@cindex pitches
@cindex entering notes
-The commonest syntax for pitch entry is used in @code{\chords} and
+The most common syntax for pitch entry is used in @code{\chords} and
@code{\notes} mode. In Note and Chord mode, pitches may be designated
by names. The notes are specified by the letters @code{a} through
@code{g}, while the octave is formed with notes ranging from @code{c}
e' ~ e' <<c' e' g'>> ~ <<c' e' g'>>
@end lilypond
-When a tie is applied to a chord, all note heads (whose pitches match) are
-connected. If you try to tie together chords that have no common pitches,
-no ties will be created.
+When a tie is applied to a chord, all note heads whose pitches match
+are connected. When no note heads match, no ties will be created.
In its meaning a tie is just a way of extending a note duration, similar
to the augmentation dot: the following example are two ways of notating
Switching staves when a tie is active, will produce a horizontal tie
on the first note.
-
-Formatting of ties is a difficult subject. LilyPond often does not
-give optimal results.
+Formatting of ties is a difficult subject. The results are often not
+optimal results.
@subsection Automatic note splitting
@c FIXME: This subsection does not belong in @ref{Note entry}.
-LilyPond can automatically converting long notes to tied notes. This
-is done by replacing the @internalsref{Note_heads_engraver} by the
-@internalsref{Completion_heads_engraver}.
+Long notes can be converted automatically to tied notes. This is done
+by replacing the @internalsref{Note_heads_engraver} by the
+@internalsref{Completion_heads_engraver}.
+
+@example
+ \paper @{ \translator @{
+ \ThreadContext
+ \remove "Note_heads_engraver"
+ \consists "Completion_heads_engraver"
+ @} @}
+@end example
+
+For example,
+@example[relative 0]
+ \time 2/4
+ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
+@end example
-@lilypond[verbatim,noindent]
+@lilypond[noindent]
\score{
- \notes\relative c'{ \time 2/4
+ \notes\relative c'{
+ \time 2/4
c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
}
- \paper{ \translator{
+ \paper { \translator {
\ThreadContext
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
- } } }
+ } }
+ }
@end lilypond
This engraver splits all running notes at the bar line, and inserts
The property @code{tupletSpannerDuration} specifies how long each bracket
should last. With this, you can make lots of tuplets while typing
-@code{\times} only once, saving you lots of typing.
+@code{\times} only once, saving lots of typing.
@lilypond[fragment, relative, singleline, verbatim]
\property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
The format of the number is determined by the property
@code{tupletNumberFormatFunction}. The default prints only the
-denominator, but if you set it to the Scheme function
-@code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
+denominator, but if it is set to the Scheme function
+@code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
instead.
@cindex @code{tupletNumberFormatFunction}
@cindex tuplet formatting
-See also @seeinternals{TupletBracket}.
+@seealso
+
+@seeinternals{TupletBracket}, @seeinternals{TimeScaledMusic}.
@refbugs
@cindex easy notation
@cindex Hal Leonard
-The "easyplay" note head includes a note name inside the head. It is
+The `easyplay' note head includes a note name inside the head. It is
used in music aimed at beginners.
@lilypond[singleline,verbatim,26pt]
* Skipping corrected music::
@end menu
-When entering music with LilyPond, it is easy to introduce
-errors. This section deals with tricks and features that help you
-enter music, and find and correct mistakes. It is also possible to
-use external programs to enter or edit music. Refer to the website for
-more information.
+When entering music it is easy to introduce errors. This section deals
+with tricks and features that help entering music, and find and
+correct mistakes. It is also possible to use external programs, for
+example GUI interfaces, or MIDI transcription programs, to enter or
+edit music. Refer to the website for more information.
@cindex relative octave specification
Octaves are specified by adding @code{'} and @code{,} to pitch names.
-When you copy existing music, it is easy to accidentally put a pitch in
-the wrong octave and hard to find such an error. To prevent these
-errors, LilyPond features octave entry.
