Internals Reference: @internalsref{Fingering}.
-Examples: @c @lsr{expressive,fingering-chords.ly}
-
-
@node Hidden notes
@unnumberedsubsubsec Hidden notes
g4 a
@end lilypond
+@seealso
+
+Snippets: @lsrdir{Editorial,Editorial-annotations}.
+
@node Coloring objects
@unnumberedsubsubsec Coloring objects
+@cindex colored objects
+@cindex colors
+@cindex coloring objects
+@cindex colored notes
+@cindex coloring notes
+@cindex notes, colored
+
Individual objects may be assigned colors. You may use the color
names listed in the @ref{List of colors}.
e
@end lilypond
+@cindex x11-color
+
The full range of colors defined for X11 can be accessed by using
the Scheme function x11-color. The function takes one argument
that can be a symbol
@seealso
-Appendix: @ref{List of colors}.
+Notation Reference: @ref{List of colors}, @ref{Objects connected to
+the input}.
+Snippets: @lsrdir{Editorial,Editorial-annotations}.
@refbugs
Not all x11 colors are distinguishable in a web browser. For web
@cindex ghost notes
@cindex notes, ghost
@cindex notes, parenthesized
+@cindex parentheses
Objects may be parenthesized by prefixing @code{\parenthesize} to
the music event,
< \parenthesize NOTE>
@end example
+@seealso
+
+Snippets: @lsrdir{Editorial,Editorial-annotations}.
+
@node Stems
@unnumberedsubsubsec Stems
-Whenever a note is found, a @internalsref{Stem} object is created
-automatically. For whole notes and rests, they are also created
-but made invisible.
+@cindex stem
+
+Whenever a note is found, a @code{Stem} object is created
+automatically. For whole notes and rests, they are also created but
+made invisible.
@refcommands
@commonprop
+@cindex stem, direction
+@cindex stem, up
+@cindex stem, down
+@cindex stem, neutral
+
To change the direction of stems on the center line of the staff, use
@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
a4 b c b
@end lilypond
+@seealso
+
+Snippets: @lsrdir{Editorial,Editorial-annotations}.
+
@node Outside the staff
@subsection Outside the staff
@end lilypond
@noindent
-There are two music functions, @code{balloonText} and
-@code{balloonGrobText}. The latter takes the name of the grob to
-adorn, while the former may be used as an articulation on a note.
-The other arguments are the offset and the text of the label.
+There are two music functions, @code{balloonGrobText} and
+@code{balloonText}; the former takes the name of the grob to adorn,
+while the latter may be used as an articulation on a note. The other
+arguments are the offset and the text of the label.
@cindex balloon
@cindex notation, explaining
@seealso
+Snippets: @lsrdir{Editorial,Editorial-annotations}.
+
Internals Reference: @internalsref{text-balloon-interface}.
>>
@end lilypond
+@seealso
+
Snippets: @lsrdir{Editorial,Editorial-annotations}.
@node Blank music sheet
@unnumberedsubsubsec Blank music sheet
-@cindex Sheet music, empty
-@cindex Staves, blank sheet
+@cindex sheet music, empty
+@cindex staves, blank sheet
+@cindex blank staff paper
+@cindex staff paper, blank
A blank music sheet can be produced also by using invisible notes,
and removing @code{Bar_number_engraver}.
>>
@end lilypond
+@seealso
+
+Snippets: @lsrdir{Editorial,Editorial-annotations}.
+
@node Analysis brackets
@unnumberedsubsubsec Analysis brackets
@cindex musicological analysis
@cindex note grouping bracket
-Brackets are used in musical analysis to indicate structure in
-musical pieces. LilyPond supports a simple form of nested
-horizontal brackets. To use this, add the
-@internalsref{Horizontal_bracket_engraver} to the
-@internalsref{Staff} context. A bracket is started with
+Brackets are used in musical analysis to indicate structure in musical
+pieces. LilyPond supports a simple form of nested horizontal
+brackets. To use this, add the @code{Horizontal_bracket_engraver} to
+the @code{Staff} context. A bracket is started with
@code{\startGroup} and closed with @code{\stopGroup}.
@lilypond[quote,ragged-right,verbatim]
@seealso
-Internals Reference: @internalsref{HorizontalBracket}.
+Snippets: @lsrdir{Editorial,Editorial-annotations}.
+
+Internals Reference: @internalsref{HorizontalBracket},
+@internalsref{Horizontal_bracket_engraver}, @internalsref{Staff}.
>>
\new Staff <<
\new Voice = "SopTwo" {
+ \global
\SopTwoMusic
}
\new Lyrics \lyricsto "SopTwo" {
>>
\new Staff <<
\clef "bass"
- \new Voice = "Tenor" { \voiceOne \TenorMusic }
+ \new Voice = "Tenor" { \voiceOne \TimeKey \TenorMusic }
\new Voice = "Bass" { \voiceTwo \BassMusic }
>>
>>
@lilypond[quote,verbatim,ragged-right]
<<
\new Staff \relative c'' {
- \set Staff.instrumentName = "Soprano"
+ \set Staff.instrumentName = #"Soprano"
c4 c
}
\new Staff \relative c' {
- \set instrumentName = "Alto" % Wrong!
+ \set instrumentName = #"Alto" % Wrong!
d4 d
}
>>
easily fixed. Here's the complete soprano and cello template.
@lilypond[quote,verbatim,ragged-right]
-\version "2.11.38"
+\version "2.11.37"
sopranoMusic = \relative c' {
\clef treble
\key c \major
}
altoMusic = \relative a' {
\clef "treble"
- r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 |
+ r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 |
}
altoWords = \sopWords
tenorMusic = \relative c' {
+
You can view the documentation online at
@uref{http://lilypond.org/doc/}, but you can also build it locally.
-This process requires a successful compile of lilypond. The
-documentation is built by issuing
-
-@example
-make web
-@end example
-
-Building the website requires some additional tools and packages
+This process requires a successful compile of lilypond, and some
+additional tools and packages
@itemize
@item The @uref{http://netpbm.sourceforge.net/,netpbm utilities}
@uref{http://bugs.ghostscript.com/show_bug.cgi?id=688017}.
@end itemize
-The HTML files can be installed into the standard documentation path
-by issuing
+The documentation is built by issuing
+
+@example
+make web
+@end example
+
+After compilation, the HTML documentation tree is available in
+@file{out-www/offline-root/}, and can be browsed locally.
+
+The HTML and PDF files can be installed into the standard documentation
+path by issuing
@example
make out=www web-install
@end example
+It is also possible to build a documentation tree in
+@file{out-www/online-root/}, with special processing, so it can be used
+on a website with content negociation for automatic language selection;
+this can be achieved by issuing
+
+@example
+make WEB_TARGETS=online web
+@end example
+
+@noindent
+and both @q{offline} and @q{online} targets can be generated by issuing
+
+@example
+make WEB_TARGETS="offline online" web
+@end example
+
@node Building LilyPond
@subsection Building LilyPond
@node Duration names notes and rests
-@chapter Duration names, notes and rests
+@chapter Duration names notes and rests
@multitable @columnfractions .15 .26 .33 .26
* Overview of text markup commands::
* Overview of text markup list commands::
* List of articulations::
+* All context properties::
+* Layout properties::
+* Identifiers::
+* Scheme functions::
@end menu
-@ignore
-@n ode All context properties
-@a ppendixsec All context properties
+@node All context properties
+@appendixsec All context properties
-@i nclude context-properties.tely
+@include context-properties.tely
-@n ode Layout properties
-@ap pendixsec Layout properties
+@node Layout properties
+@appendixsec Layout properties
-@in clude layout-properties.tely
+@include layout-properties.tely
+
+
+@node Identifiers
+@appendixsec Identifiers
+
+@include identifiers.tely
+
+
+@node Scheme functions
+@appendixsec Scheme functions
+
+@include scheme-functions.tely
-@end ignore
{pitches-headword.ly}
This section discusses how to specify the pitch of notes. There
-are three steps to this process: input, modifying, and output.
+are three steps to this process: input, modification, and output.
@menu
* Writing pitches::
This section discusses how to input pitches. There are two
different ways to place notes in octaves: absolute and relative
-mode. In most cases, relative mode will be more convient.
+mode. In most cases, relative mode will be more convenient.
@menu
* Absolute octave entry::
@node Absolute octave entry
-@unnumberedsubsubsec Absolute octave entry
+@subsubsection Absolute octave entry
@cindex pitch names
@cindex pitches
@node Relative octave entry
-@unnumberedsubsubsec Relative octave entry
+@subsubsection Relative octave entry
@cindex relative
@cindex relative octave specification
@item
An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be added to
-respectively raise or lower a pitch by an extra octave, relatively to
-the pitch calculated without octave mark.
+respectively raise or lower a pitch by an extra octave, relative to
+the pitch calculated without an octave mark.
@item
Multiple octave changing marks can be used. For example, @code{''}@tie{}and
If the preceding item is a chord, the first note of the chord is
used as the reference point for the octave placement of a
-following note or chord. Inside of chords the next note is always
+following note or chord. Inside chords, the next note is always
relative to the preceding one.
@lilypond[verbatim,quote,ragged-right]
As explained above, the octave of pitches is calculated only with
the note names, regardless of any alterations. Therefore, an
-E-double-sharp sharp following a B will be placed higher, while an
-F-double-flat would be placed lower. In other words, a
+E-double-sharp following a B will be placed higher, while an
+F-double-flat will be placed lower. In other words, a
double-augmented fourth is considered a smaller interval than a
double-diminished fifth, regardless of the number of semitones
that each interval contains.
@node Accidentals
-@unnumberedsubsubsec Accidentals
+@subsubsection Accidentals
@warning{New users are sometimes confused about accidentals and
key signatures. In LilyPond, note names are the raw input; key
cis cis cis! cis? c c c! c?
@end lilypond
-Accidentals are only printed on tied notes which begin a new
-system:
+Accidentals on tied notes are only printed at the beginning of a
+new system:
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
cis1 ~ cis ~
@refbugs
There are no generally accepted standards for denoting
-three-quarter flats, so LilyPond's symbol does not conform to any
-standard.
+quarter-tone accidentals, so LilyPond's symbol does not conform to
+any standard.
@node Note names in other languages
-@unnumberedsubsubsec Note names in other languages
+@subsubsection Note names in other languages
There are predefined sets of note names for various other
-languages. To use them, include the language specific init file.
-For example, add @code{\include "english.ly"} to the top of the
-input file. The available language files and the note names they
-define are:
+languages. To use them, include the language-specific init file.
+For example, to use English notes names, add @code{\include
+"english.ly"} to the top of the input file. The available
+language files and the note names they define are:
@cindex note names, other languages
@end multitable
@end smallexample
+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. This also applies to
+@code{aeses}@tie{}/@tie{}@code{ases} and
+@code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
+contracted names are defined in the corresponding language files.
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+a2 as e es a ases e eses
+@end lilypond
+
+
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 @notation{semi-} and @notation{sesqui-} mean
-@q{half} and @q{one and a half}, respectively. For the other
+@q{normal} sharp or flat. The note names for quarter-tones
+defined in the various language files are listed in the following
+table. Here the prefixes @notation{semi-} and @notation{sesqui-}
+mean @q{half} and @q{one and a half}, respectively. For the other
languages, no special names have been defined yet.
@smallexample
@end multitable
@end smallexample
-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. This also applies to
-@code{aeses}@tie{}/@tie{}@code{ases} and
-@code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
-contracted names are defined in the corresponding language files.
-
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
-a2 as e es a ases e eses
-@end lilypond
-
-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.
@seealso
@end menu
@node Octave checks
-@unnumberedsubsubsec Octave checks
+@subsubsection Octave checks
@cindex octave correction
@cindex octave check
@end lilypond
Compare the two bars below. The first and third @code{\octave}
-check fail, but the second ones passes without fail.
+check fail, but the second ones does not fail.
@lilypond[verbatim,quote,ragged-right,fragment]
\relative c'' {
@node Transpose
-@unnumberedsubsubsec Transpose
+@subsubsection Transpose
@cindex transpose
@cindex transposition of pitches
This means that @var{musicexpr} is transposed by the interval
between the pitches @var{frompitch} and @var{topitch}: any note
with pitch @var{frompitch} is changed to @var{topitch} and any
-other note is transposed by the same interval.
+other note is transposed by the same interval. Both pitches are
+entered in absolute mode.
Consider a piece written in the key of D-major. It can be
transposed up to E-major; note that the key signature is
@code{\transpose} distinguishes between enharmonic pitches: both
@code{\transpose c cis} or @code{\transpose c des} will transpose
-up half a tone. The first version will print sharps and the notes
+up a semitone. The first version will print sharps and the notes
will remain on the same scale step, the second version will print
flats on the scale step above.
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:
+music for a B-flat trumpet that begins on a notated E (concert D),
+one would write:
@example
musicInBflat = @{ e4 @dots{} @}
@refbugs
-If you want to use both @code{\transpose} and @code{\relative},
-you must put @code{\transpose} outside of @code{\relative}, since
-@code{\relative} will have no effect on music that appears inside
-a @code{\transpose}.
+The relative conversion will not affect @code{\transpose},
+@code{\chordmode} or @code{\relative} sections in its argument.
+To use relative mode within transposed music, an additional
+@code{\relative} must be placed inside @code{\transpose}.
@node Displaying pitches
@node Clef
-@unnumberedsubsubsec Clef
+@subsubsection Clef
@funindex \clef
@cindex varbaritone clef
@cindex subbass clef
-The clef is set with the @code{\clef} @var{clefname} command:
+The clef is set with the @code{\clef} @var{clefname} command.
+Middle C is shown in every example.
@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
\clef treble
c2 c
@end lilypond
-Supported clefs include:
-
-@multitable @columnfractions .4 .6
-@headitem Clef @tab Position
-@item @code{treble, violin, G, G2} @tab
-G clef (g') on 2nd line
-@item @code{alto, C} @tab
-C clef (c') on 3rd line
-@item @code{tenor} @tab
-C clef (c') on 4th line
-@item @code{bass, F} @tab
-F clef (f) on 4th line
-@item @code{french} @tab
-G clef (g') on 1st line, so-called French violin clef
-@item @code{soprano} @tab
-C clef (c') on 1st line
-@item @code{mezzosoprano} @tab
-C clef (c') on 2nd line
-@item @code{baritone} @tab
-C clef (c') on 5th line
-@item @code{varbaritone} @tab
-F clef (f) on 3rd line
-@item @code{subbass} @tab
-F clef (f) on 5th line
-@item @code{percussion} @tab
-percussion clef
-@item @code{tab} @tab
-tablature clef
-@end multitable
+Other clefs include:
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+\clef french
+c2 c
+\clef soprano
+c2 c
+\clef mezzosoprano
+c2 c
+\clef baritone
+c2 c
+
+\break
+
+\clef varbaritone
+c2 c
+\clef subbass
+c2 c
+\clef percussion
+c2 c
+\clef tab
+c2 c
+@end lilypond
Further supported clefs are described under @ref{Ancient clefs}.
transposed one octave down or up, respectively, and @code{_15} and
@code{^15} transposes by two octaves. The argument @var{clefname}
must be enclosed in quotes when it contains underscores or digits.
-For example,
@cindex choral tenor clef
@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
-\clef "treble_8" c1
-\clef "bass^15" c1
+\clef "treble_8"
+c2 c
+\clef "bass^15"
+c2 c
@end lilypond
@node Key signature
-@unnumberedsubsubsec Key signature
+@subsubsection Key signature
@cindex key signature
@funindex \key
Here, @var{mode} should be @code{\major} or @code{\minor} to get a
key signature of @var{pitch}-major or @var{pitch}-minor,
respectively. You may also use the standard mode names, also
-called @q{church modes}: @code{\ionian}, @code{\locrian},
-@code{\aeolian}, @code{\mixolydian}, @code{\lydian},
-@code{\phrygian}, and @code{\dorian}.
