Some of these articulations have shorthands for easier entry.
Shorthands are appended to the note name, and their syntax
-consists of a dash (@tie{}@code{-}) followed by a symbol
-signifying the articulation. Predefined shorthands exist for
-@notation{marcato}, @notation{stopped}, @notation{tenuto},
-@notation{staccatissimo}, @notation{accent}, @notation{staccato},
-and @notation{portato}. Their corresponding output appears as
-follows:
+consists of a dash @code{-} followed by a symbol signifying the
+articulation. Predefined shorthands exist for @notation{marcato},
+@notation{stopped}, @notation{tenuto}, @notation{staccatissimo},
+@notation{accent}, @notation{staccato}, and @notation{portato}.
+Their corresponding output appears as follows:
@lilypond[verbatim,quote,relative=2]
c4-^ c-+ c-- c-|
-c4-> c-. c-_
+c4-> c-. c2-_
@end lilypond
The rules for the default placement of articulations are defined
@rinternals{TextScript}.
-@knownissues
-
-These signs appear in the printed output but have no effect on the
-MIDI rendering of the music.
-
-
@node Dynamics
@unnumberedsubsubsec Dynamics
c2-\bendAfter #-8
@end lilypond
-The dash (@tie{-}) immediately preceding the @code{\bendAfter}
+The dash @code{-} immediately preceding the @code{\bendAfter}
command is @emph{required} when writing falls and doits.
<c e g c>1\arpeggio
@end lilypond
-The direction of an arpeggio is indicated by adding an arrowhead
-to the wiggly line. The commands @code{\arpeggioArrowUp} and
-@code{\arpeggioArrowDown} are used for this task.
-@code{\arpeggioNormal} reverts back to an arrow-less arpeggio:
+Different types of arpeggios may be written.
+@code{\arpeggioNormal} reverts to a normal arpeggio:
@lilypond[verbatim,quote,relative=1]
+<c e g c>2\arpeggio
\arpeggioArrowUp
<c e g c>2\arpeggio
\arpeggioArrowDown
<c e g c>2\arpeggio
\arpeggioNormal
-<c e g c>1\arpeggio
+<c e g c>2\arpeggio
@end lilypond
-The command @code{\arpeggioBracket} can be used to create a square
-bracket on the left of a chord, indicating that the chord should
-@emph{not} be arpeggiated. @code{\arpeggioNormal} reverts back
-to a regular arpeggio:
+Special @emph{bracketed} arpeggio symbols can be created:
@lilypond[verbatim,quote,relative=1]
<c e g c>2
\arpeggioBracket
<c e g c>2\arpeggio
-\arpeggioNormal
-<c e g c>1\arpeggio
-@end lilypond
-
-A @emph{parenthesis} style bracket may be attached to a chord
-construct instead of a square bracket.
-
-@lilypond[verbatim,quote,relative=1]
-<c e g c>2
\arpeggioParenthesis
<c e g c>2\arpeggio
\arpeggioNormal
-<c e g c>1\arpeggio
+<c e g c>2\arpeggio
@end lilypond
Arpeggios can be explicitly written out with ties. For more
@lilypond[verbatim,quote,relative=2]
c1 \afterGrace
-d1\startTrillSpan { c16[\stopTrillSpan d] }
-c4
+d1\startTrillSpan { c32[ d]\stopTrillSpan }
+e2 r2
@end lilypond
@cindex pitched trills
@end lilypond
LilyPond comes with predefined string tunings for banjo, mandolin,
-guitar and bass guitar.
+guitar and bass guitar. Lilypond automatically sets the correct
+transposition for predefined tunings. The following example is
+for bass guitar, which sounds an octave lower than written.