+When you copy existing music, it is easy to accidentally put a pitch
+in the wrong octave and hard to find such an error. The relative
+octave mode prevents these errors
@cindex @code{\relative}
@example
Whenever a bar check is encountered during interpretation, a warning
message is issued if it does not fall at a measure boundary. This can
-help you find errors in the input. Depending on the value of
+help find errors in the input. Depending on the value of
@code{barCheckSynchronize}, the beginning of the measure will be
-relocated, so this can also be used to shorten measures.
+relocated. A bar check is entered using the bar symbol, `@code{|}'.
-A bar check is entered using the bar symbol, `@code{|}'.
@example
\time 3/4 c2 e4 | g2.
@end example
The property @code{Score.skipTypesetting} can be used to switch on and
off typesetting completely during the interpretation phase. When
typesetting is switched off, the music is processed much more quickly.
-You can use this to skip over the parts of a score that you have already
-checked for errors.
+This can be used to skip over the parts of a score that have already
+been checked for errors.
@lilypond[fragment,singleline,verbatim]
\relative c'' { c8 d
@node Staff notation
@section Staff notation
-This section deals with music notation that occurs on staff level,
+This section describes with music notation that occurs on staff level,
such as keys, clefs and time signatures.
@cindex Staff notation
@cindex StaffSymbol, using \property
@cindex staff lines, setting number of
-Staff is a the general name for Notes, dynamic signs, etc. are grouped
+Notes, dynamic signs, etc. are grouped
with a set of horizontal lines, into a staff (plural `staves'). In our
system, these lines are drawn using a separate graphical object called
staff symbol.
This object is created whenever a @internalsref{Staff} context is
-created. You cannot change the appearance of the staff symbol by
+created. The appearance of the staff symbol cannot be changed by
using @code{\override} or @code{\set}. At the moment that
-@code{\property Staff} is interpreted, a Staff context is made, and
-the @internalsref{StaffSymbol} is created before any @code{\override} is
-effective. You can deal with this either overriding properties in a
+@code{\property Staff} is interpreted, a @internalsref{Staff} context
+is made, and the @internalsref{StaffSymbol} is created before any
+@code{\override} is effective. Properties can be changed in a
@code{\translator} definition, or by using @code{\outputproperty}.
@refbugs
-If you end a staff halfway a piece, the staff symbol may not end
+If a staff is ended halfway a piece, the staff symbol may not end
exactly on the barline.
@internalsref{Staff}.@code{keySignature}. Non-standard key signatures
can be specified by setting this property directly.
+@bugs
+
+The ordering of a key restoration (alterations that change back to
+natural) is wrong when combined with a repeat barline.
@seealso
-@internalsref{KeyChangeEvent}, @internalsref{KeySignature},
+@internalsref{KeyChangeEvent}, @internalsref{KeySignature}.
@cindex @code{keySignature}
@end table
By adding @code{_8} or @code{^8} to the clef name, the clef is
-transposed one octave down or up, respectively. You have to
-enclose @var{clefname} in quotes if you use underscores or digits in the
-name. For example,
+transposed one octave down or up, respectively. @var{clefname} must
+be enclosed in quotes when it contains underscores or digits. For
+example,
@example
\clef "G_8"
@end example
This command sets the property @code{timeSignatureFraction},
@code{beatLength} and @code{measureLength} in the @code{Timing}
-context, which is normally aliased to @internalsref{Score}. The property
-@code{timeSignatureFraction} determine where bar lines should be
-inserted, and how automatic beams should be generated. Changing the
-value of @code{timeSignatureFraction} also causes a time signature
+context, which is normally aliased to @internalsref{Score}. The
+property @code{timeSignatureFraction} determines where bar lines
+should be inserted, and how automatic beams should be generated.
+Changing the value of @code{timeSignatureFraction} also causes the
symbol to be printed.