+called @q{church modes}: @code{\ionian}, @code{\dorian},
+@code{\phrygian}, @code{\lydian}, @code{\mixolydian},
+@code{\aeolian}, and @code{\locrian}.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
\key g \major
@node Ottava brackets
-@unnumberedsubsubsec Ottava brackets
+@subsubsection Ottava brackets
@cindex ottava
@cindex 15ma
@node Instrument transpositions
-@unnumberedsubsubsec Instrument transpositions
+@subsubsection Instrument transpositions
@cindex transposition, MIDI
@cindex transposition, instrument
The pitch to use for @code{\transposition} should correspond to
the real sound heard when a@tie{}@code{c'} written on the staff is
played by the transposing instrument. This pitch is entered in
-absolute mode, so an instrument which produces a real sound which
+absolute mode, so an instrument that produces a real sound which
is one tone higher than the printed music should use
@code{\transposition d'}. @code{\transposition} should
@emph{only} be used if the pitches are @emph{not} being entered in
@node Automatic accidentals
-@unnumberedsubsubsec Automatic accidentals
+@subsubsection Automatic accidentals
@cindex automatic accidentals
@funindex set-accidental-style
There are many different conventions on how to typeset
-accidentals. LilyPond provides a function to specify which such
+accidentals. LilyPond provides a function to specify which
accidental style to use. This function is called as follows
@example
The accidental style applies to the current @code{Staff} by
default (with the exception of the styles @code{piano} and
@code{piano-cautionary}, which are explained below). Optionally,
-the function can take a second argument which determines in which
+the function can take a second argument that 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
This rule corresponds to the common practice in the twentieth
century. It prints the same accidentals as @code{default}, with
-two exceptions which serve to avoid ambiguity: after temporary
+two exceptions that serve to avoid ambiguity: after temporary
accidentals, cancellation marks are printed also in the following
measure (for notes in the same octave) and, in the same measure,
for notes in other octaves. Hence the naturals before
@node Ambitus
-@unnumberedsubsubsec Ambitus
+@subsubsection Ambitus
@cindex ambitus
The term @notation{ambitus} or @notation{ambit} denotes a range of
Ambits are denoted at the beginning of a piece near the initial
clef. The range is graphically specified by two note heads that
-represent the minimum and maximum pitch. Accidentals are only
+represent the lowest and highest pitches. Accidentals are only
printed if they are not part of the key signature.
@lilypond[verbatim,quote,ragged-right]
@end menu
@node Special note heads
-@unnumberedsubsubsec Special note heads
+@subsubsection Special note heads
@cindex note heads, special
@node Easy notation note heads
-@unnumberedsubsubsec Easy notation note heads
+@subsubsection Easy notation note heads
@cindex note heads, practice
@cindex note heads, easy notation
@node Shape note heads
-@unnumberedsubsubsec Shape note heads
+@subsubsection Shape note heads
@cindex note heads, shape
@funindex \key
@node Improvisation
-@unnumberedsubsubsec Improvisation
+@subsubsection Improvisation
@cindex improvisation
@cindex slashed note heads
}
@end lilypond
+
+@refcommands
+
+@funindex \improvisationOn
+@funindex \improvisationOff
+
+@code{\improvisationOn}, @code{\improvisationOff}
+
@seealso
Snippets: @lsrdir{Pitches,Pitches}.
* Notation Reference: a (hopefully complete) description of
LilyPond input notation. Some material from here may be
- duplicated in the Learning Manual (for teaching). The material is
- presented in an approximate order of increasing difficulty, but
- the goal is _not_ to provide a step-by-step learning environment.
- For example, all material under "Pitches" should remain in that
- section, even though microtonal accidentals may seem more advanced
- than info about clefs or time signatures -- "Pitches" should be a
- one-stop reference about the pitch portion of notes. This section
- is written in formal technical writing style.
-
-Users are not expected to read this manual from start to finish.
-However, they should be familiar with the material in the Learning
-Manual (particularly ``Fundamental Concepts''), so do not repeat
-that material in each section of this book. Also, you should
-assume that users know what the notation means; explaining musical
-concepts happens in the Music Glossary.
+ duplicated in the Learning Manual (for teaching), but consider
+ the NR to be the "definitive" description of each notation
+ element, with the LM being an "extra". The goal is _not_ to
+ provide a step-by-step learning environment -- do not avoid
+ using notation that has not be introduced previously in the
+ NR (for example, use \break if appropriate). This section is
+ written in formal technical writing style.
+
+Avoid duplication. Although users are not expected to read this
+manual from start to finish, they should be familiar with the
+material in the Learning Manual (particularly ``Fundamental
+Concepts''), so do not repeat that material in each section of
+this book. Also watch out for common constructs, like ^ - _ for
+directions -- those are explained in NR 3. In NR 1, you can
+mention that "dynamics (or whatever) may be placed above or below
+the staff, for details see @ref{Up and down}".
+
+Most tweaks should be added to LSR and not placed directly in the
+.itely file. In some cases, tweaks may be placed in the main
+text, but ask about this first.
+
+Finally, you should assume that users know what the notation
+means; explaining musical concepts happens in the Music Glossary.
* Application Usage: information about using the program lilypond
@lilypondfile[ragged-right,line-width=16\cm,staffsize=14,quote]
{rhythms-headword.ly}
-This section discusses rhythms, durations, and bars.
+This section discusses rhythms, rests, durations, beaming and bars.
@menu
* Writing rhythms::
@node Durations
@unnumberedsubsubsec Durations
-@cindex duration
-@cindex beams, automatic
+@cindex durations, of notes
+@cindex note durations
+
@funindex \longa
@funindex \breve
@funindex \maxima
-When entering notes, durations are designated by numbers and dots:
-durations are entered as their reciprocal values. For example, a
+Durations are designated by numbers and dots.
+Durations are entered as their reciprocal values. For example, a
quarter note is entered using a @code{4} (since it is a 1/4 note),
-while a half note is entered using a @code{2} (since it is a 1/2
+and a half note is entered using a @code{2} (since it is a 1/2
note). For notes longer than a whole you must use the
-@code{\longa} (a double breve) and @code{\breve} commands. Note
-durations as short as 64th notes may be specified. Shorter values
-are possible, but only as beamed notes.
+@code{\longa} (a double breve) and @code{\breve} commands.
+Durations as short as 64th notes may be specified. Shorter values
+are possible, but only as beamed notes:
@c Two 64th notes are needed to obtain beams
@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
@end lilypond
@noindent
-and the same durations with automatic beaming turned off
+and the same durations with automatic beaming turned off;
see @ref{Automatic beams}:
@c not strictly "writing rhythms"; more of a "displaying" thing,
c4 c8 c16 c32 c64 c64
@end lilypond
+A note with the duration of a quadruple breve may be entered with
+@code{\maxima}, but this is supported only within ancient music
+notation; see @ref{Ancient notation}.
+
If the duration is omitted then it is set to the previously
entered duration. The default for the first note is a quarter
note.
a a a2 a a4 a a1 a
@end lilypond
+@cindex notes, dotted
+@cindex dotted notes
@funindex .
-To obtain dotted note lengths, simply add a dot (@code{.}) to the
-number. Double-dotted notes are produced in a similar way.
+To obtain dotted note lengths, place a dot (@code{.}) after the
+duration. Double-dotted notes are specified by appending two
+dots, and so on.
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
a4 b c4. b8 a4. b4.. c8.
@end lilypond
-Some durations cannot be entered using only binary durations
-and dots, and can only be represented by tying two or more
-notes together. Tied notes are covered in @ref{Ties}.
+Some durations cannot be represented with just binary durations
+and dots; they can only be represented by tying two or more
+notes together; see @ref{Ties}.
+
+For ways of specifying durations for the syllables of lyrics and
+ways of aligning lyrics to notes see @ref{Vocal music}.
+
+Optionally, notes can be spaced proportionately to their duration.
+For details of this and other settings which control proportional
+notation see @ref{Proportional notation}.
@refcommands
Dots are normally moved up to avoid staff lines, except in
polyphonic situations. The following commands may be used to
-force a particular direction manually:
+force a particular direction manually, and to return to the
+default behaviour:
@funindex \dotsUp
@code{\dotsUp},
@funindex \dotsNeutral
@code{\dotsNeutral}.
-For ways of specifying durations for the syllables of lyrics and
-ways of aligning lyrics to notes see @ref{Vocal music}.
-
-A note with the duration of a quadruple breve may be entered with
-@code{\maxima}, but this is supported only within ancient music
-notation; see @ref{Ancient notation}.
-
-Optionally, notes can be spaced proportionately to their duration.
-For details of this and other settings which control proportional
-notation see @ref{Proportional notation}.
-
@seealso
-Music Glossary: @rglos{breve}, @rglos{longa}.
+Music Glossary: @rglos{breve}, @rglos{longa}, @rglos{note value}
+@rglos{Duration names notes and rests}.
-Notation Reference:@ref{Automatic beams}, @ref{Ties}, @ref{Writing rests}, @ref{Vocal music},
+Notation Reference: @ref{Automatic beams}, @ref{Ties},
+@ref{Writing rhythms}, @ref{Writing rests}, @ref{Vocal music},
@ref{Ancient notation}, @ref{Proportional notation}.
Snippets: @lsrdir{Rhythms,Rhythms}
@refbugs
-@c duplicated in Durations and Rests. -gp
+@c deliberately duplicated in Durations and Rests. -gp
There is no fundamental limit to rest durations (both in terms of
longest and shortest), but the number of glyphs is limited: there
are rests from 128th to maxima (8 x whole).
+
* Breaks::
* Vertical spacing::
* Horizontal spacing::
+* Page layout MOVED FROM LM::
@end menu
* Page breaking::
* Optimal page breaking::
* Optimal page turning::
-* Minimal page breaking::
+* Minimal page breaking::
* Explicit breaks::
* Using an extra voice for breaks::
@end menu
for these related settings.
+
+@node Page layout MOVED FROM LM
+@section Page layout MOVED FROM LM
+
+@menu
+* Introduction to layout::
+* Global sizes::
+* Line breaks::
+* Page breaks::
+* Fitting music onto fewer pages::
+@end menu
+
+@node Introduction to layout
+@subsection Introduction to layout
+
+The global paper layout is determined by three factors:
+the page layout, the line breaks, and the spacing. These all
+influence each other. The choice of spacing determines how
+densely each system of music is set. This influences where line
+breaks are chosen, and thus ultimately, how many pages a piece
+of music takes.
+
+Settings which influence layout may be placed in two blocks.
+The @code{\paper @{...@}} block is placed outside any
+@code{\score @{...@}} blocks and contains settings that
+relate to the entire document. The @code{\layout @{...@}}
+block is placed within a @code{\score @{...@}} block and
+contains settings for that particular score. If you have
+only one @code{\score @{...@}} block the two have the same
+effect. In general the commands shown in this section can
+be placed in either.
+
+Much more detail on the options for tweaking the laying out
+of music are contained in @ruser{Spacing issues}.
+
+@node Global sizes
+@subsection Global sizes
+
+TODO Check all these examples
+
+The default @strong{paper size} which LilyPond assumes in laying
+out the music is A4. This may be changed in two ways:
+
+@example
+#(set-default-paper-size "a6")
+
+\paper @{
+#(set-paper-size "letter")
+@}
+@end example
+
+@noindent
+The first command sets the size of all pages. The second command
+sets the size of the pages to which the \paper block applies -- if
+the \paper block is at the top of the file, then it will apply
+to all pages. Support for the following paper sizes is available:
+a6, a5, a4, a3, legal, letter, 11x17 (also known as tabloid).
+Setting the paper size automatically sets suitable margins and
+line length.
+
+If the symbol @code{landscape} is supplied as an argument to
+@code{set-default-paper-size}, the pages will be rotated by 90
+degrees, and wider line widths will be set correspondingly, e.g.
+
+@example
+#(set-default-paper-size "a6" 'landscape)
+@end example
+
+The default @strong{staff size} is set to 20 points.
+This may be changed in two ways:
+
+@example
+#(set-global-staff-size 14)
+
+\paper @{
+#(set-global-staff-size 16)
+@}
+@end example
+
+@noindent
+The first command sets the size in all pages. The second command
+sets the size in the pages to which the \paper block applies -\96 if
+the \paper block is at the top of the file, then it will apply
+to all pages. All the fonts are automatically scaled to suit
+the new value of the staff size.
+
+@node Line breaks
+@subsection Line breaks
+
+Line breaks are normally determined automatically. They are chosen
+so that lines look neither cramped nor loose, and consecutive
+lines have similar density. Occasionally you might want to
+override the automatic breaks; you can do this by specifying
+@code{\break}. This will force a line break at this point. However,
+line breaks can only occur at the end of @q{complete} bars, i.e.,
+where there are no notes or tuplets left @q{hanging} over the bar
+line. If you want to have a line break where there is no bar line,
+you can force an invisible bar line by entering @code{\bar ""},
+although again there must be no notes left hanging over in any of
+the staves at this point, or it will be ignored.
+
+The opposite command, @code{\noBreak}, forbids a line break at the
+bar line where it is inserted.
+
+The most basic settings influencing line spacing are @code{indent}
+and @code{line-width}. They are set in the @code{\layout} block.
+They control the indentation of the first line of music, and the
+lengths of the lines.
+
+If @code{ragged-right} is set to true in the @code{\layout} block,
+then systems end at their natural horizontal length, instead of
+being spread horizontally to fill the whole line. This is useful
+for short fragments, and for checking how tight the natural
+spacing is.
+
+The option @code{ragged-last} is similar to @code{ragged-right},
+but affects only the last line of the piece.
+
+@example
+\layout @{
+indent = #0
+line-width = #150
+ragged-last = ##t
+@}
+@end example
+
+@node Page breaks
+@subsection Page breaks
+
+The default page breaking may be overriden by inserting
+@code{\pageBreak} or @code{\noPageBreak} commands.
+These commands are analogous to the @code{\break} and
+@code{\noBreak} commands discused above and force or forbid
+a page-break at the point where they are inserted.
+Of course, the @code{\pageBreak} command also forces a line break.
+Like @code{\break}, the @code{\pageBreak} command is effective only
+at the end of a @q{complete} bar as defined above. For more
+details see @ruser{Page breaking} and following sections.
+
+There are also analogous settings to @code{ragged-right} and
+@code{ragged-last} which have the same effect on vertical spacing:
+@code{ragged-bottom} and @code{ragged-last-bottom}. If set to
+@code{##t} the systems on all pages or just the last page
+respectively will not be justified vertically.
+
+For more details see @ruser{Vertical spacing}.
+
+@node Fitting music onto fewer pages
+@subsection Fitting music onto fewer pages
+
+Sometimes you can end up with one or two staves on a second
+(or third, or fourth...) page. This is annoying, especially
+if you look at previous pages and it looks like there is plenty
+of room left on those.
+
+When investigating layout issues, @code{annotate-spacing} is
+an invaluable tool. This command prints the values of various
+layout spacing commands; see @ruser{Displaying spacing}, for more
+details. From the output of @code{annotate-spacing}, we can
+see which margins we may wish to alter.
+
+Other than margins, there are a few other options to save space:
+
+@itemize
+@item
+You may tell LilyPond to place systems as close together as
+possible (to fit as many systems as possible onto a page), but
+then to space those systems out so that there is no blank
+space at the bottom of the page.
+
+@example
+\paper @{
+ between-system-padding = #0.1
+ between-system-space = #0.1
+ ragged-last-bottom = ##f
+ ragged-bottom = ##f
+@}
+@end example
+
+@item
+You may force the number of systems (i.e., if LilyPond wants
+to typeset some music with 11 systems, you could force it to
+use 10).