-@example
-\set TabStaff.stringTunings = #bass-tuning
-@end example
+@lilypond[quote,ragged-right,verbatim]
+<<
+ \new Staff <<
+ \clef "bass_8"
+ \relative c, {
+ c4 d e f
+ }
+ >>
+ \new TabStaff <<
+ \set TabStaff.stringTunings = #bass-tuning
+ \relative c, {
+ c4 d e f
+ }
+ >>
+>>
+@end lilypond
The default string tuning is @code{guitar-tuning} (the standard
EADGBE tuning). Some other predefined tunings are
before the closing @code{>}.}
@lilypond[quote,verbatim,relative=0]
-{
- \clef "treble_8"
- <c-\rightHandFinger #1 >4
- <e-\rightHandFinger #2 >
- <g-\rightHandFinger #3 >
- <c-\rightHandFinger #4 >
- <c,-\rightHandFinger #1 e-\rightHandFinger #2 g-\rightHandFinger #3 c-\rightHandFinger #4 >1
-}
+\clef "treble_8"
+<c-\rightHandFinger #1 >4
+<e-\rightHandFinger #2 >
+<g-\rightHandFinger #3 >
+<c-\rightHandFinger #4 >
+<c,-\rightHandFinger #1 e-\rightHandFinger #2 g-\rightHandFinger #3 c-\rightHandFinger #4 >1
@end lilypond
For convenience, you can abbreviate @code{\rightHandFinger} to something
You may exercise greater control over the placement of right-hand
fingerings by setting @code{strokeFingerOrientations},
-@lilypond[quote,verbatim,ragged-right,fragment,relative=0]
+@lilypond[quote,verbatim]
#(define RH rightHandFinger)
-{
+\relative c {
\clef "treble_8"
\set strokeFingerOrientations = #'(up down)
<c-\RH #1 e-\RH #2 g-\RH #3 c-\RH #4 > 4
This example combines left-hand fingering, string indication, and
right-hand fingering
-@lilypond[quote,ragged-right,fragment,verbatim,relative=0]
+@lilypond[quote,verbatim]
#(define RH rightHandFinger)
-{
+\relative c {
\clef "treble_8"
<c-3\5-\RH #1 >4
<e-2\4-\RH #2 >
+
@c \version "2.11.51"
+
@node Simultaneous notes
@section Simultaneous notes
than one voice on the same staff.
@menu
-* Single voice::
-* Multiple voices::
+* Single voice::
+* Multiple voices::
@end menu
This section discusses simultaneous notes inside the same voice.
@menu
-* Chorded notes::
-* Clusters::
+* Chorded notes::
+* Clusters::
@end menu
+
@node Chorded notes
@unnumberedsubsubsec Chorded notes
@code{<g a>8 <e a>8}.
@end ignore
+
@node Clusters
@unnumberedsubsubsec Clusters
themselves. Separate clusters would need a separating rest between
them.
+
@node Multiple voices
@subsection Multiple voices
multiple staves.
@menu
-* Single-staff polyphony::
-* Voice styles::
-* Collision resolution::
-* Automatic part combining::
-* Writing music in parallel::
+* Single-staff polyphony::
+* Voice styles::
+* Collision resolution::
+* Automatic part combining::
+* Writing music in parallel::
@end menu
+
@node Single-staff polyphony
@unnumberedsubsubsec Single-staff polyphony
First and third voices get stems up, second and fourth voices get
stems down, third and fourth voice noteheads are horizontally shifted,
-and rests move to avoid collisions.
+and rests move to avoid collisions.
@lilypond[quote,relative=3,verbatim]
<<
{ r8 g g g g f16 es f8 d }
- \\
+ \\
{ es,8 r es r d r d r }
\\
{ d'8 s c s bes s a s }
@funindex \voiceFour
@code{\voiceFour}.
-
@seealso
Learning Manual:
To revert the standard presentation, the @code{\voiceNeutralstyle}
command is used.
-These styles are arbitrarily defined but can be changed. For example,
-the initial definition for @code{\voiceOneStyle} is as follows:
-
-@example
-voiceOneStyle = @{
- \override NoteHead #'style = #'diamond
- \override NoteHead #'color = #red
- \override Stem #'color = #red
- \override Beam #'color = #red
-@}
-@end example
-
-
@predefined
@funindex \voiceOneStyle
Snippets:
@rlsr{Simultaneous notes}.
+
@node Collision resolution
@unnumberedsubsubsec Collision resolution
Notes are only merged if they have opposing stem directions (i.e., in
@code{Voice} 1 and 2).
