Cette variante sert à des expressions musicales qui peuvent être interprétées à
plusieurs niveaux. Par exemple, une commande telle que @code{\applyOutput} (voir
-@ref{Running a function on all layout objects}) : si elle n'est pas associée avec
+@c FIXME: broken link
+@c @ref{Running a function on all layout objects}) : si elle n'est pas associée avec
@code{\context}, elle s'applique par défaut dans le contexte @context{Voice}.
@example
@c -*- coding: utf-8; mode: texinfo; documentlanguage: fr -*-
@c This file is part of lilypond-program.tely
@ignore
- Translation of GIT committish: 007d0b5b94c36f9d9e228309d5b0e6a67ae27ebc
+ Translation of GIT committish: c887c0f8714c999e42fa87d4d1116b8d19e0b93c
When revising a translation, copy the HEAD committish of the
version that you are working on. See TRANSLATION for details.
@node Install
@chapter Install
-UNTRANSLATED NODE: IGNORE ME
+LilyPond est distribué dans deux types de moutures : les versions
+stables, qui portent un numéro mineur de version pair, par exemple 1.6,
+2.8, 2.12, et les versions de développement, qui portent un numéro
+mineur de version impair, par exemple 1.3, 2.9, 2.11.
+
+La compilation de LilyPond est une tâche exigeante et parfois
+laborieuse, c'est pourquoi nous recommandons @strong{fortement}
+l'utilisations des binaires précompilés.
@menu
* Precompiled binaries::
* Compiling from source::
-@end menu
+@end menu
+
@node Precompiled binaries
@section Precompiled binaries
-UNTRANSLATED NODE: IGNORE ME
-
@subsection Downloading
-@node Compiling from source
-@section Compiling from source
-UNTRANSLATED NODE: IGNORE ME
-
-@menu
-* Downloading source code::
-* Requirements::
-* Building LilyPond::
-* Building documentation without compiling LilyPond::
-* Testing LilyPond::
-* Problems::
-@end menu
-@node Downloading source code
-@subsection Downloading source code
+Consultez @uref{http://lilypond.org/web/install/} pour connaître les
+derniers paquets binaires dipsonibles pour votre plateforme. Si votre
+système d'exploitation n'est pas présent sur cette page, consultez la
+liste complète sur @uref{http://download.linuxaudio.org/lilypond/binaries/}.
-UNTRANSLATED NODE: IGNORE ME
-
-@node Requirements
-@subsection Requirements
+Actuellement, nous compilons des paquets pour les architectures
-UNTRANSLATED NODE: IGNORE ME
+@example
+darwin-ppc - MacOS X PowerPC
+darwin-x86 - MacOS X Intel
+freebsd-64 - FreeBSD 6.x, x86_64
+freebsd-x86 - FreeBSD 4.x, x86
+linux-64 - Toutes distributions GNU/Linux, x86_64
+linux-arm - Toutes distributions GNU/Linux, arm
+linux-ppc - Toutes distributions GNU/Linux, powerpc
+linux-x86 - Toutes distributions GNU/Linux, x86
+mingw - Windows x86
+@end example
-@unnumberedsubsubsec Compilation
-@unnumberedsubsubsec Running requirements
-@unnumberedsubsubsec Building documentation
-@node Building LilyPond
-@subsection Building LilyPond
-UNTRANSLATED NODE: IGNORE ME
-
-@unnumberedsubsubsec Compiling
-@unnumberedsubsubsec Compiling for multiple platforms
-@node Building documentation without compiling LilyPond
-@subsection Building documentation without compiling LilyPond
-
-UNTRANSLATED NODE: IGNORE ME
-
-@node Testing LilyPond
-@subsection Testing LilyPond
-
-UNTRANSLATED NODE: IGNORE ME
-
-@node Problems
-@subsection Problems
+@node Compiling from source
+@section Compiling from source
+@ifhtml
UNTRANSLATED NODE: IGNORE ME
-
-@unnumberedsubsubsec Bison 1.875
-@unnumberedsubsubsec Solaris
-@unnumberedsubsubsec FreeBSD
-@unnumberedsubsubsec International fonts
-
--- SKELETON FILE --
-When you actually translate this file, please remove these lines as
-well as all `UNTRANSLATED NODE: IGNORE ME' lines.
+@end ifhtml
+@iftex
+Toute cette section ne sera pas traduite, car la compilation de LilyPond
+demande de maîtriser un minimum l'anglais ; reportez-vous donc à
+l'édition de ce manuel en anglais.
+@end iftex
touching the strings instead of fully pressing them. This gives the sound a
percussive noise-like sound that still maintains part of the original
pitch. It is notated with cross noteheads; this is
-demonstrated in @ref{Special noteheads}.
+demonstrated in @ref{Special note heads}.
@menu
* A::
+* a due::
* accent::
* accessory::
* accidental::
* cluster::
* comma::
* common meter::
-* compound interval::
+* common time::
* complement::
+* compound interval::
+* compound meter::
+* compound time::
+* concert pitch::
* conjunct movement::
* consonance::
* contralto::
* half rest::
* harmonic cadence::
* harmony::
+* hemiola::
* homophony::
* interval::
* inverted interval::
* non-legato::
* note::
* note head::
+* note names::
* note value::
* octave sign::
* octave::
* polyphony::
* portato::
* presto::
+* proportion::
* Pythagorean comma::
* quadruplet::
* quarter note::
* sextuplet::
* shake::
* sharp::
+* simple meter::
* sixteenth note::
* sixteenth rest::
* sixth::
* time signature::
* tone::
* tonic::
+* transposing instrument::
* transposition::
* treble clef::
* tremolo::
@ref{Pitch names}
+@node a due
+@section a due
+
+ES: ?,
+I: a due,
+F: à deux,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Abbreviated @samp{a2} or @samp{a 2}.
+
+@enumerate
+
+@item An indication in orchestral scores that a single part notated on a single
+staff that normally carries parts for two players (e.g. first and second oboes)
+is to be played by both players.
+
+@item Or conversely, that two pitches or parts notated on a staff that normally
+carries a single part (e.g. first violin) are to be played by different players,
+or groups of players (@q{desks}).
+
+@end enumerate
+
+@seealso
+
+@ref{Pitch names}
+
+
@node accent
@section accent
@node common meter
@section common meter
+@ref{common time}
+
@seealso
@ref{meter}.
+@node common time
+@section common time
+
+4/4 time. The symbol, which resembles a capital letter C derives from
+mensural notation (q.v.).
+
+@seealso
+
+@ref{meter}.
+
+
+@node complement
+@section complement
+
+ES: intervalo invertido,
+I: rivolto,
+F: intervalle complémentaire,
+D: Komplementärintervall,
+NL: complementair interval,
+DK: komplementærinterval,
+S: komplementärintervall (?),
+FI: täydentävä intervalli.
+
+@seealso
+
+@ref{inverted interval}.
+
+
@node compound interval
@section compound interval
@ref{interval}.
-@node complement
-@section complement
+@node compound meter
+@section compound meter
-ES: intervalo invertido,
-I: rivolto,
-F: intervalle complémentaire,
-D: Komplementärintervall,
-NL: complementair interval,
-DK: komplementærinterval,
-S: komplementärintervall (?),
-FI: täydentävä intervalli.
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+A meter that includes a triplet subdivision within the beat, such as
+6/8, 9/8, 12/8.
@seealso
-@ref{inverted interval}.
+@ref{meter}, @ref{simple meter}.
+
+
+@node compound time
+@section compound time
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@ref{compound meter}
+
+@seealso
+
+@ref{meter}.
+
+
+@node concert pitch
+@section concert pitch
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+FIXME: this is a placeholder
@node conjunct movement
Custodes were frequently used in music notation until the 16th
century. There were different appearences for different notation
styles. Nowadays, they have survived only in special forms of musical
-notation such as via the editio vaticana dating back to the beginning
+notation such as via the Editio Vaticana dating back to the beginning
of the 20th century
@lilypond
FI: da capo, alusta.
The term indicates repetition of the piece from the beginning to the
-end or to a certain place marked @emph{fine}. Mostly abbreviated as
+end or to a certain place marked @emph{fine}. Usually abbreviated as
@samp{D.C.}.
Three note harmony @ref{chord}.
+@node hemiola
+@section hemiola
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
+the use of three notes of equal value in the time normally occupied by
+of two notes of equal value. The resulting rhythm can be expressed in
+modern terms as a substitution (for example) of a bar in 3/2 for one
+of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era,
+hemiola is most frequently as a special effect (or @emph{affect}) at
+cadences.
+
+@c TODO: prepare example - {\time 6/4 c2. c2. | c2 c c} or
+@c cont'd: {\time 6/4 c2. c2. | \time 3/2 c2 c2 c2 }
+
+@seealso
+
+@ref{mensural notation}, @ref{meter}
+
+
@node homophony
@section homophony
@node mensural notation
@section mensural notation
-@c TODO: add languages, definition, references
+@c FIXME: add languages
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@c TODO: add definition (inc. info on proportional notation)
+
+@c FIXME: add cross-references.
@node meter
@section meter
-ES: compás,
-I: tempo, metro,
+ES: tiempo, compás,
+I: tempo, misura,
F: indication de mesure, mesure,
D: Taktart, Metrum,
NL: maatsoort,
S: taktart,
FI: aika-arvo.
-The basic scheme of @ref{note value}s and @ref{accent}s which remains
-unaltered throughout a composition or a section of it. For instance,
-3/4 meter means that the basic @ref{note value}s are quarter notes and
-that a @ref{measure} consists of three of those. According to whether
-there are two, three, or four units to the measure, one speaks of
-@emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
-@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common
-meter.
+The basic pattern of @ref{note value}s and @ref{accent}s that remains
+unaltered throughout a composition or a section of it. Meters can be
+@emph{duple} or @emph{triple} depending on how the beat is grouped in
+the composition (or in sections thereof):
+
+@itemize
+
+@item In duple meters, the beat recurs in groups of two.
+
+@item In triple meters, the beat recurs in groups of three.
+
+@end itemize
+
+Other recurrence patterns are possible:
+
+@itemize
+
+@item Quadruple meter: groups of four. A special case of duple meter.
