #22
+noFlag = \once \override Stem #'flag-style = #'no-flag
\context PianoStaff <<
- \new Staff {
+ \new Staff {
\stemDown \stemExtend
f'4
\stemExtend \noFlag
@itemize @bullet
@item
- Song texts must be entered as texts, not notes. For example, for
-lyrics, the input @code{a} should be interpreted as
-a one letter text, and not the note A.
+ 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.
@item
- Song texts must be printed as text, and 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
@end itemize
The simplest solution to printing music uses the @code{\addlyrics}
-function to deal with these three problems in one go. However, these
+function to solve all these problems at once. However, these
three functions can be controlled separately, which is necessary
for complex vocal music.
@noindent
to a melody. Here is an example,
-@lilypond[raggedright,verbatim]
-{
- \time 3/4
- \relative { c2 e4 g2. }
- \addlyrics { play the game }
-}
+@lilypond[raggedright,verbatim,fragment,quote]
+ \time 3/4
+ \relative { c2 e4 g2. }
+ \addlyrics { play the game }
@end lilypond
More stanzas can be added by adding more
@code{\addlyrics} sections
-@lilypond[raggedright,verbatim]
-{
+@lilypond[raggedright,verbatim,fragment,quote]
\time 3/4
\relative { c2 e4 g2. }
\addlyrics { play the game }
\addlyrics { speel het spel }
\addlyrics { joue le jeu }
-}
@end lilypond
@node Entering lyrics
Lyrics are entered in a special input mode. This mode is is introduced
by the keyword @code{\lyricmode}. In this mode you can enter lyrics,
-with punctuation and accents, and the input @code{a} is not parsed as
+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
any space or digit. The following characters can be any character
that is not a digit or white space. One important consequence of this
is that a word can end with @code{@}}. The following example is
-usually a bug. The syllable includes a @code{@}}, so the
+usually a mistake in the input file. The syllable includes a @code{@}}, so the
opening brace is not balanced
@example
\lyricmode @{ twinkle@}
@cindex @code{\property}, in @code{\lyricmode}
@noindent
-Similarly, a period following an alphabetic sequence, is included in
+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
and then combine the appropriate melodies and lyric lines
@example
\lyricsto "soprano" \context Lyrics = sopranoLyrics
- @emph{the lyrics}
+ @emph{the lyrics}
@end example
@noindent
The final input would resemble
@example
- << \context ChoirStaff << @emph{setup the music} >>
- \lyricsto "soprano" @emph{etc}
- \lyricsto "alto" @emph{etc}
- @emph{etc}
- >>
+<<\context ChoirStaff << @emph{setup the music} >>
+ \lyricsto "soprano" @emph{etc}
+ \lyricsto "alto" @emph{etc}
+ @emph{etc}
+>>
@end example
Here is an example demonstrating manual lyric durations,
-@lilypond[relative=1,verbatim,fragment]
+@lilypond[relative=1,verbatim,fragment,quote]
<< \context Voice = melody {
\time 3/4
c2 e4 g2.
\new Lyrics \lyricmode {
\set associatedVoice = #"melody"
play2 the4 game2.
- } >>
+ } >>
@end lilypond
@cindex SATB
must be set one syllable @emph{before} the non-melismatic syllable
in the text, as shown here,
-@lilypond[verbatim,raggedright]
+@lilypond[verbatim,raggedright,quote]
<<
- \relative \context Voice = "lahlah" {
- \set Staff.autoBeaming = ##f
- c4
- \slurDotted
- f8.[( g16])
- a4
- }
- \new Lyrics \lyricsto "lahlah" {
- more slow -- ly
- }
- \new Lyrics \lyricsto "lahlah" {
- \set ignoreMelismata = ##t % applies to "fas"
- go fas -- ter
- \unset ignoreMelismata
- still
- }
+ \relative \context Voice = "lahlah" {
+ \set Staff.autoBeaming = ##f
+ c4
+ \slurDotted
+ f8.[( g16])
+ a4
+ }
+ \new Lyrics \lyricsto "lahlah" {
+ more slow -- ly
+ }
+ \new Lyrics \lyricsto "lahlah" {
+ \set ignoreMelismata = ##t % applies to "fas"
+ go fas -- ter
+ \unset ignoreMelismata
+ still
+ }
>>
@end lilypond
lyrics. For every @code{\skip}, the text will be delayed another note.