-
@cindex multiple voices
@cindex polyphonic music
@cindex shifting voices
@funindex \oneVoice
@code{\oneVoice}.
-
@funindex \shiftOn
@code{\shiftOn},
@funindex \shiftOnn
@rinternals{NoteCollision},
@rinternals{RestCollision}.
-
@knownissues
When using @code{merge-differently-headed} with an upstem eighth
@snippets
-Parts may be merged without printing text:
-
-@lilypond[quote,verbatim]
-\new Staff <<
- \set Staff.printPartCombineTexts = ##f
- \partcombine
- \relative g' { g a( b) r }
- \relative g' { g r4 r f }
->>
-@end lilypond
-
-The printed text may be changed:
-
-@lilypond[quote,verbatim]
-\new Staff <<
- \set Score.soloText = #"girl"
- \set Score.soloIIText = #"boy"
- \set Score.aDueText = #"together"
- \partcombine
- \relative g' { g4 g r r a2 g }
- \relative g' { r4 r a( b) a2 g }
->>
-@end lilypond
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{combining-two-parts-on-the-same-staff.ly}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{changing-partcombine-texts.ly}
@seealso
Snippets:
@rlsr{Simultaneous notes}.
-
Internals Reference:
@rinternals{PartCombineMusic},
@rinternals{Voice}.
@c IIRC in users list someone pointed out more issues. TODO: lookup FV
+
@node Writing music in parallel
@unnumberedsubsubsec Writing music in parallel
be of the same length.}
@lilypond[quote,verbatim]
-\parallelMusic #'(voiceA voiceB voiceC) {
+\parallelMusic #'(voiceA voiceB voiceC) {
% Bar 1
- r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
- c'2 c'2 |
- r16 e'8.~ e'4 r16 e'8.~ e'4 |
+ r8 g'16 c'' e'' g' c'' e'' r8 g'16 c'' e'' g' c'' e'' |
+ r16 e'8.~ e'4 r16 e'8.~ e'4 |
+ c'2 c'2 |
+
% Bar 2
- r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
- c'2 c'2 |
- r16 d'8.~ d'4 r16 d'8.~ d'4 |
+ r8 a'16 d'' f'' a' d'' f'' r8 a'16 d'' f'' a' d'' f'' |
+ r16 d'8.~ d'4 r16 d'8.~ d'4 |
+ c'2 c'2 |
+
}
\new StaffGroup <<
- \new Staff << \voiceA \\ \voiceC >>
- \new Staff { \clef bass \voiceB }
+ \new Staff << \voiceA \\ \voiceB >>
+ \new Staff { \clef bass \voiceC }
>>
@end lilypond
\parallelMusic #'(voiceA voiceB voiceC) {
% Bar 1
r8 g16 c e g, c e r8 g,16 c e g, c e |
- c2 c |
r16 e8.~ e4 r16 e8.~ e4 |
+ c2 c |
% Bar 2
r8 a,16 d f a, d f r8 a,16 d f a, d f |
- c2 c |
r16 d8.~ d4 r16 d8.~ d4 |
+ c2 c |
+
}
\new StaffGroup <<
- \new Staff << \relative c'' \voiceA \\ \relative c' \voiceC >>
- \new Staff \relative c' { \clef bass \voiceB }
+ \new Staff << \relative c'' \voiceA \\ \relative c' \voiceB >>
+ \new Staff \relative c' { \clef bass \voiceC }
>>
@end lilypond
used many times it may be worth defining variables to hold them.
Suppose we wish to emphasize certain words in lyrics by printing
them in bold italics. The @code{\italic} and @code{\bold}
-commands do not work within lyrics so we must instead use the
-following @code{\override} and @code{\revert} commands:
+commands only work within lyrics if they are also embedded in
+@code{\markup}, which makes them tedious to enter, so as an
+alternative can we instead use the @code{\override} and
+@code{\revert} commands?