+
+@example
+\paper @{
+ system-count = #10
+@}
+@end example
+
+@item
+Avoid (or reduce) objects which increase the vertical size of
+a system. For example, volta repeats (or alternate repeats)
+require extra space. If these repeats are spread over two
+systems, they will take up more space than one system with
+the volta repeats and another system without.
+
+Another example is moving dynamics which @q{stick out} of
+a system, as in the second bar here:
+
+@lilypond[verbatim,quote,fragment,ragged-right,relative=1]
+e4 c g\f c
+\override DynamicText #'extra-offset = #'( -2.2 . 2.0)
+e4 c g\f c
+@end lilypond
+
+@item
+Alter the horizontal spacing via @code{SpacingSpanner}. See
+@ruser{Changing horizontal spacing}, for more details. Here's
+an example first showing the default behaviour:
+
+@lilypond[verbatim,quote,ragged-right]
+\score {
+ \relative c'' {
+ g4 e e2 |
+ f4 d d2 |
+ c4 d e f |
+ g4 g g2 |
+ g4 e e2 |
+ }
+}
+@end lilypond
+
+@noindent
+and now with @code{common-shortest-duration} increased from the
+value of @code{1/4} (a quarter note is the most common in this
+example) to @code{1/2}:
+
+@lilypond[verbatim,quote,ragged-right]
+\score {
+ \relative c'' {
+ g4 e e2 |
+ f4 d d2 |
+ c4 d e f |
+ g4 g g2 |
+ g4 e e2 |
+ }
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner
+ #'common-shortest-duration = #(ly:make-moment 1 2)
+ }
+ }
+}
+@end lilypond
+
+@noindent
+Note that this override cannot be modified dynamically, so it must
+always be placed in a @code{\context@{..@}} block so that it applies
+to the whole score.
+
+TODO Add description of using \context in this way earlier if it is
+not already anywhere -td
+
+@end itemize
+
+
+
@node Single staff
@appendixsec Single staff
-@appendixsubsec Notes only
-The first example gives you a staff with notes, suitable for a solo
-instrument or a melodic fragment. Cut and paste this into a file,
-add notes, and you're finished!
+@appendixsubsec Notes only
-@lilypond[quote,verbatim,ragged-right]
-\version "2.11.38"
-melody = \relative c' {
- \clef treble
- \key c \major
- \time 4/4
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{single-staff-template-with-only-notes.ly}
- a4 b c d
-}
-
-\score {
- \new Staff \melody
- \layout { }
- \midi {}
-}
-@end lilypond
@appendixsubsec Notes and lyrics
-The next example demonstrates a simple melody with lyrics. Cut and
-paste, add notes, then words for the lyrics. This example turns off
-automatic beaming, which is common for vocal parts. If you want to use
-automatic beaming, you'll have to change or comment out the relevant
-line.
-
-@lilypond[quote,verbatim,ragged-right]
-\version "2.11.38"
-melody = \relative c' {
- \clef treble
- \key c \major
- \time 4/4
-
- a4 b c d
-}
-
-text = \lyricmode {
- Aaa Bee Cee Dee
-}
-
-\score{
- <<
- \new Voice = "one" {
- \autoBeamOff
- \melody
- }
- \new Lyrics \lyricsto "one" \text
- >>
- \layout { }
- \midi { }
-}
-@end lilypond
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{single-staff-template-with-notes-and-lyrics.ly}
@appendixsubsec Notes and chords
-Want to prepare a lead sheet with a melody and chords? Look no further!
-
-@lilypond[quote,verbatim,ragged-right]
-\version "2.11.38"
-melody = \relative c' {
- \clef treble
- \key c \major
- \time 4/4
-
- f4 e8[ c] d4 g |
- a2 ~ a2 |
-}
-
-harmonies = \chordmode {
- c4:m f:min7 g:maj c:aug d2:dim b:sus
-}
-
-\score {
- <<
- \new ChordNames {
- \set chordChanges = ##t
- \harmonies
- }
- \new Staff \melody
- >>
-
- \layout{ }
- \midi { }
-}
-@end lilypond
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{single-staff-template-with-notes-and-chords.ly}
@appendixsubsec Notes, lyrics, and chords.
-This template allows you to prepare a song with melody, words, and chords.
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{single-staff-template-with-notes,-lyrics,-and-chords.ly}
-@lilypond[quote,verbatim,ragged-right]
-\version "2.11.38"
-melody = \relative c' {
- \clef treble
- \key c \major
- \time 4/4
-
- a b c d
-}
-
-text = \lyricmode {
- Aaa Bee Cee Dee
-}
-
-harmonies = \chordmode {
- a2 c2
-}
-
-\score {
- <<
- \new ChordNames {
- \set chordChanges = ##t
- \harmonies
- }
- \new Voice = "one" {
- \autoBeamOff
- \melody
- }
- \new Lyrics \lyricsto "one" \text
- >>
- \layout { }
- \midi { }
-}
-@end lilypond
@node Piano templates
@appendixsec Piano templates
-@appendixsubsec Solo piano
-
-Here is a simple piano staff.
-
-@lilypond[quote,verbatim,ragged-right]
-\version "2.11.38"
-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
+@appendixsubsec Solo piano
- a2 c
-}
-
-\score {
- \new PianoStaff <<
- \set PianoStaff.instrumentName = "Piano "
- \new Staff = "upper" \upper
- \new Staff = "lower" \lower
- >>
- \layout { }
- \midi { }
-}
-@end lilypond
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{piano-template-simple.ly}
@appendixsubsec Piano and melody with lyrics
-Here is a typical song format: one staff with the melody and lyrics, with
-piano accompaniment underneath.
-
-@lilypond[quote,verbatim,ragged-right]
-\version "2.11.38"
-melody = \relative c'' {
- \clef treble
- \key c \major
- \time 4/4
-
- a b c d
-}
-
-text = \lyricmode {
- Aaa Bee Cee Dee
-}
-
-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
-}
-
-\score {
- <<
- \new Voice = "mel" {
- \autoBeamOff
- \melody
- }
- \new Lyrics \lyricsto mel \text
-
- \new PianoStaff <<
- \new Staff = "upper" \upper
- \new Staff = "lower" \lower
- >>
- >>
- \layout {
- \context { \RemoveEmptyStaffContext }
- }
- \midi { }
-}
-@end lilypond
-
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{piano-template-with-melody-and-lyrics.ly}
@appendixsubsec Piano centered lyrics
-Instead of having a full staff for the melody and lyrics, you can place
-the lyrics between the piano staff (and omit the separate melody staff).
-
-@lilypond[quote,verbatim,ragged-right]
-\version "2.11.38"
-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
-}
-
-text = \lyricmode {
- Aaa Bee Cee Dee
-}
-
-\score {
- \new GrandStaff <<
- \new Staff = upper { \new Voice = "singer" \upper }
- \new Lyrics \lyricsto "singer" \text
- \new Staff = lower {
- \clef bass
- \lower
- }
- >>
- \layout {
- \context { \GrandStaff \accepts "Lyrics" }
- \context { \Lyrics \consists "Bar_engraver" }
- }
- \midi { }
-}
-@end lilypond
-
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{piano-template-with-centered-lyrics.ly}
@appendixsubsec Piano centered dynamics
-Many piano scores have the dynamics centered between the two
-staves. This requires a bit of tweaking to implement, but
-since the template is right here, you don't have to do the
-tweaking yourself.
-
-@lilypond[quote,verbatim,ragged-right]
-\version "2.11.38"
-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
- }
- }
-}
-@end lilypond
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{piano-template-with-centered-dynamics.ly}
@node String quartet
@appendixsec String quartet
-@appendixsubsec String quartet
-
-This template demonstrates a string quartet. It also uses a @code{\global}
-section for time and key signatures.
-
-@lilypond[quote,verbatim,ragged-right]
-\version "2.11.38"
-global= {
- \time 4/4
- \key c \major
-}
-
-violinOne = \new Voice { \relative c''{
- \set Staff.instrumentName = "Violin 1 "
-
- c2 d e1
-
-\bar "|." }}
-violinTwo = \new Voice { \relative c''{
- \set Staff.instrumentName = "Violin 2 "
-
- g2 f e1
-
-\bar "|." }}
-viola = \new Voice { \relative c' {
- \set Staff.instrumentName = "Viola "
- \clef alto
-
- e2 d c1
-
-\bar "|." }}
-cello = \new Voice { \relative c' {
- \set Staff.instrumentName = "Cello "
- \clef bass
-
- c2 b a1
+@appendixsubsec String quartet
-\bar "|."}}
-
-\score {
- \new StaffGroup <<
- \new Staff << \global \violinOne >>
- \new Staff << \global \violinTwo >>
- \new Staff << \global \viola >>
- \new Staff << \global \cello >>
- >>
- \layout { }
- \midi { }
-}
-@end lilypond
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{string-quartet-template-simple.ly}
@appendixsubsec String quartet parts
-The previous example produces a nice string quartet, but what if you
-needed to print parts? This template demonstrates how to use the
-@code{\tag} feature to easily split a piece into individual parts.
-
-You need to split this template into separate files; the filenames
-are contained in comments at the beginning of each file. @code{piece.ly}
-contains all the music definitions. The other files -- @code{score.ly},
-@code{vn1.ly}, @code{vn2.ly}, @code{vla.ly}, and
-@code{vlc.ly} -- produce the appropiate part.
-
-@verbatim
-%%%%% piece.ly
-\version "2.11.38"
-
-global= {
- \time 4/4
- \key c \major
-}
-
-Violinone = \new Voice { \relative c''{
- \set Staff.instrumentName = "Violin 1 "
-
- c2 d e1
-
-\bar "|." }} %*********************************
-Violintwo = \new Voice { \relative c''{
- \set Staff.instrumentName = "Violin 2 "
-
- g2 f e1
-
-\bar "|." }} %*********************************
-Viola = \new Voice { \relative c' {
- \set Staff.instrumentName = "Viola "
- \clef alto
-
- e2 d c1
-
-\bar "|." }} %*********************************
-Cello = \new Voice { \relative c' {
- \set Staff.instrumentName = "Cello "
- \clef bass
-
- c2 b a1
-
-\bar "|."}} %**********************************
-
-music = {
- <<
- \tag #'score \tag #'vn1 \new Staff { << \global \Violinone >> }
- \tag #'score \tag #'vn2 \new Staff { << \global \Violintwo>> }
- \tag #'score \tag #'vla \new Staff { << \global \Viola>> }
- \tag #'score \tag #'vlc \new Staff { << \global \Cello>> }
- >>
-}
-
-
-
-%%%%% score.ly
-\version "2.11.38"
-\include "piece.ly"
-#(set-global-staff-size 14)
-\score {
- \new StaffGroup \keepWithTag #'score \music
- \layout { }
- \midi { }
-}
-
-
-%%%%% vn1.ly
-\version "2.11.38"
-\include "piece.ly"
-\score {
- \keepWithTag #'vn1 \music
- \layout { }
-}
-
-
-%%%%% vn2.ly
-\version "2.11.38"
-\include "piece.ly"
-\score {
- \keepWithTag #'vn2 \music
- \layout { }
-}
-
-
-%%%%% vla.ly
-\version "2.11.38"
-\include "piece.ly"
-\score {
- \keepWithTag #'vla \music
- \layout { }
-}
-
-
-%%%%% vlc.ly
-\version "2.11.38"
-\include "piece.ly"
-\score {
- \keepWithTag #'vlc \music
- \layout { }
-}
-@end verbatim
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{string-quartet-template-with-separate-parts.ly}
@node Vocal ensembles
@appendixsubsec SATB vocal score
-Here is a standard four-part SATB vocal score. With larger ensembles,
-it's often useful to include a section which is included in all
-parts. For example, the time signature and key signatures are almost
-always the same for all parts.
-
-@lilypond[quote,verbatim,ragged-right]
-\version "2.11.38"
-global = {
- \key c \major
- \time 4/4
-}
-
-sopMusic = \relative c'' {
- c4 c c8[( b)] c4
-}
-sopWords = \lyricmode {
- hi hi hi hi
-}
-
-altoMusic = \relative c' {
- e4 f d e
-}
-altoWords =\lyricmode {
- ha ha ha ha
-}
-
-tenorMusic = \relative c' {
- g4 a f g
-}
-tenorWords = \lyricmode {
- hu hu hu hu
-}
-
-bassMusic = \relative c {
- c4 c g c
-}
-bassWords = \lyricmode {
- ho ho ho ho
-}
-
-\score {
- \new ChoirStaff <<
- \new Lyrics = sopranos { s1 }
- \new Staff = women <<
- \new Voice =
- "sopranos" { \voiceOne << \global \sopMusic >> }
- \new Voice =
- "altos" { \voiceTwo << \global \altoMusic >> }
- >>
- \new Lyrics = "altos" { s1 }
- \new Lyrics = "tenors" { s1 }
- \new Staff = men <<
- \clef bass
- \new Voice =
- "tenors" { \voiceOne <<\global \tenorMusic >> }
- \new Voice =
- "basses" { \voiceTwo <<\global \bassMusic >> }
- >>
- \new Lyrics = basses { s1 }
-
- \context Lyrics = sopranos \lyricsto sopranos \sopWords
- \context Lyrics = altos \lyricsto altos \altoWords
- \context Lyrics = tenors \lyricsto tenors \tenorWords
- \context Lyrics = basses \lyricsto basses \bassWords
- >>
-
- \layout {
- \context {
- % a little smaller so lyrics
- % can be closer to the staff
- \Staff
- \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
- }
- }
-}
-@end lilypond
-
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{vocal-ensemble-template.ly}
@appendixsubsec SATB vocal score and automatic piano reduction
-This template adds an automatic piano reduction to the SATB vocal
-score. This demonstrates one of the strengths of LilyPond -- you
-can use a music definition more than once. If you make any changes
-to the vocal notes (say, tenorMusic), then the changes will also
-apply to the piano reduction.
-
-@lilypond[quote,verbatim,ragged-right]
-\version "2.11.38"
-global = {
- \key c \major
- \time 4/4
-}
-
-sopMusic = \relative c'' {
- c4 c c8[( b)] c4
-}
-sopWords = \lyricmode {
- hi hi hi hi
-}
-
-altoMusic = \relative c' {
- e4 f d e
-}
-altoWords =\lyricmode {
- ha ha ha ha
-}
-
-tenorMusic = \relative c' {
- g4 a f g
-}
-tenorWords = \lyricmode {
- hu hu hu hu
-}
-
-bassMusic = \relative c {
- c4 c g c
-}
-bassWords = \lyricmode {
- ho ho ho ho
-}
-
-\score {
- <<
- \new ChoirStaff <<
- \new Lyrics = sopranos { s1 }
- \new Staff = women <<
- \new Voice =
- "sopranos" { \voiceOne << \global \sopMusic >> }
- \new Voice =
- "altos" { \voiceTwo << \global \altoMusic >> }
- >>
- \new Lyrics = "altos" { s1 }
- \new Lyrics = "tenors" { s1 }
- \new Staff = men <<
- \clef bass
- \new Voice =
- "tenors" { \voiceOne <<\global \tenorMusic >> }
- \new Voice =
- "basses" { \voiceTwo <<\global \bassMusic >> }
- >>
- \new Lyrics = basses { s1 }
-
- \context Lyrics = sopranos \lyricsto sopranos \sopWords
- \context Lyrics = altos \lyricsto altos \altoWords
- \context Lyrics = tenors \lyricsto tenors \tenorWords
- \context Lyrics = basses \lyricsto basses \bassWords
- >>
- \new PianoStaff <<
- \new Staff <<
- \set Staff.printPartCombineTexts = ##f
- \partcombine
- << \global \sopMusic >>
- << \global \altoMusic >>
- >>
- \new Staff <<
- \clef bass
- \set Staff.printPartCombineTexts = ##f
- \partcombine
- << \global \tenorMusic >>
- << \global \bassMusic >>
- >>
- >>
- >>
- \layout {
- \context {
- % a little smaller so lyrics
- % can be closer to the staff
- \Staff
- \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
- }
- }
-}
-@end lilypond
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{vocal-ensemble-template-with-automatic-piano-reduction.ly}
@appendixsubsec SATB with aligned contexts
-Here all the lyrics lines are placed using @code{alignAboveContext}
-and @code{alignBelowContext}.