+
+@item Quintuple meter: groups of five
+
+@item Sextuple meter: groups of six. A special case of:
+
+@itemize
+@item Duple meter, subdivided in three (less frequent); or
+@item Triple meter, subdivided in two (more frequent).
+@end itemize
+
+@item Septuple meter: groups of seven.
+
+@item etc.
+
+@end itemize
+
+Other than quadruple and sextuple meters, these other recurrence
+patterns were not frequently used prior to the 20th Century.
+
+In addition to classification by @emph{tactus}, meters can be further
+classified by how the tactus is subdivided: in two, the meter is
+@emph{simple}; in three, the meter is @emph{compound}.
+
+@itemize
+
+@item Simple meter
+
+@itemize
+@item duple: 2/2, 2/4, 2/8
+@item triple: 3/2, 3/4, 3/8
+@item quadruple: 4/2, 4/4 (also called common time), 4/8
+@end itemize
+
+@item Compound meter
+
+@itemize
+@item duple: 6/8
+@item triple: 9/8
+@item quadruple: 12/8
+@end itemize
+
+@end itemize
+
+Time signatures are placed at the beginning of a composition (or
+section) to indicate the meter. For instance, a piece written in
+simple triple meter with a beat on each quarter note has a time
+signature of 3/4.
+
+Simple duple meter:
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c'' {
+ \time 2/4
+ \key c \major
+ c4. d8 | e4 d | f e | d8 b c4 \bar "||"}
+@end lilypond
+
+Simple triple meter:
@lilypond[fragment,line-width=13.0\cm]
\relative c'' {
\time 3/4
- \key f \major
- c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
+ \key c \minor
+ c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
+@end lilypond
+
+Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c'' {
+ \time 4/4
+ \key g \major
+ g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
@end lilypond
+Simple quintuple meter (B. Marcello, 1686-1739):
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c'' {
+ \time 5/4
+ \key c \major
+ r4 cis8 bis ais4 dis c8 ais |
+ aes4 bes8 aes ges4 aes f8 es \bar "||"}
+@end lilypond
+
+Compound duple meter:
+
@lilypond[fragment,line-width=13.0\cm]
\relative c' {
\time 6/8
\key f \major
- f8 f f f a16 g a f |
- c'8 c c c e16 d e c \bar "||"}
+ f8 f g a bes16 a g f |
+ g8 g bes a c16 a bes g
+ \bar "||"}
@end lilypond
+Compound triple meter (J.S. Bach, 1685-1750):
+
@lilypond[fragment,line-width=13.0\cm]
-\relative c'' {
- \time 5/4
- \key g \major
- d4 b8 g b d d c a4 |
- g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
+\relative c' {
+ \time 9/8
+ \key f \major
+ r8 g( a) b( d c) c( e d) |
+ d( c fis) g( d b) g( a b)
+ \bar "||"}
+@end lilypond
+
+Compound quadruple meter (P. Yon, 1886-1943):
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c' {
+ \time 12/8
+ \key e \major
+ b8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
+ e4 e8 fis( gis) a b4.~ b4 b8
+ \bar "||"}
@end lilypond
+@seealso
+
+@ref{hemiola}, @ref{time signature}
+
@node metronome
@section metronome
Device indicating the exact tempo of a piece.
+@seealso
+
@ref{metronomic indication}.
instrument.
+@node note names
+@section note names
+
+@seealso
+
+@ref{Pitch names}
+
+
@node note value
@section note value
@seealso
-@ref{interval}.
+@ref{ottava}, @ref{interval}.
@node ornament
@node ottava
@section ottava
-@c TODO
+@c TODO: translations
ES: ?,
I: ottava,
@itemize
-@item In instrumental or choral music the music for the single instrument
-or voice.
+@item In instrumental or choral music, the music for a single
+instrument or voice.
-@item in contrapuntal music @ref{counterpoint} the single melodic line
-of the contrapunctal web.
+@item in contrapuntal music, a single melodic line in the contrapuntal
+web.
@end itemize
+@seealso
+
+@ref{counterpoint}
+
@node pause
@section pause
denotes the highest possible degree of speed.
+@node proportion
+@section proportion
+
+ES: proporción,
+I: ?,
+F: proportion,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Latin @emph{proportio}] In mensural notation, a ratio that
+expresses the relationship between the note values that follow with
+those that precede; or between the note values of a passage and an
+assumed @q{normal} relationship of note values to the metrical pulse.
+
+@c TODO: add an example or two. O => 4/3, and its modern equivalent
+
+@seealso
+
+@ref{mensural notation}
+
+
@node Pythagorean comma
@section Pythagorean comma
}
@end lilypond
-@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
-@c specify the rest's value.
-
@node rest
@section rest
S: paus,
FI: tauko.
+@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
+@c specify the rest's value.
+
@seealso
@ref{note value}.
@ref{accidental}.
+@node simple meter
+@section simple meter
+
+ES: ?,
+I: ?,
+F: ?,
+UK: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+A meter in which the basic beat is subdivided in two: that is, a meter
+that does not include triplet subdivision of the beat.
+
+@seealso
+
+@ref{compound meter}, @ref{meter}.
+
+
@node sixteenth note
@section sixteenth note
S: taktartssignatur,
FI: tahtiosoitus.
+The sign placed at the beginning of a composition to indicate its
+meter. It most often takes the form of a fraction, but a few signs
+derived from mensural notation and proportions are also employed.
+
@seealso
-@ref{meter}.
+@ref{mensural notation}, @ref{meter}.
@node tone
@ref{functional harmony}.
+@node transposing instrument
+@section transposing instrument
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+FIXME: this is a placeholder
+
+
@node transposition
@section transposition
@node Pitch names
@chapter Pitch names
-@table @code
-@item PITCH NAMES
-@end table
-
-@c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
-@c the extra @item's between each row makes the table hard to read ... so I removed them
-
-@multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
-
-@c TODO -- figure out how to make _real_ table headers in TeXinfo
-
-@item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
-@tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
-
-@item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c
-@tab c
-
-@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut
-dièse @tab Cis @tab cis @tab cis @tab cis @tab cis
-
-@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol
-@tab Des @tab des @tab des @tab des @tab des
-
-@item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d
-@tab d @tab d
-
-@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol
-@tab Es @tab es @tab es @tab es @tab es
-
-@item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e
-@tab e
-
-@item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f
-@tab f
-
-@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g
-@tab g @tab g
-
-@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol
-@tab As @tab as @tab as @tab as @tab as
-
-@item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a
-@tab a
-
-@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la
-dièse @tab Ais @tab ais @tab ais @tab ais @tab ais
-
-@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol
-@tab B @tab bes @tab b @tab b @tab b
-
-@item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h
-@tab h
-
+@c -is/-es endings for Danish per Rune Zedeler
+@c and for Finnish per Risto Vääräniemi
+@c -iss/-ess endings for Swedish per Mats Bengtsson
+
+@multitable {c-sharp}
+ {do sostenido} {do diesis} {ut dièse} {Cis}
+ {cis} {cis} {ciss} {cis}
+@headitem EN
+ @tab ES @tab I @tab F @tab D
+ @tab NL @tab DK @tab S @tab FI
+@item @strong{c}
+ @tab do @tab do @tab ut @tab C
+ @tab c @tab c @tab c @tab c
+@item @strong{c-sharp}
+ @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
+ @tab cis @tab cis @tab ciss @tab cis
+@item @strong{d-flat}
+ @tab re bemol @tab re bemolle @tab ré bémol @tab Des
+ @tab des @tab des @tab dess @tab des
+@item @strong{d}
+ @tab re @tab re @tab ré @tab D
+ @tab d @tab d @tab d @tab d
+@item @strong{d-sharp}
+ @tab re sostenido @tab re diesis @tab re dièse @tab Dis
+ @tab dis @tab dis @tab diss @tab dis
+@item @strong{e-flat}
+ @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
+ @tab es @tab es @tab ess @tab es
+@item @strong{e}
+ @tab mi @tab mi @tab mi @tab E
+ @tab e @tab e @tab e @tab e
+@item @strong{f-flat} = e
+ @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
+ @tab fes @tab fes @tab fess @tab fes
+@item @strong{f}
+ @tab fa @tab fa @tab fa @tab F
+ @tab f @tab f @tab f @tab f
+@item @strong{e-sharp} = f
+ @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
+ @tab eis @tab eis @tab eiss @tab eis
+@item @strong{f-sharp}
+ @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
+ @tab fis @tab fis @tab fiss @tab fis
+@item @strong{g-flat}
+ @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
+ @tab ges @tab ges @tab gess @tab ges
+@item @strong{g}
+ @tab sol @tab sol @tab sol @tab G
+ @tab g @tab g @tab g @tab g
+@item @strong{g-sharp}
+ @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
+ @tab gis @tab gis @tab giss @tab gis
+@item @strong{a-flat}
+ @tab la bemol @tab la bemolle @tab la bémol @tab As
+ @tab as @tab as @tab as @tab as
+@item @strong{a}
+ @tab la @tab la @tab la @tab A
+ @tab a @tab a @tab a @tab a
+@item @strong{a-sharp}
+ @tab la sostenido @tab la diesis @tab la dièse @tab Ais
+ @tab ais @tab ais @tab ais @tab ais
+@item @strong{b-flat}
+ @tab si bemol @tab si bemolle @tab si bémol @tab B
+ @tab bes @tab b @tab b @tab b
+@item @strong{b}
+ @tab si @tab si @tab si @tab H
+ @tab b @tab h @tab h @tab h
@end multitable
in @var{musicexpr} is calculated as follows:
@itemize
-@item
-The pitch of the first note is relative to @code{@var{startpitch}}.
-
@item
If no octave changing mark is used on a pitch, its octave is calculated
so that the interval with the previous note is less than a fifth. This
the pitch calculated without octave mark.
@item
-Multiple octave changing marks can be used. @code{''}@tie{}and
+Multiple octave changing marks can be used. For example, @code{''}@tie{}and
@code{,,}@tie{} will alter the pitch by two octaves.
+@item
+The pitch of the first note is relative to @code{@var{startpitch}}.
+
@end itemize
Here is the relative mode shown in action:
practice is to use@tie{}@code{c} in various octave positions or the
first note of @var{musicexpr}.
