@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@c This file is part of lilypond.tely
@ignore
-Translation of GIT committish: d6fc290a4c31ad0f7983b37bc62b29e776cf250a
+Translation of GIT committish: 88f1608ae6fd17b05344bafb2f0721aafdac657b
When revising a translation, copy the HEAD committish of the
version that you are working on. See TRANSLATION for details.
* Overview of modifying properties::
* The set command::
* The override command::
-* set versus override::
* The tweak command::
+* set versus override::
@end menu
* Input modes::
* Direction and placement::
* Distances and measurements::
+* Staff symbol properties::
* Spanners::
+* Visibility of objects::
+* Line styles::
+* Rotating objects::
@end menu
@node Input modes
@ref{Page formatting},
@ref{Setting the staff size}.
+
+@node Staff symbol properties
+@subsection Staff symbol properties
+
+@cindex ajuste del símbolo del pentagrama
+@cindex dibujar el símbolo del pentagrama
+@cindex pentagrama, establecer el símbolo del
+
+@c TODO Extend or remove this section. See also NR 1.6.2 Staff symbol
+@c Need to think of uses for these properties. Eg 'line-positions
+@c is used in a snippet to thicken centre line.
+@c If retained, add @ref to here in 1.6.2 -td
+
+Se puede definir al mismo tiempo la posición vertical de las líneas de
+la pauta y el número de líneas de la misma. Como muestra el siguiente
+ejemplo, las posiciones de las notas no están influidas por las
+posiciones de las líneas de la pauta.
+
+@warning{La propiedad @code{'line-positions} sobreescribe a la
+propiedad @code{'line-count}. El número de líneas de la pauta está
+definido implícitamente por el número de elementos de la lista de
+valores de @code{'line-positions}.}
+
+@lilypond[verbatim,quote,relative=1]
+\new Staff \with {
+ \override StaffSymbol #'line-positions = #'(7 3 0 -4 -6 -7)
+}
+{ a4 e' f b | d1 }
+@end lilypond
+
+Se puede modificar la anchura de la pauta. Las unidades son espacios
+de pentagrama. El espaciado de los objetos dentro del pentagrama no
+resulta afectado por este ajuste.
+
+@lilypond[verbatim,quote,relative=1]
+\new Staff \with {
+ \override StaffSymbol #'width = #23
+}
+{ a4 e' f b | d1 }
+@end lilypond
+
+
@node Spanners
@subsection Spanners
@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@c This file is part of lilypond-program.tely
@ignore
- Translation of GIT committish: 85b54e04be6730bd0781f3135ee741010e099fd8
+ Translation of GIT committish: 88f1608ae6fd17b05344bafb2f0721aafdac657b
When revising a translation, copy the HEAD committish of the
version that you are working on. See TRANSLATION for details.
@itemize
@item
-@uref{http://@/denemo@/.sourceforge@/.net/,Denemo}, editor de partituras gráfico.
+@uref{http://@/www@/.denemo@/.org/,Denemo}, editor de partituras gráfico.
@item
@uref{http://www@/.volny@/.cz/smilauer/rumor/rumor@/.html,Rumor},
convertidor monofónico de MIDI a LilyPond en tiempo real.
@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@c This file is part of lilypond.tely
@ignore
- Translation of GIT committish: 541aafa12474496930f99f617890a944c3db4989
+ Translation of GIT committish: 88f1608ae6fd17b05344bafb2f0721aafdac657b
When revising a translation, copy the HEAD committish of the
version that you are working on. See TRANSLATION for details.
@code{ly:export}, un valor de Scheme se interpreta como si hubiera
sido introducido en sintaxis de LilyPond. En vez de definir
@code{\twice}, el ejemplo anterior podría también haberse escrito como
+
@example
-@dots{}
+...
@{ #(ly:export (make-sequential-music (list newLa))) @}
@end example
-@c -*- coding: utf-8; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@ignore
- Translation of GIT committish: 7c57f1469e057f25f5d7a7b75c18f33bb4e5bed9
+ Translation of GIT committish: 88f1608ae6fd17b05344bafb2f0721aafdac657b
When revising a translation, copy the HEAD committish of the
version that you are working on. See TRANSLATION for details.
unidas por una barra.
@c Two 64th notes are needed to obtain beams
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 8/1
c\longa c\breve c1 c2
c4 c8 c16 c32 c64 c64
anterior. Por omisión, el valor de la primera nota es el de una
negra.
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[quote,verbatim,relative=2]
a a a2 a a4 a a1 a
@end lilypond
(@code{.}) después del número. Las notas con doble puntillo se
especifican escribiendo dos puntos, y así sucesivamente.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
a4 b c4. b8 a4. b4.. c8.
@end lilypond
tresillo, en el que 3 notas tienen el valor de 2, por tanto las notas
duran 2/3 de su valor escrito
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
a2 \times 2/3 { b4 b b }
c4 c \times 2/3 { b4 a g }
@end lilypond
Los grupos pueden anidarse unos dentro de otros:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\autoBeamOff
c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4 |
@end lilypond
En el siguiente ejemplo las tres primeras notas duran exactamente dos
partes, pero no se imprime ningún corchete de tresillo.
-@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+@lilypond[quote,relative=2,verbatim]
\time 2/4
% Alter durations to triplets
a4*2/3 gis4*2/3 a4*2/3
rodean el punto son necesarios. He aquí un ejemplo que muestra cómo
se puede comprimir y expandir la música:
-@lilypond[quote,fragment,relative=2,ragged-right,verbatim]
+@lilypond[quote,relative=2,verbatim]
\time 2/4
% Normal durations
<c a>4 c8 a
Se introduce una ligadura de unión usando el símbolo de la tilde curva
@code{~}
-@lilypond[quote,ragged-right,fragment,verbatim]
-e'2 ~ e'
+@lilypond[quote,verbatim,relative=2]
+a2 ~ a
@end lilypond
@noindent
subdivisiones del compás de mayor duración:
@c KEEP LY
-@lilypond[fragment,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c' {
r8^"sí" c8 ~ c2 r4 |
- r8^"not" c2 ~ c8 r4
+ r8^"no" c2 ~ c8 r4
}
@end lilypond
ningún par de cabezas, no se crea ninguna ligadura. Los acordes se
pueden ligar parcialmente colocando la ligadura dentro del acorde.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+@lilypond[quote,verbatim,relative=1]
<c e g> ~ <c e g>
<c~ e g~ b> <c e g b>
@end lilypond
Cuando la segunda vez de una repetición comienza con una nota ligada,
es necesario especificar la ligadura repetida como sigue:
-@lilypond[fragment,quote,ragged-right,relative=2,verbatim]
+@lilypond[quote,relative=2,verbatim]
\repeat volta 2 { c g <c e>2 ~ }
\alternative {
% First alternative: following note is tied normally
{ <c e>2. r4 }
% Second alternative: following note has a repeated tie
- {<c e>2\repeatTie d4 c }}
+ { <c e>2\repeatTie d4 c } }
@end lilypond
@cindex laissez vibrer
la notación para piano, arpa y otros instrumentos de cuerda y
percusión. Se pueden introducir de la siguiente manera:
-@lilypond[fragment,quote,ragged-right,verbatim,relative=1]
+@lilypond[quote,verbatim,relative=1]
<c f g>1\laissezVibrer
@end lilypond
@c \time 16/1 is used to avoid spurious bar lines
@c and long tracts of empty measures
-@lilypond[fragment,quote,ragged-right,verbatim]
+@lilypond[fragment,quote,verbatim]
\new Staff {
% These two lines are just to prettify this example
\time 16/1
formateador automático de colisiones de silencios no mueve estos
silencios.
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
a4\rest d4\rest
@end lilypond
un desplazamiento de una cierta magnitud temporal. @code{\skip}
requiere una duración explícita.
-@lilypond[quote,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
<<
{
a2 \skip2 a2 a2
Los silencios de uno o más compases completos se introducen como notas
con el nombre @code{R} en mayúscula:
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
% Rest measures contracted to single measure
\compressFullBarRests
R1*4
silencio multi-compás debe ser siempre un número entero de compases,
por lo que con frecuencia han de utilizarse puntillos o fracciones:
-@lilypond[quote,ragged-right,fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
\compressFullBarRests
\time 2/4
R1 | R2 |
redonda o de breve, centrado en el compás, según el tipo de compás
vigente.
-@lilypond[quote,ragged-right,fragment,verbatim]
+@lilypond[quote,verbatim,fragment]
\time 4/4
R1 |
\time 6/4
presentar como un solo compás que contiene un símbolo de silencio
multicompás, con el número de compases impreso encima del compás:
-@lilypond[quote,ragged-right,fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
% Default behavior
\time 3/4 r2. | R2.*2 |
\time 2/4 R2 |
proporciona la instrucción predefinida @code{\fermataMarkup} para
añadir calderones.
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,verbatim,fragment]
\compressFullBarRests
\time 3/4
R2.*10^\markup { \italic "ad lib." }
R2.^\fermataMarkup
@end lilypond
-@warning{ Los elementos de marcado que se añaden a un silencio
+@warning{
+Los elementos de marcado que se añaden a un silencio
multicompás son objetos del tipo @code{MultiMeasureRestText}, no
@code{TextScript}. Las sobreescrituras de propiedades deben ir
dirigidas hacia el objeto correcto, o se ignorarán. Véase el ejemplo
-siguiente. }
+siguiente.
+}
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,verbatim,fragment]
% This fails, as the wrong object name is specified
\override TextScript #'padding = #5
R1^"wrong"
La indicación de compás se establece como sigue:
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 2/4 c2
\time 3/4 c2.
@end lilypond
puede modificar este comportamiento predeterminado, véase
@c ref{Controlling visibility of objects}.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 2/4
c2 c
\break
El símbolo de compás que se usa en 2/2 y 4/4 se puede cambiar a un
estilo numérico:
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
% Default style
\time 4/4 c1
\time 2/2 c1
donde @code{duración} es el valor rítmico que se se debe añadir antes
del comienzo del siguiente compás completo:
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\partial 4 e4 |
a2. c,4 |
@end lilypond
El compás parcial puede ser de cualquier duración menor de un compás
completo:
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\partial 8*3 c8 d e |
a2. c,4 |
@end lilypond
compás automáticos, utilice la instrucción @code{\cadenzaOn}, y para
activarlos de nuevo use @code{\cadenzaOff}.
-@lilypond[verbatim,quote,ragged-right,relative=2,fragment]
+@lilypond[verbatim,relative=2,fragment]
c4 d e d
\cadenzaOn
c4 c d8 d d f4 g4.
La numeración de compases se continúa al final de la cadencia como si
la cadencia no existiera:
-@lilypond[verbatim,quote,ragged-right,relative=2,fragment]
+@lilypond[verbatim,relative=2,fragment]
% Show all bar numbers
\override Score.BarNumber #'break-visibility = #all-visible
c4 d e d
las duraciones que se muestran están multiplicadas por 3/5, pues 3/5 *
10/8 = 3/4.
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,verbatim,fragment]
\relative c' { <<
\new Staff {
\time 3/4
independiente trasladando el grabador @code{Timing_translator} al
contexto de @code{Staff}.
-@lilypond[quote,verbatim,ragged-right]
+@lilypond[quote,verbatim]
\layout {
\context {
\Score
que atraviesan la barra de compás se dividen y se unen mediante una
ligadura.
-@lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
+@lilypond[quote,verbatim,relative=1]
\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
las notas se convierten en barras inclinadas, y el pentagrama tiene
una sola línea:
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[quote,relative=1,verbatim]
<<
\new RhythmicStaff {
\new Voice = "myRhythm" {
@cindex barras manuales
@cindex manuales, barras
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 2/4 c8 c c c
\time 6/8 c c c c8. c16 c8
@end lilypond
El barrado automático se puede habilitar o desactivar con las
instrucciones @code{\autoBeamOff} y @code{\autoBeamOn}:
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[quote,relative=1,verbatim]
c4 c8 c8. c16 c8. c16 c8
\autoBeamOff
c4 c8 c8. c16 c8.
Los patrones de barrado se pueden alterar con la propiedad
@code{beatGrouping}:
-@lilypond[quote,verbatim,relative=2,fragment,ragged-right]
+@lilypond[quote,verbatim,relative=2]
\time 5/16
\set beatGrouping = #'(2 3)
c8[^"(2+3)" c16 c8]
duración del subgrupo de barras usando la función @code{make-moment},
como se muestra aquí:
-@lilypond[fragment,ragged-right,quote,relative=2,verbatim]
+@lilypond[quote,relative=2,verbatim]
c32[ c c c c c c c]
\set subdivideBeams = ##t
c32[ c c c c c c c]
modificar ajustando la propiedad @code{breakable}:
@code{\override Beam #'breakable = ##t}.
-@lilypond[ragged-right,relative=2,fragment,verbatim,quote]
+@lilypond[relative=2,verbatim,quote]
\override Beam #'breakable = ##t
c8 \repeat unfold 15 { c[ c] } c
@end lilypond
de la barra). De forma predeterminada @code{auto-knee-gap} está
establecido al valor de 5.5 espacios de pentagrama.