-
-@lilypond[quote,verbatim,ragged-right]
-\version "2.11.38"
-global = {
- \key c \major
- \time 4/4
-}
-
-sopMusic = \relative c'' {
- c4 c c8[( b)] c4
-}
-sopWords = \lyricmode {
- hi hi hi hi
-}
-
-altoMusic = \relative c' {
- e4 f d e
-}
-altoWords =\lyricmode {
- ha ha ha ha
-}
-
-tenorMusic = \relative c' {
- g4 a f g
-}
-tenorWords = \lyricmode {
- hu hu hu hu
-}
-
-bassMusic = \relative c {
- c4 c g c
-}
-bassWords = \lyricmode {
- ho ho ho ho
-}
-
-\score {
- \new ChoirStaff <<
- \new Staff = women <<
- \new Voice =
- "sopranos" { \voiceOne << \global \sopMusic >> }
- \new Voice =
- "altos" { \voiceTwo << \global \altoMusic >> }
- >>
- \new Lyrics \with {alignAboveContext=women} \lyricsto sopranos \sopWords
- \new Lyrics \with {alignBelowContext=women} \lyricsto altos \altoWords
-% we could remove the line about this with the line below, since we want
-% the alto lyrics to be below the alto Voice anyway.
-% \new Lyrics \lyricsto altos \altoWords
-
- \new Staff = men <<
- \clef bass
- \new Voice =
- "tenors" { \voiceOne <<\global \tenorMusic >> }
- \new Voice =
- "basses" { \voiceTwo <<\global \bassMusic >> }
- >>
-
- \new Lyrics \with {alignAboveContext=men} \lyricsto tenors \tenorWords
- \new Lyrics \with {alignBelowContext=men} \lyricsto basses \bassWords
-% again, we could replace the line above this with the line below.
-% \new Lyrics \lyricsto basses \bassWords
- >>
-
- \layout {
- \context {
- % a little smaller so lyrics
- % can be closer to the staff
- \Staff
- \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
- }
- }
-}
-
-
-\score {
- \new ChoirStaff <<
- \new Staff = women <<
- \new Voice =
- "sopranos" { \voiceOne << \global \sopMusic >> }
- \new Voice =
- "altos" { \voiceTwo << \global \altoMusic >> }
- >>
-
- \new Lyrics \with {alignAboveContext=women} \lyricsto sopranos \sopWords
- \new Lyrics \lyricsto altos \altoWords
-
- \new Staff = men <<
- \clef bass
- \new Voice =
- "tenors" { \voiceOne <<\global \tenorMusic >> }
- \new Voice =
- "basses" { \voiceTwo <<\global \bassMusic >> }
- >>
-
- \new Lyrics \with {alignAboveContext=men} \lyricsto tenors \tenorWords
- \new Lyrics \lyricsto basses \bassWords
- >>
-
- \layout {
- \context {
- % a little smaller so lyrics
- % can be closer to the staff
- \Staff
- \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
- }
- }
-}
-@end lilypond
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{vocal-ensemble-template-with-lyrics-aligned-below-and-above-the-staves.ly}
@c bad node name to avoid node name confict
@appendixsubsec Transcription of mensural music
-When transcribing mensural music, an incipit at the beginning of the
-piece is useful to indicate the original key and tempo. While today
-musicians are used to bar lines in order to faster recognize rhythmic
-patterns, bar lines were not yet invented during the period of
-mensural music; in fact, the meter often changed after every few
-notes. As a compromise, bar lines are often printed between the
-staves rather than on the staves.
-
-@lilypond[quote,verbatim,line-width=11.0\cm]
-\version "2.11.38"
-
-global = {
- \set Score.skipBars = ##t
-
- % incipit
- \once \override Score.SystemStartBracket #'transparent = ##t
- \override Score.SpacingSpanner #'spacing-increment = #1.0 % tight spacing
- \key f \major
- \time 2/2
- \once \override Staff.TimeSignature #'style = #'neomensural
- \override Voice.NoteHead #'style = #'neomensural
- \override Voice.Rest #'style = #'neomensural
- \set Staff.printKeyCancellation = ##f
- \cadenzaOn % turn off bar lines
- \skip 1*10
- \once \override Staff.BarLine #'transparent = ##f
- \bar "||"
- \skip 1*1 % need this extra \skip such that clef change comes
- % after bar line
- \bar ""
-
- % main
- \revert Score.SpacingSpanner #'spacing-increment % CHECK: no effect?
- \cadenzaOff % turn bar lines on again
- \once \override Staff.Clef #'full-size-change = ##t
- \set Staff.forceClef = ##t
- \key g \major
- \time 4/4
- \override Voice.NoteHead #'style = #'default
- \override Voice.Rest #'style = #'default
-
- % TODO: setting printKeyCancellation back to #t must not
- % occur in the first bar after the incipit. Dto. for forceClef.
- % Therefore, we need an extra \skip.
- \skip 1*1
- \set Staff.printKeyCancellation = ##t
- \set Staff.forceClef = ##f
-
- \skip 1*7 % the actual music
-
- % let finis bar go through all staves
- \override Staff.BarLine #'transparent = ##f
-
- % finis bar
- \bar "|."
-}
-
-discantusNotes = {
- \transpose c' c'' {
- \set Staff.instrumentName = "Discantus "
-
- % incipit
- \clef "neomensural-c1"
- c'1. s2 % two bars
- \skip 1*8 % eight bars
- \skip 1*1 % one bar
-
- % main
- \clef "treble"
- d'2. d'4 |
- b e' d'2 |
- c'4 e'4.( d'8 c' b |
- a4) b a2 |
- b4.( c'8 d'4) c'4 |
- \once \override NoteHead #'transparent = ##t c'1 |
- b\breve |
- }
-}
-
-discantusLyrics = \lyricmode {
- % incipit
- IV-
-
- % main
- Ju -- bi -- |
- la -- te De -- |
- o, om --
- nis ter -- |
- ra, __ om- |
- "..." |
- -us. |
-}
-
-altusNotes = {
- \transpose c' c'' {
- \set Staff.instrumentName = "Altus "
-
- % incipit
- \clef "neomensural-c3"
- r1 % one bar
- f1. s2 % two bars
- \skip 1*7 % seven bars
- \skip 1*1 % one bar
-
- % main
- \clef "treble"
- r2 g2. e4 fis g | % two bars
- a2 g4 e |
- fis g4.( fis16 e fis4) |
- g1 |
- \once \override NoteHead #'transparent = ##t g1 |
- g\breve |
- }
-}
-
-altusLyrics = \lyricmode {
- % incipit
- IV-
-
- % main
- Ju -- bi -- la -- te | % two bars
- De -- o, om -- |
- nis ter -- ra, |
- "..." |
- -us. |
-}
-
-tenorNotes = {
- \transpose c' c' {
- \set Staff.instrumentName = "Tenor "
-
- % incipit
- \clef "neomensural-c4"
- r\longa % four bars
- r\breve % two bars
- r1 % one bar
- c'1. s2 % two bars
- \skip 1*1 % one bar
- \skip 1*1 % one bar
-
- % main
- \clef "treble_8"
- R1 |
- R1 |
- R1 |
- r2 d'2. d'4 b e' | % two bars
- \once \override NoteHead #'transparent = ##t e'1 |
- d'\breve |
- }
-}
-
-tenorLyrics = \lyricmode {
- % incipit
- IV-
-
- % main
- Ju -- bi -- la -- te | % two bars
- "..." |
- -us. |
-}
-
-bassusNotes = {
- \transpose c' c' {
- \set Staff.instrumentName = "Bassus "
-
- % incipit
- \clef "bass"
- r\maxima % eight bars
- f1. s2 % two bars
- \skip 1*1 % one bar
-
- % main
- \clef "bass"
- R1 |
- R1 |
- R1 |
- R1 |
- g2. e4 |
- \once \override NoteHead #'transparent = ##t e1 |
- g\breve |
- }
-}
-
-bassusLyrics = \lyricmode {
- % incipit
- IV-
-
- % main
- Ju -- bi- |
- "..." |
- -us. |
-}
-
-\score {
- \new StaffGroup = choirStaff <<
- \new Voice =
- "discantusNotes" << \global \discantusNotes >>
- \new Lyrics =
- "discantusLyrics" \lyricsto discantusNotes { \discantusLyrics }
- \new Voice =
- "altusNotes" << \global \altusNotes >>
- \new Lyrics =
- "altusLyrics" \lyricsto altusNotes { \altusLyrics }
- \new Voice =
- "tenorNotes" << \global \tenorNotes >>
- \new Lyrics =
- "tenorLyrics" \lyricsto tenorNotes { \tenorLyrics }
- \new Voice =
- "bassusNotes" << \global \bassusNotes >>
- \new Lyrics =
- "bassusLyrics" \lyricsto bassusNotes { \bassusLyrics }
- >>
- \layout {
- \context {
- \Score
-
- % no bars in staves
- \override BarLine #'transparent = ##t
-
- % incipit should not start with a start delimiter
- \remove "System_start_delimiter_engraver"
- }
- \context {
- \Voice
-
- % no slurs
- \override Slur #'transparent = ##t
-
- % Comment in the below "\remove" command to allow line
- % breaking also at those bar lines where a note overlaps
- % into the next bar. The command is commented out in this
- % short example score, but especially for large scores, you
- % will typically yield better line breaking and thus improve
- % overall spacing if you comment in the following command.
- %\remove "Forbid_line_break_engraver"
- }
- }
-}
-@end lilypond
-
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{ancient-notation-template----modern-transcription-of-mensural-music.ly}
@appendixsubsec Gregorian transcription template
-This example demonstrates how to do modern transcription of Gregorian
-music. Gregorian music has no measure, no stems; it uses only half and
-quarter note heads, and special marks, indicating rests of different length.
-
-@lilypond[quote,verbatim,ragged-right]
-\include "gregorian-init.ly"
-\version "2.11.38"
-
-chant = \relative c' {
- \set Score.timing = ##f
- f4 a2 \divisioMinima
- g4 b a2 f2 \divisioMaior
- g4( f) f( g) a2 \finalis
-}
-
-verba = \lyricmode {
- Lo -- rem ip -- sum do -- lor sit a -- met
-}
-
-\score {
- \new Staff <<
- \new Voice = "melody" {
- \chant
- }
- \new Lyrics = "one" \lyricsto melody \verba
- >>
-
- \layout {
- \context {
- \Staff
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- \override Stem #'transparent = ##t
- }
- \context {
- \Voice
- \override Stem #'length = #0
- }
- \context {
- \Score
- barAlways = ##t
- }
- }
-}
-@end lilypond
-
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{ancient-notation-template----modern-transcription-of-gregorian-music.ly}
@node Jazz combo
@appendixsec Jazz combo
-This is a much more complicated template, for a jazz ensemble. Note that all
-instruments are notated in @code{\key c \major}. This refers to the key in
-concert pitch; LilyPond will automatically transpose the key if the music
-is within a @code{\transpose} section.
-
-@c TODO must clean up this jazz combo example
-@c - transpositions stated in names (ie "trumpet in Bb" or whatever)
-@c - one global section, instead of "global" (time) and "key"
-@c - does it need those wierd macros? sl, nsl, etc.
-@c - maybe ask Amelie Zapf to clean it up, or whether I should just
-@c make whatever changes I feel like.
-
-@c TODO: produces a warning ; key change merge.
-@c The `line-width' argument is for the \header.
-
-@lilypond[quote,verbatim,ragged-right,line-width]
-\version "2.11.38"
-\header {
- title = "Song"
- subtitle = "(tune)"
- composer = "Me"
- meter = "moderato"
- piece = "Swing"
- tagline = \markup {
- \column {
- "LilyPond example file by Amelie Zapf,"
- "Berlin 07/07/2003"
- }
- }
- texidoc = "Jazz tune for combo
- (horns, guitar, piano, bass, drums)."
-}
-
-#(set-global-staff-size 16)
-\include "english.ly"
-
-%%%%%%%%%%%% Some macros %%%%%%%%%%%%%%%%%%%
-
-sl = {
- \override NoteHead #'style = #'slash
- \override Stem #'transparent = ##t
-}
-nsl = {
- \revert NoteHead #'style
- \revert Stem #'transparent
-}
-cr = \override NoteHead #'style = #'cross
-ncr = \revert NoteHead #'style
-
-%% insert chord name style stuff here.
-
-jzchords = { }
-
-
-%%%%%%%%%%%% Keys'n'thangs %%%%%%%%%%%%%%%%%
-
-global = {
- \time 4/4
-}
-
-Key = { \key c \major }
-
-% ############ Horns ############
-
-% ------ Trumpet ------
-trpt = \transpose c d \relative c'' {
- \Key
- c1 c c
-}
-trpharmony = \transpose c' d {
- \jzchords
-}
-trumpet = {
- \global
- \set Staff.instrumentName = #"Trumpet"
- \clef treble
- <<
- \trpt
- >>
-}
-
-% ------ Alto Saxophone ------
-alto = \transpose c a \relative c' {
- \Key
- c1 c c
-}
-altoharmony = \transpose c' a {
- \jzchords
-}
-altosax = {
- \global
- \set Staff.instrumentName = #"Alto Sax"
- \clef treble
- <<
- \alto
- >>
-}
-
-% ------ Baritone Saxophone ------
-bari = \transpose c a' \relative c {
- \Key
- c1 c \sl d4^"Solo" d d d \nsl
-}
-bariharmony = \transpose c' a \chordmode {
- \jzchords s1 s d2:maj e:m7
-}
-barisax = {
- \global
- \set Staff.instrumentName = #"Bari Sax"
- \clef treble
- <<
- \bari
- >>
-}
-
-% ------ Trombone ------
-tbone = \relative c {
- \Key
- c1 c c
-}
-tboneharmony = \chordmode {
- \jzchords
-}
-trombone = {
- \global
- \set Staff.instrumentName = #"Trombone"
- \clef bass
- <<
- \tbone
- >>
-}
-
-% ############ Rhythm Section #############
-
-% ------ Guitar ------
-gtr = \relative c'' {
- \Key
- c1 \sl b4 b b b \nsl c1
-}
-gtrharmony = \chordmode {
- \jzchords
- s1 c2:min7+ d2:maj9
-}
-guitar = {
- \global
- \set Staff.instrumentName = #"Guitar"
- \clef treble
- <<
- \gtr
- >>
-}
-
-%% ------ Piano ------
-rhUpper = \relative c'' {
- \voiceOne
- \Key
- c1 c c
-}
-rhLower = \relative c' {
- \voiceTwo
- \Key
- e1 e e
-}
-
-lhUpper = \relative c' {
- \voiceOne
- \Key
- g1 g g
-}
-lhLower = \relative c {
- \voiceTwo
- \Key
- c1 c c
-}
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{jazz-combo-template.ly}
-PianoRH = {
- \clef treble
- \global
- \set Staff.midiInstrument = "acoustic grand"
- <<
- \new Voice = "one" \rhUpper
- \new Voice = "two" \rhLower
- >>
-}
-PianoLH = {
- \clef bass
- \global
- \set Staff.midiInstrument = "acoustic grand"
- <<
- \new Voice = "one" \lhUpper
- \new Voice = "two" \lhLower
- >>
-}
-piano = {
- <<
- \set PianoStaff.instrumentName = #"Piano"
- \new Staff = "upper" \PianoRH
- \new Staff = "lower" \PianoLH
- >>
-}
-% ------ Bass Guitar ------
-Bass = \relative c {
- \Key
- c1 c c
-}
-bass = {
- \global
- \set Staff.instrumentName = #"Bass"
- \clef bass
- <<
- \Bass
- >>
-}
-
-% ------ Drums ------
-up = \drummode {
- hh4 <hh sn>4 hh <hh sn> hh <hh sn>4
- hh4 <hh sn>4
- hh4 <hh sn>4
- hh4 <hh sn>4
-}
-
-down = \drummode {
- bd4 s bd s bd s bd s bd s bd s
-}
-
-drumContents = {
- \global
- <<
- \set DrumStaff.instrumentName = #"Drums"
- \new DrumVoice { \voiceOne \up }
- \new DrumVoice { \voiceTwo \down }
- >>
-}
-
-%%%%%%%%% It All Goes Together Here %%%%%%%%%%%%%%%%%%%%%%
-
-\score {
- <<
- \new StaffGroup = "horns" <<
- \new Staff = "trumpet" \trumpet
- \new Staff = "altosax" \altosax
- \new ChordNames = "barichords" \bariharmony
- \new Staff = "barisax" \barisax
- \new Staff = "trombone" \trombone
- >>
-
- \new StaffGroup = "rhythm" <<
- \new ChordNames = "chords" \gtrharmony
- \new Staff = "guitar" \guitar
- \new PianoStaff = "piano" \piano
- \new Staff = "bass" \bass
- \new DrumStaff { \drumContents }
- >>
- >>
-
- \layout {
- \context { \RemoveEmptyStaffContext }
- \context {
- \Score
- \override BarNumber #'padding = #3
- \override RehearsalMark #'padding = #2
- skipBars = ##t
- }
- }
-
- \midi { }
-}
-@end lilypond
@ignore
-
This isn't very useful, and only duplicates material in
"global issues". And if this info changes, this section often
gets forgotten.