-When octaves are specified as above by adding@tie{}@code{'}
-and@tie{}@code{,} to pitch names, it is easy to accidentally put a
-pitch in the wrong octave. The relative octave mode prevents
-these errors since most of the time it is not necessary to
-indicate any octaves at all. Furthermore, in absolute mode, a
-single mistake may be difficult to spot; in relative mode, a
-single error puts the rest of the piece off by one octave.
+When octaves are specified in absolute mode it is easy to
+accidentally put a pitch in the wrong octave. Relative octave
+mode reduces these errors since most of the time it is not
+necessary to indicate any octaves at all. Furthermore, in
+absolute mode, a single mistake may be difficult to spot; in
+relative mode, a single error puts the rest of the piece off by
+one octave.
As explained above, the octave of pitches is calculated only with the
note names, regardless of any alterations. Therefore, an F-sharp
The relative conversion will not affect @code{\transpose},
@code{\chordmode} or @code{\relative} sections in its argument.
-To use relative within transposed music, an additional
+To use relative mode within transposed music, an additional
@code{\relative} must be placed inside @code{\transpose}.
@c DEPRECATED
and a @notation{flat} pitch by adding @code{es}. As you might
expect, a @notation{double sharp} or @notation{double flat} is
made by adding @code{isis} or @code{eses}. This syntax is derived
-from note naming conventions in Nordic and Germanic languages,
-like German and Dutch. To use other names for accidentals, see
-@ref{Note names in other languages}.
+from Dutch note naming conventions. To use other names for
+accidentals, see @ref{Note names in other languages}.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
a2 ais a aes
@end lilypond
@noindent
-The above notes are the Dutch note names. In Dutch, @code{aes} is
-contracted to @code{as}, but both forms are accepted in LilyPond.
-Similarly, both @code{es} and @code{ees} are accepted:
+In Dutch, @code{aes} is contracted to @code{as}, but both forms
+are accepted in LilyPond. Similarly, both @code{es} and
+@code{ees} are accepted:
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
a2 as e es
cis cis cis! cis? c c? c! c
@end lilypond
+Accidentals are not printed on tied notes, except when the tie
+crosses a line break, where a reminder accidental is automatically added:
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+cis1~ cis~ \break cis
+@end lilypond
@cindex quarter tones
@cindex semi-flats, semi-sharps
@seealso
Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
-@rglos{double flat}.
+@rglos{double flat}. @c FIXME note names
Learning Manual: @rlearning{Accidentals and key signatures}.
@end multitable
@end example
-@noindent
-Note that in Dutch, German, Norwegian, and Swedish, the flat
-alterations of@tie{}@code{a} like for example @code{aes} and
-@code{aeses} are usually contracted to @code{as} and @code{ases}
+Note that in some languages such as Norwegian and Swedish, the usual
+spelling for accidentals is a double @q{s} such as in @code{ciss}
+or @code{cess}. For both historical reasons and a greater simplicity,
+LilyPond uses a single @q{s} for all these languages.
+
+Similarly, in Germanic and Nordic languages, alterations
+of@tie{}@code{a}, like for example @code{aes} and
+@code{aeses}, are usually contracted to @code{as} and @code{ases}
(or more commonly @code{asas}). Sometimes only these contracted
names are defined in the corresponding language files (this also
applies to the suffixes for quartertones below).
-@noindent
Some music uses microtones whose alterations are fractions of a
@q{normal} sharp or flat. The note names for quartertones defined
in the various language files are listed in the following table.
Here the prefixes @q{semi-} and @q{sesqui-} mean @q{half} and
-@q{one and a half}, respectively. For the other languages no
+@q{one and a half}, respectively. For the other languages, no
special names have been defined yet.
-
@example
@multitable @columnfractions .2 .6 .05 .05 .05 .05
@headitem Language
@}
@end example
-
The octave of a note following an @code{\octave} check is
determined with respect to the note preceding it, as modified by
the outcome of the octave check. In the next fragment, the first
@cindex transpose
@cindex transposition of pitches
-@cindex transposing instruments
@funindex \transpose
A music expression can be transposed with @code{\transpose}. The
}
@end lilypond
-@code{\transpose} may also be used to input written notes for a
-transposing instrument. The previous examples show how to enter
-pitches in C (or @notation{concert pitch}) and typeset them for a
-transposing instrument, but the opposite is also possible if you
-for example have a set of instrumental parts and want to print a
-conductor's score. For example, when entering music for a B-flat
-trumpet which begins on a notated E (concert D), one would write:
+@cindex transposing instruments
+
+@code{\transpose} may also be used in a different way, to input
+written notes for a transposing instrument. The previous examples
+show how to enter pitches in C (or @notation{concert pitch}) and
+typeset them for a transposing instrument, but the opposite is
+also possible if you for example have a set of instrumental parts
+and want to print a conductor's score. For example, when entering
+music for a B-flat trumpet which begins on a notated E (concert
+D), one would write:
@example
musicInBflat = @{ e4 @dots{} @}
\transpose c bes, \musicInBflat
@end example
+@noindent
To print this music in F (e.g., rearranging to a French horn) you
-would wrap the existing music with another @code{\transpose}:
+could wrap the existing music with another @code{\transpose}:
@example
musicInBflat = @{ e4 @dots{} @}
\transpose f c' @{ \transpose c bes, \musicInBflat @}
@end example
+@noindent
+For more information about transposing instruments,
+see @ref{Instrument transpositions}.
+
@commonprop
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
@seealso
+Notation Reference: @ref{Instrument transpositions}.
+
Snippets: @lsrdir{Pitches}.
Internals Reference: @internalsref{TransposedMusic}.
@refbugs
+@c FIXME: This should have been fixed by Joe.
+@c If it hasn't, we should mention the appropriate
+@c workaround (there is a snippet in the LSR) -vv
@code{set-octavation} will get confused when clef changes happen
during an octavation bracket.
@cindex transposition, MIDI
@cindex transposition, instrument
+When typesetting scores that involve transposing instruments, some
+parts can be typeset in a different pitch than the
+@notation{concert pitch}.
+
The key of a @notation{transposing instrument} can be specified.
This applies to many wind instruments, for example, clarinets
(B-flat, A, and E-flat), horn (F) and trumpet (B-flat, C, D, and
E-flat).
-The transposition is entered with the command
+For such instruments, LilyPond will print a correct part, but is
+not aware whether the instrument is playing in concert pitch or
+not. This can lead to problems if you want a MIDI output, or if
+you quote other parts in a transposing staff. In such cases, an
+explicit transposition must be specified:
@example
\transposition @var{pitch}
@noindent
where @var{pitch} specifies the key in which the instrument plays.
-For example, a part for B-flat clarinet would include
+For example, a part for B-flat clarinet would include:
@example
\transposition bes
@seealso
+Music Glossary: @c TODO @rglos{concert pitch}
+
Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
Snippets: @lsrdir{Pitches}.
The accidental style applies to the current @code{Staff} by
default (with the exception of the styles @code{piano} and
-@code{piano-cautionary}, see below. Optionally, the function can
-take a second argument which determines in which scope the style
-should be changed. For example, to use the same style in all
-staves of the current @code{StaffGroup}, use
+@code{piano-cautionary}, which are explained below). Optionally,
+the function can take a second argument which determines in which
+scope the style should be changed. For example, to use the same
+style in all staves of the current @code{StaffGroup}, use
@example
#(set-accidental-style 'voice 'StaffGroup)
@subsection Note heads
@menu
+* Special note heads::
* Easy notation note heads::
* Shape note heads::
* Improvisation::
-* Special noteheads::
@end menu
+@node Special note heads
+@unnumberedsubsubsec Special note heads
+
+@cindex note heads, special
+
+Different note heads are used by various instruments for various
+meanings -- crosses are used for @q{parlato} with vocalists,
+stopped notes on guitar; diamonds are used for harmonics on string
+instruments, etc. There is a shorthand (@code{\harmonic}) for
+diamond shapes; the other note head styles are produced by tweaking
+the property:
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+c4 d
+\override NoteHead #'style = #'cross
+e f
+\revert NoteHead #'style
+e d <c f\harmonic> <d a'\harmonic>
+@end lilypond
+
+@noindent
+To see all note head styles, please see @ref{Note head styles}.
+
+
+@seealso
+
+Snippets: @lsrdir{Pitches}.
+
+Notation Reference: @ref{Note head styles}.
+
+Internals Reference: @internalsref{NoteHead}.
+
+
@node Easy notation note heads
@unnumberedsubsubsec Easy notation note heads
@node Improvisation
@unnumberedsubsubsec Improvisation
+@cindex improvisation
+@cindex slashed note heads
+@cindex note heads, improvisation
+@cindex note heads, slashed
+
Improvisation is sometimes denoted with slashed note heads. Such
note heads can be created by adding a @code{Pitch_squash_engraver}
to the @code{Voice} context. Then, the following command
Internals Reference: @internalsref{Pitch_squash_engraver},
@internalsref{Voice}.
-@node Special noteheads
-@unnumberedsubsubsec Special noteheads
-
-@cindex note heads, special
-
-Different noteheads are used by various instruments for various
-meanings -- crosses are used for @q{parlato} with vocalists,
-stopped notes on guitar; diamonds are used for harmonics on string
-instruments, etc. There is a shorthand (@code{\harmonic}) for
-diamond shapes; the other notehead styles are produced by tweaking
-the property:
-
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
-c4 d
-\override NoteHead #'style = #'cross
-e f
-\revert NoteHead #'style
-e d <c f\harmonic> <d a'\harmonic>
-@end lilypond
-
-@noindent
-To see all notehead styles, please see @ref{Note head styles}.
-
-
-@seealso
-
-Snippets: @lsrdir{Pitches}.
-
-Notation Reference: @ref{Note head styles}.
-
-Internals Reference: @internalsref{NoteHead}.
c4 c4
@end lilypond
+@c FIXME: improve visibility of bar lines link?
@seealso
+Notation Reference: @ref{Bar lines}.
+
Snippets: @lsrdir{repeats}
Internals Reference: @internalsref{VoltaBracket},
@seealso
-Snippets: @lsrdir{simultaneous}
+Music Glossary: @rglos{chord}.
+
+Notation Reference: @ref{Introducing chord names}.
+
+Snippets: @lsrdir{simultaneous}.