-@lilypond[fragment,ragged-right,quote,verbatim]
+@lilypond[fragment,quote,verbatim]
f8 f''8 f8 f''8
\override Beam #'auto-knee-gap = #6
f8 f''8 f8 f''8
@end itemize
Por ejemplo, si las barras automáticas siempre deben terminar sobre la
-primera negra, use
+primera negra, para cualquier tipo de compás o duración de la barra,
+use
-@example
+@lilypond[quote,verbatim,relative=2]
+a8 a a a a a a a
#(override-auto-beam-setting '(end * * * *) 1 4)
-@end example
+a8 a a a a a a a
+@end lilypond
Podemos forzar los ajustes de las barras para que sólo tengan efecto
sobre barras cuya nota más breve es una cierta duración:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 2/4
% end 1/16 beams for all time signatures at the 1/16 moment
#(override-auto-beam-setting '(end 1 16 * *) 1 16)
Podemos forzar los ajustes de las barras para que sólo tengan efecto
en ciertos tipos de compás:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 5/8
% end beams of all durations in 5/8 time signature at the 2/8 moment
#(override-auto-beam-setting '(end * * 5 8) 2 8)
especifican en @file{scm/@/auto@/-beam@/.scm}, así que podemos
revertir las reglas que no hayamos creado explícitamente.
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 4/4
a16 a a a a a a a a a a a a a a a
% undo a rule ending 1/16 beams in 4/4 time at 1/4 moment
corresponderse exactamente con la regla original. Esto es, no se
tiene en cuenta ninguna expansión de comodines.
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 1/4
#(override-auto-beam-setting '(end 1 16 1 4) 1 8)
a16 a a a
especifican manualmente marcando los puntos de comienzo y final con
@code{[} y @code{]}
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[quote,relative=1,verbatim]
{
r4 r8[ g' a r8] r8 g[ | a] r8
}
Se pueden marcar notas individuales con @code{\noBeam} para evitar que
resulten unidas por una barra:
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 2/4 c8 c\noBeam c c
@end lilypond
este ejemplo, el último Fa se imprime con sólo una barra en el lado
izquierdo, es decir, la barra de corchea del grupo como un todo.
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
-{
- f8[ r16 f g a]
- f8[ r16
- \set stemLeftBeamCount = #1
- f g a]
-}
+@lilypond[quote,relative=2,verbatim]
+a8[ r16 f g a]
+a8[ r16
+\set stemLeftBeamCount = #2
+\set stemRightBeamCount = #1
+f
+\set stemLeftBeamCount = #1
+g a]
@end lilypond
@snippets
gradualmente. Las cuatro primeras fusas se aceleran gradualmente,
mientras que las últimas cuatro fusas están a un tempo constante.
-@lilypond[ragged-right,relative=1,fragment,verbatim,quote]
+@lilypond[relative=1,verbatim,quote]
\override Beam #'grow-direction = #LEFT
\featherDurations #(ly:make-moment 2 1)
{ c16[ c c c c c c c] }
cambiar por otros tipos con la instrucción @code{\bar}. Por ejemplo,
se suele poner una doble barra de cierre al final de la pieza:
-@lilypond[quote,ragged-right,relative=1,fragment,verbatim]
+@lilypond[quote,relative=1,verbatim]
e4 d c2 \bar "|."
@end lilypond
Están disponibles para su inserción manual la línea divisoria simple y
cinco tipos de doble barra:
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[quote,relative=1,verbatim]
f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|.|" d \bar "|." e
@end lilypond
@noindent
así como la barra de puntos y la discontinua:
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[quote,relative=1,verbatim]
f1 \bar ":" g \bar "dashed" a
@end lilypond
@noindent
y cinco tipos de barra de repetición:
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[quote,relative=1,verbatim]
f1 \bar "|:" g \bar ":|:" a \bar ":|.|:" b \bar ":|.:" c \bar ":|" d
@end lilypond
final de la línea y una repetición izquierda (de comienzo) al
principio de la línea siguiente.
-@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
+@lilypond[quote,relative=2,verbatim]
\override Score.RehearsalMark #'padding = #3
c c c c
\bar "||:"
líneas resultantes se conectan entre los distintos pentagramas de un
@code{StaffGroup}, @code{PianoStaff} o @code{GrandStaff}.
-@lilypond[quote,ragged-right,fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
<<
\new StaffGroup <<
\new Staff {
@seealso
Referencia de la notación:
-@ref{Line breaking},
-@ref{Repeats}.
+@ref{Line breaking},
+@ref{Repeats},
+@ref{Grouping staves}.
+
Fragmentos de código:
@rlsr{Rhythms}.
automáticamente para cada compás. También se puede establecer
manualmente:
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
+@lilypond[verbatim,quote,fragment,relative=1]
c1 c c c
\break
\set Score.currentBarNumber = #50
ejemplo siguiente se imprimen los números de compás en todos los
sitios posibles:
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
+@lilypond[verbatim,quote,relative=1]
\override Score.BarNumber #'break-visibility = #'#(#t #t #t)
\set Score.currentBarNumber = #11
\bar "" % Permit first bar number to be printed
y aquí los números de compás se imprimen cada dos compases excepto al
final de la línea:
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
+@lilypond[verbatim,quote,relative=1]
\override Score.BarNumber #'break-visibility = #'#(#f #t #t)
\set Score.currentBarNumber = #11
\bar "" % Permit first bar number to be printed
alternativa de especificar @code{#(#f #t #t)} para
@code{break-visibility}.
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
+@lilypond[verbatim,quote,relative=1]
% Prevent bar numbers at the end of a line and permit them elsewhere
\override Score.BarNumber #'break-visibility
= #end-of-line-invisible
pueden colocar directamente sobre la línea divisoria o alinearse por
la derecha con ella:
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
+@lilypond[verbatim,quote,relative=1]
\set Score.currentBarNumber = #111
\override Score.BarNumber #'break-visibility = #'#(#t #t #t)
% Increase the size of the bar number by 2
grabador @code{Bar_number_engraver} de números de compás del contexto
de partitura @code{Score}.
-@lilypond[verbatim,ragged-right,quote]
+@lilypond[verbatim,quote]
\layout {
\context {
\Score
pieza, se debe insertar allí una barra de compás vacía, y se debe
poner un valor distinto a @code{1} en @code{currentBarNumber}:
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
+@lilypond[verbatim,quote,relative=1]
\set Score.currentBarNumber = #50
\bar ""
c1 c c c
cuando aparece en el código de entrada, en vez de comprobar el final
de un compás.
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[quote,verbatim]
pipeSymbol = \bar "||"
{
c'2 c'2 |
Para imprimir una letra de ensayo, utilice la orden @code{\mark}
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
c1 \mark \default
c1 \mark \default
c1 \mark #8
establece con el valor de una función que produce un número encerrado
en una caja.
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\set Score.markFormatter = #format-mark-numbers
c1 \mark \default
c1 \mark \default
Los glifos musicales (como el segno) se pueden imprimir dentro de un
elemento @code{\mark}
-@lilypond[fragment,quote,ragged-right,verbatim,relative]
+@lilypond[quote,verbatim,relative=1]
c1 \mark \markup { \musicglyph #"scripts.segno" }
c1 \mark \markup { \musicglyph #"scripts.coda" }
c1 \mark \markup { \musicglyph #"scripts.ufermata" }
en un tipo más pequeño y no ocupan ningún tiempo lógico en el
compás.
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
+@lilypond[quote,relative=2,verbatim]
c4 \grace c16 c4
\grace { c16[ d16] } c2
@end lilypond
de la nota principal, y se denota como una nota pequeña, ligada, sin
tachar.
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
+@lilypond[quote,relative=2,verbatim]
\grace c8 b4
\acciaccatura d8 c4
\appoggiatura e8 d4
pentagramas. En el siguiente ejemplo, hay dos semicorcheas de adorno
por cada corchea de adorno:
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
+@lilypond[quote,relative=2,verbatim]
<< \new Staff { e2 \grace { c16[ d e f] } e2 }
\new Staff { c2 \grace { g8[ b] } c2 } >>
@end lilypond
@code{\afterGrace}. Toma dos argumentos: la nota principal, y las
notas de adorno que siguen a la nota principal.
-@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
+@lilypond[quote,verbatim,relative=2]
c1 \afterGrace d1 { c16[ d] } c1
@end lilypond
siguiente muestra el resultado de establecer el espacio en su valor
predeterminado, en 15/16, y por último en 1/2 de la nota principal.
-@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
+@lilypond[quote,verbatim,relative=2]
<<
\new Staff {
c1 \afterGrace d1 { c16[ d] } c1
especificar usando espaciadores. El ejemplo siguiente sitúa la nota de
adorno después de un espacio que dura 7/8 de la nota principal.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\new Voice {
<< { d1^\trill_( }
{ s2 s4. \grace { c16[ d] } } >>
adorno. Aquí, la dirección predeterminada de la plica de la nota de
adorno se sobreescribe y luego se revierte.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\new Voice {
\acciaccatura {
\stemDown
El trazo inclinado que atraviesa al corchete de las
@emph{acciaccatura}s se puede aplicar en otras situaciones:
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\relative c'' {
\override Stem #'stroke-style = #"grace"
c8( d2) e8( f4)
@code{Stem} (plica) para este adorno, y así las plicas no siempre
apuntan hacia arriba.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\relative c'' {
\new Staff {
#(add-grace-property 'Voice 'Stem 'direction ly:stem::calc-direction)
Se puede forzar la alineación de las notas de adorno con las notas
normales de los otros pentagramas:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
<<
\override Score.SpacingSpanner #'strict-grace-spacing = ##t
divisorias, etc., se sincronizan también. Ponga cuidado cuando mezcle
pentagramas con adornos y sin adornos, por ejemplo
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
+@lilypond[quote,relative=2,verbatim]
<< \new Staff { e4 \bar "|:" \grace c16 d2. }
\new Staff { c4 \bar "|:" d2. } >>
@end lilypond
duraciones correspondientes en los otros pentagramas. Para el ejemplo
anterior
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
+@lilypond[quote,relative=2,verbatim]
<< \new Staff { e4 \bar "|:" \grace c16 d2. }
\new Staff { c4 \bar "|:" \grace s16 d2. } >>
@end lilypond
de música como argumento y generan un @code{\skip} o silencio
multicompás, de la longitud exacta del fragmento.
-@lilypond[verbatim,ragged-right,quote]
+@lilypond[verbatim,quote]
MyCadenza = \relative c' {
c4 d8 e f g g4
f2 g4 g
hasta 5/8, acortando ese compás en 1/8. Entonces, la siguiente línea
divisoria cae en 9/8 en vez de hacerlo en 5/4.
-@lilypond[quote,ragged-right,verbatim,relative,fragment]
+@lilypond[quote,verbatim,relative=1]
\set Score.measureLength = #(ly:make-moment 5 4)
c1 c4
c1 c4
@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@ignore
- Translation of GIT committish: 541aafa12474496930f99f617890a944c3db4989
+ Translation of GIT committish: 88f1608ae6fd17b05344bafb2f0721aafdac657b
When revising a translation, copy the HEAD committish of the
version that you are working on. See TRANSLATION for details.
@subsection Displaying staves
Esta sección describe los distintos métodos de creación de pentagramas
-y grupos de ellos, que se indican al comienzo de cada línea con una
-llave o un corchete.
+y grupos de ellos.
@menu
* Instantiating new staves::
moderna de canto gregoriano. No muestra líneas divisorias.
@lilypond[verbatim,quote,relative=2]
-\new GregorianTranscriptionStaff { c4 d e f }
+\new GregorianTranscriptionStaff { c4 d e f e d }
@end lilypond
@code{RhythmicStaff} crea una pauta de una sola línea que sólo muestra
{ d4 d d d }
@end lilypond
-Se pueden definir al mismo tiempo la posición vertical de las líneas
-de la pauta y su número. Como muestra el ejemplo siguiente, las
-posiciones de las notas no resultan influidas por las posiciones de
-las líneas de la pauta.
-
-@warning{La propiedad @code{'line-positions} sobreescribe a la
-propiedad @code{'line-count}. El número de líneas de la pauta queda
-definido implícitamente por el número de elementos de la lista de
-valores de @code{'line-positions}.}
-
-@lilypond[verbatim,quote,relative=1]
-\new Staff \with {
- \override StaffSymbol #'line-positions = #'(7 3 0 -4 -6 -7)
-}
-{ a4 e' f b | d1 }
-@end lilypond
-
Se puede modificar el grosor de las líneas de la pauta. El grosor de
las líneas adicionales y las plicas también resultan afectados, pues
dependen del grosor de las líneas de la pauta.
{ a4 b c d }
@end lilypond
-Se puede modificar el ancho del pentagrama. Las unidades son espacios
-de pentagrama. El espaciado de los objetos dentro del pentagrama no
-resulta afectado por este ajuste.
-
-@lilypond[verbatim,quote,relative=1]
-\new Staff \with {
- \override StaffSymbol #'width = #23
-}
-{ a4 e' f b | d1 }
-@end lilypond
-
Hay más detalles sobre las proopiedades de @code{StaffSymbol} en
@rinternals{staff-symbol-interface}.
-@c -*- coding: utf-8; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@c This file is part of lilypond-learning.tely
@ignore
- Translation of GIT committish: bc494bf964f01a1327bc7c6e3c70d0cb8d897ecb
+ Translation of GIT committish: 88f1608ae6fd17b05344bafb2f0721aafdac657b
When revising a translation, copy the HEAD committish of the
version that you are working on. See TRANSLATION for details.
central.