@example
@code{\override Lyrics . LyricText #'font-shape = #'italic}
@code{\revert Lyrics . LyricText #'font-series}
@end example
-These would be extremely tedious to enter if there were many words
-requiring emphasis. So instead we define these as two variables,
-and use them as follows:
+These would also be extremely tedious to enter if there were many
+words requiring emphasis. So instead we define these as two
+variables, and use them as follows, although normally we would
+perhaps choose shorter names for the variables to make them
+quicker to type:
@lilypond[quote,verbatim]
emphasize = {
\clef "treble"
\new Voice = "Soprano" { \voiceOne \global \SopranoMusic }
\new Voice = "Alto" { \voiceTwo \AltoMusic }
- \new Lyrics \lyricsto "Sop" { \VerseOne }
- \new Lyrics \lyricsto "Sop" { \VerseTwo }
- \new Lyrics \lyricsto "Sop" { \VerseThree }
- \new Lyrics \lyricsto "Sop" { \VerseFour }
+ \new Lyrics \lyricsto "Soprano" { \VerseOne }
+ \new Lyrics \lyricsto "Soprano" { \VerseTwo }
+ \new Lyrics \lyricsto "Soprano" { \VerseThree }
+ \new Lyrics \lyricsto "Soprano" { \VerseFour }
>>
\new Staff <<
\clef "bass"
\version "2.11.51"
\include "english.ly"
#(set-global-staff-size 15)
-\paper{
- ragged-right=##t
- line-width=17\cm
- indent=0\cm
-}
-
-\layout {
- \context { \Score
- \override PaperColumn #'keep-inside-line = ##t
- \override NonMusicalPaperColumn #'keep-inside-line = ##t
- }
+\paper {
+ line-width = 16\cm
+ indent = 0\cm
}
% NR 1.3 Expressive marks
\once \override TextScript #'staff-padding = #2
d'8 \staccato
^ \markup { \column {
- "RONDO"
- \italic "Allegro" } }
+ RONDO
+ \italic Allegro } }
d'8 \staccato
g'8 \staccato
a'8 \staccato
\include "english.ly"
#(set-global-staff-size 15)
-\paper{
- ragged-right=##t
- line-width=17\cm
- indent=0\cm
+\paper {
+ line-width = 16\cm
+ indent = 0\cm
}
+% NR 2.2 Keyboard instruments
+
+% M. Ravel, Sonatine (1905)
+% First movement
+
\layout {
- \context { \Score
- \override PaperColumn #'keep-inside-line = ##t
- \override NonMusicalPaperColumn #'keep-inside-line = ##t
+ \context {
+ \Score
+ \remove "Bar_number_engraver"
+ }
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ }
+}
+
+fermataLong = \markup {
+ \override #'(direction . 1)
+ \override #'(baseline-skip . 2) {
+ \dir-column {
+ \musicglyph #"scripts.ufermata"
+ \text \italic \hcenter long
+ }
}
}
\new PianoStaff <<
\set PianoStaff.connectArpeggios = ##t
\new Staff {
- \time 2/4
- \key fs \major
- <<
- \new Voice {
- \voiceOne
- fs''8 (
- ^ \markup \column {
- \line \bold { Un peu retenu }
- \line \italic { très expressif } }
- es''16
- cs''16
- as'4 )
- |
- fs''8 (
- es''16
- cs''16
- as'4 )
- |
- fs''8 (
- es''16
- cs''16
- as'8
- cs''8 )
- |
- }
- \new Voice {
- \voiceTwo
- r8 \ppp
- fs'4 (
- es'8 )
- |
- r8
- fs'4 (
- es'8 )
- |
- r8
- fs'4 (
- es'8 )
- |
- }
- >>
- \clef bass
- <ds b! es'>4 (
- ^ \markup \bold { Rall. }
- \once \override Script #'padding = #2
- <ds' as'>8 ) \fermata
- \noBeam
- \clef treble
- \slurUp
- <as fs'>8 ( \pp
- |
- <gs b cs'>4. )
- ^ \markup \bold { a tempo }
- \slurUp
- <as fs'>8 (
- |
- <gs b cs'>4. )
- <<
- \new Voice {
- \voiceOne
- <as fs'>8 (
- ^ \markup \bold { Rallentando }
- |
- cs'8
- b16
- cs'16
- d'8
- e'16
- fs'16
- |
- <as! cs' gs'>4. )
- s8
- |
- r8
- <cs'' as'' cs'''>4 \arpeggio
- e''16 (
- ^ \markup \bold { Lent }
- fs''16
- |
- \stemDown
- <as'! cs'' gs''>2 )
- |
- }
+ \time 2/4
+ \key fs \major
+ <<
\new Voice {
- \voiceTwo
- s8
- |
- <gs b>4 \<
- <fs bs>4 \>
- |
- s4. \!