For example,
-@lilypond[verbatim,raggedright]
+@lilypond[verbatim,raggedright,quote]
\relative { c c g' }
\addlyrics {
twin -- \skip 4
to switch the melody for a line of lyrics during the text. This is
done by setting the @code{associatedVoice} property. In the example
-@lilypond[raggedright]
-<<
- \relative \context Voice = "lahlah" {
- \set Staff.autoBeaming = ##f
- c4
- <<
- \context Voice = alternative {
- \voiceOne
- \times 2/3 {
-
- % show associations clearly.
- \override NoteColumn #'force-hshift = #-3
- f8 f g
- }
- }
- {
- \voiceTwo
- f8.[ g16]
- \oneVoice
- } >>
- a8( b) c
-
- }
- \new Lyrics \lyricsto "lahlah" {
- Ju -- ras -- sic Park
- }
- \new Lyrics \lyricsto "lahlah" {
+@lilypond[raggedright,quote]
- % Tricky: need to set associatedVoice
- % one syllable too soon!
- \set associatedVoice = alternative % applies to "ran"
- Ty --
- ran --
- no --
- \set associatedVoice = lahlah % applies to "rus"
- sau -- rus Rex
- } >>
+<<
+ \relative \context Voice = "lahlah" {
+ \set Staff.autoBeaming = ##f
+ c4
+ <<
+ \context Voice = alternative {
+ \voiceOne
+ \times 2/3 {
+ % show associations clearly.
+ \override NoteColumn #'force-hshift = #-3
+ f8 f g
+ }
+ }
+ {
+ \voiceTwo
+ f8.[ g16]
+ \oneVoice
+ } >>
+ a8( b) c
+ }
+ \new Lyrics \lyricsto "lahlah" {
+ Ju -- ras -- sic Park
+ }
+ \new Lyrics \lyricsto "lahlah" {
+ % Tricky: need to set associatedVoice
+ % one syllable too soon!
+ \set associatedVoice = alternative % applies to "ran"
+ Ty --
+ ran --
+ no --
+ \set associatedVoice = lahlah % applies to "rus"
+ sau -- rus Rex
+ } >>
@end lilypond
@noindent
the text for the first stanza is set to a melody called ``lahlah'',
@verbatim
- \new Lyrics \lyricsto "lahlah" {
- Ju -- ras -- sic Park
- }
+\new Lyrics \lyricsto "lahlah" {
+ Ju -- ras -- sic Park
+}
@end verbatim
for the syllable ``ran'', it switches to a different melody.
This is achieved with
@example
- \set associatedVoice = alternative
+ \set associatedVoice = alternative
@end example
@noindent
this case.
@verbatim
- \new Lyrics \lyricsto "lahlah" {
- \set associatedVoice = alternative % applies to "ran"
- Ty --
- ran --
- no --
- \set associatedVoice = lahlah % applies to "rus"
- sau -- rus Rex
- }
+\new Lyrics \lyricsto "lahlah" {
+ \set associatedVoice = alternative % applies to "ran"
+ Ty --
+ ran --
+ no --
+ \set associatedVoice = lahlah % applies to "rus"
+ sau -- rus Rex
+}
@end verbatim
@noindent
@lilypond[quote,verbatim,relative=2,fragment]
\new Voice {
- \time 3/4 g2 e4 a2 f4 g2.
+ \time 3/4 g2 e4 a2 f4 g2.
} \addlyrics {
- \set stanza = "1. "
- Hi, my name is Bert.
+ \set stanza = "1. "
+ Hi, my name is Bert.
} \addlyrics {
- \set stanza = "2. "
- Oh, che -- ri, je t'aime
+ \set stanza = "2. "
+ Oh, che -- ri, je t'aime
}
@end lilypond
@lilypond[fragment,quote,verbatim,relative=2]
\new Voice {
- \time 3/4 g2 e4 a2 f4 g2.
+ \time 3/4 g2 e4 a2 f4 g2.
} \addlyrics {
- \set vocalName = "Bert "
- Hi, my name is Bert.
+ \set vocalName = "Bert "
+ Hi, my name is Bert.