@refbugs
@seealso
-Snippets: @lsrdir{simultaneous}
+Snippets: @lsrdir{simultaneous}.
Internals Reference: @internalsref{ClusterSpanner},
@internalsref{ClusterSpannerBeacon},
@node Collision resolution
@unnumberedsubsubsec Collision resolution
-@cindex Merging noteheads
+@cindex merging notes
+@cindex note collisions
Normally, note heads with a different number of dots are not
merged, but when the object property
@noindent
@code{merge-differently-headed} and
@code{merge-differently-dotted} only apply to opposing stem
-directions (ie. Voice 1 & 2).
+directions (i.e. Voice 1 & 2).
LilyPond also vertically shifts rests that are opposite of a stem,
for example
\new Voice << c''4 \\ r4 >>
@end lilypond
+@cindex shift note
+
If three or more notes line up in the same column,
@code{merge-differently-headed} cannot successfully complete the
merge of the two notes that should be merged. To allow the merge
>>
@end lilypond
+@cindex multiple voices
+@cindex polyphonic music
+@cindex shifting voices
+
In some instances of complex polyphonic music, you may need
additional voices to avoid collisions between notes. Additional
voices are added by defining an variable, as shown below:
@seealso
-Snippets: @lsrdir{simultaneous}
+Snippets: @lsrdir{simultaneous}.
Internals Reference: the objects responsible for resolving
collisions are @internalsref{NoteCollision} and
@seealso
-Snippets: @lsrdir{simultaneous}
+@c FIXME: add Music Glossary: @rglos{a due}. after glossary addition.
+
+Snippets: @lsrdir{simultaneous}.
Internals Reference: @internalsref{PartCombineMusic}.
notags_files = []
# mark the section that will be printed verbatim by lilypond-book
-end_header_re = re.compile ('(\\header {.*?"\\s*}\n)\n', re.M | re.S)
+end_header_re = re.compile ('(\\header {.+?(?:"\\s*|\\s+)}\n)\n', re.M | re.S)
def mark_verbatim_section (ly_code):
return end_header_re.sub ('\\1% begin verbatim\n', ly_code)
sys.stderr.write ('''
Unsafe files printed in lsr-unsafe.txt: CHECK MANUALLY!
- xargs git-diff < lsr-unsafe.txt
+ git add input/lsr
+ xargs git-diff HEAD < lsr-unsafe.txt
''')
manually to prevent collisions.
" }
% begin verbatim
-{
\new Staff <<
\new Voice \with {
\consists "Ambitus_engraver"
es4 f g as b1
}
>>
-
-}
% begin verbatim
{
r16[ g16 \times 2/3 {r16 e'8] }
-
- g16( a \times 2/3 {b d e') }
-
- g8[( a \times 2/3 {b d') e'~]}
-
- \times 4/5 {e'32\( a b d' e'} a'4.\)
+ g16( a \times 2/3 {b d e') }
+ g8[( a \times 2/3 {b d') e'~]}
+ \times 4/5 {e'32\( a b d' e'} a'4.\)
}
threetwo = \markup{ \column {\finger "3" \finger "2"} }
threefour = \markup{ \column {\finger "3" \finger "4"} }
-\score {
-
-\context TabStaff {
-
-\stemUp
-
-{ e8\4^\one b\2 < e, g\3 e'\1 >^>[ b\2 e\4] < a\3 fis'\1 >^>^\threetwo[ b\2 e\4] }
-
-}
-
+\score {
+ \context TabStaff {
+ \stemUp
+ e8\4^\one b\2 < e, g\3 e'\1 >^>[ b\2 e\4]
+ < a\3 fis'\1 >^>^\threetwo[ b\2 e\4]
+ }
}
% begin verbatim
\relative {
c4 -\parenthesize -.
-
\override ParenthesesItem #'padding = #0.1
<d \parenthesize fis a>
-
}
error prone. It's easy to forget updating the date. So i thought it
would be useful if you can add the date on which the PDF file is
generated automatically. I did't figure it out myself, but I asked on
-lilypond-user@@gnu.org. And guess what? Someone came with an excellent
-solution! So thank you very much Toine Schreurs for sending this
-solution to the user mailing list. I post it here for future reference.
+lilypond-user mailing list. And guess what? Someone came with an
+excellent solution! So thank you very much Toine Schreurs for sending
+this solution to the user mailing list. I post it here for future
+reference.
The solution is to use two scheme functions called @code{strftime} and
@code{localtime}, as shown in the snippet. It is a very flexible
% begin verbatim
% Default layout:
\score{
-<<
-\new Staff \new Voice = m \relative c'{ c4 d e f g f e d c1 }
-\new Lyrics \lyricsto m {aa aa aa aa aa aa aa aa aa }
- >>
+ <<
+ \new Staff \new Voice = m \relative c'{ c4 d e f g f e d c1}
+ \new Lyrics \lyricsto m {aa aa aa aa aa aa aa aa aa }
+ >>
}
% Reducing the minimum space below the Staff and above the Lyrics:
-\score{
-<<
-\new Staff \with {\override VerticalAxisGroup #'minimum-Y-extent = #'(-1
-. 4)}
- \new Voice = m \relative c'{ c4 d e f g f e d c1 }
-\new Lyrics \with {\override VerticalAxisGroup #'minimum-Y-extent =
-#'(-1.2 . 1)}
-\lyricsto m {aa aa aa aa aa aa aa aa aa }
- >>
+
+\score {
+ <<
+ \new Staff \with {
+ \override VerticalAxisGroup #'minimum-Y-extent = #'(-1. 4)}
+ \new Voice = m \relative c'{ c4 d e f g f e d c1 }
+ \new Lyrics \with {
+ \override VerticalAxisGroup #'minimum-Y-extent = #'(-1.2 . 1)}
+ \lyricsto m {aa aa aa aa aa aa aa aa aa }
+ >>
+
+ \header {
+ tagline = ""
+ }
}
" }
% begin verbatim
\relative c'' {
-c1 c c}
-\addlyrics {\once \override LyricText #'self-alignment-X = #LEFT "This is left-aligned"
-\once \override LyricText #'self-alignment-X = #CENTER "This is centered"
-\once \override LyricText #'self-alignment-X = #1 "this is right-aligned" }
+ c1 c c
+}
+\addlyrics {
+ \once \override LyricText #'self-alignment-X = #LEFT "This is left-aligned"
+ \once \override LyricText #'self-alignment-X = #CENTER "This is centered"
+ \once \override LyricText #'self-alignment-X = #1 "this is right-aligned"
+}
If you have multiple voices in a single staff and you want a single
ambitus per staff rather than per voice, add the
@code{Ambitus_engraver} to the @code{Staff} context rather than to the
-@code{Voice} context.
-
-This example uses one advanced feature,
-
-
-@code{ \\override Ambitus #'X-offset = #-1.0 }
-% begin verbatim
-
-
-This code moves the ambitus to the left. The same effect could have
-been achieved with @code{extra-offset}, but then the formatting system
-would not reserve space for the moved object.
-
+@code{Voice} context. Therefore, in this example, one need to use
+@code{\\override Staff.Ambitus #'X-offset = #-1.0}
+to move the ambitus to the left. The same effect could also have been
+achieved with @code{extra-offset}, but then the formatting system would
+not reserve space for the moved object.
" }
-
+% begin verbatim
\new Staff \with {
\consists "Ambitus_engraver"
-}
-<<
- \new Voice \with {
- \remove "Ambitus_engraver"
- } \relative c'' {
- \override Ambitus #'X-offset = #-1.0
- \voiceOne
- c4 a d e f2
- }
- \new Voice \with {
- \remove "Ambitus_engraver"
- } \relative c' {
- \voiceTwo
- es4 f g as b2
}
+<<
+ \new Voice \relative c'' {
+ \override Staff.Ambitus #'X-offset = #-1.0
+ \voiceOne
+ c4 a d e f1
+ }
+ \new Voice \relative c' {
+ \voiceTwo
+ es4 f g as b1
+ }
>>
\break
}
-\relative {
- \set shapeNoteStyles = ##(do re mi fa #f la ti)
- \fragment
+\score {
+ \new Staff {
+ \transpose c d
+ \relative {
+ \set shapeNoteStyles = ##(do re mi fa #f la ti)
+ \fragment \break
+ }
+
+ \relative {
+ \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
+ \fragment
+ }
+ }
}
-% temporary change help LSR integration -gp
-%{
-\transpose c d
- \relative {
- \set shapeNoteStyles = ##(do re mi fa #f la ti)
- \fragment
-}
-
-\relative {
- \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
- \fragment
-}
-%}
-
\override DynamicLineSpanner #'layer = #0
des,2~\mf \<
\override TextScript #'layer = #2
- des16_\markup { \postscript #"1.9 -4.5 translate 5 4 scale 1 setgray 0 0 moveto 0 1 lineto 1 1 lineto 1 0 lineto 0 0 lineto fill" }
+ des16_\markup {
+ \postscript #"1.9 -4.5 translate 5 4 scale 1 setgray 0 0 moveto 0 1
+ lineto 1 1 lineto 1 0 lineto 0 0 lineto fill" }
r8. des4~ des16-> \sff
}
>>
" }
% begin verbatim
\score{
- \relative c'{
- c( d e c) |
- \slurDotted
- c( d e c) |
- \slurSolid
- c( d e c) |
- \slurDashed
- c( d e c) |
- \slurSolid
- c( d e c) |
- }
- \layout{ raggedright=##t }
+ \relative c'{
+ c( d e c) |
+ \slurDotted
+ c( d e c) |
+ \slurSolid
+ c( d e c) |
+ \slurDashed
+ c( d e c) |
+ \slurSolid
+ c( d e c) |
+ }
+ \layout{ raggedright=##t }
}
" }
% begin verbatim
{
- \new Staff \relative c'' { \dynamicDown c8 \ff c c c c c c c }
+ \new Staff \relative c'' { \dynamicDown c8 \ff c c c c c c c }
}
{
- \new Staff \with {
- fontSize = #-3
- \override StaffSymbol #'staff-space = #(magstep -3)
- } {
- \clef bass
- c8 c c c c c c c
- }
+ \new Staff \with {
+ fontSize = #-3
+ \override StaffSymbol #'staff-space = #(magstep -3)
+ }
+ {
+ \clef bass
+ c8 c c c c c c c
+ }
}
printed at both the end of the previous line and the beginning of the
new line by default. If the warning clef at the end of the previous
line in not required it can be suppressed by setting the
-explicitClefVisibility Staff property to the value @code{
-end-of-line-invisible: \\set Staff.explicitClefVisibility =
-#end-of-line-invisible } The default behaviour can be recovered with
-@code{\\unset Staff.explicitClefVisibility}
-% begin verbatim
+explicitClefVisibility Staff property to the value
+@code{end-of-line-invisible}. The default behaviour can be recovered
+with @code{\\unset Staff.explicitClefVisibility}.