- \slurUp
- \once \override Script #'direction = #up
- <a bs e'>8 ( \accent
- |
- <as! cs' gs'>4. )
- <a' bs'>8 \ppp \>
- |
- s8 \!
- \stemDown
- \once \override Script #'direction = #up
- #(set-octavation 1)
- % \once \override Arpeggio #'extra-offset = #'(-0.25 .
- % 0)
- <cs''' as''' cs''''>4. \arpeggio \fermata
- #(set-octavation 0)
- \bar "|."
- }
- >>
- }
- \new Staff <<
- \set Staff.pedalSustainStyle = #'bracket
- \key fs \major
- \clef bass
- \new Voice {
\voiceOne
- ds'4 \tenuto
- cs'4 \tenuto
+ fs''8 ( ^\markup {
+ \override #'(baseline-skip . 2.4) \column {
+ \line \bold { Un peu retenu }
+ \line \italic { très expressif }
+ }
+ }
+ es''16
+ cs''16
+ as'4 )
+ |
+ fs''8 (
+ es''16
+ cs''16
+ as'4 )
+ |
+ fs''8 (
+ es''16
+ cs''16
+ as'8
+ cs''8 )
+ |
+ }
+ \new Voice {
+ \voiceTwo
+ gs'8\rest \ppp
+ fs'4 (
+ es'8 )
|
- ds'4 \tenuto
- cs'4 \tenuto
+ gs'8\rest
+ fs'4 (
+ es'8 )
|
- ds'4 \tenuto
- cs'4 \tenuto
+ gs'8\rest
+ fs'4 (
+ es'8 )
|
- s8
- \clef treble
- <b' cs''>8 [
- \clef bass
- <es b cs'>8 \fermata ]
- s8
+ }
+ >>
+ \clef bass
+ <ds b! es'>4 ( ^ \markup \bold { Rall. }
+ \override Script #'stencil = #(lambda (grob)
+ ly:script::print (grob-interpret-markup grob fermataLong))
+ <ds' as'>8 ) \fermata
+ \noBeam
+ \clef treble
+ \slurUp
+ \once \override Hairpin #'to-barline = ##f
+ <as fs'>8 ( \pp \>
+ |
+ <gs b cs'>4. \! ) ^\markup \bold { a Tempo }
+ \slurUp
+ <as fs'>8 ^\( \>
+ |
+ <gs b cs'>4. \! \)
+ <<
+ \new Voice {
+ \voiceOne
+ <as fs'>8 (
|
- r8
- \clef treble
- <b' cs''>4 \tenuto
- s8
+ cs'8 ^\markup \bold { Rallentando }
+ b16
+ cs'16
+ d'8
+ e'16
+ fs'16
|
- r8
- \clef treble
- <b' cs''>4 \tenuto
+ <as! cs' gs'>4. )
s8
|
- s2
- |
r8
- \clef treble
- <as' cs''>4
- \clef bass
- s8
+ <cs'' as'' cs'''>4 \arpeggio
+ e''16 ( ^\markup \bold { Lent }
+ fs''16
|
- s8
- \clef treble
- <as'>4 \arpeggio
- \clef bass
- s8
- |
- s8
- \clef treble
- <as''>4. \arpeggio \fermata
- |
- }
- \new Voice {
\voiceTwo
- ds'8 [ (
- < ds bs >8
- cs'8
- < ds as >8 ] )
- |
- ds'8 [ (
- < ds bs >8
- cs'8
- < ds as >8 ] )
- |
- ds'8 [ (
- < ds bs >8
- cs'8
- < ds as >8 ] )
+ <as'! cs'' gs''>2 )
|
- \once \override Script #'outside-staff-priority = #100
- \once \override TextScript #'outside-staff-priority = #500
- <cs, gs,>4. \fermata
- _ \markup \italic { ped. }
- <fs, cs>8 (
- |
- <e, b,>4. ) \sustainOn
- \clef bass
- <fs, cs>8 ( \sustainOff
- |
- <e, b,>4. ) \sustainOn
- \clef bass
- <fs, cs>8 ( \sustainOff
- |
- <e, b,>4
- <d, a,>4
+ }
+ \new Voice {
+ \voiceTwo
+ s8
|
- <fs,, cs,>4. ) \sustainOn
- <a, e>8 ( \sustainOff
+ <gs b>4 \<
+ <fs bs>4 \>
|
- <fs, cs>4. ) \sustainOn
+ s4. \!