} \addlyrics {
- \set vocalName = "Ernie "
- Oh, che -- ri, je t'aime
+ \set vocalName = "Ernie "
+ Oh, che -- ri, je t'aime
}
@end lilypond
This results in the following output
@lilypond[quote,raggedright]
- \paper {
- \context {
- \Staff
- \consists Ambitus_engraver
- }
+\paper {
+ \context {
+ \Staff
+ \consists Ambitus_engraver
}
+}
- \relative \new Staff {
- as'' c e2 cis,2
- }
+\relative \new Staff {
+ as'' c e2 cis,2
+}
@end lilypond
If you have multiple voices in a single staff, and you want a single
@internalsref{Ambitus_engraver} to the @internalsref{Staff} context
rather than to the @internalsref{Voice} context. Here is an example,
-@lilypond[verbatim,raggedright]
+@lilypond[verbatim,raggedright,quote]
\new Staff <<
- \new Voice \with {
- \consists "Ambitus_engraver"
- } \relative c'' {
- \override Ambitus #'X-offset-callbacks
- = #(list (lambda (grob axis) -1.0))
- \voiceOne
- c4 a d e f2
- }
- \new Voice \with {
- \consists "Ambitus_engraver"
- } \relative c' {
- \voiceTwo
- es4 f g as b2
- }
+ \new Voice \with {
+ \consists "Ambitus_engraver"
+ } \relative c'' {
+ \override Ambitus #'X-offset-callbacks
+ = #(list (lambda (grob axis) -1.0))
+ \voiceOne
+ c4 a d e f2
+ }
+ \new Voice \with {
+ \consists "Ambitus_engraver"
+ } \relative c' {
+ \voiceTwo
+ es4 f g as b2
+ }
>>
@end lilypond
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
@node Other instrument specific notation, Tablatures, Vocal music, Notation manual
@section Other instrument specific notation
+This section includes extra information for writing string music, and may
+include extra information for other instruments in the future.
+
@menu
* Harmonic notes::
@end menu
are entered by
marking the harmonic pitch with @code{\harmonic}.
-@lilypond[raggedright,verbatim]
-{
+@lilypond[raggedright,verbatim,quote,fragment]
<c' g'\harmonic>4
-}
@end lilypond
@node Popular music, Orchestral music, Tablatures, Notation manual
@section Popular music
-
+This section discusses issues that arise when writing popular music.
@menu
* Chord names::
be intelligent. The last chord (@code{f bes d}) is not interpreted as
an inversion.
-
+@c this menu isn't needed.
+@ignore
@menu
* Chords mode::
* Printing chord names::
@end menu
-
+@end ignore
@node Chords mode
@subsection Chords mode
@cindex Chords mode
-In chord mode sets of pitches (chords) are entered with common names.
-A chord is entered by the root, which is entered like a common pitch
+In chord mode sets of pitches (chords) are entered with normal note
+names. A chord is entered by the root, which is entered like a
+normal pitch
@lilypond[quote,fragment,verbatim,relative=2]
-\chordmode { es4. d8 c2 }
+ \chordmode { es4. d8 c2 }
@end lilypond
@noindent
@cindex chord entry
@cindex chord mode
-Other chords may be entered by suffixing a colon, and introducing a
-modifier, and optionally, a number
+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
the colon, and are separated by dots
@c
@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
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
@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.
explicitly)
@c
@lilypond[quote,fragment,verbatim]
-\chordmode { c:13 c:13.11 c:m13 }
+ \chordmode { c:13 c:13.11 c:m13 }
@end lilypond
@cindex @code{/}
as bass notes, can be specified by appending
@code{/}@var{pitch} to the chord
@lilypond[quote,fragment,verbatim]
-\chordmode { c1 c/g c/f }
+ \chordmode { c1 c/g c/f }
@end lilypond
@cindex @code{/+}
described above, or directly using @code{<} and @code{>}
@lilypond[quote,verbatim,raggedright]
-scheme = {
+harmonies = {
\chordmode {a1 b c} <d' f' a'> <e' g' b'>
}
-
- <<
- \context ChordNames \scheme
- \context Staff \scheme
+<<
+ \context ChordNames \harmonies
+ \context Staff \harmonies
>>
@end lilypond
the start of a new line
@lilypond[quote,verbatim,linewidth=9\cm]
-scheme = \chordmode {
+harmonies = \chordmode {
c1:m c:m \break c:m c:m d
}
- <<
- \context ChordNames {
- \set chordChanges = ##t
- \scheme }
- \context Staff \transpose c c' \scheme
+<<
+ \context ChordNames {
+ \set chordChanges = ##t
+ \harmonies }
+ \context Staff \transpose c c' \harmonies
>>
@end lilypond
@lilypond[raggedright,verbatim]
\new ChordNames \with {
- \override BarLine #'bar-size = #4
- voltaOnThisStaff = ##t
- \consists Bar_engraver
- \consists "Volta_engraver"
+ \override BarLine #'bar-size = #4
+ voltaOnThisStaff = ##t
+ \consists Bar_engraver
+ \consists "Volta_engraver"
}
\repeat volta 2 \chordmode {
- f1:maj f:7 bes:7
- c:maj
+ f1:maj f:7 bes:7
+ c:maj
} \alternative {
es e
}
@code{\improvisationOff}) for this command sequence. They are used in
the following example
-@lilypond[verbatim,raggedright]
+@lilypond[verbatim,raggedright,quote]
\new Staff \with {
\consists Pitch_squash_engraver
} \transpose c c' {
* Hiding staves::
* Different editions from one source::
* Quoting other voices::
+* Formatting cue notes::
@end menu
@node System start delimiters
@item The group is started with a brace at the left, and bar lines are
connected. This is done with the @internalsref{GrandStaff} context.