+
The following examples show the possibilities when setting these
properties manually. On the first line, the manual changes preserve the
standard relative positioning of clefs and notes, whereas on the second
line, they do not.
" }
-
+% begin verbatim
{
% The default treble clef
- c'4
+ c'1
% The standard bass clef
\set Staff.clefGlyph = #"clefs.F"
\set Staff.clefPosition = #2
\set Staff.middleCPosition = #6
- c'4
+ c'
% The baritone clef
\set Staff.clefGlyph = #"clefs.C"
\set Staff.clefPosition = #4
\set Staff.middleCPosition = #4
- c'4
+ c'
% The standard choral tenor clef
\set Staff.clefGlyph = #"clefs.G"
\set Staff.clefPosition = #-2
\set Staff.clefOctavation = #-7
\set Staff.middleCPosition = #1
- c'4
+ c'
% A non-standard clef
\set Staff.clefPosition = #0
\set Staff.clefOctavation = #0
\set Staff.middleCPosition = #-4
- c'4 \break
-
+ c' \break
+
+
% The following clef changes do not preserve
% the normal relationship between notes and clefs:
\set Staff.clefGlyph = #"clefs.F"
\set Staff.clefPosition = #2
- c'4
+ c'
\set Staff.clefGlyph = #"clefs.G"
- c'4
+ c'
\set Staff.clefGlyph = #"clefs.C"
- c'4
+ c'
\set Staff.clefOctavation = #7
- c'4
+ c'
\set Staff.clefOctavation = #0
\set Staff.clefPosition = #0
- c'4
+ c'
+
+ % Here we go back to the normal clef:
+
\set Staff.middleCPosition = #4
- c'4
+ c'
}
" }
% begin verbatim
-musicUp = { \time 4/4
- \relative c'' {
- a4 c4.(g8) a4 |
- g4 e' g,( a8 b) |
- c b a2.
- }
+musicUp = {
+ \time 4/4
+ \relative c'' {
+ a4 c4.(g8) a4 |
+ g4 e' g,( a8 b) |
+ c b a2.
+ }
}
musicDown = {
- \relative c'' {
- g4 e4.(d8) c4 |
- r2 g'4( f8 e) |
- d2 a
- }
+ \relative c'' {
+ g4 e4.(d8) c4 |
+ r2 g'4( f8 e) |
+ d2 a
+ }
}
+
\score{
- \new Staff {
- \set Staff.instrumentName = "Standard polyphony "
- << \musicUp \\ \musicDown >>
- }
- \layout{
- indent = 6.0\cm
- }
+ \new Staff {
+ \set Staff.instrumentName = "Standard polyphony "
+ << \musicUp \\ \musicDown >>
+}
+
+ \layout{
+ indent = 6.0\cm
+ }
}
\score{
example, the 9/8 measure is subdivided in 2, 2, 2 and 3. This is
passed to @code{set-time-signature} as the third argument @code{(2 2 2
3)}
-% begin verbatim
-" }
+" }
+% begin verbatim
\score {
\relative c'' {
#(set-time-signature 9 8 '(2 2 2 3))
--- /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.
+%% Tags: expressive-marks
+\version "2.11.35"
+
+\header { texidoc = "
+Use a glissando without final note. Contemporary glissando !
+" }
+% begin verbatim
+\relative c'' {
+ \override Glissando #'style = #'zigzag
+ \time 3/4
+ c4 c
+ \cadenzaOn c\glissando \hideNotes c,, \unHideNotes \cadenzaOff
+ \bar "|"
+ }
+
+\addlyrics { Use cadenzaOn glissando hideNotes }
+\addlyrics { unHideNotes cadenzaOff, skip_and_\bar \skip 4 }
+\layout{raggedright = ##t}
+\header { tagline="" }
+% begin verbatim
creating-blank-staves.ly
chant-or-psalms-notation.ly
-adding-a-figured-bass-above-or-below-the-notes.ly
+adding-and-extra-staff-at-a-line-break.ly
adding-an-extra-staff.ly
vocal-ensemble-template-with-lyrics-aligned-below-and-above-the-staves.ly
changing-time-signatures-inside-a-polymetric-section-using--compressmusic.ly
engravers-one-by-one.ly
-adding-and-extra-staff-at-a-line-break.ly
+adding-a-figured-bass-above-or-below-the-notes.ly
\version "2.11.35"
\header { texidoc = "
-The \\startTextSpan and \\stopTextSpan commands give you the ability to
-create text spanners as easily as pedals indications or octavations.
-Override some properties of the TextSpanner object to modify its
-output.
+The <code>\\startTextSpan</code> and <code>\\stopTextSpan</code>
+commands give you the ability to create text spanners as easily as
+pedals indications or octavations. Override some properties of the
+<code>TextSpanner</code> object to modify its output.
" }
% begin verbatim
\relative c''{
melodie = { \tempo 4 = 150 \basemelodie }
\header {
- title = "Demo of all midi sounds"
- arranger = "Myself"
+ title = "Demo of all midi sounds"
+ arranger = "Myself"
}
% begin verbatim
\score {
- \new Staff <<
- \new Voice { \melodie
- } %Voice
- >> %Staff
+ \new Staff <<
+ \new Voice { \melodie
+ } %Voice
+ >> %Staff
\layout { }
} %score
\score {
- \new Staff <<
- \tempo 4 = 180
- %\set Staff.instrumentName="S/A"
- %\set Staff.midiMinimumVolume = #0.2
- %\set Staff.midiMaximumVolume = #0.4
- %\set Voice.dynamicAbsoluteVolumeFunction = #0.6
- \new Voice { r \mf
- \set Staff.midiInstrument="acoustic grand" \melodie
- \set Staff.midiInstrument="bright acoustic" \melodie
- \set Staff.midiInstrument="electric grand" \melodie
- \set Staff.midiInstrument="honky-tonk" \melodie
- \set Staff.midiInstrument="electric piano 1" \melodie
- \set Staff.midiInstrument="electric piano 2" \melodie
- \set Staff.midiInstrument="harpsichord" \melodie
- \set Staff.midiInstrument="clav" \melodie
- \set Staff.midiInstrument="celesta" \melodie
- \set Staff.midiInstrument="glockenspiel" \melodie
- \set Staff.midiInstrument="music box" \melodie
- \set Staff.midiInstrument="vibraphone" \melodie
- \set Staff.midiInstrument="marimba" \melodie
- \set Staff.midiInstrument="xylophone" \melodie
- \set Staff.midiInstrument="tubular bells" \melodie
- \set Staff.midiInstrument="dulcimer" \melodie
- \set Staff.midiInstrument="drawbar organ" \melodie
- \set Staff.midiInstrument="percussive organ" \melodie
- \set Staff.midiInstrument="rock organ" \melodie
- \set Staff.midiInstrument="church organ" \melodie
- \set Staff.midiInstrument="reed organ" \melodie
- \set Staff.midiInstrument="accordion" \melodie
- \set Staff.midiInstrument="harmonica" \melodie
- \set Staff.midiInstrument="concertina" \melodie
- \set Staff.midiInstrument="acoustic guitar (nylon)" \melodie
- \set Staff.midiInstrument="acoustic guitar (steel)" \melodie
- \set Staff.midiInstrument="electric guitar (jazz)" \melodie
- \set Staff.midiInstrument="electric guitar (clean)" \melodie
- \set Staff.midiInstrument="electric guitar (muted)" \melodie
- \set Staff.midiInstrument="overdriven guitar" \melodie
- \set Staff.midiInstrument="distorted guitar" \melodie
- \set Staff.midiInstrument="acoustic bass" \melodie
- \set Staff.midiInstrument="electric bass (finger)" \melodie
- \set Staff.midiInstrument="electric bass (pick)" \melodie
- \set Staff.midiInstrument="fretless bass" \melodie
- \set Staff.midiInstrument="slap bass 1" \melodie
- \set Staff.midiInstrument="slap bass 2" \melodie
- \set Staff.midiInstrument="synth bass 1" \melodie
- \set Staff.midiInstrument="synth bass 2" \melodie
- \set Staff.midiInstrument="violin" \melodie
- \set Staff.midiInstrument="viola" \melodie
- \set Staff.midiInstrument="cello" \melodie
- \set Staff.midiInstrument="contrabass" \melodie
- \set Staff.midiInstrument="tremolo strings" \melodie
- \set Staff.midiInstrument="pizzicato strings" \melodie
- \set Staff.midiInstrument="orchestral strings" \melodie
- \set Staff.midiInstrument="timpani" \melodie
- \set Staff.midiInstrument="string ensemble 1" \melodie
- \set Staff.midiInstrument="string ensemble 2" \melodie
- \set Staff.midiInstrument="synthstrings 1" \melodie
- \set Staff.midiInstrument="synthstrings 2" \melodie
- \set Staff.midiInstrument="choir aahs" \melodie
- \set Staff.midiInstrument="voice oohs" \melodie
- \set Staff.midiInstrument="synth voice" \melodie
- \set Staff.midiInstrument="orchestra hit" \melodie
- \set Staff.midiInstrument="trumpet" \melodie
- \set Staff.midiInstrument="trombone" \melodie
- \set Staff.midiInstrument="tuba" \melodie
- \set Staff.midiInstrument="muted trumpet" \melodie
- \set Staff.midiInstrument="french horn" \melodie
- \set Staff.midiInstrument="brass section" \melodie
- \set Staff.midiInstrument="synthbrass 1" \melodie
- \set Staff.midiInstrument="synthbrass 2" \melodie
- \set Staff.midiInstrument="soprano sax" \melodie
- \set Staff.midiInstrument="alto sax" \melodie
- \set Staff.midiInstrument="tenor sax" \melodie
- \set Staff.midiInstrument="baritone sax" \melodie
- \set Staff.midiInstrument="oboe" \melodie
- \set Staff.midiInstrument="english horn" \melodie
- \set Staff.midiInstrument="bassoon" \melodie
- \set Staff.midiInstrument="clarinet" \melodie
- \set Staff.midiInstrument="piccolo" \melodie
- \set Staff.midiInstrument="flute" \melodie
- \set Staff.midiInstrument="recorder" \melodie
- \set Staff.midiInstrument="pan flute" \melodie
- \set Staff.midiInstrument="blown bottle" \melodie
- \set Staff.midiInstrument="shakuhachi" \melodie
- \set Staff.midiInstrument="whistle" \melodie
- \set Staff.midiInstrument="ocarina" \melodie