More options are available through the Scheme function
@syntax
-Bar lines are inserted automatically, but if you need a special type
-of barline, you can force one using the @code{\bar} command:
+Bar lines are inserted automatically. Special types
+of barlines can be forced with the @code{\bar} command:
@lilypond[relative=1,fragment,verbatim]
c4 \bar "|:" c4
@end lilypond
The easiest way to enter fragments with more than one voice on a staff
is to split chords using the separator @code{\\}. You can use it for
-small, short-lived voices (make a chord of voices) or for single
-chords:
+small, short-lived voices or for single chords:
@lilypond[verbatim,fragment]
\context Voice = VA \relative c'' {
@end lilypond
Normally, note heads with a different number of dots are not merged, but
-if you set the object property @code{merge-differently-dotted}, they are:
+when the object property @code{merge-differently-dotted} is set in
+the @internalsref{NoteCollision} object, they are:
@lilypond[verbatim,fragment,singleline]
\relative c' \context Voice < {
g8 g8
\property Staff.NoteCollision \override
#'merge-differently-dotted = ##t
g8 g8
- } \\ { [g8. f16] [g8. f16] }
+ } \\ { g8.-[ f16-] g8.-[ f16-] }
>
@end lilypond
@refbugs
-Resolving collisions is a very intricate subject, and LilyPond only
-handles a few situations. When it cannot cope, you are advised to use
-@code{force-hshift} of the @internalsref{NoteColumn} object and pitched
-rests to override typesetting decisions.
+Resolving collisions is a intricate subject, and only a few situations
+are handled. When LilyPond cannot cope, the @code{force-hshift}
+property of the @internalsref{NoteColumn} object and pitched rests can
+be used to override typesetting decisions.
@node Beaming
@section Beaming
\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
@end lilypond
-If you are not satisfied with the automatic beaming, you can enter the
-beams explicitly. If you have beaming patterns that differ from the
-defaults, you can also set your own.
+When these automatic decisions are not good enough, beaming can be
+entered explicitly. It is also possible to define beaming patterns
+that differ from the defaults.
+
+@seealso
-See also @internalsref{Beam}.
+@internalsref{Beam}.
@cindex Automatic beams
Normally, beaming patterns within a beam are determined automatically.
When this mechanism fouls up, the properties
@code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
-be used to control the beam subdivision on a stem. If you set either
-property, its value will be used only once, and then it is erased.
+be used to control the beam subdivision on a stem. If either property
+is set, its value will be used only once, and then it is erased.
@lilypond[fragment,relative,verbatim]
\context Staff {
signature (wildcards, `@code{* *}' may be entered to designate all time
signatures).
-For example, if you want automatic beams to end on every quarter note,
-you can use the following:
+For example, if automatic beams should end on every quarter note, use
+the following:
@example
\property Voice.autoBeamSettings \override
#'(end * * * *) = #(ly:make-moment 1 4)
3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
3/8 has passed within the measure).
-You can also restrict rules to specific time signatures. A rule that
+Rules can also be restricted to specific time signatures. A rule that
should only be applied in @var{N}/@var{M} time signature is formed by
replacing the second asterisks by @var{N} and @var{M}. For example, a
rule for 6/8 time exclusively looks like
#'(begin * * 6 8) = ...
@end example
-If you want a rule to apply to certain types of beams, you can use the
-first pair of asterisks. Beams are classified according to the shortest
-note they contain. For a beam ending rule that only applies to beams
-with 32nd notes (and no shorter notes), you would use @code{(end 1
-32 * *)}.
+If a rule should be to applied only to certain types of beams, use the
+first pair of asterisks. Beams are classified according to the
+shortest note they contain. For a beam ending rule that only applies
+to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
+*)}.
If a score ends while an automatic beam has not been ended and is still
accepting notes, this last beam will not be typeset at all.
It is not possible to specify beaming parameters for beams with mixed
durations, that differ from the beaming parameters of all separate
-durations, i.e., you'll have to specify manual beams to get:
+durations, i.e., you will have to specify manual beams to get:
@lilypond[singleline,fragment,relative,noverbatim,quote]
\property Voice.autoBeamSettings
@subsection Using the predefined accidental variables
The constructs for describing the accidental typesetting rules are
-quite hairy, so non-experts should stick to the variables defined in
-@file{ly/property-init.ly}.