Añadiendo (o eliminando) comillas simples @code{'} o comas @code{,} de
-la instrucción @w{@code{\relative c' @{}}, podemos cambiar la octava
+la instrucción @code{@w{\relative c' @{}}, podemos cambiar la octava
de inicio:
@lilypond[verbatim,quote]
Para subir o bajar una nota en dos (¡o más!) octavas, utilizamos
varias @code{''} ó @code{,,} (pero tenga cuidado de utilizar dos
comillas simples @code{''} ¡y no una comilla doble @code{"}@tie{}!)
-El valor inicial de @w{@code{\relative c'}} también puede modificarse
+El valor inicial de @code{@w{\relative c'}} también puede modificarse
de esta forma.
@c " - keeps quotes in order for context-sensitive editor -td
@cindex archivos, consejos para construir
Como ya vimos en @ref{Working on input files}, el código de entrada de
-LilyPond debe estar rodeado de llaves @{ @} o de @w{@code{\relative
+LilyPond debe estar rodeado de llaves @{ @} o de @code{@w{\relative
c'' @{ ... @}}}. Durante el resto del presente manual, la mayor parte
de los ejemplos omitirán las llaves. Para reproducir los ejemplos,
deberá copiar y pegar la entrada que se muestra, pero @strong{deberá}
-escribir el @w{@code{\relative c'' @{ @}}}, de la siguiente forma:
+escribir el @code{@w{\relative c'' @{ @}}}, de la siguiente forma:
@example
\relative c'' @{
¿Por qué omitir las llaves? Casi todos los ejemplos del presente
manual se pueden insertar en medio de un fragmento mayor de música.
-Para estos ejemplos no tiene ningún sentido añadir @w{@code{\relative
+Para estos ejemplos no tiene ningún sentido añadir @code{@w{\relative
c'' @{ @}}} (¡no debería poner un @code{\relative} dentro de otro
-@code{\relative}!); si hubiésemos incluido @w{@code{\relative c'' @{ @}}}
-rodeando a cada uno de los ejemplos, usted no podría copiar un ejemplo
-pequeño procedente de la documentación y pegarlo dentro de su propia
-pieza. La mayoría querrá insertar el código dentro de una pieza más
-grande, por eso hemos formateado el manual de esta manera.
+@code{\relative}!); si hubiésemos incluido @code{@w{\relative c'' @{
+@}}} rodeando a cada uno de los ejemplos, usted no podría copiar un
+ejemplo pequeño procedente de la documentación y pegarlo dentro de su
+propia pieza. La mayoría querrá insertar el código dentro de una
+pieza más grande, por eso hemos formateado el manual de esta manera.
-@c -*- coding: utf-8; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@c This file is part of lilypond.tely
@ignore
- Translation of GIT committish: f2dfe5301630aa53a9558b33d1a97595b4724911
+ Translation of GIT committish: 88f1608ae6fd17b05344bafb2f0721aafdac657b
When revising a translation, copy the HEAD committish of the
version that you are working on. See TRANSLATION for details.
@subheading Fingering
@cindex digitación, colocación
-La colocación de las digitaciones también resulta afectada por el
-valor de su propiedad @code{direction}, pero existen instrucciones
-especiales que permiten controlar las digitaciones de notas
-individuales, situando la digitación encima, debajo, a la izquierda o
-a la derecha de cada nota.
+La colocación de las digitaciones se puede controlar también por el
+valor de su propiedad @code{direction}, pero los cambios en
+@code{direction} no afectan a los acordes. Como veremos, existen
+instrucciones especiales que permiten controlar las digitaciones de
+notas individuales, situando la digitación encima, debajo, a la
+izquierda o a la derecha de cada nota.
En primer lugar, he aquí el efecto de @code{direction} sobre las
-digitaciones; el primer compás muestra el comportamiento
-predeterminado, y después el efecto de especificar @code{DOWN} y
-@code{UP}:
+digitaciones aplicadas a notas sueltas; el primer compás muestra el
+comportamiento predeterminado, y los dos compases siguientes muestran
+el efecto de especificar @code{DOWN} y @code{UP}:
@lilypond[quote,verbatim,relative=2]
c-5 a-3 f-1 c'-5
c-5 a-3 f-1 c'-5
@end lilypond
-Así es como se controla la digitación sobre notas aisladas, pero la
-propiedad @code{direction} se ignora para los acordes. En su lugar,
-de forma predeterminada las digitaciones se colocan automáticamente
-encima y debajo de las notas del acorde, como se muestra aquí:
+Sin embargo, la sobreescritura de la propiedad @code{direction} no es
+la manera más sencilla de poner manualmente las digitaciones encima o
+debajo de las notas; suele ser preferible utilizar @code{_} o @code{^}
+en lugar de @code{-} antes de la digitación. He aquí el ejemplo
+anterior usando este método:
+
+@lilypond[quote,verbatim,relative=2]
+c-5 a-3 f-1 c'-5
+c_5 a_3 f_1 c'_5
+c^5 a^3 f^1 c'^5
+@end lilypond
+
+La propiedad @code{direction} se ignora para los acordes, pero los
+prefijos direccionales @code{_} y @code{^} funcionan. De forma
+predeterminada las digitaciones se colocan automáticamente encima y
+debajo de las notas del acorde, como se muestra aquí:
@lilypond[quote,verbatim,relative=2]
<c-5 g-3>
<c-5 g-3 e-2 c-1>
@end lilypond
-Es posible tener un mayor control sobre la situación exacta de las
-digitaciones mediante la utilización de la instrucción @code{\set
+@noindent
+pero esto se puede sobreescribir para forzar manualmente que todos o
+cualquiera de los números de digitación individuales están encima o
+debajo:
+
+@lilypond[quote,verbatim,relative=2]
+<c-5 g-3 e-2 c-1>
+<c^5 g_3 e_2 c_1>
+<c^5 g^3 e^2 c_1>
+@end lilypond
+
+Es posible tener un control incluso mayor sobre la situación exacta de
+las digitaciones mediante la utilización de la instrucción @code{\set
fingeringOrientations}. El formato de esta instrucción es
@example
@code{left} y @code{right} son mutuamente excluyentes: las
digitaciones pueden situarse en un lado o en el otro, no en los dos.
-Para controlar la colocación de la digitación de una sola nota usando
-esta instrucción es necesario escribirla como un acorde de una sola
-nota encerrándola entre ángulos simples.
+@warning{Para controlar la colocación de la digitación de una sola
+nota usando esta instrucción es necesario escribirla como un acorde de
+una sola nota encerrándola entre ángulos simples.}
Aquí podemos ver algunos ejemplos:
* Input modes::
* Direction and placement::
* Distances and measurements::
+* Staff symbol properties::
* Spanners::
* Visibility of objects::
* Line styles::
@ref{Setting the staff size}.
+@node Staff symbol properties
+@subsection Staff symbol properties
+
+@cindex adjusting staff symbol
+@cindex drawing staff symbol
+@cindex staff symbol, setting of
+
+@c TODO Extend or remove this section. See also NR 1.6.2 Staff symbol
+@c Need to think of uses for these properties. Eg 'line-positions
+@c is used in a snippet to thicken centre line.
+@c If retained, add @ref to here in 1.6.2 -td
+
+The vertical position of staff lines and the number of staff lines
+can be defined at the same time. As the following example shows,
+note positions are not influenced by the staff line positions.
+
+@warning{The @code{'line-positions} property overrides the
+@code{'line-count} property. The number of staff lines is
+implicitly defined by the number of elements in the list of values
+for @code{'line-positions}.}
+
+@lilypond[verbatim,quote,relative=1]
+\new Staff \with {
+ \override StaffSymbol #'line-positions = #'(7 3 0 -4 -6 -7)
+}
+{ a4 e' f b | d1 }
+@end lilypond
+
+The width of a staff can be modified. The units are staff
+spaces. The spacing of objects inside the staff is not affected by
+this setting.
+
+@lilypond[verbatim,quote,relative=1]
+\new Staff \with {
+ \override StaffSymbol #'width = #23
+}
+{ a4 e' f b | d1 }
+@end lilypond
+
+
@node Spanners
@subsection Spanners
@itemize
@item
-@uref{http://@/denemo@/.sourceforge@/.net/,Denemo}, a graphical score editor.
+@uref{http://@/www@/.denemo@/.org/,Denemo}, a graphical score editor.
@item
@uref{http://www@/.volny@/.cz/smilauer/rumor/rumor@/.html,Rumor}, a realtime
monophonic MIDI to LilyPond converter.
are possible, but only as beamed notes.
@c Two 64th notes are needed to obtain beams
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 8/1
c\longa c\breve c1 c2
c4 c8 c16 c32 c64 c64
@c not strictly "writing rhythms"; more of a "displaying" thing,
@c but it's ok here. -gp
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 8/1
\autoBeamOff
c\longa c\breve c1 c2
entered duration. The default for the first note is a quarter
note.
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[quote,verbatim,relative=2]
a a a2 a a4 a a1 a
@end lilypond
duration. Double-dotted notes are specified by appending two
dots, and so on.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
a4 b c4. b8 a4. b4.. c8.
@end lilypond
tuplet is the triplet in which 3 notes have the duration of 2, so
the notes are 2/3 of their written length.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
a2 \times 2/3 { b4 b b }
c4 c \times 2/3 { b4 a g }
@end lilypond
Tuplets may be nested:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\autoBeamOff
c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4 |
@end lilypond
In the following example, the first three notes take up exactly
two beats, but no triplet bracket is printed.
-@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+@lilypond[quote,relative=2,verbatim]
\time 2/4
% Alter durations to triplets
a4*2/3 gis4*2/3 a4*2/3
required. Here is an example showing how music can be compressed
and expanded:
-@lilypond[quote,fragment,relative=2,ragged-right,verbatim]
+@lilypond[quote,relative=2,verbatim]
\time 2/4
% Normal durations
<c a>4 c8 a
A tie is entered using the tilde symbol @code{~}
-@lilypond[quote,ragged-right,fragment,verbatim]
-e'2 ~ e'
+@lilypond[quote,verbatim,relative=2]
+a2 ~ a
@end lilypond
dots cannot be used to denote the rhythm. Ties should also be
used when note values cross larger subdivisions of the measure:
-@lilypond[fragment,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c' {
r8 c8 ~ c2 r4 |
r8^"not" c2 ~ c8 r4
created. Chords may be partially tied by placing the tie inside
the chord.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+@lilypond[quote,verbatim,relative=1]
<c e g> ~ <c e g>
<c~ e g~ b> <c e g b>
@end lilypond
When a second alternative of a repeat starts with a tied note, you
have to specify the repeated tie as follows:
-@lilypond[fragment,quote,ragged-right,relative=2,verbatim]
+@lilypond[quote,relative=2,verbatim]
\repeat volta 2 { c g <c e>2 ~ }
\alternative {
% First alternative: following note is tied normally
piano, harp and other string and percussion instruments. They can
be entered as follows:
-@lilypond[fragment,quote,ragged-right,verbatim,relative=1]
+@lilypond[quote,verbatim,relative=1]
<c f g>1\laissezVibrer
@end lilypond
@c \time 16/1 is used to avoid spurious bar lines
@c and long tracts of empty measures
-@lilypond[fragment,quote,ragged-right,verbatim]
+@lilypond[fragment,quote,verbatim]
\new Staff {
% These two lines are just to prettify this example
\time 16/1
allows for precise manual formatting of polyphonic music, since the
automatic rest collision formatter will not move these rests.
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
a4\rest d4\rest
@end lilypond
is used to skip a musical moment. @code{\skip} requires an
explicit duration.
-@lilypond[quote,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
<<
{
a2 \skip2 a2 a2
Rests for one or more full measures are entered like notes with
the note name uppercase @code{R}:
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
% Rest measures contracted to single measure
\compressFullBarRests
R1*4
integral number of measure-lengths, so augmentation
dots or fractions must often be used:
-@lilypond[quote,ragged-right,fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
\compressFullBarRests
\time 2/4
R1 | R2 |
or breve rest, centered in the measure, depending on the time
signature.
-@lilypond[quote,ragged-right,fragment,verbatim]
+@lilypond[quote,verbatim,fragment]
\time 4/4
R1 |
\time 6/4
containing a multi-measure rest symbol, with the number of measures of rest
printed above the measure:
-@lilypond[quote,ragged-right,fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
% Default behavior
\time 3/4 r2. | R2.*2 |
\time 2/4 R2 |
The predefined command @code{\fermataMarkup}
is provided for adding fermatas.
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,verbatim,fragment]
\compressFullBarRests
\time 3/4
R2.*10^\markup { \italic "ad lib." }
object, or they will be ignored. See the following example.
}
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,verbatim,fragment]
% This fails, as the wrong object name is specified
\override TextScript #'padding = #5
R1^"wrong"
The time signature is set as follows:
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 2/4 c2
\time 3/4 c2.
@end lilypond
there. This default behavior may be changed, see
@c ref{Controlling visibility of objects}.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 2/4
c2 c
\break
The time signature symbol that is used in 2/2 and 4/4 time can be
changed to a numeric style:
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
% Default style
\time 4/4 c1
\time 2/2 c1
where @code{duration} is the rhythmic length of the interval
before the start of the first complete measure:
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\partial 4 e4 |
a2. c,4 |
@end lilypond
The partial measure can be any duration less than a full measure:
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\partial 8*3 c8 d e |
a2. c,4 |
@end lilypond
use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
to turn them on again.
-@lilypond[verbatim,quote,ragged-right,relative=2,fragment]
+@lilypond[verbatim,relative=2,fragment]
c4 d e d
\cadenzaOn
c4 c d8 d d f4 g4.