- \set Staff.midiInstrument="lead 1 (square)" \melodie
- \set Staff.midiInstrument="lead 2 (sawtooth)" \melodie
- \set Staff.midiInstrument="lead 3 (calliope)" \melodie
- \set Staff.midiInstrument="lead 4 (chiff)" \melodie
- \set Staff.midiInstrument="lead 5 (charang)" \melodie
- \set Staff.midiInstrument="lead 6 (voice)" \melodie
- \set Staff.midiInstrument="lead 7 (fifths)" \melodie
- \set Staff.midiInstrument="lead 8 (bass+lead)" \melodie
- \set Staff.midiInstrument="pad 1 (new age)" \melodie
- \set Staff.midiInstrument="pad 2 (warm)" \melodie
- \set Staff.midiInstrument="pad 3 (polysynth)" \melodie
- \set Staff.midiInstrument="pad 4 (choir)" \melodie
- \set Staff.midiInstrument="pad 5 (bowed)" \melodie
- \set Staff.midiInstrument="pad 6 (metallic)" \melodie
- \set Staff.midiInstrument="pad 7 (halo)" \melodie
- \set Staff.midiInstrument="pad 8 (sweep)" \melodie
- \set Staff.midiInstrument="fx 1 (rain)" \melodie
- \set Staff.midiInstrument="fx 2 (soundtrack)" \melodie
- \set Staff.midiInstrument="fx 3 (crystal)" \melodie
- \set Staff.midiInstrument="fx 4 (atmosphere)" \melodie
- \set Staff.midiInstrument="fx 5 (brightness)" \melodie
- \set Staff.midiInstrument="fx 6 (goblins)" \melodie
- \set Staff.midiInstrument="fx 7 (echoes)" \melodie
- \set Staff.midiInstrument="fx 8 (sci-fi)" \melodie
- \set Staff.midiInstrument="sitar" \melodie
- \set Staff.midiInstrument="banjo" \melodie
- \set Staff.midiInstrument="shamisen" \melodie
- \set Staff.midiInstrument="koto" \melodie
- \set Staff.midiInstrument="kalimba" \melodie
- \set Staff.midiInstrument="bagpipe" \melodie
- \set Staff.midiInstrument="fiddle" \melodie
- \set Staff.midiInstrument="shanai" \melodie
- \set Staff.midiInstrument="tinkle bell" \melodie
- \set Staff.midiInstrument="agogo" \melodie
- \set Staff.midiInstrument="steel drums" \melodie
- \set Staff.midiInstrument="woodblock" \melodie
- \set Staff.midiInstrument="taiko drum" \melodie
- \set Staff.midiInstrument="melodic tom" \melodie
- \set Staff.midiInstrument="synth drum" \melodie
- \set Staff.midiInstrument="reverse cymbal" \melodie
- \set Staff.midiInstrument="guitar fret noise" \melodie
- \set Staff.midiInstrument="breath noise" \melodie
- \set Staff.midiInstrument="seashore" \melodie
- \set Staff.midiInstrument="bird tweet" \melodie
- \set Staff.midiInstrument="telephone ring" \melodie
- \set Staff.midiInstrument="helicopter" \melodie
- \set Staff.midiInstrument="applause" \melodie
- \set Staff.midiInstrument="gunshot" \melodie
- } %Voice
- >> %Staff
- \midi { }
+ \new Staff <<
+ \tempo 4 = 180
+ %\set Staff.instrumentName="S/A"
+ %\set Staff.midiMinimumVolume = #0.2
+ %\set Staff.midiMaximumVolume = #0.4
+ %\set Voice.dynamicAbsoluteVolumeFunction = #0.6
+ \new Voice { r \mf
+ \set Staff.midiInstrument="acoustic grand" \melodie
+ \set Staff.midiInstrument="bright acoustic" \melodie
+ \set Staff.midiInstrument="electric grand" \melodie
+ \set Staff.midiInstrument="honky-tonk" \melodie
+ \set Staff.midiInstrument="electric piano 1" \melodie
+ \set Staff.midiInstrument="electric piano 2" \melodie
+ \set Staff.midiInstrument="harpsichord" \melodie
+ \set Staff.midiInstrument="clav" \melodie
+ \set Staff.midiInstrument="celesta" \melodie
+ \set Staff.midiInstrument="glockenspiel" \melodie
+ \set Staff.midiInstrument="music box" \melodie
+ \set Staff.midiInstrument="vibraphone" \melodie
+ \set Staff.midiInstrument="marimba" \melodie
+ \set Staff.midiInstrument="xylophone" \melodie
+ \set Staff.midiInstrument="tubular bells" \melodie
+ \set Staff.midiInstrument="dulcimer" \melodie
+ \set Staff.midiInstrument="drawbar organ" \melodie
+ \set Staff.midiInstrument="percussive organ" \melodie
+ \set Staff.midiInstrument="rock organ" \melodie
+ \set Staff.midiInstrument="church organ" \melodie
+ \set Staff.midiInstrument="reed organ" \melodie
+ \set Staff.midiInstrument="accordion" \melodie
+ \set Staff.midiInstrument="harmonica" \melodie
+ \set Staff.midiInstrument="concertina" \melodie
+ \set Staff.midiInstrument="acoustic guitar (nylon)" \melodie
+ \set Staff.midiInstrument="acoustic guitar (steel)" \melodie
+ \set Staff.midiInstrument="electric guitar (jazz)" \melodie
+ \set Staff.midiInstrument="electric guitar (clean)" \melodie
+ \set Staff.midiInstrument="electric guitar (muted)" \melodie
+ \set Staff.midiInstrument="overdriven guitar" \melodie
+ \set Staff.midiInstrument="distorted guitar" \melodie
+ \set Staff.midiInstrument="acoustic bass" \melodie
+ \set Staff.midiInstrument="electric bass (finger)" \melodie
+ \set Staff.midiInstrument="electric bass (pick)" \melodie
+ \set Staff.midiInstrument="fretless bass" \melodie
+ \set Staff.midiInstrument="slap bass 1" \melodie
+ \set Staff.midiInstrument="slap bass 2" \melodie
+ \set Staff.midiInstrument="synth bass 1" \melodie
+ \set Staff.midiInstrument="synth bass 2" \melodie
+ \set Staff.midiInstrument="violin" \melodie
+ \set Staff.midiInstrument="viola" \melodie
+ \set Staff.midiInstrument="cello" \melodie
+ \set Staff.midiInstrument="contrabass" \melodie
+ \set Staff.midiInstrument="tremolo strings" \melodie
+ \set Staff.midiInstrument="pizzicato strings" \melodie
+ \set Staff.midiInstrument="orchestral strings" \melodie
+ \set Staff.midiInstrument="timpani" \melodie
+ \set Staff.midiInstrument="string ensemble 1" \melodie
+ \set Staff.midiInstrument="string ensemble 2" \melodie
+ \set Staff.midiInstrument="synthstrings 1" \melodie
+ \set Staff.midiInstrument="synthstrings 2" \melodie
+ \set Staff.midiInstrument="choir aahs" \melodie
+ \set Staff.midiInstrument="voice oohs" \melodie
+ \set Staff.midiInstrument="synth voice" \melodie
+ \set Staff.midiInstrument="orchestra hit" \melodie
+ \set Staff.midiInstrument="trumpet" \melodie
+ \set Staff.midiInstrument="trombone" \melodie
+ \set Staff.midiInstrument="tuba" \melodie
+ \set Staff.midiInstrument="muted trumpet" \melodie
+ \set Staff.midiInstrument="french horn" \melodie
+ \set Staff.midiInstrument="brass section" \melodie
+ \set Staff.midiInstrument="synthbrass 1" \melodie
+ \set Staff.midiInstrument="synthbrass 2" \melodie
+ \set Staff.midiInstrument="soprano sax" \melodie
+ \set Staff.midiInstrument="alto sax" \melodie
+ \set Staff.midiInstrument="tenor sax" \melodie
+ \set Staff.midiInstrument="baritone sax" \melodie
+ \set Staff.midiInstrument="oboe" \melodie
+ \set Staff.midiInstrument="english horn" \melodie
+ \set Staff.midiInstrument="bassoon" \melodie
+ \set Staff.midiInstrument="clarinet" \melodie
+ \set Staff.midiInstrument="piccolo" \melodie
+ \set Staff.midiInstrument="flute" \melodie
+ \set Staff.midiInstrument="recorder" \melodie
+ \set Staff.midiInstrument="pan flute" \melodie
+ \set Staff.midiInstrument="blown bottle" \melodie
+ \set Staff.midiInstrument="shakuhachi" \melodie
+ \set Staff.midiInstrument="whistle" \melodie
+ \set Staff.midiInstrument="ocarina" \melodie
+ \set Staff.midiInstrument="lead 1 (square)" \melodie
+ \set Staff.midiInstrument="lead 2 (sawtooth)" \melodie
+ \set Staff.midiInstrument="lead 3 (calliope)" \melodie
+ \set Staff.midiInstrument="lead 4 (chiff)" \melodie
+ \set Staff.midiInstrument="lead 5 (charang)" \melodie
+ \set Staff.midiInstrument="lead 6 (voice)" \melodie
+ \set Staff.midiInstrument="lead 7 (fifths)" \melodie
+ \set Staff.midiInstrument="lead 8 (bass+lead)" \melodie
+ \set Staff.midiInstrument="pad 1 (new age)" \melodie
+ \set Staff.midiInstrument="pad 2 (warm)" \melodie
+ \set Staff.midiInstrument="pad 3 (polysynth)" \melodie
+ \set Staff.midiInstrument="pad 4 (choir)" \melodie
+ \set Staff.midiInstrument="pad 5 (bowed)" \melodie
+ \set Staff.midiInstrument="pad 6 (metallic)" \melodie
+ \set Staff.midiInstrument="pad 7 (halo)" \melodie
+ \set Staff.midiInstrument="pad 8 (sweep)" \melodie
+ \set Staff.midiInstrument="fx 1 (rain)" \melodie
+ \set Staff.midiInstrument="fx 2 (soundtrack)" \melodie
+ \set Staff.midiInstrument="fx 3 (crystal)" \melodie
+ \set Staff.midiInstrument="fx 4 (atmosphere)" \melodie
+ \set Staff.midiInstrument="fx 5 (brightness)" \melodie
+ \set Staff.midiInstrument="fx 6 (goblins)" \melodie
+ \set Staff.midiInstrument="fx 7 (echoes)" \melodie
+ \set Staff.midiInstrument="fx 8 (sci-fi)" \melodie
+ \set Staff.midiInstrument="sitar" \melodie
+ \set Staff.midiInstrument="banjo" \melodie
+ \set Staff.midiInstrument="shamisen" \melodie
+ \set Staff.midiInstrument="koto" \melodie
+ \set Staff.midiInstrument="kalimba" \melodie