* Appearance of objects::
* Placement of objects::
* Collisions of objects::
-* Page layout::
* Further tweaking::
@end menu
in a piece of music. But the bar lines are normally inserted
automatically. How do we prevent them printing?
-As before, we go to the IR to find the layout object which prints
+Before we tackle this, let us remember that object properties
+are grouped in what are called @emph{interfaces} -- see
+@ref{Properties found in interfaces}. This is simply to
+group together those properties that are commonly required
+together -- if one of them is required for an object, so are
+the others. Some objects then need the properties in some
+interfaces, others need them from other interfaces. The
+interfaces which contain the properties required by a
+particular grob are listed in the IR at the bottom of the
+page describing that grob, and those properties may be
+viewed by looking at those interfaces.
+
+We explained how to find information about grobs in
+@ref{Properties of layout objects}. Using the same approach,
+we go to the IR to find the layout object which prints
bar lines. Going via @emph{Backend} and @emph{All layout objects}
we find there
is a layout object called @code{BarLine}. Its properties include
by extension, many other layout objects too.) Let's consider
each of these in turn.
+@c FIXME: is this what you meant?
+@c TODO Change all other headings like this
@subheading stencil
@cindex stencil property
outside-staff objects which are, by default, placed in the
@code{Staff} Context.
-@multitable @columnfractions .3 .3
-@headitem Layout Object @tab Priority
-@item @code{DynamicLineSpanner} @tab @code{ 250}
-@item @code{DynamicText} @tab @code{ 250}
-@item @code{OttavaBracket} @tab @code{ 400}
-@item @code{TextScript} @tab @code{ 450}
-@item @code{TextSpanner} @tab @code{ 350}
+@multitable @columnfractions .3 .3 .3
+@headitem Layout Object
+ @tab Priority
+ @tab Controls position of:
+@item @code{DynamicLineSpanner}
+ @tab @code{ 250}
+ @tab All dynamic markings
+@item @code{OttavaBracket}
+ @tab @code{ 400}
+ @tab Ottava brackets
+@item @code{TextScript}
+ @tab @code{ 450}
+ @tab Markup text
+@item @code{TextSpanner}
+ @tab @code{ 350}
+ @tab Text spanners
@end multitable
Here is an example showing the default placement of these.
By default, outside-staff objects are given a width of zero so
that they may overlap in the horizontal direction. This is done
-by by the trick of adding infinity to the leftmost extent and
+by the trick of adding infinity to the leftmost extent and
minus infinity to the rightmost extent by setting the
@code{extra-spacing-width} to @code{'(+inf.0 . -inf.0)}. So
to ensure they do not overlap in the horizontal direction we
@end lilypond
-@node Page layout
-@section Page layout
-
-@menu
-* Introduction to layout::
-* Global sizes::
-* Line breaks::
-* Page breaks::
-* Fitting music onto fewer pages::
-@end menu
-
-@node Introduction to layout
-@subsection Introduction to layout
-
-The global paper layout is determined by three factors:
-the page layout, the line breaks, and the spacing. These all
-influence each other. The choice of spacing determines how
-densely each system of music is set. This influences where line
-breaks are chosen, and thus ultimately, how many pages a piece
-of music takes.
-
-Settings which influence layout may be placed in two blocks.
-The @code{\paper @{...@}} block is placed outside any
-@code{\score @{...@}} blocks and contains settings that
-relate to the entire document. The @code{\layout @{...@}}
-block is placed within a @code{\score @{...@}} block and
-contains settings for that particular score. If you have
-only one @code{\score @{...@}} block the two have the same
-effect. In general the commands shown in this section can
-be placed in either.
-
-Much more detail on the options for tweaking the laying out
-of music are contained in @ruser{Spacing issues}.
-
-@node Global sizes
-@subsection Global sizes
-
-TODO Check all these examples
-
-The default @strong{paper size} which LilyPond assumes in laying
-out the music is A4. This may be changed in two ways:
-
-@example
-#(set-default-paper-size "a6")
-
-\paper @{
-#(set-paper-size "letter")
-@}
-@end example
-
-@noindent
-The first command sets the size of all pages. The second command
-sets the size of the pages to which the \paper block applies -- if
-the \paper block is at the top of the file, then it will apply
-to all pages. Support for the following paper sizes is available:
-a6, a5, a4, a3, legal, letter, 11x17 (also known as tabloid).
-Setting the paper size automatically sets suitable margins and
-line length.
-
-If the symbol @code{landscape} is supplied as an argument to
-@code{set-default-paper-size}, the pages will be rotated by 90
-degrees, and wider line widths will be set correspondingly, e.g.
-
-@example
-#(set-default-paper-size "a6" 'landscape)
-@end example
-
-The default @strong{staff size} is set to 20 points.
-This may be changed in two ways:
-
-@example
-#(set-global-staff-size 14)
-
-\paper @{
-#(set-global-staff-size 16)
-@}
-@end example
-
-@noindent
-The first command sets the size in all pages. The second command
-sets the size in the pages to which the \paper block applies -\96 if
-the \paper block is at the top of the file, then it will apply
-to all pages. All the fonts are automatically scaled to suit
-the new value of the staff size.
-
-@node Line breaks
-@subsection Line breaks
-
-Line breaks are normally determined automatically. They are chosen
-so that lines look neither cramped nor loose, and consecutive
-lines have similar density. Occasionally you might want to
-override the automatic breaks; you can do this by specifying
-@code{\break}. This will force a line break at this point. However,
-line breaks can only occur at the end of @q{complete} bars, i.e.,
-where there are no notes or tuplets left @q{hanging} over the bar
-line. If you want to have a line break where there is no bar line,
-you can force an invisible bar line by entering @code{\bar ""},
-although again there must be no notes left hanging over in any of
-the staves at this point, or it will be ignored.
-
-The opposite command, @code{\noBreak}, forbids a line break at the
-bar line where it is inserted.
-
-The most basic settings influencing line spacing are @code{indent}
-and @code{line-width}. They are set in the @code{\layout} block.
-They control the indentation of the first line of music, and the
-lengths of the lines.
-
-If @code{ragged-right} is set to true in the @code{\layout} block,
-then systems end at their natural horizontal length, instead of
-being spread horizontally to fill the whole line. This is useful
-for short fragments, and for checking how tight the natural
-spacing is.
-
-The option @code{ragged-last} is similar to @code{ragged-right},
-but affects only the last line of the piece.
-
-@example
-\layout @{
-indent = #0
-line-width = #150
-ragged-last = ##t
-@}
-@end example
-
-@node Page breaks
-@subsection Page breaks
-
-The default page breaking may be overriden by inserting
-@code{\pageBreak} or @code{\noPageBreak} commands.
-These commands are analogous to the @code{\break} and
-@code{\noBreak} commands discused above and force or forbid
-a page-break at the point where they are inserted.
-Of course, the @code{\pageBreak} command also forces a line break.
-Like @code{\break}, the @code{\pageBreak} command is effective only
-at the end of a @q{complete} bar as defined above. For more
-details see @ruser{Page breaking} and following sections.
-
-There are also analogous settings to @code{ragged-right} and
-@code{ragged-last} which have the same effect on vertical spacing:
-@code{ragged-bottom} and @code{ragged-last-bottom}. If set to
-@code{##t} the systems on all pages or just the last page
-respectively will not be justified vertically.
-
-For more details see @ruser{Vertical spacing}.
-
-@node Fitting music onto fewer pages
-@subsection Fitting music onto fewer pages
-
-Sometimes you can end up with one or two staves on a second
-(or third, or fourth...) page. This is annoying, especially
-if you look at previous pages and it looks like there is plenty
-of room left on those.
-
-When investigating layout issues, @code{annotate-spacing} is
-an invaluable tool. This command prints the values of various
-layout spacing commands; see @ruser{Displaying spacing}, for more
-details. From the output of @code{annotate-spacing}, we can
-see which margins we may wish to alter.
-
-Other than margins, there are a few other options to save space:
-
-@itemize
-@item
-You may tell LilyPond to place systems as close together as
-possible (to fit as many systems as possible onto a page), but
-then to space those systems out so that there is no blank
-space at the bottom of the page.
-
-@example
-\paper @{
- between-system-padding = #0.1
- between-system-space = #0.1
- ragged-last-bottom = ##f
- ragged-bottom = ##f
-@}
-@end example
-
-@item
-You may force the number of systems (i.e., if LilyPond wants
-to typeset some music with 11 systems, you could force it to
-use 10).
-
-@example
-\paper @{
- system-count = #10
-@}
-@end example
-
-@item
-Avoid (or reduce) objects which increase the vertical size of
-a system. For example, volta repeats (or alternate repeats)
-require extra space. If these repeats are spread over two
-systems, they will take up more space than one system with
-the volta repeats and another system without.
-
-Another example is moving dynamics which @q{stick out} of
-a system, as in the second bar here:
-
-@lilypond[verbatim,quote,fragment,ragged-right,relative=1]
-e4 c g\f c
-\override DynamicText #'extra-offset = #'( -2.2 . 2.0)
-e4 c g\f c
-@end lilypond
-
-@item
-Alter the horizontal spacing via @code{SpacingSpanner}. See
-@ruser{Changing horizontal spacing}, for more details. Here's
-an example first showing the default behaviour:
-
-@lilypond[verbatim,quote,ragged-right]
-\score {
- \relative c'' {
- g4 e e2 |
- f4 d d2 |
- c4 d e f |
- g4 g g2 |
- g4 e e2 |
- }
-}
-@end lilypond
-
-@noindent
-and now with @code{common-shortest-duration} increased from the
-value of @code{1/4} (a quarter note is the most common in this
-example) to @code{1/2}:
-
-@lilypond[verbatim,quote,ragged-right]
-\score {
- \relative c'' {
- g4 e e2 |
- f4 d d2 |
- c4 d e f |
- g4 g g2 |
- g4 e e2 |
- }
- \layout {
- \context {
- \Score
- \override SpacingSpanner
- #'common-shortest-duration = #(ly:make-moment 1 2)
- }
- }
-}
-@end lilypond
-
-@noindent
-Note that this override cannot be modified dynamically, so it must
-always be placed in a @code{\context@{..@}} block so that it applies
-to the whole score.
-
-TODO Add description of using \context in this way earlier if it is
-not already anywhere -td
-
-@end itemize
-
-
@node Further tweaking
@section Further tweaking
@menu
* Other uses for tweaks::
+* Using variables for tweaks::
* Other sources of information::
* Advanced tweaks with Scheme::
* Avoiding tweaks with slower processing::
@end itemize
+@node Using variables for tweaks
+@subsection Using variables for tweaks
+
+TODO Add section
@node Other sources of information
@subsection Other sources of information
+
+
--- /dev/null
+CHECKLIST FOR DOC SECTION REWRITES
+
+You've volunteered (or are considering volunteering) to edit a
+section of the NR. Congratulations! You'll learn a lot about
+this part of lilypond. You'll also get thoroughly fed up with
+documentation work, and especially with me... but as they say,
+"you can't make an omelett without breaking a few eggs". Welcome
+to egg-hood!
+
+REQUIRED READING
+
+- policy.txt
+- writing-texinfo.txt
+- this document :)
+- NR 1.1 Pitches. Ideally, read it in your favorite output format
+ (either info, PDF, or HTML), *and* in source format
+ (pitches.itely). This is our "demonstration" chapter, so the
+ below points really just boil down to "make it like
+ pitches.itely".
+
+
+WORKING
+
+I recommend working on one subsection at a time. For each
+subsection,
+- check the mundane formatting. Are the headings (@refcommands,
+ @seealso, etc) in the right order?
+- add any appropriate index entries.
+- check the links in the @seealso section -- links to music
+ glossary, internal references, and other NR sections are the
+ main concern. Check for potential additions.
+- move LSR-worthy material into LSR. Add the snippet (or
+ just send it to Valentin for adding), delete the material from
+ the .itely file, and add a @lilypondfile command.
+
+- check the examples and descriptions. Do they still work?
+ *Do not* assume that the existing text is accurate/complete;
+ some of the manual is highly out of date.
+- is the material in the @refbugs still accurate?
+- process anything on the TODO list on the GDP web site.
+- can the examples be improved (made more explanatory), or is
+ there any missing info? (feel free to ask specific questions
+ on -user; a couple of people claimed to be interesting in being
+ "consultants" who would help with such questions)
+
+In general, I favor short text explanations with good examples --
+"an example is worth a thousand words". When I worked on the
+docs, I spent about half my time just working on those tiny
+lilypond examples. Making easily-understandable examples is much
+harder than it looks.
+
+
+TWEAKS
+
+In general, any \set or \override commands should go in the
+"select snippets" section, which means that they should go in LSR
+and not the .itely file. For some cases, the command obviously
+belongs in the "main text" (ie not inside @refcommands or @seealso
+or whatever) -- instrument names are a good example of this.
+ \set Staff.instrumentName = #"foo"
+On the other side of this,
+ \override Score.Hairpin #'after-line-breaking = ##t
+clearly belongs in LSR.
+
+I'm quite willing to discuss specific cases if you think that a
+tweaks needs to be in the main text. But items that can go into
+LSR are easier to maintain, so I'd like to move as much as
+possible into there.
+
+
+It would be "nice" if you spent a lot of time crafting nice tweaks
+for users... but my recommendation is *not* to do this. There's a
+lot of doc work to do without adding examples of tweaks. Tweak
+examples are trivial to add later -- they could be made by normal
+users, or by you after GDP is over.
+
+Basically, it's not something that needs to be done while I'm
+around. Remember that I'm gone in August at the latest; there's a
+*lot* of doc work that should be done before then. I strongly
+recommend that you save all the tweaks until later.
+
+
+FINAL
+
+- when you think you're finished, let me know. I'll spend a few
+ minutes and send you a list of mistakes to fix.
+ (there's a *lot* of details to cover; we'll probably spend a
+ week going back and forth like this. See earlier warning about
+ hating me by the time you're done with a doc section :)
+- I'll ask people on -user to review the Snippet list at this
+ time; correcting things on the Snippet list is much easier than
+ getting comments on the integrated snippets.
+- when we're both satisfied with the section, we'll invite
+ comments from -user. Judging from my experience with Pitches,
+ it will take between three and five weeks to keep on revising
+ the "final" version.