Bar numbering is resumed at the end of the cadenza as if the
cadenza were not there:
-@lilypond[verbatim,quote,ragged-right,relative=2,fragment]
+@lilypond[verbatim,relative=2,fragment]
% Show all bar numbers
\override Score.BarNumber #'break-visibility = #all-visible
c4 d e d
are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,verbatim,fragment]
\relative c' { <<
\new Staff {
\time 3/4
Each staff can be given its own independent time signature by
moving the @code{Timing_translator} to the @code{Staff} context.
-@lilypond[quote,verbatim,ragged-right]
+@lilypond[quote,verbatim]
\layout {
\context {
\Score
@code{Completion_heads_engraver}. In the following
example, notes crossing the bar lines are split and tied.
-@lilypond[quote,fragment,verbatim,relative=1,ragged-right]
+@lilypond[quote,verbatim,relative=1]
\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
can be done with the rhythmic staff. All pitches of notes on such a
staff are squashed, and the staff itself has a single line
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[quote,relative=1,verbatim]
<<
\new RhythmicStaff {
\new Voice = "myRhythm" {
@cindex beams, manual
@cindex manual beams
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 2/4 c8 c c c
\time 6/8 c c c c8. c16 c8
@end lilypond
Automatic beaming may be turned off and on with
@code{\autoBeamOff} and @code{\autoBeamOn} commands:
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[quote,relative=1,verbatim]
c4 c8 c8. c16 c8. c16 c8
\autoBeamOff
c4 c8 c8. c16 c8.
@c TODO -- convert to snippet
Beaming patterns may be altered with the @code{beatGrouping} property,
-@lilypond[quote,verbatim,relative=2,fragment,ragged-right]
+@lilypond[quote,verbatim,relative=2]
\time 5/16
\set beatGrouping = #'(2 3)
c8[^"(2+3)" c16 c8]
set to a fraction giving the duration of the beam sub-group
using the @code{make-moment} function, as shown here:
-@lilypond[fragment,ragged-right,quote,relative=2,verbatim]
+@lilypond[quote,relative=2,verbatim]
c32[ c c c c c c c]
\set subdivideBeams = ##t
c32[ c c c c c c c]
This behavior can be changed by setting the @code{breakable}
property: @code{\override Beam #'breakable = ##t}.
-@lilypond[ragged-right,relative=2,fragment,verbatim,quote]
+@lilypond[relative=2,verbatim,quote]
\override Beam #'breakable = ##t
c8 \repeat unfold 15 { c[ c] } c
@end lilypond
depends on the duration of the notes and the slope of the beam).
By default @code{auto-knee-gap} is set to 5.5 staff spaces.
-@lilypond[fragment,ragged-right,quote,verbatim]
+@lilypond[fragment,quote,verbatim]
f8 f''8 f8 f''8
\override Beam #'auto-knee-gap = #6
f8 f''8 f8 f''8
@end itemize
-TODO -- convert to music example
For example, if automatic beams should always end on the first quarter
-note, use
+note, whatever the time signature or beam duration, use
-@example
+@lilypond[quote,verbatim,relative=2]
+a8 a a a a a a a
#(override-auto-beam-setting '(end * * * *) 1 4)
-@end example
+a8 a a a a a a a
+@end lilypond
You can force the beam settings to only take effect on beams whose shortest
note is a certain duration
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 2/4
% end 1/16 beams for all time signatures at the 1/16 moment
#(override-auto-beam-setting '(end 1 16 * *) 1 16)
You can force the beam settings to only take effect in certain time
signatures
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 5/8
% end beams of all durations in 5/8 time signature at the 2/8 moment
#(override-auto-beam-setting '(end * * 5 8) 2 8)
specified in @file{scm/@/auto@/-beam@/.scm},
so you can revert rules that you did not explicitly create.
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 4/4
a16 a a a a a a a a a a a a a a a
% undo a rule ending 1/16 beams in 4/4 time at 1/4 moment
match the original rule. That is, no wildcard expansion is taken into
account.
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 1/4
#(override-auto-beam-setting '(end 1 16 1 4) 1 8)
a16 a a a
notes. Such beams can be specified manually by
marking the begin and end point with @code{[} and @code{]}
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[quote,relative=1,verbatim]
{
r4 r8[ g' a r8] r8 g[ | a] r8
}
Individual notes may be marked with @code{\noBeam} to prevent them
from being beamed:
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 2/4 c8 c\noBeam c c
@end lilypond
with only one beam on the left side, i.e., the eighth-note beam of
the group as a whole.
-TODO -- no difference based on stemLeftBeamCount in this example
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
-{
- f8[ r16 f g a]
- f8[ r16
- \set stemLeftBeamCount = #1
- f g a]
-}
+@lilypond[quote,relative=2,verbatim]
+a8[ r16 f g a]
+a8[ r16
+\set stemLeftBeamCount = #2
+\set stemRightBeamCount = #1
+f
+\set stemLeftBeamCount = #1
+g a]
@end lilypond
@cindex beams, feathered
@funindex \featherDurations
-TODO -- this section relies on overrides. We need to either add
-a predefined, move this to snippets (whole section), or violate
-policy for this section.
+@c TODO This section relies on overrides. We need to either add
+@c a predefined, move this to snippets (whole section), or violate
+@c policy for this section.
Feathered beams are used to indicate that a small group of notes
should be played at an increasing (or decreasing) tempo, without
lengthening. The first four 32nd notes gradually speed up, while
the last four 32nd notes are at a constant tempo.
-@lilypond[ragged-right,relative=1,fragment,verbatim,quote]
+@lilypond[relative=1,verbatim,quote]
\override Beam #'grow-direction = #LEFT
\featherDurations #(ly:make-moment 2 1)
{ c16[ c c c c c c c] }
other types with the @code{\bar} command. For example, a closing
double bar line is usually placed at the end of a piece:
-@lilypond[quote,ragged-right,relative=1,fragment,verbatim]
+@lilypond[quote,relative=1,verbatim]
e4 d c2 \bar "|."
@end lilypond
The simple bar line and five types of double bar line are available
for manual insertion:
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[quote,relative=1,verbatim]
f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|.|" d \bar "|." e
@end lilypond
@noindent
together with dotted and dashed bar lines:
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[quote,relative=1,verbatim]
f1 \bar ":" g \bar "dashed" a
@end lilypond
@noindent
and five types of repeat bar line:
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[quote,relative=1,verbatim]
f1 \bar "|:" g \bar ":|:" a \bar ":|.|:" b \bar ":|.:" c \bar ":|" d
@end lilypond
line at the end of the line and a start repeat at the beginning of
the next line.
-@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
+@lilypond[quote,relative=2,verbatim]
\override Score.RehearsalMark #'padding = #3
c c c c
\bar "||:"
connected between different staves of a @code{StaffGroup},
@code{InnerStaffGroup}, @code{PianoStaff}, or @code{GrandStaff}.
-@lilypond[quote,ragged-right,fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
<<
\new StaffGroup <<
\new Staff {
@seealso
-Notation Reference: @ref{Line breaking}, @ref{Repeats},
-@c FIXME: node name changed, but is subject to further changes.
-@c @ref{System start delimiters}.
+Notation Reference:
+@ref{Line breaking},
+@ref{Repeats},
+@ref{Grouping staves}.
Snippets:
@rlsr{Rhythms}.
@code{currentBarNumber} property, which is normally updated
automatically for every measure. It may also be set manually:
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
+@lilypond[verbatim,quote,fragment,relative=1]
c1 c c c
\break
\set Score.currentBarNumber = #50
line visible}, @code{beginning of line visible}. In the following
example bar numbers are printed at all possible places:
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
+@lilypond[verbatim,quote,relative=1]
\override Score.BarNumber #'break-visibility = #'#(#t #t #t)
\set Score.currentBarNumber = #11
\bar "" % Permit first bar number to be printed
and here the bar numbers are printed every two measures
except at the end of the line:
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
+@lilypond[verbatim,quote,relative=1]
\override Score.BarNumber #'break-visibility = #'#(#f #t #t)
\set Score.currentBarNumber = #11
\bar "" % Permit first bar number to be printed
numbers in boxes and circles, and shows an alternative way
of specifying @code{#(#f #t #t)} for @code{break-visibility}.
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
+@lilypond[verbatim,quote,relative=1]
% Prevent bar numbers at the end of a line and permit them elsewhere
\override Score.BarNumber #'break-visibility
= #end-of-line-invisible
be positioned directly on the bar line or right-aligned to the
bar line:
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
+@lilypond[verbatim,quote,relative=1]
\set Score.currentBarNumber = #111
\override Score.BarNumber #'break-visibility = #'#(#t #t #t)
% Increase the size of the bar number by 2
Bar numbers can be removed entirely by removing the
@code{Bar_number_engraver} from the @code{Score} context.
-@lilypond[verbatim,ragged-right,quote]
+@lilypond[verbatim,quote]
\layout {
\context {
\Score
inserted there, and a value other than @code{1} must be placed
in @code{currentBarNumber}:
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
+@lilypond[verbatim,quote,relative=1]
\set Score.currentBarNumber = #50
\bar ""
c1 c c c
line wherever it appears in the input, rather than checking
for end of bar.
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[quote,verbatim]
pipeSymbol = \bar "||"
{
c'2 c'2 |
To print a rehearsal mark, use the @code{\mark} command
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
c1 \mark \default
c1 \mark \default
c1 \mark #8
procedure. After a few measures, it is set to a procedure that
produces a boxed number.
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\set Score.markFormatter = #format-mark-numbers
c1 \mark \default
c1 \mark \default
Music glyphs (such as the segno sign) may be printed inside a
@code{\mark}
-@lilypond[fragment,quote,ragged-right,verbatim,relative]
+@lilypond[quote,verbatim,relative=1]
c1 \mark \markup { \musicglyph #"scripts.segno" }
c1 \mark \markup { \musicglyph #"scripts.coda" }
c1 \mark \markup { \musicglyph #"scripts.ufermata" }
are printed in a smaller font and take up no logical time
in a measure.
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
+@lilypond[quote,relative=2,verbatim]
c4 \grace c16 c4
\grace { c16[ d16] } c2
@end lilypond
takes a fixed fraction of the main note and appears in small print
without a slash.
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
+@lilypond[quote,relative=2,verbatim]
\grace c8 b4
\acciaccatura d8 c4
\appoggiatura e8 d4
staves. In the following example, there are two sixteenth grace
notes for every eighth grace note
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
+@lilypond[quote,relative=2,verbatim]
<< \new Staff { e2 \grace { c16[ d e f] } e2 }
\new Staff { c2 \grace { g8[ b] } c2 } >>
@end lilypond
command. It takes two arguments: the main note, and the grace
notes following the main note.
-@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
+@lilypond[quote,verbatim,relative=2]
c1 \afterGrace d1 { c16[ d] } c1
@end lilypond
the results from setting the space at the default, at 15/16, and
finally at 1/2 of the main note.
-@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
+@lilypond[quote,verbatim,relative=2]
<<
\new Staff {
c1 \afterGrace d1 { c16[ d] } c1
specified using spacers. The following example places the grace
note after a space lasting 7/8 of the main note.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\new Voice {
<< { d1^\trill_( }
{ s2 s4. \grace { c16[ d] } } >>
inside the grace expression. Here, the grace note's default stem
direction is overriden and then reverted.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\new Voice {
\acciaccatura {
\stemDown
The slash through the stem found in @emph{acciaccatura}s can be applied
in other situations:
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\relative c'' {
\override Stem #'stroke-style = #"grace"
c8( d2) e8( f4)
example undefines the @code{Stem} direction for this grace, so
that stems do not always point up.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\relative c'' {
\new Staff {
#(add-grace-property 'Voice 'Stem 'direction ly:stem::calc-direction)
Grace notes may be forced to align with regular notes
in other staves:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
<<
\override Score.SpacingSpanner #'strict-grace-spacing = ##t
synchronized. Take care when you mix staves with grace notes and
staves without, for example,
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
+@lilypond[quote,relative=2,verbatim]
<< \new Staff { e4 \bar "|:" \grace c16 d2. }
\new Staff { c4 \bar "|:" d2. } >>
@end lilypond
This can be remedied by inserting grace skips of the corresponding
durations in the other staves. For the above example
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
+@lilypond[quote,relative=2,verbatim]
<< \new Staff { e4 \bar "|:" \grace c16 d2. }
\new Staff { c4 \bar "|:" \grace s16 d2. } >>
@end lilypond
functions take a defined piece of music as an argument and generate a
multi-measure rest or @code{\skip} exactly as long as the piece.
-@lilypond[verbatim,ragged-right,quote]
+@lilypond[verbatim,quote]
MyCadenza = \relative c' {
c4 d8 e f g g4
f2 g4 g
advanced by 1/8 to 5/8, shortening that bar by 1/8.
The next bar line then falls at 9/8 rather than 5/4.
-@lilypond[quote,ragged-right,verbatim,relative,fragment]
+@lilypond[quote,verbatim,relative=1]
\set Score.measureLength = #(ly:make-moment 5 4)
c1 c4
c1 c4
@subsection Displaying staves
This section describes the different methods of creating and
-grouping staves, which are marked at the beginning of each line
-with either a bracket or a brace.
+grouping staves.
@menu
* Instantiating new staves::
modern Gregorian chant. It does not show bar lines.