+ \set Staff.midiInstrument="bagpipe" \melodie
+ \set Staff.midiInstrument="fiddle" \melodie
+ \set Staff.midiInstrument="shanai" \melodie
+ \set Staff.midiInstrument="tinkle bell" \melodie
+ \set Staff.midiInstrument="agogo" \melodie
+ \set Staff.midiInstrument="steel drums" \melodie
+ \set Staff.midiInstrument="woodblock" \melodie
+ \set Staff.midiInstrument="taiko drum" \melodie
+ \set Staff.midiInstrument="melodic tom" \melodie
+ \set Staff.midiInstrument="synth drum" \melodie
+ \set Staff.midiInstrument="reverse cymbal" \melodie
+ \set Staff.midiInstrument="guitar fret noise" \melodie
+ \set Staff.midiInstrument="breath noise" \melodie
+ \set Staff.midiInstrument="seashore" \melodie
+ \set Staff.midiInstrument="bird tweet" \melodie
+ \set Staff.midiInstrument="telephone ring" \melodie
+ \set Staff.midiInstrument="helicopter" \melodie
+ \set Staff.midiInstrument="applause" \melodie
+ \set Staff.midiInstrument="gunshot" \melodie
+ } %Voice
+ >> %Staff
+ \midi { }
} %score
-creating-blank-staves.ly
applying-noteheads-styles-depending-on-the-step-of-the-scale.ly
+creating-blank-staves.ly
changing-the-appearance-of-a-slur-from-solid-to-dotted-or-dashed.ly
coloring-objects.ly
inserting-score-fragments-above-the-staff,-as-markups.ly
three-sided-box.ly
clefs-commonly-tweaked-properties.ly
blanking-staff-lines-using-the--whiteout-command.ly
+forcing-rehearsal-marks-to-start-from-a-given-letter-or-number.ly
+formatting-lyrics-syllables.ly
changing-an-individual-notes-size-in-a-chord.ly
combining-dynamics-with-markup-texts.ly
-glissando-contempary.ly
-breathing-sign.ly
+creating-text-spanners.ly
+adding-beams,-slurs,-ties-etc.-when-using-tuplet-and-non-tuplet-rythms..ly
changing-the-appearance-of-a-slur-from-solid-to-dotted-or-dashed.ly
caesura-railtracks-with-fermata.ly
-adding-beams,-slurs,-ties-etc.-when-using-tuplet-and-non-tuplet-rythms..ly
+breathing-sign.ly
center-text-below-hairpin-dynamics.ly
+contemporary-glissando.ly
adding-parentheses-around-an-expressive-mark.ly
line-arrows.ly
changing--flageolet-mark-size.ly
piano-template-with-centered-dynamics.ly
-creating-text-spanners.ly
broken-crescendo-hairpin.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.
+%% Tags: rhythms, editorial-and-educational-use
+\version "2.11.35"
+
+\header { texidoc = "
+This snippet demonstrates how to obtain automatic ordered rehearsal
+marks, but from the letter or number you want.
+" }
+% begin verbatim
+\relative c''{
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark #14
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark \default
+
+\break
+
+ \set Score.markFormatter = #format-mark-numbers
+ c1 \mark #1
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark #14
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark \default
+}
--- /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.
+%% Tags: editorial-and-educational-use, text, vocal-music
+\version "2.11.35"
+
+\header { texidoc = "
+To format single lyrics syllables, you can simply use \\markup @{ ....
+@} on these lyrics!
+" }
+% begin verbatim
+% Tip taken from http://lists.gnu.org/archive/html/lilypond-user/2007-12/msg00215.html
+\header {
+ title = "Markup can be used inside lyrics!"
+}
+% begin verbatim
+melody = \relative c'' { c4 c c c }
+lyr = \lyricmode {
+ Lyrics \markup { \italic can } \markup {\with-color #red contain }
+ \markup {\fontsize #8 \bold "Markup!" }
+}
+
+\context Staff <<
+ \context Voice = "mel" << \melody >>
+ \context Lyrics \lyricsto "mel" \lyr
+>>
+
+++ /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.
-%% Tags: pitches, expressive-marks
-\version "2.11.35"
-
-\header { texidoc = "
-Use a glissando without final note. Contemporary glissando !
-" }
-% begin verbatim
-\relative c'' {
- \override Glissando #'style = #'zigzag
- \time 3/4
- c4 c
- \cadenzaOn c\glissando \hideNotes c,, \unHideNotes \cadenzaOff
- \bar "|"
- }
-
-\addlyrics { Use cadenzaOn glissando hideNotes }
-\addlyrics { unHideNotes cadenzaOff, skip_and_\bar \skip 4 }
-\layout{raggedright = ##t}
-\header { tagline="" }
-% begin verbatim
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-%% Tags: pitches, piano-music, percussion, guitar, template
+%% Tags: piano-music, percussion, guitar, template
\version "2.11.35"
\header { texidoc = "
--- /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.
+%% Tags: rhythms, tweaks-and-overrides
+\version "2.11.35"
+
+\header { texidoc = "
+Beam positions may be controlled manually, by overriding the
+@code{positions} setting of the @code{Beam} grob.
+
+
+
+" }
+% begin verbatim
+\score {
+ \context Voice \relative c {
+ %% from upper staffline (position 4) to centre (position 0)
+ \override Beam #'positions = #'(2 . 0)
+ c'8[ c]
+
+ %% from center to one above centre (position 2)
+ \override Beam #'positions = #'(0 . 1)
+ c[ c]
+ }
+
+}
+
+
\version "2.11.35"
\header { texidoc = "
-The commonly used @code{\\key} command sets the context property
-Staff.keySignature. However, non-standard key signatures can be
-specified by setting this property directly. The format of this command
-is a list: @code{ \\set Staff.keySignature =
- #'((octave . step) . alter) } where, for each element in the list,
-octave specifies the octave (0 being the octave from middle C to the B
-above), step specifies the note within the octave (0 means C and 6
-means B), and alter is ,SHARP ,FLAT ,DOUBLE-SHARP etc. (Note the
-leading comma.) Here is an example of a possible key signature for
-generating a whole-tone scale:
+The commonly used @code{\\key} command sets the @code{keySignature}
+property, in the @code{Staff} context. However, non-standard key
+signatures can be specified by setting this property directly. The
+format of this command is a list: @code{ \\set Staff.keySignature =
+#'(((octave . step) . alter) ((octave . step) . alter) ...) } where,
+for each element in the list, octave specifies the octave (0 being the
+octave from middle C to the B above), step specifies the note within
+the octave (0 means C and 6 means B), and alter is ,SHARP ,FLAT
+,DOUBLE-SHARP etc. (Note the leading comma.)
+However, for each item in the list, you can also use the alternative
+format (step . alter), which specifies that the same alteration should
+hold in all octaves.
+
+Here is an example of a possible key signature for generating a
+whole-tone scale:
" }
% begin verbatim
\relative c' {
" }
% begin verbatim
upper = \relative c'' {
- \clef treble
- \key c \major
- \time 4/4
-
- a b c d
- }
-
- lower = \relative c {
- \clef bass
- \key c \major
- \time 4/4
-
- a2 c
- }
-
- dynamics = {
- s2\fff\> s4
- s\!\pp
- }
-
- pedal = {
- s2\sustainDown s2\sustainUp
- }
-
- \score {
- \new PianoStaff <<
- \new Staff = "upper" \upper
- \new Dynamics = "dynamics" \dynamics
- \new Staff = "lower" <<
- \clef bass
- \lower
- >>
- \new Dynamics = "pedal" \pedal
- >>
- \layout {
- \context {
- \type "Engraver_group"
- \name Dynamics
- \alias Voice % So that \cresc works, for example.
- \consists "Output_property_engraver"
-
- \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
- \override DynamicLineSpanner #'Y-offset = #0
- pedalSustainStrings = #'("Ped." "*Ped." "*")
- pedalUnaCordaStrings = #'("una corda" "" "tre corde")
-
- \consists "Piano_pedal_engraver"
- \consists "Script_engraver"
- \consists "Dynamic_engraver"
- \consists "Text_engraver"
-
- \override TextScript #'font-size = #2
- \override TextScript #'font-shape = #'italic
-
- \consists "Skip_event_swallow_translator"
-
- \consists "Axis_group_engraver"
- }
- \context {
- \PianoStaff
- \accepts Dynamics
- }
- }
- }
- \score {
- \new PianoStaff <<
- \new Staff = "upper" << \upper \dynamics >>
- \new Staff = "lower" << \lower \dynamics >>
- \new Dynamics = "pedal" \pedal
- >>
- \midi {
- \context {
- \type "Performer_group"
- \name Dynamics
- \consists "Piano_pedal_performer"
- }
- \context {
- \PianoStaff
- \accepts Dynamics
- }
- }
- }
+ \clef treble
+ \key c \major
+ \time 4/4
+
+ a b c d
+}
+lower = \relative c {
+ \clef bass
+ \key c \major
+ \time 4/4
+
+ a2 c
+}
+
+dynamics = {
+ s2\fff\> s4
+ s\!\pp
+}
+
+pedal = {
+ s2\sustainDown s2\sustainUp
+}
+
+\score {
+ \new PianoStaff <<
+ \new Staff = "upper" \upper
+ \new Dynamics = "dynamics" \dynamics
+ \new Staff = "lower" <<
+ \clef bass
+ \lower
+ >>
+ \new Dynamics = "pedal" \pedal
+ >>
+ \layout {
+ \context {
+ \type "Engraver_group"
+ \name Dynamics
+ \alias Voice % So that \cresc works, for example.