\slurUp
- <a e'>8 ( \sustainOff \sustainOn
+ \once \override Script #'direction = #UP
+ <a bs e'>8 ( \accent
|
- <fs cs'>2 ) \sustainOff \sustainOn
+ <as! cs' gs'>4. )
+ \once \override Hairpin #'to-barline = ##f
+ <a' bs'>8 \ppp \>
|
- }
+ s8 \!
+ \stemDown
+ \once \override Script #'direction = #UP
+ #(set-octavation 1)
+ \voiceOne
+ \once \override PianoStaff.Arpeggio #'padding = #0.8
+ <cs''' as''' cs''''>4. \arpeggio \fermata
+ #(set-octavation 0)
+ \bar "|."
+ }
+ >>
+ }
+ \new Staff <<
+ \set Staff.pedalSustainStyle = #'bracket
+ \key fs \major
+ \clef bass
+ \new Voice {
+ \voiceOne
+ ds'4 \tenuto
+ cs'4 \tenuto
+ |
+ ds'4 \tenuto
+ cs'4 \tenuto
+ |
+ ds'4 \tenuto
+ cs'4 \tenuto
+ |
+ s8
+ \clef treble
+ <b' cs''>8 [
+ \clef bass
+ <es b cs'>8 \fermata ]
+ s8
+ |
+ fs8\rest
+ \clef treble
+ <b' cs''>4 \tenuto
+ s8
+ |
+ fs8\rest
+ \clef treble
+ <b' cs''>4 \tenuto
+ s8
+ |
+ s2
+ |
+ ds8\rest
+ \clef treble
+ <as' cs''>4
+ \clef bass
+ s8
+ |
+ s8
+ \clef treble
+ <as'>4 \arpeggio
+ \clef bass
+ s8
+ |
+ s8
+ \clef treble
+ <as''>4. \arpeggio \fermata
+ |
+ }
+ \new Voice {
+ \voiceTwo
+ ds'8 [ (
+ < ds bs >8
+ cs'8
+ < ds as >8 ] )
+ |
+ ds'8 [ (
+ < ds bs >8
+ cs'8
+ < ds as >8 ] )
+ |
+ ds'8 [ (
+ < ds bs >8
+ cs'8
+ < ds as >8 ] )
+ |
+ \once \override Script #'outside-staff-priority = #100
+ \once \override TextScript #'outside-staff-priority = #500
+ <cs, gs,>4. \fermata _\markup \italic { ped. }
+ <fs, cs>8 (
+ |
+ <e, b,>4. ) \sustainOn
+ \clef bass
+ <fs, cs>8 \( \sustainOff
+ |
+ <e, b,>4. \) \sustainOn
+ \clef bass
+ <fs, cs>8 ( \sustainOff
+ |
+ <e, b,>4
+ <d, a,>4
+ |
+ <fs,, cs,>4. ) \sustainOn
+ <a, e>8 ( \sustainOff
+ |
+ <fs, cs>4. ) \sustainOn
+ \slurUp
+ <a e'>8 ( \sustainOff \sustainOn
+ |
+ <fs cs'>2 ) \sustainOff \sustainOn
+ |
+ }
>>
>>
-
\version "2.11.51"
\include "english.ly"
#(set-global-staff-size 15)
-\paper{
- ragged-right=##t
- line-width=17\cm
- indent=0\cm
-}
-
-\layout {
- \context { \Score
- \override PaperColumn #'keep-inside-line = ##t
- \override NonMusicalPaperColumn #'keep-inside-line = ##t
- }
+\paper {
+ line-width = 16\cm
+ indent = 0\cm
}
% NR 1.7 Repeats
% Movt II, Andante con moto
% Measures 9 - 16
-\layout { }
+\layout {
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ }
+}
\new PianoStaff <<
\set Score.currentBarNumber = #9
\bar "|:"
<af ef c>4 (
- <af g c>8..