@lilypond[verbatim,quote,relative=2]
-\new GregorianTranscriptionStaff { c4 d e f }
+\new GregorianTranscriptionStaff { c4 d e f e d }
@end lilypond
@code{RhythmicStaff} creates a single-line staff that only
{ d4 d d d }
@end lilypond
-The vertical position of staff lines and the number of staff lines
-can be defined at the same time. As the following example shows,
-note positions are not influenced by the staff line positions.
-
-@warning{The @code{'line-positions} property overrides the
-@code{'line-count} property. The number of staff lines is
-implicitly defined by the number of elements in the list of values
-for @code{'line-positions}.}
-
-@lilypond[verbatim,quote,relative=1]
-\new Staff \with {
- \override StaffSymbol #'line-positions = #'(7 3 0 -4 -6 -7)
-}
-{ a4 e' f b | d1 }
-@end lilypond
-
Staff line thickness can be modified. The thickness of ledger
lines and stems are also affected, since they depend on staff line
thickness.
{ a4 b c d }
@end lilypond
-The width of a staff can be modified. The units are staff
-spaces. The spacing of objects inside the staff is not affected by
-this setting.
-
-@lilypond[verbatim,quote,relative=1]
-\new Staff \with {
- \override StaffSymbol #'width = #23
-}
-{ a4 e' f b | d1 }
-@end lilypond
-
Further details about the properties of @code{StaffSymbol} can be
found in @rinternals{staff-symbol-interface}.
To change a note by two (or more!) octaves, we use multiple
@code{''} or @code{,,} -- but be careful that you use two single
quotes @code{''} and not one double quote @code{"}@tie{}! The
-initial value in @w{@code{\relative c'}} may also be modified like
+initial value in @code{@w{\relative c'}} may also be modified like
this.
@c " - keeps quotes in order for context-sensitive editor -td
@cindex files, tips for constructing
LilyPond input must be surrounded by @{ @} marks or a
-@w{@code{\relative c'' @{ ... @}}}, as we saw in @ref{Working on
+@code{@w{\relative c'' @{ ... @}}}, as we saw in @ref{Working on
input files}. For the rest of this manual, most examples will
omit this. To replicate the examples, you may copy and paste the
displayed input, but you @strong{must} add the
-@w{@code{\relative c'' @{ @}}} like this:
+@code{@w{\relative c'' @{ @}}} like this:
@example
\relative c'' @{
Why omit the braces? Most examples in this manual can be inserted
into the middle of a longer piece of music. For these examples,
-it does not make sense to add @w{@code{\relative c'' @{ @}}} --
+it does not make sense to add @code{@w{\relative c'' @{ @}}} --
you should not place a @code{\relative} inside another
-@code{\relative}! If we included @w{@code{\relative c'' @{ @}}}
+@code{\relative}! If we included @code{@w{\relative c'' @{ @}}}
around every example, you would not be able to copy a small
documentation example and paste it inside a longer piece of your
own. Most people want to add material to an existing piece, so we
@subheading Fingering
@cindex fingering, placement
-The placement of fingering is also affected by the value
-of its @code{direction} property, but there are special
+The placement of fingering on single notes can also be controlled
+by the @code{direction} property, but changing @code{direction}
+has no effect on chords. As we shall see, there are special
commands which allow the fingering of individual notes
of chords to be controlled, with the fingering being placed
above, below, to the left or to the right of each note.
-First, here's the effect of @code{direction} on fingering,
-the first bar shows the default, then the effect of specifying
-@code{DOWN} and @code{UP}:
+First, here's the effect of @code{direction} on the fingering
+attached to single notes. The first bar shows the default
+behaviour, and the following two bars shows the effect of
+specifying @code{DOWN} and @code{UP}:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
c-5 a-3 f-1 c'-5
\override Fingering #'direction = #DOWN
c-5 a-3 f-1 c'-5
c-5 a-3 f-1 c'-5
@end lilypond
-This is how to control fingering on single notes, but the
-@code{direction}
-property is ignored for chords. Instead, by default, the
-fingering is automatically placed both above and below the
+However, overriding the @code{direction} property is not the
+easiest way of manually setting the fingering above or below
+the notes; using @code{_} or @code{^} instead of @code{-} before
+the fingering number is usually preferable. Here is the previous
+example using this method:
+
+@lilypond[quote,verbatim,relative=2]
+c-5 a-3 f-1 c'-5
+c_5 a_3 f_1 c'_5
+c^5 a^3 f^1 c'^5
+@end lilypond
+
+The @code{direction} property is ignored for chords, but the
+directional prefixes, @code{_} and @code{^} do work. By default,
+the fingering is automatically placed both above and below the
notes of a chord, as shown:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
<c-5 g-3>
<c-5 g-3 e-2>
<c-5 g-3 e-2 c-1>
@end lilypond
-Greater control over the placement of fingering of the
-individual notes in a chord is possible by using
-the @code{\set fingeringOrientations} command. The format of
-this command is
+@noindent
+but this may be overriden to manually force all or any of the
+individual fingering numbers above or below:
+
+@lilypond[quote,verbatim,relative=2]
+<c-5 g-3 e-2 c-1>
+<c^5 g_3 e_2 c_1>
+<c^5 g^3 e^2 c_1>
+@end lilypond
+
+Even greater control over the placement of fingering of the
+individual notes in a chord is possible by using the
+@code{\set fingeringOrientations} command. The format of this
+command is:
@example
@code{\set fingeringOrientations = #'([up] [left/right] [down])}
@code{New_fingering_engraver}.
The property may be set to a list of one to three values.
-It controls whether fingerings may be placed above (if
+It controls whether fingerings may be placed above (if
@code{up} appears in the list), below (if @code{down} appears),
to the left (if @code{left} appears, or to the right
(if @code{right} appears). Conversely, if a location is not
-listed, no fingering is placed there. LilyPond takes these
+listed, no fingering is placed there. LilyPond takes these
constraints and works out the best placement for the fingering
of the notes of the following chords. Note that @code{left} and
@code{right} are mutually exclusive -- fingering may be placed
only on one side or the other, not both.
-To control the placement of the fingering of a single note
-using this command it is necessary to write it as a single
-note chord by placing angle brackets round it.
-
+@warning{To control the placement of the fingering of a single
+note using this command it is necessary to write it as a single
+note chord by placing angle brackets round it.}
+
Here are a few examples:
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
\set fingeringOrientations = #'(right)
<f-2>
< c-1 e-2 g-3 b-5 > 4
-@end lilypond
+@end lilypond
@noindent
If the fingering seems a little crowded the @code{font-size}
--- /dev/null
+%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
+%% This file is in the public domain.
+\version "2.11.62"
+
+\header {
+ lsrtags = "pitches, vocal-music"
+
+ texidoc = "
+Ambitus indicate pitch ranges for voices.
+
+
+Accidentals only show up if they are not part of the key signature.
+@code{AmbitusNoteHead} grobs also have ledger lines.
+
+"
+ doctitle = "Ambitus"
+} % begin verbatim
+\layout {
+ ragged-right = ##t
+ \context {
+ \Voice
+ \consists "Ambitus_engraver"
+ }
+}
+
+\relative
+<<
+ \new Staff {
+ \time 2/4 c4 f'
+ }
+ \new Staff \relative {
+ \time 2/4
+ \key d \major
+ cis as'
+ }
+>>
+
-incipit.ly
+transcription-of-ancient-music-with-incipit.ly
mensurstriche-layout-bar-lines-between-the-staves.ly
adding-a-figured-bass-above-or-below-the-notes.ly
+incipit.ly
chant-or-psalms-notation.ly
ancient-notation-template----modern-transcription-of-mensural-music.ly
ancient-fonts.ly
\version "2.11.62"
\header {
- lsrtags = "winds"
+ lsrtags = "expressive-marks"
texidoc = "
Breathing signs are available in different tastes: commas (default),
\version "2.11.62"
\header {
+ texidoces = "
+Para cambiar el tempo en la salida MIDI sin
+imprimir nada, hacemos invisible la indicación metronómica:
+
+"
+
+ doctitlees = "Cambiar el tempo sin indicación metronómica"
+
lsrtags = "staff-notation"
texidoc = "To change the tempo in MIDI output without printing
anything, make the metronome mark invisible:"
--- /dev/null
+%% Do not edit this file; it is auto-generated from input/new
+%% This file is in the public domain.
+\version "2.11.62"
+\header {
+ lsrtags = "pitches,editorial-annotations,really-cool"
+ texidoc = "
+It is possible to color note heads depending on their pitch and/or their names:
+the function used in this example even makes it possible to distinguish enharmonics.
+"
+ doctitle = "Coloring notes depending on their pitch"
+} % begin verbatim
+
+%Association list of pitches to colors.
+#(define color-mapping
+ (list
+ (cons (ly:make-pitch 0 0 0) (x11-color 'red))
+ (cons (ly:make-pitch 0 0 1/2) (x11-color 'green))
+ (cons (ly:make-pitch 0 1 -1/2) (x11-color 'green))
+ (cons (ly:make-pitch 0 2 0) (x11-color 'red))
+ (cons (ly:make-pitch 0 2 1/2) (x11-color 'green))
+ (cons (ly:make-pitch 0 3 -1/2) (x11-color 'red))
+ (cons (ly:make-pitch 0 3 0) (x11-color 'green))
+ (cons (ly:make-pitch 0 4 1/2) (x11-color 'red))
+ (cons (ly:make-pitch 0 5 0) (x11-color 'green))
+ (cons (ly:make-pitch 0 5 -1/2) (x11-color 'red))
+ (cons (ly:make-pitch 0 6 1/2) (x11-color 'red))
+ (cons (ly:make-pitch 0 1 0) (x11-color 'blue))
+ (cons (ly:make-pitch 0 3 1/2) (x11-color 'blue))
+ (cons (ly:make-pitch 0 4 -1/2) (x11-color 'blue))
+ (cons (ly:make-pitch 0 5 1/2) (x11-color 'blue))
+ (cons (ly:make-pitch 0 6 -1/2) (x11-color 'blue))
+ ))
+
+%Compare pitch and alteration (not octave).
+#(define (pitch-equals? p1 p2)
+ (and
+ (= (ly:pitch-alteration p1) (ly:pitch-alteration p2))
+ (= (ly:pitch-notename p1) (ly:pitch-notename p2))))
+
+#(define (pitch-to-color pitch)
+ (let ((color (assoc pitch color-mapping pitch-equals?)))
+ (if color
+ (cdr color))))
+
+#(define (color-notehead grob)
+ (pitch-to-color
+ (ly:event-property (ly:grob-property grob 'cause) 'pitch)))
+
+\score {
+ \new Staff \relative c' {
+ \override NoteHead #'color = #color-notehead
+ c8 b d dis ees f g aes
+ }
+}
<c-1 e-3 a-5>4
\set fingeringOrientations = #'(down)
<c-1 e-3 a-5>4
- \set fingeringOrientations = #'(right)
+ \set fingeringOrientations = #'(down right up)
<c-1 e-3 a-5>4
\set fingeringOrientations = #'(up)
<c-1 e-3 a-5>4
- \set fingeringOrientations = #'(left down)
- <c-1 e-3 a-5>2
- \set fingeringOrientations = #'(up right down)
- <c-1 e-3 a-5>2
+ \set fingeringOrientations = #'(left)
+ <c-1>2
+ \set fingeringOrientations = #'(right)
+ <e-3>2
}
\version "2.11.62"
\header {
+ texidoces = "
+Se pueden crear indicaciones metronómicas nuevas en modo de
+marcado, pero no cambian el tempo en la salida MIDI.
+
+"
+ doctitlees = "Crear indicaciones metronómicas en modo de marcado"
+
+
lsrtags = "staff-notation"
texidoc = "New metronome marks can be created in markup mode,
but they will not change the tempo in MIDI output."
%% This file is in the public domain.
\version "2.11.62"
\header {
+ texidoces = "
+Si hay un solo pentagrama en un de los tipos de sistema
+@code{ChoirStaff}, @code{InnerChoirStaff}, @code{InnerStaffGroup}
+o @code{StaffGroup}, el comportamiento predeterminado es que no se
+imprima el corchete en la barra inicial. Esto se puede cambiar
+sobreescribiendo las propiedades adecuadas.
+
+Observe que en contextos como @code{PianoStaff} y
+@code{GrandStaff} en que los sistemas empiezan con una llave en
+lugar de un corchete, se debe establecer el valor de una propiedad
+distinta, como se ve en el segundo sistema del ejemplo.
+
+"
+ doctitlees = "Mostrar corchete o llave en grupos de un solo pentagrama"
+
+
lsrtags = "staff-notation,tweaks-and-overrides"
texidoc = "If there is only one staff in one of the staff types
@code{ChoirStaff}, @code{InnerChoirStaff}, @code{InnerStaffGroup}
measure-counter.ly
creating-blank-staves.ly
controlling-the-placement-of-chord-fingerings.ly
-making-some-staff-lines-thicker-than-the-others.ly
+marking-notes-of-spoken-parts-with-a-cross-on-the-stem.ly
applying-note-head-styles-depending-on-the-step-of-the-scale.ly
embedding-native-postscript-in-a--markup-block.ly
changing-the-appearance-of-a-slur-from-solid-to-dotted-or-dashed.ly
using-postscript-to-generate-special-note-head-shapes.ly
blanking-staff-lines-using-the--whiteout-command.ly
analysis-brackets-above-the-staff.ly
+coloring-notes-depending-on-their-pitch.ly
+making-some-staff-lines-thicker-than-the-others.ly
hiding-the-extender-line-for-text-dynamics.ly
vertically-aligning-dynamics-across-multiple-notes.ly
horizontally-aligning-custom-dynamics-e.g.-sempre-pp,-piu-f,-subito-p.ly
+breathing-signs.ly
changing-text-and-spanner-styles-for-text-dynamics.ly
controlling-the-vertical-ordering-of-scripts.ly
inserting-a-caesura.ly
--- /dev/null
+%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
+%% This file is in the public domain.