+quite hairy, so non-experts should stick to the variables
+defined in @file{ly/property-init.ly}.
@cindex @file{property-init.ly}
-The variables set properties in the ``Current'' context (see @ref{Context
-properties}). This means that the variables shuold normally be added
-right after the creation of the context in which the accidental
-typesetting described by the variable is to take effect. I.e. if you
-want to use piano-accidentals in a pianostaff then you issue
-@code{\pianoAccidentals} first thing after the creation of the piano
-staff:
+The variables set properties in the ``Current'' context (see
+@ref{Context properties}). This means that the variables should
+normally be added right after the creation of the context in which the
+accidental typesetting described by the variable is to take
+effect. For example, if you want to use piano-accidentals in a piano
+staff then issue @code{\pianoAccidentals} first thing after the
+creation of the piano staff:
@example
\score @{
\notes \relative c'' <
@end lilypond
@end table
-@node Defining your own accidental typesettings
-@subsection Defining your own accidental typesettings
+@node Customized accidental rules
+@subsection Customized accidental rules
This section must be considered gurus-only, and hence it must be
sufficient with a short description of the system and a reference to
They are entered using parentheses:
@lilypond[fragment,verbatim,center]
- f'-( g'-)-( a'-) [a'8 b'-(-] a'4 g'2 f'4-)
+ f'-( g'-)-( a'-) a'8-[ b'-(-] a'4 g'2 f'4-)
<<c' e'>>2-( <<b d'>>2-)
@end lilypond
@end lilypond
Typographically, the phrasing slur behaves almost exactly like a
-normal slur. Although they behave similar to normal slurs, phrasing
-slurs count as different objects. A @code{\slurUp} will have no
-effect on a phrasing slur; instead, you should use
-@code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
+normal slur. However, they are treated as different objects. A
+@code{\slurUp} will have no effect on a phrasing slur; instead, you
+should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
@code{\phrasingSlurBoth}.
The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
@inputfileref{input/regression,breathing-sign.ly}.
-@node Tempo
-@subsection Tempo
+@node Metronome marks
+@subsection Metronome marks
+
@cindex Tempo
@cindex beats per minute
@cindex metronome marking
@lilypond[]
\score { \notes \relative c''{
c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
- [c16_"(2/4,-1/8)" d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
+ c16_"(2/4,-1/8)"-[ d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
}
\paper { linewidth = 8.\cm }
}
@lilypond[fragment,verbatim]
\relative c'' \context Voice {
- \grace c8 c4 \grace { [c16 c16] } c4
+ \grace c8 c4 \grace { c16-[ c16-] } c4
\grace {
\property Voice.Stem \override #'stroke-style = #'()
c16
@lilypond[fragment,verbatim, relative=2]
\context Voice {
< { d1^\trill ( }
- { s2 \grace { [c16 d] } } >
+ { s2 \grace { c16-[ d-] } } >
)c4
}
@end lilypond
\relative c'' \context Voice {
\slurUp
\grace {
- a4 ( }
- ) a4 a4 () a2
+ a4-( }
+ ) a4 a4-( a2-)
\slurBoth
\grace {
\slurUp
- a4 ( }
- ) a4 a4 () a2
+ a4-( }
+ ) a4 a4-( a2-)
\slurBoth
-
}
@end lilypond
\context Staff <
\context Voice=one \partcombine Voice
\context Thread=one \relative c'' {
- g a () b r
+ g a-( b-) r
}
\context Thread=two \relative c'' {
g r4 r f
half a NHW:
@lilypond[fragment, verbatim, relative=2]
- c2 c4. c8 c4. [c16 c] c4. c8 c8 c8 c4 c4 c4
+ c2 c4. c8 c4. c16-[ c-] c4. c8 c8 c8 c4 c4 c4
@end lilypond
The most common shortest duration is determined as follows: in every
projects / lilypond.git / commitdiff