+
+I personally found it quite frustrating to still be fixing
+problems in a doc section which I thought was "perfect" a whole
+bloody *month* ago. Don't get me wrong; it's great that we get so
+many comments from -user. :) But just be aware that when you
+think you're finally done with a section, you're actually only
+halfway there.
+
+
+
Most of the manual operates at the
@node Foo
- @unnumberedsubsubsec Foo
+ @subsubsection Foo
level. Sections are created with
@node Foo
@subsection Foo
* Use two spaces for indentation in lilypond examples. (no tabs)
+* All text strings should be prefaced with #. LilyPond does not
+ strictly require this, but it is helpful to get users accustomed
+ to this scheme construct. ie
+ \set Staff.instrumentName = #"cello"
+
* If possible, only write one bar per line. The notes on each
- line should be an independent line.
+ line should be an independent line -- tweaks should occur on
+ their own line if possible.
Bad:
\override textscript #'padding = #3 c1^"hi"
Good:
required. Any link in a doc section must be duplicated in the
@seealso section at the bottom.
-* Introducing examples may be done with
+* Introducing examples must be done with
. (ie finish the previous sentence/paragaph)
: (ie `in this example:')
, (ie `may add foo with the blah construct,')
+ The old "sentence runs directly into the example" method is not
+ allowed any more.
* Abbrevs in caps, e.g., HTML, DVI, MIDI, etc.
this is, don't say `Ba@ss{}tuba' but `Baßtuba'. This ensures that
all such characters appear in all output formats.
-* Don't use a @ref{link to another section} in the middle of a
- sentence. It looks ok in HTML, moderately bad in PDF, and
- utterly horrible in INFO. Instead, reword the sentence so that
- users are encouraged to see @ref{link to another section}.
- (at the end of the sentence)
-
-
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "chords, ancient-notation, contexts-and-engravers"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "pitches, staff-notation, vocal-music"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "staff-notation, contexts-and-engravers"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "staff-notation, contexts-and-engravers, breaks"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "rhythms, expressive-marks"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "rhythms, percussion"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "guitar"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "expressive-marks"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "titles"
details on this format string: Formatting Calendar Time.
" }
% begin verbatim
-\version "2.11.35"
+\version "2.11.38"
% first, define a variable to hold the formatted date:
date = #(strftime "%d-%m-%Y" (localtime (current-time)))
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "text, vocal-music, spacing"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "text, paper-and-layout, titles"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "text, vocal-music"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "tweaks-and-overrides, paper-and-layout, spacing"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "rhythms, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
- lsrtags = "pitches"
+ lsrtags = "pitches, vocal-music"
texidoc = "
If you have multiple voices in a single staff and you want a single
ambitus per staff rather than per voice, add the
}
<<
\new Voice \relative c'' {
- % eliminates collision
- \override Staff.Ambitus #'X-offset = #-1.0
\voiceOne
c4 a d e f1
}
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "ancient-notation"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "ancient-notation, template"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "ancient-notation, template"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "ancient-notation"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "pitches, editorial-and-educational-use"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "rhythms"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "rhythms"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "rhythms, breaks"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "editorial-and-educational-use, text"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "expressive-marks"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "expressive-marks"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "expressive-marks, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "expressive-marks, text"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "expressive-marks"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "simultaneous-notes, editorial-and-educational-use, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "expressive-marks, editorial-and-educational-use"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "chords"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "editorial-and-educational-use, text, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "staff-notation"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "staff-notation, tweaks-and-overrides, paper-and-layout"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "rhythms, contexts-and-engravers"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "rhythms, vocal-music, ancient-notation, contexts-and-engravers"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "chords"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "pitches, staff-notation, editorial-and-educational-use, tweaks-and-overrides"
When a clef change takes place at a line break the new clef symbol is
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
+line is not required it can be suppressed by setting the
explicitClefVisibility Staff property to the value
@code{end-of-line-invisible}. The default behaviour can be recovered
with @code{\\unset Staff.explicitClefVisibility}.
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\layout { ragged-right= ##t }
\header {
doctitle = "Clip systems"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "simultaneous-notes, chords, piano-music"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "editorial-and-educational-use, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "expressive-marks, text"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "simultaneous-notes, text"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "rhythms"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "rhythms"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "expressive-marks"
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
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "rhythms, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "pitches"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "staff-notation, editorial-and-educational-use, contexts-and-engravers, paper-and-layout"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "expressive-marks, text, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "ancient-notation, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "vocal-music, piano-music, strings, midi"
composition? Solution: A Lilypond demo file.
" }
% begin verbatim
-%\version "2.11.35"
+%\version "2.11.38"
basemelodie = { c'4. \mf g c'16 b' c'' d'' | e'' d'' e'' f'' g''4 g'''4 r | r1 }
melodie = { \tempo 4 = 150 \basemelodie }
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "text, paper-and-layout, titles"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "pitches"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\layout { ragged-right= ##t }
\header {
doctitle = "Drawing boxes around grobs"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\layout { ragged-right= ##t }
\header {
doctitle = "Drawing circles around various objects"
-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
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "contexts-and-engravers"
combining-dynamics-with-markup-texts.ly
creating-text-spanners.ly
-breathing-sign.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
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "rhythms, editorial-and-educational-use"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "editorial-and-educational-use, text, vocal-music"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "pitches"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "rhythms, percussion"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "text, vocal-music"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "staff-notation, editorial-and-educational-use"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "piano-music, percussion, guitar, template"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
doctitle = "Letter tablature formatting"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\layout { ragged-right= ##t }
\header {
doctitle = "Line arrows"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\layout { ragged-right= ##t }
\header {
doctitle = "Makam"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\layout { ragged-right= ##t }
\header {
doctitle = "Making an object invisible with the transparent property"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "rhythms, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
doctitle = "Markup lines"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
% possible rename to scheme- or something like that. -gp
\header {
doctitle = "Move specific text"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "pitches, staff-notation"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "pitches, text"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
doctitle = "Outputting the version number"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\layout { ragged-right= ##t }
\header {
doctitle = "Page label"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "piano-music, template"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
doctitle = "Piano template with centered dynamics"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "text, piano-music, template"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "vocal-music, piano-music, template"
applying-noteheads-styles-depending-on-the-step-of-the-scale.ly
-ambiti-multiple-voices.ly
+creating-a-sequence-of-notes-on-various-pitches.ly
makam.ly
transposing-pitches-with-minimum-accidentals-smart-transpose.ly
ottava-text.ly
clefs-commonly-tweaked-properties.ly
dodecaphonic-style-accidentals-for-each-note-including-naturals.ly
preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly
-creating-a-sequence-of-notes-on-various-pitches.ly
+ambiti-multiple-voices.ly
non-traditional-key-signatures.ly
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "repeats, breaks"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "pitches"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "pitches"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "tweaks-and-overrides, spacing"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
doctitle = "Quoting another voice with transposition"
lsrtags = "pitches,staff-notation"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\layout { ragged-right= ##t }
\header {
doctitle = "Quoting another voice"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "rhythms, ancient-notation, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "rhythms, editorial-and-educational-use, tweaks-and-overrides"
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
-automatic-beam-subdivisions.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
-manually-controlling-beam-positions.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
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "template"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "vocal-music, chords, template"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "chords, template"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "vocal-music, template"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "template"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "rhythms, vocal-music"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "rhythms, vocal-music"
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.ly
+quoting-another-voice-with-transposition.ly
adding-ambiti-per-voice.ly
clefs-commonly-tweaked-properties.ly
+quoting-another-voice.ly
volta-multi-staff.ly
-inserting-score-fragments-above-the-staff,-as-markups.ly
-quoting-another-voice-with-transposition.ly
non-traditional-key-signatures.ly
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "strings, template"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "strings, template"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\layout { ragged-right= ##t }
\header {
doctitle = "Table of contents"
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
vocal-ensemble-template-with-lyrics-aligned-below-and-above-the-staves.ly
markup-lines.ly
center-text-below-hairpin-dynamics.ly
-piano-template-with-centered-lyrics.ly
+ottava-text.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
formatting-lyrics-syllables.ly
-combining-two-parts-on-the-same-staff.ly
-ottava-text.ly
+how-to-put-ties-between-syllables-in-lyrics.ly
+piano-template-with-centered-lyrics.ly
adjusting-lyrics-vertical-spacing.ly
aligning-lyrics.ly
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "editorial-and-educational-use"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "staff-notation, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "ancient-notation, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
doctitle = "Transposing music with minimum accidentals"
lsrtags = "pitches"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\layout { ragged-right= ##t }
\header {
doctitle = "Using the @code{\tweak} command to tweak individual grobs"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
%% Edit this file using a Unicode aware editor, such as GVIM, GEDIT, Emacs
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "vocal-music, tweaks-and-overrides, spacing"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "vocal-music, piano-music, template"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "text, vocal-music, contexts-and-engravers, template"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.35"
+\version "2.11.38"
\header {
lsrtags = "vocal-music, template"
chant-or-psalms-notation.ly
single-staff-template-with-notes-and-lyrics.ly
skips-in-lyric-mode-2.ly
-vocal-ensemble-template-with-automatic-piano-reduction.ly
+skips-in-lyric-mode.ly
+aligning-lyrics.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
+vertically-aligning-ossias-and-lyrics.ly
single-staff-template-with-notes,-lyrics,-and-chords.ly
-demo-midiinstruments.ly
+vocal-ensemble-template-with-automatic-piano-reduction.ly
formatting-lyrics-syllables.ly
-vertically-aligning-ossias-and-lyrics.ly
-aligning-lyrics.ly
+piano-template-with-melody-and-lyrics.ly
+ambiti-multiple-voices.ly
vocal-ensemble-template.ly
adjusting-lyrics-vertical-spacing.ly
-skips-in-lyric-mode.ly
+demo-midiinstruments.ly
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.36"
+\version "2.11.38"
\layout { ragged-right= ##t }
\header {
doctitle = "Volta multi-staff"
\header {
texidoc=" Auto change piano staff switches voices between up
-and down staves automatically rests are switched along with the coming
+and down staves automatically; rests are switched along with the coming
note. When central C is reached, staff is not yet switched (by default).
"
\header {
-texidoc="Bar number may be set and their padding adjusted individually.
+texidoc="Bar numbers may be set and their padding adjusted individually.
The counting of bar numbers is started after the anacrusis.
To prevent clashes at the beginning of a line, the padding may have to
texidoc="
Beams should behave reasonably well, even under extreme circumstances.
Stems may be short, but noteheads should never touch the beam. Note that
-under normal circumstances, these beams would get knees here
+under normal circumstances, these beams would get knees. Here
@code{Beam.auto-knee-gap} was set to false.
"
}
\version "2.10.0"
\header {
- texidoc = "In french style beaming, the stems do not go between beams."
+ texidoc = "In French style beaming, the stems do not go between beams."
}
\layout { ragged-right= ##t }
\header{
texidoc=" Beams on ledgered notes should always reach the middle staff
-line. The second beam counting from the note head side, should never
+line. The second beam, counting from the note head side, should never
be lower than the second staff line. This does not hold for grace
note beams. Override with @code{no-stem-extend}. "
\version "2.10.0"
\header {
- texidoc = "If collision resolution finds dotted note head must
- remain on left hand side, move dots to the right."
+ texidoc = "If dotted note heads must remain on the left side,
+collision resolution moves the dots to the right."
}
\version "2.10.0" \header{
- texidoc=" Noteheads can have dots, and rests too.
+ texidoc=" Both noteheads and rests can have dots.
Augmentation dots should never be printed on a staff line,
but rather be shifted vertically. They should go up, but in case of
multiple parts, the down stems have down shifted dots. In case of
\version "2.10.0"
-\header { texidoc = "Each clef have own accidental placing rules. " }
+\header { texidoc = "Each clef has its own accidental placing
+rules. "}
#(set-global-staff-size 16)
\version "2.10.0"
#(set-default-paper-size "a6" 'landscape)
+\header { texidoc = " Scores may be printed in landcape mode."}
+
pattern = \relative { a b c d \break }
\version "2.10.0"
\header {
-
texidoc = "With the @code{\\lyricsto} mechanism, individual lyric
- lines can be associated with one melody line. For each lyric line,
- can be tuned whether to follow melismata or not."
-
+ lines can be associated with one melody line. Each lyric line
+can be tuned to either follow or ignore melismata."
}
\header {
texidoc = "Switching the melody to a different voice works even
-the switch occurs together with context instantiation."
+if the switch occurs together with context instantiation."
}
automaticMelismas (which will set melismas during slurs and ties). If
you want a different order than first Music, then Lyrics, you must
precook a chord of staves/lyrics and label those. Of course, the
-lyrics ignores any other rhythms in the piece."
+lyrics ignore any other rhythms in the piece."
}
<<
\context Staff { c' (c') c'( c') }
- \context Lyrics \lyricmode { bla -- alb xxx -- yyy }
+ \context Lyrics \lyricmode {
+ \override Lyrics . LyricSpace #'minimum-distance = #5.0
+ a -- b x -- y
+ }
>>
-
-\version "2.10.0"
-
\version "2.10.1"
+\header {
+ texidoc = "Midi can create drums."