+\version "2.11.62"
+
+\header {
+ lsrtags = "winds"
+
+ texidoc = "
+It is possible to indicate special articulation techniques such as
+flute's \"tongue slap\", by replacing the note head with the
+appropriate glyph.
+
+"
+ doctitle = "Flute slap notation"
+} % begin verbatim
+slap =
+#(define-music-function (parser location music) (ly:music?)
+#{\override NoteHead #'stencil = #ly:text-interface::print
+ \override NoteHead #'text = \markup \musicglyph #"scripts.sforzato"
+ \override NoteHead #'extra-offset = #'(0.1 . 0.0 )
+ $music
+ \revert NoteHead #'stencil
+ \revert NoteHead #'text
+ \revert NoteHead #'extra-offset #})
+
+\relative c' {
+ c \slap c d r \slap { g a } b r
+}
--- /dev/null
+%% Do not edit this file; it is auto-generated from input/new
+%% This file is in the public domain.
+\version "2.11.62"
+
+\header {
+ lsrtags = "editorial-annotations, vocal-music"
+
+ texidoc = "
+This example shows how to put crosses on stems. Mark the beginning
+of a spoken section with the @code{\\speakOn} keyword, and end it
+with the @code{\\speakOff} keyword. Remember to end cross sections
+before entering any rest: this function also adds crosses to the
+invisible stems of rests.
+"
+ doctitle = "Marking notes of spoken parts with a cross on the stem"
+} % begin verbatim
+
+speakOn = {
+ \override Stem #'stencil = #(lambda (grob)
+ (ly:stencil-combine-at-edge
+ (ly:stem::print grob)
+ Y
+ (- (ly:grob-property grob 'direction))
+ (grob-interpret-markup grob
+ (markup #:hspace -1.025 #:fontsize -4
+ #:musicglyph "noteheads.s2cross"))
+ -2.3 0))
+}
+
+speakOff = {
+ \revert Stem #'stencil
+}
+
+\score {
+ \new Staff {
+ \relative c'' {
+ a4 b a c
+ \speakOn
+ g4 f r g
+ b4 r d e
+ \speakOff
+ c4 a g f
+ }
+ }
+}
\version "2.11.62"
\header {
+texidoces = "
+Los elementos de marcado aplicados a un silencio multicompás se
+centran encima o debajo de éste. Los elementos de marcado extensos
+que se adjuntan a silencios multicompás no producen la expansión del
+compás. Para expandir un silencio multicompás de forma que quepa todo
+el marcado, utilice un silencio de separación con un marcado aplicado
+antes del silencio multicompás.
+
+Observe que el silencio separador produce la inserción de un compás.
+El texto aplicado a un siencio sparador de esta forma se alinea por la
+izquierda a la posición en que la nota estaría situada dentro del
+compás, pero si la longitud del compás está determinada por la
+longitud del texto, éste aparecerá centrado.
+
+"
+
+doctitlees = "Marcado de silencios multicompás"
lsrtags = "rhythms, text"
texidoc = "Markups attached to a multi-measure rest will be
centered above or below it. Long markups attached to multi-measure
doctitlees = "Plantilla de piano con melodía y letra"
texidocde = "
-as nächste Beispiel ist typisch für ein Lied: Im oberen System die
+Das nächste Beispiel ist typisch für ein Lied: Im oberen System die
Melodie mit Text, darunter Klavierbegleitung.
"
adding-ambitus-per-voice.ly
applying-note-head-styles-depending-on-the-step-of-the-scale.ly
+ambitus.ly
transposing-pitches-with-minimum-accidentals-smart-transpose.ly
ottava-text.ly
tweaking-clef-properties.ly
ambitus-with-multiple-voices.ly
generating-random-notes.ly
makam-example.ly
+coloring-notes-depending-on-their-pitch.ly
dodecaphonic-style-accidentals-for-each-note-including-naturals.ly
preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly
quoting-another-voice-with-transposition.ly
%% This file is in the public domain.
\version "2.11.62"
\header {
- texidoces = "Los pasajes citados tienen en cuenta la
-transposición de la fuente tanto como la del destino. En este
-ejemplo, todos los instrumentos interpreta una nota con el sonido
-del Do central; el destino de un instrumento transpositor en Fa.
-La parte de destino se puede transponer utilizando
-@code{\\transpose}. En este caso se transportan todas las notas
-(incluidas las citadas).
+ texidoces = "
+Los pasajes citados tienen en cuenta la transposición de la fuente
+tanto como la del destino. En este ejemplo, todos los
+instrumentos interpreta una nota con el sonido del Do central; el
+destino de un instrumento transpositor en Fa. La parte de destino
+se puede transponer utilizando @code{\\transpose}. En este caso
+se transportan todas las notas (incluidas las citadas).
"
%% This file is in the public domain.
\version "2.11.62"
\header {
+ texidoces = "
+La propiedad @code{quotedEventTypes} determina los tipos de
+eventos musicales que resultan citados. El valor predeterminado
+es @code{(note-event rest-event)}, que significa que sólo aparecen
+en la expresión @code{\\quoteDuring} las notas y los silencios.
+En el ejemplo siguiente, el silencio de semicorchea no aparece en
+el fragmento citado porque @code{rest-event} no está dentro de los
+@code{quotedEventTypes}.
+
+"
+ doctitlees = "Citar otra voz"
lsrtags = "staff-notation"
texidoc = "The @code{quotedEventTypes} property determines the
music event types that are quoted. The default value is
\header {
lsrtags = "staff-notation, tweaks-and-overrides, breaks"
+ texidoces = "
+El primer pentagrama vacío también se puede suprimir de la
+partitura estableciendo la propiedad @code{remove-first} de
+@code{VerticalAxisGroup}. Esto se puede hacer globalmente dentro
+del bloque @code{\\layout}, o localmente dentro del pentagrama
+concreto que se quiere suprimir. En este último caso, tenemos que
+especificar el contexto (@code{Staff} se aplica sólo al pentagrama
+actual) delante de la propiedad.
+
+El pentagrama inferior del segundo grupo no se elimina, porque el
+ajuste sólo se aplica al pentagrama concreto dentro del que se
+escribe.
+
+"
+ doctitlees = "Quitar la primera línea vacía"
+
texidoc = "
The first empty staff can also be removed from the score by setting the
@code{VerticalAxisGroup} property @code{remove-first}. This can be done
--- /dev/null
+%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
+%% This file is in the public domain.
+\version "2.11.62"
+
+\header {
+ lsrtags = "ancient-notation, tweaks-and-overrides"
+
+ texidoces = "
+A modo de alternativa para obtener auténticos «incipit»
+independientes de la partitura principal, se incluyen como
+elemento de marcado en el campo que se usa normalmente para el
+nombre del instrumento. Por el momento, la letra sólo se puede
+añadir como marcado directo. Por desgracia, su espaciado no es
+análogo al de la letra principal.
+
+"
+ doctitlees = "Transcripción de música antigua con incipit"
+
+ texidoc = "
+As a workaround to get real incipits which are independent from the
+main score these are included as a markup into the field normally used
+for the instrument name. As for now lyrics can only be added as a
+direct markup. It doesn't unfortunately conform with the spacing of the
+main lyrics.
+
+"
+ doctitle = "Transcription of Ancient music with incipit"
+} % begin verbatim
+global = {
+ \set Score.skipBars = ##t
+ \key g \major
+ \time 4/4
+
+ %make the staff lines invisible on staves
+ \override Staff.BarLine #'transparent = ##t
+ \skip 1*8 % the actual music
+
+ % let finis bar go through all staves
+ \override Staff.BarLine #'transparent = ##f
+
+ % finis bar
+ \bar "|."
+}
+
+
+discantusNotes = {
+ \transpose c' c'' {
+ \clef "treble"
+ d'2. d'4 |
+ b e' d'2 |
+ c'4 e'4.( d'8 c' b |
+ a4) b a2 |
+ b4.( c'8 d'4) c'4 |
+ \once \override NoteHead #'transparent = ##t c'1 |
+ b\breve |
+ }
+}
+
+discantusLyrics = \lyricmode {
+ Ju -- bi -- |
+ la -- te De -- |
+ o, om --
+ nis ter -- |
+ ra, __ om- |
+ "..." |
+ -us. |
+}
+
+altusNotes = {
+ \transpose c' c'' {
+ \clef "treble"
+ r2 g2. e4 fis g | % two bars
+ a2 g4 e |
+ fis g4.( fis16 e fis4) |
+ g1 |
+ \once \override NoteHead #'transparent = ##t g1 |
+ g\breve |
+ }
+}
+
+altusLyrics = \lyricmode {
+ Ju -- bi -- la -- te | % two bars
+ De -- o, om -- |
+ nis ter -- ra, |
+ "..." |
+ -us. |
+}
+
+tenorNotes = {
+ \transpose c' c' {
+ \clef "treble_8"
+ R1 |
+ R1 |
+ R1 |
+ r2 d'2. d'4 b e' | % two bars
+ \once \override NoteHead #'transparent = ##t e'1 |
+ d'\breve |
+ }
+}
+
+tenorLyrics = \lyricmode {
+ Ju -- bi -- la -- te | % two bars
+ "..." |
+ -us.
+}
+
+bassusNotes = {
+ \transpose c' c' {
+ \clef "bass"
+ R1 |
+ R1 |
+ R1 |
+ R1 |
+ g2. e4 |
+ \once \override NoteHead #'transparent = ##t e1 |
+ g\breve |
+ }
+}
+
+bassusLyrics = \lyricmode {
+ Ju -- bi- |
+ "..." |
+ -us.
+}
+
+incipitDiscantus = \markup{
+ \score{
+ {
+ \set Staff.instrumentName="Discantus "
+ \override NoteHead #'style = #'neomensural
+ \override Rest #'style = #'neomensural
+ \override Staff.TimeSignature #'style = #'neomensural
+ \cadenzaOn
+ \clef "neomensural-c1"
+ \key f \major
+ \time 2/2
+ c''1._"IV-" s2 %two bars
+ \skip 1*8 % eight bars
+ }
+ \layout {
+ \context {\Voice
+ \remove Ligature_bracket_engraver
+ \consists Mensural_ligature_engraver
+ }
+ line-width=4.5\cm
+ }
+ }
+}
+
+incipitAltus = \markup{
+ \score{
+ {
+ \set Staff.instrumentName="Altus "
+ \override NoteHead #'style = #'neomensural
+ \override Rest #'style = #'neomensural
+ \override Staff.TimeSignature #'style = #'neomensural
+ \cadenzaOn
+ \clef "neomensural-c3"
+ \key f \major
+ \time 2/2
+ r1 % one bar
+ f'1._"IV-" s2 % two bars
+ \skip 1*7 % seven bars
+ }
+ \layout {
+ \context {\Voice
+ \remove Ligature_bracket_engraver
+ \consists Mensural_ligature_engraver
+ }
+ line-width=4.5\cm
+ }
+ }
+}
+
+incipitTenor = \markup{
+ \score{ {
+ \set Staff.instrumentName = "Tenor "
+ \override NoteHead #'style = #'neomensural
+ \override Rest #'style = #'neomensural
+ \override Staff.TimeSignature #'style = #'neomensural
+ \cadenzaOn
+ \clef "neomensural-c4"
+ \key f \major
+ \time 2/2
+ r\longa % four bars
+ r\breve % two bars
+ r1 % one bar
+ c'1._"IV-" s2 % two bars
+ \skip 1 % one bar
+ }
+ \layout {
+ \context {\Voice
+ \remove Ligature_bracket_engraver
+ \consists Mensural_ligature_engraver
+ }
+ line-width=4.5\cm
+}
+}
+}
+
+incipitBassus = \markup{
+ \score{ {
+ \set Staff.instrumentName = "Bassus "
+ \override NoteHead #'style = #'neomensural
+ \override Rest #'style = #'neomensural
+ \override Staff.TimeSignature #'style = #'neomensural
+ \cadenzaOn
+ \clef "bass"
+ \key f \major
+ \time 2/2
+ % incipit
+ r\maxima % eight bars
+ f1._"IV-" s2 % two bars
+ }
+ \layout {
+ \context {\Voice
+ \remove Ligature_bracket_engraver
+ \consists Mensural_ligature_engraver
+ }
+ line-width=4.5\cm
+ }
+ }
+}
+
+%StaffGroup is used instead of ChoirStaff to get bar lines between systems
+\score {
+ <<
+ \new StaffGroup = choirStaff <<
+ \new Voice =
+ "discantusNotes" << \global
+ \set Staff.instrumentName=\incipitDiscantus
+ \discantusNotes >>
+ \new Lyrics =
+ "discantusLyrics" \lyricsto discantusNotes { \discantusLyrics }
+
+ \new Voice =
+ "altusNotes" << \global
+ \set Staff.instrumentName=\incipitAltus
+ \altusNotes >>
+ \new Lyrics =
+ "altusLyrics" \lyricsto altusNotes { \altusLyrics }
+
+ \new Voice =
+ "tenorNotes" << \global
+ \set Staff.instrumentName=\incipitTenor
+ \tenorNotes >>
+ \new Lyrics =
+ "tenorLyrics" \lyricsto tenorNotes { \tenorLyrics }
+
+ \new Voice =
+ "bassusNotes" << \global
+ \set Staff.instrumentName=\incipitBassus
+ \bassusNotes >>
+ >>
+ \new Lyrics =
+ "bassusLyrics" \lyricsto bassusNotes { \bassusLyrics }
+ %Keep the bass lyrics outside of the staff group to avoid bar lines
+ %between the lyrics.