-@lilypond[verbatim]
+@lilypond[verbatim,quote]
\new GrandStaff
\relative <<
\new Staff { c1 c }
@item The group is started with a bracket, and bar lines are connected. This is done with the
@internalsref{StaffGroup} context
-@lilypond[verbatim]
+@lilypond[verbatim,quote]
\new StaffGroup
\relative <<
\new Staff { c1 c }
@item The group is started with a vertical line. Bar lines are not
connected. This is the default for the score.
-@lilypond[verbatim]
+@lilypond[verbatim,quote]
\relative <<
\new Staff { c1 c }
\new Staff { c c }
long as the piece. The use of @code{mmrest-of-length} is demonstrated
in the following example.
-@lilypond[verbatim,raggedright]
+@lilypond[verbatim,raggedright,quote]
cadenza = \relative c' {
- c4 d8 << { e f g } \\ { d4. } >>
- g4 f2 g4 g
+ c4 d8 << { e f g } \\ { d4. } >>
+ g4 f2 g4 g
}
\new GrandStaff <<
To print a rehearsal mark, use the @code{\mark} command
@lilypond[quote,fragment,verbatim,relative=1]
-{
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
@c FIXME - should make that tunable.
The mark is incremented automatically if you use @code{\mark
example, @code{markFormatter} is set to a canned procedure. After a
few measures, it is set to function that produces a boxed number.
-@lilypond[quote,verbatim,fragment,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
+@c fragproblem? -gp
+@lilypond[quote,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
+}
@end lilypond
The file @file{scm/translation-functions.scm} contains the definitions
segno and fermatas on a bar line. Use @code{\markup} to
to access the appropriate symbol
-@lilypond[quote,fragment,verbatim,relative=2]
-c1 \mark \markup { \musicglyph #"scripts-ufermata" }
-c1
+@c fragproblem? -gp
+@lilypond[quote,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
used, for the next 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 }
-}
+{ c''1 }
@end lilypond
For longer instrument names, it may be useful to increase the
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
this piece is a little too low for its performer, it can be
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
transposition will produce the appropriate part
@example
-\transpose a c @dots{}
+ \transpose a c @dots{}
@end example
@code{\transpose} distinguishes between enharmonic pitches: both
be expanded, and the appropriate number is added automatically
@lilypond[quote,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
durations. This can be done with augmentation dots or fractions
@lilypond[quote,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
Be careful when entering multimeasure rests followed by whole
notes. The following will enter two notes lasting four measures each
@example
- R1*4 cis cis
+ R1*4 cis cis
@end example
When @code{skipBars} is set, the result will look OK, but the bar
numbering will be off.
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,
@example
- c1-\tag #'part ^4
+ c1-\tag #'part ^4
@end example
This defines a note with a conditional fingering indication.
Examples: @inputfileref{input/regression,tag-filter.ly}.
+@refbugs
+
+Multiple rests are not merged if you create the score with both tagged
+sections.
@node Quoting other voices
@subsection Quoting other voices
quotable. This is done with code @code{\addquote} command.
@example
-\addquote @var{name} @var{music}
+ \addquote @var{name} @var{music}
@end example
@code{\quote},
@example
-\quote @var{name} @var{duration}
+ \quote @var{name} @var{duration}
@end example
During a part, a piece of music can be quoted with the @code{\quote}
Program reference: @internalsref{QuoteMusic}.
@node Formatting cue notes
-@section Formatting cue notes
+@subsection Formatting cue notes
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
+@c TODO: This should be done with \quote stuff, not manually.
+
@lilypond[verbatim]
smaller = {
- \set fontSize = #-1
- \override Stem #'length = #5.5
- \override Beam #'thickness = #0.384
- \override Beam #'space-function =
+ \set fontSize = #-1
+ \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"
- \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
- }
- >>
- c'8^"Horn" cis'
- eis'4 fis'4
+ \set Staff.instrument = #"Horn in F"
+ \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
+ }
+ >>
+ c'8^"Horn" cis'
+ eis'4 fis'4
}
@end lilypond
the instrument, in this case ``Horn.'' Of course, the cue part is
marked with the instrument playing the cue.
@end itemize
-
+
+@c really? Are you sure about that last point? I'll check after 3.0 -gp
@node Ancient notation
projects / lilypond.git / commitdiff