+}
\score {
\new DrumStaff <<
+++ /dev/null
-<?xml version="1.0" encoding="UTF-8"?>\r
-<!DOCTYPE score-partwise PUBLIC "-//Recordare//DTD MusicXML 1.0 Partwise//EN"\r
- "http://www.musicxml.org/dtds/partwise.dtd">\r
-<score-partwise>\r
- <movement-title>Articulations Test</movement-title>\r
- <identification>\r
- <creator type="composer">Reinhold Kainhofer</creator>\r
- <rights>Public Domain</rights>\r
- <encoding>\r
- <software>Finale 2007 for Windows</software>\r
- <software>Dolet Light for Finale 2007</software>\r
- <encoding-date>2007-08-31</encoding-date>\r
- </encoding>\r
- </identification>\r
- <part-list>\r
- <score-part id="P1">\r
- <part-name>MusicXML Part</part-name>\r
- <score-instrument id="P1-I1">\r
- <instrument-name>Grand Piano</instrument-name>\r
- </score-instrument>\r
- <midi-instrument id="P1-I1">\r
- <midi-channel>1</midi-channel>\r
- <midi-program>1</midi-program>\r
- </midi-instrument>\r
- </score-part>\r
- </part-list>\r
- <!--=========================================================-->\r
- <part id="P1">\r
- <measure number="1">\r
- <attributes>\r
- <divisions>1</divisions>\r
- <key>\r
- <fifths>0</fifths>\r
- <mode>major</mode>\r
- </key>\r
- <time symbol="common">\r
- <beats>4</beats>\r
- <beat-type>4</beat-type>\r
- </time>\r
- <clef>\r
- <sign>G</sign>\r
- <line>2</line>\r
- </clef>\r
- </attributes>\r
- <sound tempo="120"/>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <articulations>\r
- <accent placement="below"/>\r
- <staccato placement="below"/>\r
- </articulations>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <articulations>\r
- <staccatissimo placement="below"/>\r
- </articulations>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <articulations>\r
- <accent placement="below"/>\r
- </articulations>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <articulations>\r
- <accent placement="below"/>\r
- <staccato placement="below"/>\r
- </articulations>\r
- </notations>\r
- </note>\r
- </measure>\r
- <!--=======================================================-->\r
- <measure number="2">\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <articulations>\r
- <strong-accent placement="above" type="up"/>\r
- </articulations>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <articulations>\r
- <strong-accent placement="above" type="up"/>\r
- <staccato placement="above"/>\r
- </articulations>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <articulations>\r
- <tenuto placement="below"/>\r
- </articulations>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <articulations>\r
- <detached-legato placement="below"/>\r
- </articulations>\r
- </notations>\r
- </note>\r
- </measure>\r
- <!--=======================================================-->\r
- <measure number="3">\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <articulations>\r
- <accent placement="below"/>\r
- <tenuto placement="below"/>\r
- </articulations>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <fermata type="upright"/>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <ornaments>\r
- <trill-mark placement="above"/>\r
- </ornaments>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- </measure>\r
- <!--=======================================================-->\r
- <measure number="4">\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <ornaments>\r
- <wavy-line placement="below" relative-x="6" type="start"/>\r
- <wavy-line placement="below" relative-x="16" type="stop"/>\r
- </ornaments>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <ornaments>\r
- <wavy-line placement="above" type="start"/>\r
- <wavy-line placement="above" relative-x="15" type="stop"/>\r
- <inverted-mordent placement="below"/>\r
- </ornaments>\r
- </notations>\r
- </note>\r
- </measure>\r
- <!--=======================================================-->\r
- <measure number="5">\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <ornaments>\r
- <mordent placement="below"/>\r
- </ornaments>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <ornaments>\r
- <turn placement="above"/>\r
- </ornaments>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <technical>\r
- <up-bow placement="above"/>\r
- </technical>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <technical>\r
- <down-bow placement="above"/>\r
- </technical>\r
- </notations>\r
- </note>\r
- </measure>\r
- <!--=======================================================-->\r
- <measure number="6">\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <technical>\r
- <harmonic placement="below"/>\r
- </technical>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <technical>\r
- <harmonic placement="below"/>\r
- </technical>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <technical>\r
- <stopped placement="below"/>\r
- </technical>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <technical>\r
- <fingering placement="above">1</fingering>\r
- </technical>\r
- </notations>\r
- </note>\r
- </measure>\r
- <!--=======================================================-->\r
- <measure number="7">\r
- <print new-system="yes"/>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <technical>\r
- <fingering placement="above">2</fingering>\r
- </technical>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <technical>\r
- <fingering placement="above">3</fingering>\r
- </technical>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <technical>\r
- <fingering placement="above">4</fingering>\r
- </technical>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <technical>\r
- <fingering placement="above">5</fingering>\r
- </technical>\r
- </notations>\r
- </note>\r
- </measure>\r
- <!--=======================================================-->\r
- <measure number="8">\r
- <direction placement="below">\r
- <direction-type>\r
- <pedal line="no" relative-x="-9" type="start"/>\r
- </direction-type>\r
- </direction>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- <direction placement="below">\r
- <direction-type>\r
- <pedal line="no" type="stop"/>\r
- </direction-type>\r
- </direction>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <arpeggiate/>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <ornaments/>\r
- </notations>\r
- </note>\r
- </measure>\r
- <!--=======================================================-->\r
- <measure number="9">\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <ornaments/>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <ornaments/>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <articulations>\r
- <caesura relative-x="21"/>\r
- </articulations>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <articulations>\r
- <breath-mark placement="above" relative-x="18"/>\r
- </articulations>\r
- </notations>\r
- </note>\r
- </measure>\r
- <!--=======================================================-->\r
- <measure number="10">\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- <direction placement="below">\r
- <direction-type>\r
- <words relative-x="-7">(</words>\r
- </direction-type>\r
- </direction>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- <direction placement="below">\r
- <direction-type>\r
- <words relative-x="15">)</words>\r
- </direction-type>\r
- </direction>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- </measure>\r
- <!--=======================================================-->\r
- <measure number="11">\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <articulations>\r
- <staccato placement="above"/>\r
- </articulations>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <articulations>\r
- <accent placement="above"/>\r
- </articulations>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <articulations>\r
- <accent placement="above"/>\r
- <staccato placement="above"/>\r
- </articulations>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <articulations>\r
- <accent placement="above"/>\r
- <tenuto placement="above"/>\r
- </articulations>\r
- </notations>\r
- </note>\r
- </measure>\r
- <!--=======================================================-->\r
- <measure number="12">\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- </measure>\r
- <!--=======================================================-->\r
- <measure number="13">\r
- <print new-system="yes"/>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- </measure>\r
- <!--=======================================================-->\r
- <measure number="14">\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- </measure>\r
- <!--=======================================================-->\r
- <measure number="15">\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- </measure>\r
- <!--=======================================================-->\r
- <measure number="16">\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- <notations>\r
- <articulations>\r
- <accent placement="below"/>\r
- </articulations>\r
- </notations>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- </measure>\r
- <!--=======================================================-->\r
- <measure number="17">\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- <note>\r
- <pitch>\r
- <step>G</step>\r
- <octave>4</octave>\r
- </pitch>\r
- <duration>1</duration>\r
- <voice>1</voice>\r
- <type>quarter</type>\r
- <stem>up</stem>\r
- </note>\r
- </measure>\r
- <!--=======================================================-->\r
- <measure number="18">\r
- <note>\r
- <rest/>\r
- <duration>4</duration>\r
- <voice>1</voice>\r
- </note>\r
- <barline location="right">\r
- <bar-style>light-heavy</bar-style>\r
- </barline>\r
- </measure>\r
- </part>\r
- <!--=========================================================-->\r
-</score-partwise>\r
--- /dev/null
+<?xml version="1.0" encoding="UTF-8"?>
+<!DOCTYPE score-partwise PUBLIC "-//Recordare//DTD MusicXML 2.0 Partwise//EN"
+ "http://www.musicxml.org/dtds/partwise.dtd">
+<score-partwise version="2.0">
+ <movement-title>All MusicXML Notations</movement-title>
+ <identification/>
+ <part-list>
+ <score-part id="P1">
+ <part-name></part-name>
+ </score-part>
+ </part-list>
+ <!--=========================================================-->
+ <part id="P1">
+ <!-- General Notation elements (no spanners, which are tested separately):
+ fermata | arpeggiate | non-arpeggiate | accidental-mark -->
+ <measure number="1">
+ <attributes>
+ <divisions>1</divisions>
+ <key>
+ <fifths>0</fifths>
+ <mode>major</mode>
+ </key>
+ <clef>
+ <sign>G</sign>
+ <line>2</line>
+ </clef>
+ </attributes>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <fermata type="upright"/>
+ </notations>
+ <lyric number="1"><text>ferm.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <fermata>normal</fermata>
+ </notations>
+ <lyric number="1"><text>normal ferm.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <fermata>angled</fermata>
+ </notations>
+ <lyric number="1"><text>angled ferm.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <fermata>square</fermata>
+ </notations>
+ <lyric number="1"><text>square ferm.</text></lyric>
+ </note>
+ </measure>
+ <measure number="2">
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <fermata type="inverted"/>
+ </notations>
+ <lyric number="1"><text>inv.ferm.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations><arpeggiate/></notations>
+ <lyric number="1"><text>arp.</text></lyric>
+ </note>
+ <note>
+ <chord/>
+ <pitch>
+ <step>E</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations><arpeggiate/></notations>
+ </note>
+ <note>
+ <chord/>
+ <pitch>
+ <step>G</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations><arpeggiate/></notations>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations><non-arpeggiate type="bottom"/></notations>
+ <lyric number="1"><text>non-arp.</text></lyric>
+ </note>
+ <note>
+ <chord/>
+ <pitch>
+ <step>E</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ </note>
+ <note>
+ <chord/>
+ <pitch>
+ <step>G</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations><non-arpeggiate type="top"/></notations>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <accidental-mark placement="above">double-sharp</accidental-mark>
+ </notations>
+ <lyric number="1"><text>acc.mark</text></lyric>
+ </note>
+ <barline location="right">
+ <bar-style>light-light</bar-style>
+ </barline>
+ </measure>
+
+ <!-- Articulations:
+ accent | strong-accent | staccato | tenuto |
+ detached-legato | staccatissimo | spiccato |
+ scoop | plop | doit | falloff | breath-mark |
+ caesura | stress | unstress | other-articulation -->
+ <measure number="3">
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <articulations><accent/></articulations>
+ </notations>
+ <lyric number="1"><text>acc.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <articulations><strong-accent/></articulations>
+ </notations>
+ <lyric number="1"><text>str.-acc.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <articulations><staccato/></articulations>
+ </notations>
+ <lyric number="1"><text>stacc.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <articulations><tenuto/></articulations>
+ </notations>
+ <lyric number="1"><text>ten.</text></lyric>
+ </note>
+ </measure>
+ <measure number="4">
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <articulations><detached-legato/></articulations>
+ </notations>
+ <lyric number="1"><text>det.-leg.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <articulations><staccatissimo/></articulations>
+ </notations>
+ <lyric number="1"><text>stacc.ss</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <articulations><spiccato/></articulations>
+ </notations>
+ <lyric number="1"><text>spicc.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <articulations><scoop/></articulations>
+ </notations>
+ <lyric number="1"><text>scoop</text></lyric>
+ </note>
+ </measure>
+ <measure number="5">
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <articulations><plop/></articulations>
+ </notations>
+ <lyric number="1"><text>plop</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <articulations><doit/></articulations>
+ </notations>
+ <lyric number="1"><text>doit</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <articulations><falloff/></articulations>
+ </notations>
+ <lyric number="1"><text>falloff</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <articulations><breath-mark/></articulations>
+ </notations>
+ <lyric number="1"><text>breath</text></lyric>
+ </note>
+ </measure>
+ <measure number="6">
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <articulations><caesura/></articulations>
+ </notations>
+ <lyric number="1"><text>caes.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <articulations><stress/></articulations>
+ </notations>
+ <lyric number="1"><text>stress</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <articulations><unstress/></articulations>
+ </notations>
+ <lyric number="1"><text>unstr.</text></lyric>
+ </note>
+ <note>
+ <rest/>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ </note>
+ <barline location="right">
+ <bar-style>light-light</bar-style>
+ </barline>
+ </measure>
+
+ <!-- Ornaments:
+ trill-mark | turn | delayed-turn | inverted-turn |
+ shake | wavy-line | mordent | inverted-mordent |
+ schleifer | tremolo | other-ornament),
+ accidental-mark
+
+ Test cases for various tremolo options are in a separate
+ unit test file
+ -->
+ <measure number="7">
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <ornaments><trill-mark/></ornaments>
+ </notations>
+ <lyric number="1"><text>tr.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <ornaments><turn/></ornaments>
+ </notations>
+ <lyric number="1"><text>turn</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <ornaments><delayed-turn/></ornaments>
+ </notations>
+ <lyric number="1"><text>del.turn</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <ornaments><inverted-turn/></ornaments>
+ </notations>
+ <lyric number="1"><text>inv.turn</text></lyric>
+ </note>
+ </measure>
+ <measure number="8">
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <ornaments><shake/></ornaments>
+ </notations>
+ <lyric number="1"><text>shake</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <ornaments>
+ <wavy-line placement="below" type="start"/>
+ </ornaments>
+ </notations>
+ <lyric number="1"><syllabic>begin</syllabic><text>wavy</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <ornaments>
+ <wavy-line placement="below" type="stop"/>
+ <wavy-line placement="below" type="start"/>
+ </ornaments>
+ </notations>
+ <lyric number="1"><syllabic>continue</syllabic><text>wavy</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <ornaments>
+ <wavy-line placement="below" relative-x="16" type="stop"/>
+ </ornaments>
+ </notations>
+ <lyric number="1"><syllabic>end</syllabic><text>line</text></lyric>
+ </note>
+ </measure>
+ <measure number="9">
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <ornaments><mordent/></ornaments>
+ </notations>
+ <lyric number="1"><text>mord.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <ornaments><inverted-mordent/></ornaments>
+ </notations>
+ <lyric number="1"><text>inv.mord.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <ornaments><schleifer/></ornaments>
+ </notations>
+ <lyric number="1"><text>schl.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <ornaments><tremolo/></ornaments>
+ </notations>
+ <lyric number="1"><text>trem.</text></lyric>
+ </note>
+ </measure>
+ <measure number="10">
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <ornaments>
+ <turn/>
+ <accidental-mark>natural</accidental-mark>
+ </ornaments>
+ </notations>
+ <lyric number="1"><text>turn+acc.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <ornaments>
+ <turn/>
+ <accidental-mark placement="above">sharp</accidental-mark>
+ <accidental-mark placement="above">three-quarters-flat</accidental-mark>
+ </ornaments>
+ </notations>
+ <lyric number="1"><text>turn+acc.(ab.+bel./rel to turn)</text></lyric>
+ </note>
+ <note>
+ <rest/>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>half</type>
+ </note>
+ <barline location="right">
+ <bar-style>light-light</bar-style>
+ </barline>
+ </measure>
+
+ <!-- Technical:
+ up-bow | down-bow | harmonic | open-string |
+ thumb-position | fingering | pluck | double-tongue |
+ triple-tongue | stopped | snap-pizzicato | fret |
+ string | hammer-on | pull-off | bend | tap | heel |
+ toe | fingernails | other-technical -->
+ <measure number="11">
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><up-bow/></technical>
+ </notations>
+ <lyric number="1"><text>up-b.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><down-bow/></technical>
+ </notations>
+ <lyric number="1"><text>down-b.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><harmonic/></technical>
+ </notations>
+ <lyric number="1"><text>harm.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><harmonic><natural/></harmonic></technical>
+ </notations>
+ <lyric number="1"><text>nat.harm.</text></lyric>
+ </note>
+ </measure>
+ <measure number="12">