+ >>
+
+ \layout {
+ \context {
+ \Score
+
+ % no bars in staves
+ \override BarLine #'transparent = ##t
+ }
+ % the next three instructions keep the lyrics between the barlines
+ \context { \Lyrics
+ \consists "Bar_engraver"
+ \override BarLine #'transparent = ##t }
+ \context { \StaffGroup \consists "Separating_line_group_engraver" }
+ \context {
+ \Voice
+
+ % no slurs
+ \override Slur #'transparent = ##t
+
+ % Comment in the below "\remove" command to allow line
+ % breaking also at those barlines where a note overlaps
+ % into the next bar. The command is commented out in this
+ % short example score, but especially for large scores, you
+ % will typically yield better line breaking and thus improve
+ % overall spacing if you comment in the following command.
+ %\remove "Forbid_line_break_engraver"
+ }
+ indent=5\cm
+ }
+}
tweaking-clef-properties.ly
proportional-strict-notespacing.ly
making-an-object-invisible-with-the-transparent-property.ly
+transcription-of-ancient-music-with-incipit.ly
alignment-vertical-spacing.ly
drawing-circles-around-various-objects.ly
analysis-brackets-above-the-staff.ly
\header {
lsrtags = "vocal-music, tweaks-and-overrides, spacing"
+ texidoces = "
+Este fragmento de código muestra el uso de las propiedades de
+contexto @code{alignBelowContext} y @code{alignAboveContext} para
+controlar la posición de la letra y los compases de ossia.
+
+"
+ doctitlees = "Alineación vertical de la letra y los compases de ossia"
+
texidoc = "
This snippet demonstrates the use of the context properties
@code{alignBelowContext} and @code{alignAboveContext} to control the
+changing-stanza-fonts.ly
+ambitus-with-multiple-voices.ly
+formatting-lyrics-syllables.ly
chant-or-psalms-notation.ly
-single-staff-template-with-notes-and-lyrics.ly
adding-ambitus-per-voice.ly
single-staff-template-with-notes,-lyrics,-chords-and-frets.ly
skips-in-lyric-mode-2.ly
-changing-stanza-fonts.ly
lyrics-alignment.ly
+vertically-aligning-ossias-and-lyrics.ly
+vocal-ensemble-template.ly
+adjusting-lyrics-vertical-spacing.ly
vocal-ensemble-template-with-automatic-piano-reduction.ly
-ambitus-with-multiple-voices.ly
+vocal-ensemble-template-with-lyrics-aligned-below-and-above-the-staves.ly
how-to-put-ties-between-syllables-in-lyrics.ly
piano-template-with-melody-and-lyrics.ly
-vocal-ensemble-template-with-lyrics-aligned-below-and-above-the-staves.ly
+demo-midiinstruments.ly
+single-staff-template-with-notes-and-lyrics.ly
+marking-notes-of-spoken-parts-with-a-cross-on-the-stem.ly
+ambitus.ly
single-staff-template-with-notes,-lyrics,-and-chords.ly
-formatting-lyrics-syllables.ly
-vertically-aligning-ossias-and-lyrics.ly
vertically-centered-common-lyrics.ly
-demo-midiinstruments.ly
-vocal-ensemble-template.ly
-adjusting-lyrics-vertical-spacing.ly
skips-in-lyric-mode.ly
-breathing-signs.ly
+flute-slap-notation.ly
%Association list of pitches to colors.
#(define color-mapping
- (list
- (cons (ly:make-pitch 0 0 0) (x11-color 'red))
- (cons (ly:make-pitch 0 0 1/2) (x11-color 'green))
- (cons (ly:make-pitch 0 1 -1/2) (x11-color 'green))
- (cons (ly:make-pitch 0 2 0) (x11-color 'red))
- (cons (ly:make-pitch 0 2 1/2) (x11-color 'green))
- (cons (ly:make-pitch 0 3 -1/2) (x11-color 'red))
- (cons (ly:make-pitch 0 3 0) (x11-color 'green))
- (cons (ly:make-pitch 0 4 1/2) (x11-color 'red))
- (cons (ly:make-pitch 0 5 0) (x11-color 'green))
- (cons (ly:make-pitch 0 5 -1/2) (x11-color 'red))
- (cons (ly:make-pitch 0 6 1/2) (x11-color 'red))
- (cons (ly:make-pitch 0 1 0) (x11-color 'blue))
- (cons (ly:make-pitch 0 3 1/2) (x11-color 'blue))
- (cons (ly:make-pitch 0 4 -1/2) (x11-color 'blue))
- (cons (ly:make-pitch 0 5 1/2) (x11-color 'blue))
- (cons (ly:make-pitch 0 6 -1/2) (x11-color 'blue))
- ))
+ (list
+ (cons (ly:make-pitch 0 0 0) (x11-color 'red))
+ (cons (ly:make-pitch 0 0 1/2) (x11-color 'green))
+ (cons (ly:make-pitch 0 1 -1/2) (x11-color 'green))
+ (cons (ly:make-pitch 0 2 0) (x11-color 'red))
+ (cons (ly:make-pitch 0 2 1/2) (x11-color 'green))
+ (cons (ly:make-pitch 0 3 -1/2) (x11-color 'red))
+ (cons (ly:make-pitch 0 3 0) (x11-color 'green))
+ (cons (ly:make-pitch 0 4 1/2) (x11-color 'red))
+ (cons (ly:make-pitch 0 5 0) (x11-color 'green))
+ (cons (ly:make-pitch 0 5 -1/2) (x11-color 'red))
+ (cons (ly:make-pitch 0 6 1/2) (x11-color 'red))
+ (cons (ly:make-pitch 0 1 0) (x11-color 'blue))
+ (cons (ly:make-pitch 0 3 1/2) (x11-color 'blue))
+ (cons (ly:make-pitch 0 4 -1/2) (x11-color 'blue))
+ (cons (ly:make-pitch 0 5 1/2) (x11-color 'blue))
+ (cons (ly:make-pitch 0 6 -1/2) (x11-color 'blue))
+ ))
%Compare pitch and alteration (not octave).
#(define (pitch-equals? p1 p2)
- (and (= (ly:pitch-alteration p1) (ly:pitch-alteration p2))
- (= (ly:pitch-notename p1) (ly:pitch-notename p2))))
+ (and
+ (= (ly:pitch-alteration p1) (ly:pitch-alteration p2))
+ (= (ly:pitch-notename p1) (ly:pitch-notename p2))))
#(define (pitch-to-color pitch)
- (let ((color (assoc pitch color-mapping pitch-equals?)))
- (if color (cdr color))))
+ (let ((color (assoc pitch color-mapping pitch-equals?)))
+ (if color
+ (cdr color))))
#(define (color-notehead grob)
- (pitch-to-color (ly:event-property (ly:grob-property grob 'cause) 'pitch)))
-
+ (pitch-to-color
+ (ly:event-property (ly:grob-property grob 'cause) 'pitch)))
\score {
- \new Staff \relative c' {
- \override NoteHead #'color = #color-notehead
- c8 b d dis ees f g aes
- }
+ \new Staff \relative c' {
+ \override NoteHead #'color = #color-notehead
+ c8 b d dis ees f g aes
+ }
}
--- /dev/null
+\version "2.11.62"
+
+\header {
+ lsrtags = "editorial-annotations, vocal-music"
+
+ texidoc = "
+This example shows how to put crosses on stems. Mark the beginning
+of a spoken section with the @code{\\speakOn} keyword, and end it
+with the @code{\\speakOff} keyword. Remember to end cross sections
+before entering any rest: this function also adds crosses to the
+invisible stems of rests.
+"
+ doctitle = "Marking notes of spoken parts with a cross on the stem"
+}
+
+speakOn = {
+ \override Stem #'stencil = #(lambda (grob)
+ (ly:stencil-combine-at-edge
+ (ly:stem::print grob)
+ Y
+ (- (ly:grob-property grob 'direction))
+ (grob-interpret-markup grob
+ (markup #:hspace -1.025 #:fontsize -4
+ #:musicglyph "noteheads.s2cross"))
+ -2.3 0))
+}
+
+speakOff = {
+ \revert Stem #'stencil
+}
+
+\score {
+ \new Staff {
+ \relative c'' {
+ a4 b a c
+ \speakOn
+ g4 f r g
+ b4 r d e
+ \speakOff
+ c4 a g f
+ }
+ }
+}
f->set_property ("direction", scm_from_int (hordir));
}
- int finger_prio = 200;
-
Direction d = DOWN;
Drul_array< vector<Finger_tuple> > vertical (down, up);
do
{
Finger_tuple ft = vertical[d][i];
Grob *f = ft.script_;
+ int finger_prio = robust_scm2int (f->get_property ("script-priority"), 200);
f->set_parent (ft.head_, X_AXIS);
f->set_property ("script-priority",
scm_from_int (finger_prio + d * ft.position_));
(y (cdr dest)))
(make-line-stencil th 0 0 x y)))
-(define-builtin-markup-command (draw-circle layout props radius thickness fill)
+(define-builtin-markup-command (draw-circle layout props radius thickness filled)
(number? number? boolean?)
graphic
()
"
@cindex drawing circles within text
-A circle of radius @var{radius}, thickness @var{thickness} and
+A circle of radius @var{radius} and thickness @var{thickness},
optionally filled.
@lilypond[verbatim,quote]
\\draw-circle #2 #0 ##t
}
@end lilypond"
- (make-circle-stencil radius thickness fill))
+ (make-circle-stencil radius thickness filled))
(define-builtin-markup-command (triangle layout props filled)
(boolean?)
@cindex underlining text
Underline @var{arg}. Looks at @code{thickness} to determine line
-thickness and y offset.
+thickness and y-offset.
@lilypond[verbatim,quote]
\\markup {
@end verbatim
creates a box extending horizontally from -0.3 to 1.8 and
vertically from -0.3 up to 1.8, with corners formed from a
-circle of diameter@tie{}0 (i.e. sharp corners).
+circle of diameter@tie{}0 (i.e., sharp corners).
@lilypond[verbatim,quote]
\\markup {
@end lilypond"
(stencil-whiteout (interpret-markup layout props arg)))
-(define-builtin-markup-command (pad-markup layout props padding arg)
+(define-builtin-markup-command (pad-markup layout props amount arg)
(number? markup?)
align
()
}
\\hspace #2
\\box {
- \\pad-around #1 {
+ \\pad-markup #1 {
padded
}
}
(ly:make-stencil
(ly:stencil-expr stil)
- (interval-widen xext padding)
- (interval-widen yext padding))))
+ (interval-widen xext amount)
+ (interval-widen yext amount))))
;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;
;; space
"
@cindex creating horizontal spaces in text
-This produces an invisible object taking horizontal space. For example,
-
-@example
-\\markup @{ A \\hspace #2.0 B @}
-@end example
-
-@noindent
-puts extra space between A and@tie{}B, on top of the space that is
-normally inserted before elements on a line.
+Create an invisible object taking up horizontal space @var{amount}.
@lilypond[verbatim,quote]
\\markup {
(/ (+ (car text-widths) (car (cdr text-widths))) 2))
(get-fill-space word-count line-width (cdr text-widths))))))
-(define-builtin-markup-command (fill-line layout props markups)
+(define-builtin-markup-command (fill-line layout props args)
(markup-list?)
align
((text-direction RIGHT)
}
}
@end lilypond"
- (let* ((orig-stencils (interpret-markup-list layout props markups))
+ (let* ((orig-stencils (interpret-markup-list layout props args))
(stencils
(map (lambda (stc)
(if (ly:stencil-empty? stc)
((word-space)
(text-direction RIGHT))
"Put @var{args} in a horizontal line. The property @code{word-space}
-determines the space between each markup in @var{args}.
+determines the space between markups in @var{args}.
@lilypond[verbatim,quote]
\\markup {
@cindex concatenating text
@cindex ligatures in text
-Concatenate @var{args} in a horizontal line, without spaces inbetween.
+Concatenate @var{args} in a horizontal line, without spaces in between.
Strings and simple markups are concatenated on the input level, allowing
ligatures. For example, @code{\\concat @{ \"f\" \\simple #\"i\" @}} is
equivalent to @code{\"fi\"}.
"
@cindex justifying text
-Like wordwrap, but with lines stretched to justify the margins.
+Like @code{\\wordwrap}, but with lines stretched to justify the margins.
Use @code{\\override #'(line-width . @var{X})} to set the line width;
@var{X}@tie{}is the number of staff spaces.
\\markup {
\\override #'(line-width . 40)
\\wordwrap-string #\"Lorem ipsum dolor sit amet, consectetur
- adipisicing elit, sed do eiusmod tempor incididunt ut labore
- et dolore magna aliqua.