+ \consists "Output_property_engraver"
+
+ \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
+ \override DynamicLineSpanner #'Y-offset = #0
+ pedalSustainStrings = #'("Ped." "*Ped." "*")
+ pedalUnaCordaStrings = #'("una corda" "" "tre corde")
+
+ \consists "Piano_pedal_engraver"
+ \consists "Script_engraver"
+ \consists "Dynamic_engraver"
+ \consists "Text_engraver"
+
+ \override TextScript #'font-size = #2
+ \override TextScript #'font-shape = #'italic
+
+ \consists "Skip_event_swallow_translator"
+
+ \consists "Axis_group_engraver"
+ }
+ \context {
+ \PianoStaff
+ \accepts Dynamics
+ }
+ }
+}
+\score {
+ \new PianoStaff <<
+ \new Staff = "upper" << \upper \dynamics >>
+ \new Staff = "lower" << \lower \dynamics >>
+ \new Dynamics = "pedal" \pedal
+ >>
+ \midi {
+ \context {
+ \type "Performer_group"
+ \name Dynamics
+ \consists "Piano_pedal_performer"
+ }
+ \context {
+ \PianoStaff
+ \accepts Dynamics
+ }
+ }
+}
applying-noteheads-styles-depending-on-the-step-of-the-scale.ly
-glissando-contempary.ly
-ambiti-multiple-voices.ly
-makam.ly
+creating-a-sequence-of-notes-on-various-pitches.ly
transposing-pitches-with-minimum-accidentals-smart-transpose.ly
-jazz-combo-template.ly
+makam.ly
preventing-extra-naturals-from-being-automatically-added.ly
generating-random-notes.ly
quoting-another-voice-with-transposition.ly
dodecaphonic-style-accidentals-for-each-note-including-naturals.ly
preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly
creating-music-with-scheme-music-box.ly
-creating-a-sequence-of-notes-on-various-pitches.ly
+ambiti-multiple-voices.ly
non-traditional-key-signatures.ly
" }
% begin verbatim
\relative {
-aeses'4 aes ais a
-\set Staff.extraNatural = ##f
-aeses4 aes ais a
+ aeses'4 aes ais a
+ \set Staff.extraNatural = ##f
+ aeses4 aes ais a
}
% begin verbatim
% Macro to print single slash
rs = {
-\once \override Rest #'stencil = #ly:percent-repeat-item-interface::beat-slash
-\once \override Rest #'thickness = #'0.48
-\once \override Rest #'slope = #'1.7
-r4
+ \once \override Rest #'stencil = #ly:percent-repeat-item-interface::beat-slash
+ \once \override Rest #'thickness = #'0.48
+ \once \override Rest #'slope = #'1.7
+ r4
}
% Function to print a specified number of slashes
comp = #(define-music-function (parser location count) ( integer?)
-#{
-\override Rest #'stencil = #ly:percent-repeat-item-interface::beat-slash
-\override Rest #'thickness = #'0.48
-\override Rest #'slope = #'1.7
-\repeat unfold $count { r4 }
-\revert Rest #'stencil
-#})
+ #{
+ \override Rest #'stencil = #ly:percent-repeat-item-interface::beat-slash
+ \override Rest #'thickness = #'0.48
+ \override Rest #'slope = #'1.7
+ \repeat unfold $count { r4 }
+ \revert Rest #'stencil
+ #}
+)
\score{
-\relative c'{
- c d e f | \rs \rs \rs \rs | \comp #4 |
-}
+ \relative c'{
+ c d e f | \rs \rs \rs \rs | \comp #4 |
+ }
}
altering-the-number-of-stems-in-a-beam.ly
-chant-or-psalms-notation.ly
-heavily-customized-polymetric-time-signatures.ly
+adding-beams,-slurs,-ties-etc.-when-using-tuplet-and-non-tuplet-rythms..ly
conducting-signs,-measure-grouping-signs.ly
-skips-in-lyric-mode-2.ly
+heavily-customized-polymetric-time-signatures.ly
rhythmic-slashes.ly
-adding-beams,-slurs,-ties-etc.-when-using-tuplet-and-non-tuplet-rythms..ly
+skips-in-lyric-mode-2.ly
+manually-controlling-beam-positions.ly
+chant-or-psalms-notation.ly
changing-time-signatures-inside-a-polymetric-section-using--compressmusic.ly
automatic-beams-two-per-two-in-4-4-or-2-2-time-signature.ly
making-an-object-invisible-with-the-transparent-property.ly
automatic-beam-subdivisions.ly
+forcing-rehearsal-marks-to-start-from-a-given-letter-or-number.ly
controlling-tuplet-bracket-visibility.ly
beam-across-line-breaks.ly
-compound-time-signatures.ly
+skips-in-lyric-mode.ly
adding-drum-parts.ly
rest-styles.ly
-skips-in-lyric-mode.ly
+compound-time-signatures.ly
alignment-vertical-spacing.ly
vertically-aligning-ossias-and-lyrics.ly
page-label.ly
-adjusting-lyrics-vertical-spacing.ly
proportional-strict-notespacing.ly
+adjusting-lyrics-vertical-spacing.ly
creating-blank-staves.ly
+time-signature-in-parentheses.ly
adding-and-extra-staff-at-a-line-break.ly
changing-the-number-of-lines-in-a-staff.ly
-time-signature-in-parentheses.ly
+inserting-score-fragments-above-the-staff,-as-markups.ly
adding-an-extra-staff.ly
changing-the-staff-size.ly
quoting-another-voice-with-transposition.ly
clefs-commonly-tweaked-properties.ly
quoting-another-voice.ly
volta-multi-staff.ly
-inserting-score-fragments-above-the-staff,-as-markups.ly
non-traditional-key-signatures.ly
piano-template-with-centered-dynamics.ly
single-staff-template-with-notes-and-lyrics.ly
single-staff-template-with-only-notes.ly
-piano-template-with-centered-lyrics.ly
+jazz-combo-template.ly
score-for-diatonic-accordion.ly
piano-template-simple.ly
-string-quartet-template-with-separate-parts.ly
-ancient-notation-template----modern-transcription-of-gregorian-music.ly
ancient-notation-template----modern-transcription-of-mensural-music.ly
-piano-template-with-melody-and-lyrics.ly
+ancient-notation-template----modern-transcription-of-gregorian-music.ly
+single-staff-template-with-notes-and-chords.ly
string-quartet-template-simple.ly
single-staff-template-with-notes,-lyrics,-and-chords.ly
-single-staff-template-with-notes-and-chords.ly
-vocal-ensemble-template-with-lyrics-aligned-below-and-above-the-staves.ly
-jazz-combo-template.ly
+piano-template-with-melody-and-lyrics.ly
+string-quartet-template-with-separate-parts.ly
vocal-ensemble-template.ly
+vocal-ensemble-template-with-lyrics-aligned-below-and-above-the-staves.ly
+piano-template-with-centered-lyrics.ly
vocal-ensemble-template-with-automatic-piano-reduction.ly
piano-template-with-centered-lyrics.ly
demonstrating-all-headers.ly
changing-the-default-text-font-family.ly
-how-to-put-ties-between-syllables-in-lyrics.ly
+combining-two-parts-on-the-same-staff.ly
aligning-and-centering-instrument-names.ly
utf-8.ly
outputting-the-version-number.ly
blanking-staff-lines-using-the--whiteout-command.ly
-combining-two-parts-on-the-same-staff.ly
+formatting-lyrics-syllables.ly
+how-to-put-ties-between-syllables-in-lyrics.ly
markup-lines.ly
adjusting-lyrics-vertical-spacing.ly
aligning-lyrics.ly
making-an-object-invisible-with-the-transparent-property.ly
transcription-of-ancient-music-with-incipit.ly
alignment-vertical-spacing.ly
+manually-controlling-beam-positions.ly
custodes.ly
drawing-boxes-around-grobs.ly
move-specific-text.ly
chant-or-psalms-notation.ly
single-staff-template-with-notes-and-lyrics.ly
skips-in-lyric-mode-2.ly
+skips-in-lyric-mode.ly
vocal-ensemble-template-with-automatic-piano-reduction.ly
vocal-ensemble-template-with-lyrics-aligned-below-and-above-the-staves.ly
how-to-put-ties-between-syllables-in-lyrics.ly
adding-ambiti-per-voice.ly
-piano-template-with-melody-and-lyrics.ly
-single-staff-template-with-notes,-lyrics,-and-chords.ly
-demo-midiinstruments.ly
vertically-aligning-ossias-and-lyrics.ly
+single-staff-template-with-notes,-lyrics,-and-chords.ly
+formatting-lyrics-syllables.ly
+piano-template-with-melody-and-lyrics.ly
aligning-lyrics.ly
vocal-ensemble-template.ly
adjusting-lyrics-vertical-spacing.ly
-skips-in-lyric-mode.ly
+demo-midiinstruments.ly
(ly:output-def-lookup layout 'line-thickness)
(chain-assoc-get 'thickness props 1)))
(markup (interpret-markup layout props arg))
- (x (cdr (ly:stencil-extent markup X)))
+ (x1 (car (ly:stencil-extent markup X)))
+ (x2 (cdr (ly:stencil-extent markup X)))
(y (* thick -2))
(line (ly:make-stencil
- `(draw-line ,thick 0 ,y ,x ,y)
- (cons (min x 0) (max x 0))
+ `(draw-line ,thick ,x1 ,y ,x2 ,y)
+ (cons (min x1 0) (max x2 0))
(cons thick thick))))
(ly:stencil-add markup line)))
projects / lilypond.git / commitdiff