+ <af gf c>8..
<af ef c>32
|
<af f df>8. )
\version "2.11.51"
\include "english.ly"
#(set-global-staff-size 15)
-\paper{
- ragged-right=##t
- line-width=17\cm
- indent=0\cm
-}
-
-\layout {
- \context { \Score
- \override PaperColumn #'keep-inside-line = ##t
- \override NonMusicalPaperColumn #'keep-inside-line = ##t
- }
+\paper {
+ line-width = 16\cm
+ indent = 0\cm
}
% NR 1.2 Rhythms
% Measures 31 - 34
\layout {
- \context {
- \Score
- \override SpacingSpanner #'base-shortest-duration =
- #(ly:make-moment 1 40)
+ \context {
+ \Score
+ \override SpacingSpanner #'base-shortest-duration =
+ #(ly:make-moment 1 40)
%\override SpacingSpanner #'strict-grace-spacing = ##t
- }
+ }
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ }
}
\new PianoStaff <<
\time 2/4
\set Score.currentBarNumber = #31
- <c'' c'>8 (
+ <c''' c''>8 ( -\markup {
+ \override #'(baseline-skip . 2) \italic \column {
+ \line { a tempo }
+ cantabile
+ }
+ }
<g'' g'>8 )
~
<g'' g'>8 (
|
\afterGrace
- <f'' f'>8 (
+ <f'' f'>8 [ (
{
e''16 [
f''16
d''16 ]
}
<e''! e'>16
- <f'' f'>16 )
- <g'' g'>16 ( \staccato
+ <f'' f'>16 ] )
+ \once \override TextScript #'padding = #3.8
+ <g'' g'>16 ( \staccato -\markup { \italic cresc. }
<a'' a'>16 ) \staccato
<bf'' bf'>32 (
<b'' b'>32 )
<c''' c''>32 )
|
-
- b''32 (
+
+ \once \override DynamicLineSpanner #'padding = #2
+ b''32 ( \p \>
c'''32
d'''32
- c'''32 )
+ c'''32 ) \!
g''8 (
~
g''32 [
|
\afterGrace
- <f'' f'>8 (
+ <f'' f'>8 [ (
{
e''16 [
f''16
d''16 ]
}
<e''! e'>16
- <f'' f'>16 )
- <g'' g'>16 ( \staccato
+ <f'' f'>16 ] )
+ <g'' g'>16 ( \staccato -\markup { \italic cresc. }
<af''! af'!>16 ) \staccato
<bf'' bf'>32 (
<b'' b'>32 )
\include "english.ly"
#(set-global-staff-size 15)
\paper{
- ragged-right=##t
- line-width=17\cm
- indent=0\cm
+ line-width = 16\cm
+ indent = 0\cm
}
\layout {
<df'' g'>4
<bf' g'>2
- _ \markup { \italic { "ten." } }
+ _ \markup { \italic { ten. } }
|
\once \override TextScript #'staff-padding = #4
ef''8. (
- _ \markup { \italic { "tranqu." } }
+ _ \markup { \italic { tranqu. } }
d''16 )
df''8 \trill \fermata
- _ \markup { \italic { "ten." } }
+ _ \markup { \italic { ten. } }
}
\new Voice {
\oneVoice
\once \override TextScript #'staff-padding = #4
df''32
- _ \markup { \italic "dolce" }
+ _ \markup { \italic dolce }
c''32
df''32
ef''32
|
bf4
- bf8 ^ \markup { \italic "ten." }
+ bf8 ^ \markup { \italic ten. }
}
\new Voice {
projects / lilypond.git / commitdiff