-
-
- Ut enim ad minim veniam, quis nostrud exercitation ullamco
- laboris nisi ut aliquip ex ea commodo consequat.
-
-
- Excepteur sint occaecat cupidatat non proident, sunt in culpa
- qui officia deserunt mollit anim id est laborum\"
+ adipisicing elit, sed do eiusmod tempor incididunt ut labore
+ et dolore magna aliqua.
+
+
+ Ut enim ad minim veniam, quis nostrud exercitation ullamco
+ laboris nisi ut aliquip ex ea commodo consequat.
+
+
+ Excepteur sint occaecat cupidatat non proident, sunt in culpa
+ qui officia deserunt mollit anim id est laborum\"
}
@end lilypond"
(stack-lines DOWN 0.0 baseline-skip
\\markup {
\\override #'(line-width . 40)
\\justify-string #\"Lorem ipsum dolor sit amet, consectetur
- adipisicing elit, sed do eiusmod tempor incididunt ut labore
- et dolore magna aliqua.
-
-
- Ut enim ad minim veniam, quis nostrud exercitation ullamco
- laboris nisi ut aliquip ex ea commodo consequat.
-
-
- Excepteur sint occaecat cupidatat non proident, sunt in culpa
- qui officia deserunt mollit anim id est laborum\"
+ adipisicing elit, sed do eiusmod tempor incididunt ut labore
+ et dolore magna aliqua.
+
+
+ Ut enim ad minim veniam, quis nostrud exercitation ullamco
+ laboris nisi ut aliquip ex ea commodo consequat.
+
+
+ Excepteur sint occaecat cupidatat non proident, sunt in culpa
+ qui officia deserunt mollit anim id est laborum\"
}
@end lilypond"
(stack-lines DOWN 0.0 baseline-skip
@lilypond[verbatim,quote]
\\header {
title = \"My title\"
- descr = \"Lorem ipsum dolor sit amet, consectetur adipisicing elit,
- sed do eiusmod tempor incididunt ut labore et dolore magna aliqua.
- Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris
- nisi ut aliquip ex ea commodo consequat.\"
+ description = \"Lorem ipsum dolor sit amet, consectetur adipisicing
+ elit, sed do eiusmod tempor incididunt ut labore et dolore magna
+ aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco
+ laboris nisi ut aliquip ex ea commodo consequat.\"
}
\\paper {
@lilypond[verbatim,quote]
\\header {
title = \"My title\"
- descr = \"Lorem ipsum dolor sit amet, consectetur adipisicing elit,
- sed do eiusmod tempor incididunt ut labore et dolore magna aliqua.
- Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris
- nisi ut aliquip ex ea commodo consequat.\"
+ description = \"Lorem ipsum dolor sit amet, consectetur adipisicing
+ elit, sed do eiusmod tempor incididunt ut labore et dolore magna
+ aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco
+ laboris nisi ut aliquip ex ea commodo consequat.\"
}
\\paper {
\\column {
\\fill-line { \\fromproperty #'header:title }
\\null
- \\justify-field #'header:descr
+ \\justify-field #'header:description
}
}
}
(justify-string-markup layout props m)
empty-stencil)))
-(define-builtin-markup-command (combine layout props m1 m2)
+(define-builtin-markup-command (combine layout props arg1 arg2)
(markup? markup?)
align
()
\\arrow-head #Y #DOWN ##f
}
@end lilypond"
- (let* ((s1 (interpret-markup layout props m1))
- (s2 (interpret-markup layout props m2)))
+ (let* ((s1 (interpret-markup layout props arg1))
+ (s2 (interpret-markup layout props arg2)))
(ly:stencil-add s1 s2)))
;;
@cindex stacking text in a column
Stack the markups in @var{args} vertically. The property
-@code{baseline-skip} determines the space between each
-markup in @var{args}.
+@code{baseline-skip} determines the space between markups
+in @var{args}.
@lilypond[verbatim,quote]
\\markup {
"
@cindex changing direction of text columns
-Make a column of args, going up or down, depending on the setting
-of the @code{#'direction} layout property.
+Make a column of @var{args}, going up or down, depending on the
+setting of the @code{direction} layout property.
@lilypond[verbatim,quote]
\\markup {
- \\override #'(direction . 1) {
+ \\override #`(direction . ,UP) {
\\dir-column {
going up
}
}
+ \\hspace #1
\\dir-column {
going down
}
+ \\hspace #1
+ \\override #'(direction . 1) {
+ \\dir-column {
+ going up
+ }
+ }
}
@end lilypond"
(stack-lines (if (number? direction) direction -1)
(markup?)
other
()
- "Make the argument transparent.
+ "Make @var{arg} transparent.
@lilypond[verbatim,quote]
\\markup {
"
@cindex overriding properties within text markup
-Add the first argument in to the property list. Properties may be
-any sort of property supported by @rinternals{font-interface} and
-@rinternals{text-interface}, for example
-
-@example
-\\override #'(font-family . married) \"bla\"
-@end example
+Add the argument @var{new-prop} to the property list. Properties
+may be any property supported by @rinternals{font-interface},
+@rinternals{text-interface} and
+@rinternals{instrument-specific-markup-interface}.
@lilypond[verbatim,quote]
\\markup {
(string?)
other
()
- "Read the contents of a file, and include it verbatim.
+ "Read the contents of file @var{name}, and include it verbatim.
@lilypond[verbatim,quote]
\\markup {
(markup?)
font
()
- "Decrease the font size relative to current setting.
+ "Decrease the font size relative to the current setting.
@lilypond[verbatim,quote]
\\markup {
(markup?)
font
()
- "Increase the font size relative to current setting.
+ "Increase the font size relative to the current setting.
@lilypond[verbatim,quote]
\\markup {
(markup?)
font
()
- "Set the argument as small numbers.
+ "Set @var{arg} as small numbers.
+
@lilypond[verbatim,quote]
\\markup {
\\finger {
font
()
"Use @var{size} as the absolute font size to display @var{arg}.
-Adjust baseline skip and word space accordingly.
+Adjusts @code{baseline-skip} and @code{word-space} accordingly.
+
@lilypond[verbatim,quote]
\\markup {
default text font size
((font-size 0)
(word-space 1)
(baseline-skip 2))
- "Add @var{increment} to the font-size. Adjust baseline skip accordingly.
+ "Add @var{increment} to the font-size. Adjusts @code{baseline-skip}
+accordingly.
+
@lilypond[verbatim,quote]
\\markup {
default
(markup?)
font
()
- "Switch to the sans serif family.
+ "Switch to the sans serif font family.
@lilypond[verbatim,quote]
\\markup {
font
()
"Set font family to @code{number}, which yields the font used for
-time signatures and fingerings. This font only contains numbers and
-some punctuation. It doesn't have any letters.
+time signatures and fingerings. This font contains numbers and
+some punctuation; it has no letters.
@lilypond[verbatim,quote]
\\markup {
(interpret-markup layout (prepend-alist-chain 'font-shape 'caps props) arg))
;; Poor man's caps
-(define-builtin-markup-command (smallCaps layout props text)
+(define-builtin-markup-command (smallCaps layout props arg)
(markup?)
font
()
currents current-is-lower)
prev-result)))))))
(interpret-markup layout props
- (if (string? text)
- (make-small-caps (string->list text) (list) #f (list))
- text)))
+ (if (string? arg)
+ (make-small-caps (string->list arg) (list) #f (list))
+ arg)))
(define-builtin-markup-command (caps layout props arg)
(markup?)
(markup?)
font
()
- "Set font shape to @code{upright}. This is the opposite of @code{italic}.
+ "Set @code{font-shape} to @code{upright}. This is the opposite
+of @code{italic}.
@lilypond[verbatim,quote]
\\markup {
(markup?)
font
()
- "Switch to medium font series (in contrast to bold).
+ "Switch to medium font-series (in contrast to bold).
@lilypond[verbatim,quote]
\\markup {
()
music
()
- "Draw a semi sharp symbol.
+ "Draw a semisharp symbol.
@lilypond[verbatim,quote]
\\markup {
;; glyphs
;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;
-(define-builtin-markup-command (arrow-head layout props axis direction filled)
+(define-builtin-markup-command (arrow-head layout props axis dir filled)
(integer? ly:dir? boolean?)
graphic
()
"close"
"open")
axis
- direction)))
+ dir)))
(ly:font-get-glyph
(ly:paper-get-font layout (cons '((font-encoding . fetaMusic))
props))
(integer?)
other
()
- "Produce a single character. For example, @code{\\char #65} produces the
-letter @q{A}.
+ "Produce a single character. Characters encoded in hexadecimal
+format require the prefix @code{#x}.
@lilypond[verbatim,quote]
\\markup {
- \\char #65
+ \\char #65 \\char ##x00a9
}
@end lilypond"
(ly:text-interface::interpret-markup layout props (ly:wide-char->utf-8 num)))
@cindex notes within text by log and dot-count
Construct a note symbol, with stem. By using fractional values for
-@var{dir}, you can obtain longer or shorter stems.
+@var{dir}, longer or shorter stems can be obtained.
@lilypond[verbatim,quote]
\\markup {
"
@cindex superscript text
-Raising and lowering texts can be done with @code{\\super} and
-@code{\\sub}:
+Set @var{arg} in superscript.
@lilypond[verbatim,quote]
\\markup {
"
@cindex translating text
-This translates an object. Its first argument is a cons of numbers.
-
-@example
-A \\translate #(cons 2 -3) @{ B C @} D
-@end example
-
-This moves @q{B C} 2@tie{}spaces to the right, and 3 down, relative to its
-surroundings. This command cannot be used to move isolated scripts
-vertically, for the same reason that @code{\\raise} cannot be used for
-that.
+Translate @var{arg} relative to its surroundings. @var{offset}
+is a pair of numbers representing the displacement in the X and Y axis.
@lilypond[verbatim,quote]
\\markup {
"
@cindex setting subscript in standard font size
-Set @var{arg} in subscript, in a normal font size.
+Set @var{arg} in subscript with a normal font size.
@lilypond[verbatim,quote]
\\markup {
return(UNDEF)
def clear_bar_acc(state):
- for k in state.in_acc:
- del state.in_acc[k]
+ state.in_acc = {}
# if we are parsing a beam, close it off
% Load plain if necessary, i.e., if running under initex.
\expandafter\ifx\csname fmtname\endcsname\relax\input plain\fi
%
-\def\texinfoversion{2008-10-12.17}
+\def\texinfoversion{2008-10-16.09}
%
% Copyright (C) 1985, 1986, 1988, 1990, 1991, 1992, 1993, 1994, 1995,
% 1996, 1997, 1998, 1999, 2000, 2001, 2002, 2003, 2004, 2005, 2006,
\def\doverbatiminclude#1{%
{%
\makevalueexpandable
+ \def\@{@}% we want to use \indexnofonts, but then verbatim ends prematurely
\setupverbatim
\input #1
\afterenvbreak
\ifeof 1
\documentlanguagetrywithoutunderscore{#1_\finish}%
\else
+ \globaldefs = 1 % everything in the txi-LL files needs to persist
\input txi-#1.tex
\fi
\closein 1
- \endgroup
+ \endgroup % end raw TeX
\endgroup}
}
%
-% $Id: txi-de.tex,v 1.8 2008/10/12 22:18:39 karl Exp $
+% $Id: txi-de.tex,v 1.9 2008/10/16 17:13:10 karl Exp $
% txi-de.tex -- German translations for texinfo.tex.
%
% Copyright 1999, 2007, 2008 Free Software Foundation, Inc.
\txisetlanguage{ngerman}{2}{2}
+\plainfrenchspacing
+
% german translation of the used words.
% Don't use checking because if it is our turn they have
% been defined.
-% $Id: txi-en.tex,v 1.6 2008/10/12 22:18:39 karl Exp $
+% $Id: txi-en.tex,v 1.7 2008/10/16 17:13:10 karl Exp $
% txi.en.tex -- English non-translations for texinfo.tex. This is read
% when a source document says @documentlanguage en (which might happen
% after another @documentlanguage). The actual values are the same as
\txisetlanguage{USenglish}{2}{3}
+\plainnonfrenchspacing
+
\gdef\putwordAppendix{Appendix}
\gdef\putwordChapter{Chapter}
\gdef\putwordfile{file}
-% $Id: txi-es.tex,v 1.5 2008/10/12 22:18:39 karl Exp $
+% $Id: txi-es.tex,v 1.6 2008/10/16 17:13:10 karl Exp $
% txi-es.tex -- Spanish translations for texinfo.tex.
%
% Copyright (C) 1999, 2007, 2008 by Adrian Perez Jorge.
\txisetlanguage{spanish}{2}{2}
+\plainfrenchspacing
+
\gdef\putwordAppendix{Ap\'endice}
\gdef\putwordChapter{Cap\'{\char16{}}tulo}
\gdef\putwordfile{archivo}
-% $Id: txi-fr.tex,v 1.6 2008/10/12 22:18:39 karl Exp $
+% $Id: txi-fr.tex,v 1.7 2008/10/16 17:13:10 karl Exp $
% txi-fr.tex -- French translations for texinfo.tex.
%
% Copyright (C) 1999, 2007, 2008 Free Software Foundation.
\txisetlanguage{french}{2}{2}
+\plainfrenchspacing
+
\gdef\putwordAppendix{Annexe}
\gdef\putwordChapter{Chapitre}
\gdef\putwordfile{fichier}
projects / lilypond.git / commitdiff