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><harmonic><artificial/></harmonic></technical>
+ </notations>
+ <lyric number="1"><text>art.harm.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><harmonic><natural/><base-pitch/></harmonic></technical>
+ </notations>
+ <lyric number="1"><text>nat.h./base</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><harmonic><natural/><touching-pitch/></harmonic></technical>
+ </notations>
+ <lyric number="1"><text>nat.h./touching</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><harmonic><natural/><sounding-pitch/></harmonic></technical>
+ </notations>
+ <lyric number="1"><text>nat.h./sounding</text></lyric>
+ </note>
+ </measure>
+ <measure number="13">
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><open-string/></technical>
+ </notations>
+ <lyric number="1"><text>open-str.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><thumb-position/></technical>
+ </notations>
+ <lyric number="1"><text>thumb-pos.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><fingering/></technical>
+ </notations>
+ <lyric number="1"><text>empty fing.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><fingering>1</fingering></technical>
+ </notations>
+ <lyric number="1"><text>fing.1</text></lyric>
+ </note>
+ </measure>
+ <measure number="14">
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><fingering>2</fingering></technical>
+ </notations>
+ <lyric number="1"><text>fing.2</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><fingering>3</fingering></technical>
+ </notations>
+ <lyric number="1"><text>fing.3</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><fingering>4</fingering></technical>
+ </notations>
+ <lyric number="1"><text>fing.4</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><fingering>5</fingering></technical>
+ </notations>
+ <lyric number="1"><text>fing.5</text></lyric>
+ </note>
+ </measure>
+ <measure number="15">
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><fingering>something</fingering></technical>
+ </notations>
+ <lyric number="1"><text>fing.sth.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><fingering>5</fingering><fingering substitution="yes">3</fingering><fingering alternate="yes">2</fingering></technical>
+ </notations>
+ <lyric number="1"><text>mult.fing.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><pluck/></technical>
+ </notations>
+ <lyric number="1"><text>empty pluck</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><pluck>a</pluck></technical>
+ </notations>
+ <lyric number="1"><text>pluck a</text></lyric>
+ </note>
+ </measure>
+ <measure number="16">
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><double-tongue/></technical>
+ </notations>
+ <lyric number="1"><text>dbl.tng.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><triple-tongue/></technical>
+ </notations>
+ <lyric number="1"><text>trpl.tng.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><stopped/></technical>
+ </notations>
+ <lyric number="1"><text>stopped</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><snap-pizzicato/></technical>
+ </notations>
+ <lyric number="1"><text>snp.pizz.</text></lyric>
+ </note>
+ </measure>
+ <measure number="17">
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><fret/></technical>
+ </notations>
+ <lyric number="1"><text>empty fret</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><fret>0</fret></technical>
+ </notations>
+ <lyric number="1"><text>fret0</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><string/></technical>
+ </notations>
+ <lyric number="1"><text>empty str.</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical>
+ <string>5</string>
+ </technical>
+ </notations>
+ <lyric number="1"><text>str. 5</text></lyric>
+ </note>
+ </measure>
+ <measure number="18">
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical>
+ <hammer-on type="start"/>
+ </technical>
+ </notations>
+ <lyric number="1"><syllabic>begin</syllabic><text>hammer</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical>
+ <hammer-on type="stop"/>
+ </technical>
+ </notations>
+ <lyric number="1"><syllabic>end</syllabic><text>on</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical>
+ <pull-off type="start"/>
+ </technical>
+ </notations>
+ <lyric number="1"><syllabic>begin</syllabic><text>pull</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical>
+ <pull-off type="stop"/>
+ </technical>
+ </notations>
+ <lyric number="1"><syllabic>end</syllabic><text>off</text></lyric>
+ </note>
+ </measure>
+ <measure number="19">
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical>
+ <bend><bend-alter>4</bend-alter></bend>
+ </technical>
+ </notations>
+ <lyric number="1"><text>bend</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical>
+ <bend><bend-alter>3</bend-alter><release/><with-bar/></bend>
+ </technical>
+ </notations>
+ <lyric number="1"><text>bend 3 with-bar</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical>
+ <bend><bend-alter>-5</bend-alter><pre-bend/></bend>
+ </technical>
+ </notations>
+ <lyric number="1"><text>pre-bend -(0.)5</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical>
+ <bend><bend-alter>5</bend-alter><release/></bend>
+ </technical>
+ </notations>
+ <lyric number="1"><text>bend release (3.)5</text></lyric>
+ </note>
+ </measure>
+ <measure number="20">
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><tap/></technical>
+ </notations>
+ <lyric number="1"><text>tap</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><tap>T</tap></technical>
+ </notations>
+ <lyric number="1"><text>tap T</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><heel/></technical>
+ </notations>
+ <lyric number="1"><text>heel</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><toe substitution="yes"/></technical>
+ </notations>
+ <lyric number="1"><text>toe</text></lyric>
+ </note>
+ </measure>
+ <measure number="21">
+ <note>
+ <pitch>
+ <step>C</step><octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <technical><fingernails/></technical>
+ </notations>
+ <lyric number="1"><text>fingern.</text></lyric>
+ </note>
+ <note>
+ <rest/>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ </note>
+ <note>
+ <rest/>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>half</type>
+ </note>
+ <barline location="right">
+ <bar-style>light-light</bar-style>
+ </barline>
+ </measure>
+
+ <!-- General tests: multiple notations, directions, pedal spanners, etc. -->
+ <measure number="22">
+ <direction placement="below">
+ <direction-type>
+ <pedal line="no" relative-x="-9" type="start"/>
+ </direction-type>
+ </direction>
+ <note>
+ <pitch>
+ <step>G</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ </note>
+ <direction placement="below">
+ <direction-type>
+ <pedal line="no" type="stop"/>
+ </direction-type>
+ </direction>
+ <note>
+ <pitch>
+ <step>G</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ </note>
+ <note>
+ <pitch>
+ <step>G</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <articulations>
+ <strong-accent placement="above" type="up"/>
+ <staccato placement="above"/>
+ </articulations>
+ </notations>
+ <lyric number="1"><text>both above</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>G</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notations>
+ <articulations>
+ <accent placement="below"/>
+ <tenuto placement="below"/>
+ <staccato placement="above"/>
+ </articulations>
+ </notations>
+ <lyric number="1"><text>ab./bel./bel.</text></lyric>
+ </note>
+ <barline location="right">
+ <bar-style>light-heavy</bar-style>
+ </barline>
+ </measure>
+
+ </part>
+</score-partwise>
+++ /dev/null
-<?xml version="1.0" encoding="UTF-8" standalone="no"?>
-<!DOCTYPE score-partwise PUBLIC
- "-//Recordare//DTD MusicXML 1.0 Partwise//EN"
- "http://www.musicxml.org/dtds/partwise.dtd">
-
-<score-partwise>
- <work>
- </work>
-
- <identification>
- <encoding>
- <software>NoteEdit</software>
- </encoding>
- </identification>
-
- <part-list>
- <score-part id="P1">
- <part-name>Staff 1</part-name>
- <score-instrument id="P1-I1">
- <instrument-name>Klavier 1</instrument-name>
- </score-instrument>
- <midi-instrument id="P1-I1">
- <midi-channel>1</midi-channel>
- <midi-program>1</midi-program>
- </midi-instrument>
- </score-part>
- </part-list>
-
- <part id="P1">
- <measure number="1">
- <attributes>
- <divisions>2</divisions>
- <key>
- <fifths>-1</fifths>
- </key>
- <time>
- <beats>4</beats>
- <beat-type>4</beat-type>
- </time>
- <clef>
- <sign>G</sign>
- <line>2</line>
- </clef>
- </attributes>
- <note>
- <pitch>
- <step>G</step>
- <octave>4</octave>
- </pitch>
- <duration>2</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <staccato/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>G</step>
- <octave>4</octave>
- </pitch>
- <duration>2</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <strong-accent/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>G</step>
- <octave>4</octave>
- </pitch>
- <duration>2</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <tenuto/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>G</step>
- <octave>4</octave>
- </pitch>
- <duration>2</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <staccatissimo/>
- </articulations>
- </notations>
- </note>
- </measure>
- <measure number="2">
- <note>
- <pitch>
- <step>G</step>
- <octave>4</octave>
- </pitch>
- <duration>2</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <accent/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>G</step>
- <octave>4</octave>
- </pitch>
- <duration>2</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <fermata type="upright"/>
- </notations>
- </note>
- <note>
- <pitch>
- <step>G</step>
- <octave>4</octave>
- </pitch>
- <duration>3</duration>
- <voice>1</voice>
- <type>quarter</type>
- <dot/>
- <stem>up</stem>
- </note>
- <note>
- <pitch>
- <step>G</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>eighth</type>
- <stem>up</stem>
- </note>
- </measure>
- <measure number="3">
- <note>
- <pitch>
- <step>G</step>
- <octave>4</octave>
- </pitch>
- <duration>2</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- </note>
- <note>
- <pitch>
- <step>G</step>
- <octave>4</octave>
- </pitch>
- <duration>2</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- </note>
- <note>
- <pitch>
- <step>G</step>
- <octave>4</octave>
- </pitch>
- <duration>2</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- </note>
- <note>
- <pitch>
- <step>G</step>
- <octave>4</octave>
- </pitch>
- <duration>2</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- </note>
- <barline location="right">
- <bar-style>light-heavy</bar-style>
- <repeat direction="backward"/>
- </barline>
- </measure>
- </part>
-</score-partwise>
+++ /dev/null
-<?xml version="1.0" encoding="UTF-8" standalone="no"?>
-<!DOCTYPE score-partwise PUBLIC
- "-//Recordare//DTD MusicXML 1.0 Partwise//EN"
- "http://www.musicxml.org/dtds/partwise.dtd">
-
-<score-partwise>
- <work>
- <work-title>Irgendein Lied</work-title>
- </work>
-
- <identification>
- <creator type="composer">Rainer Zufall</creator>
- <rights>Public Domain, so that the whole world can savely forget about it...</rights>
- <encoding>
- <software>NoteEdit</software>
- </encoding>
- </identification>
-
- <part-list>
- <score-part id="P1">
- <part-name>Damen</part-name>
- <score-instrument id="P1-I1">
- <instrument-name>Klavier 1</instrument-name>
- </score-instrument>
- <midi-instrument id="P1-I1">
- <midi-channel>1</midi-channel>
- <midi-program>1</midi-program>
- </midi-instrument>
- </score-part>
- <score-part id="P2">
- <part-name>Herren</part-name>
- <score-instrument id="P2-I2">
- <instrument-name>Klavier 1</instrument-name>
- </score-instrument>
- <midi-instrument id="P2-I2">
- <midi-channel>2</midi-channel>
- <midi-program>1</midi-program>
- </midi-instrument>
- </score-part>
- </part-list>
-
- <part id="P1">
- <measure number="1">
- <attributes>
- <divisions>2</divisions>
- <key>
- <fifths>-1</fifths>
- </key>
- <time>
- <beats>4</beats>
- <beat-type>4</beat-type>
- </time>
- <clef>
- <sign>G</sign>
- <line>2</line>
- </clef>
- </attributes>
- <note>
- <pitch>
- <step>G</step>
- <octave>4</octave>
- </pitch>
- <duration>2</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <staccato/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>G</step>
- <octave>4</octave>
- </pitch>
- <duration>2</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <strong-accent/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>G</step>
- <octave>4</octave>
- </pitch>
- <duration>2</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <tenuto/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>G</step>
- <octave>4</octave>
- </pitch>
- <duration>2</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <staccatissimo/>
- </articulations>
- </notations>
- </note>
- </measure>
- <measure number="2">
- <note>
- <pitch>
- <step>G</step>
- <octave>4</octave>
- </pitch>
- <duration>2</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <accent/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>G</step>
- <octave>4</octave>
- </pitch>
- <duration>2</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <fermata type="upright"/>
- </notations>
- </note>
- <note>
- <pitch>
- <step>G</step>
- <octave>4</octave>
- </pitch>
- <duration>3</duration>
- <voice>1</voice>
- <type>quarter</type>
- <dot/>
- <stem>up</stem>
- </note>
- <note>
- <pitch>
- <step>G</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>eighth</type>
- <stem>up</stem>
- </note>
- </measure>
- <measure number="3">
- <note>
- <pitch>
- <step>G</step>
- <octave>4</octave>
- </pitch>
- <duration>2</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- </note>
- <note>
- <pitch>
- <step>G</step>
- <octave>4</octave>
- </pitch>
- <duration>2</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- </note>
- <note>
- <pitch>
- <step>G</step>
- <octave>4</octave>
- </pitch>
- <duration>2</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- </note>
- <note>
- <pitch>
- <step>G</step>
- <octave>4</octave>
- </pitch>
- <duration>2</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- </note>
- <barline location="right">
- <bar-style>light-heavy</bar-style>
- <repeat direction="backward"/>
- </barline>
- </measure>
- </part>
- <part id="P2">
- <measure number="1">
- <attributes>
- <divisions>2</divisions>
- <key>
- <fifths>-1</fifths>
- </key>
- <time>
- <beats>4</beats>
- <beat-type>4</beat-type>
- </time>
- <clef>
- <sign>F</sign>
- <line>4</line>
- </clef>
- </attributes>
- <note>
- <pitch>
- <step>D</step>
- <octave>3</octave>
- </pitch>
- <duration>8</duration>
- <voice>1</voice>
- <type>whole</type>
- <notations>
- <articulations>
- <staccato/>
- </articulations>
- </notations>
- </note>
- <backup>
- <duration>8</duration>
- </backup>
- </measure>
- <measure number="2">
- <note>
- <pitch>
- <step>D</step>
- <octave>3</octave>
- </pitch>
- <duration>8</duration>
- <voice>1</voice>
- <type>whole</type>
- <notations>
- <articulations>
- <staccato/>
- </articulations>
- </notations>
- </note>
- <backup>
- <duration>8</duration>
- </backup>
- </measure>
- <measure number="3">
- <note>
- <pitch>
- <step>D</step>
- <octave>3</octave>
- </pitch>
- <duration>8</duration>
- <voice>1</voice>
- <type>whole</type>
- <notations>
- <articulations>
- <staccato/>
- </articulations>
- </notations>
- </note>
- <backup>
- <duration>8</duration>
- </backup>
- <barline location="right">
- <bar-style>light-heavy</bar-style>
- <repeat direction="backward"/>
- </barline>
- </measure>
- </part>
-</score-partwise>
+++ /dev/null
-<?xml version="1.0" encoding="UTF-8" standalone="no"?>
-<!DOCTYPE score-partwise PUBLIC
-"-//Recordare//DTD MusicXML 1.0 Partwise//EN"
-"http://www.musicxml.org/dtds/partwise.dtd">
-<score-partwise>
-<work>
-<work-title>JScore Articulations Test</work-title>
-</work>
-<identification>
-<creator type="composer">Reinhold Kainhofer</creator>
-<encoding>
-<software>JMSL's MusicXMLWriter by Nick Didkovsky. Java Music Specification Language by Nick Didkovsky and Phil Burk, (c) 2003 Nick Didkovsky, Phil Burk. Available from: http://www.algomusic.com</software>
-</encoding>
-</identification>
-<part-list>
-<score-part id="P1" >
-<part-name>Voice 1</part-name>
-</score-part>
-</part-list>
-<part id="P1" >
-<measure number="1" >
-<attributes>
-<divisions>960</divisions>
-<key><fifths>0</fifths></key>
-<time><beats>4</beats><beat-type>4</beat-type></time>
-<clef><sign>G</sign><line>2</line></clef>
-</attributes>
-<direction placement="above">
-<direction-type>
-<metronome parentheses="yes" relative-y="18">
-<beat-unit>quarter</beat-unit>
-<per-minute>60</per-minute>
-</metronome>
-</direction-type>
-<offset>72</offset>
-<sound tempo="60" />
-</direction>
-<note>
-<pitch>
-<step>G</step>
-<octave>4</octave>
-</pitch>
-<duration>960</duration>
-<voice>1</voice>
-<type>quarter</type>
-<notations>
-<articulations>
-<accent placement="below" />
-</articulations>
-</notations>
-</note>
-<note>
-<pitch>
-<step>G</step>
-<octave>4</octave>
-</pitch>
-<duration>960</duration>
-<voice>1</voice>
-<type>quarter</type>
-<notations>
-<articulations>
-<staccato placement="below" />
-</articulations>
-</notations>
-</note>
-<note>
-<pitch>
-<step>G</step>
-<octave>4</octave>
-</pitch>
-<duration>960</duration>
-<voice>1</voice>
-<type>quarter</type>
-<notations>
-<articulations>
-<tenuto placement="below" />
-</articulations>
-</notations>
-</note>
-<note>
-<pitch>
-<step>G</step>
-<octave>4</octave>
-</pitch>
-<duration>960</duration>
-<voice>1</voice>
-<type>quarter</type>
-<notations>
-<articulations>
-<strong-accent placement="below" />
-</articulations>
-</notations>
-</note>
-</measure>
-<measure number="2" >
-<attributes>
-<divisions>960</divisions>
-<key><fifths>0</fifths></key>
-<time><beats>4</beats><beat-type>4</beat-type></time>
-<clef><sign>G</sign><line>2</line></clef>
-</attributes>
-<note>
-<pitch>
-<step>G</step>
-<octave>4</octave>
-</pitch>
-<duration>960</duration>
-<voice>1</voice>
-<type>quarter</type>
-<notations>
-<articulations>
-<accent placement="below" />
-<staccato placement="below" />
-</articulations>
-</notations>
-</note>
-<note>
-<pitch>
-<step>G</step>
-<octave>4</octave>
-</pitch>
-<duration>960</duration>
-<voice>1</voice>
-<type>quarter</type>
-<notations>
-<articulations>
-<accent placement="below" />
-<tenuto placement="below" />
-</articulations>
-</notations>
-</note>
-<note>
-<pitch>
-<step>G</step>
-<octave>4</octave>
-</pitch>
-<duration>960</duration>
-<voice>1</voice>
-<type>quarter</type>
-<notations>
-<articulations>
-<strong-accent placement="below" />
-<staccato placement="below" />
-</articulations>
-</notations>
-</note>
-<note>
-<pitch>
-<step>G</step>
-<octave>4</octave>
-</pitch>
-<duration>960</duration>
-<voice>1</voice>
-<type>quarter</type>
-<notations>
-<fermata type="upright" />
-</notations>
-</note>
-</measure>
-<measure number="3" >
-<attributes>
-<divisions>960</divisions>
-<key><fifths>0</fifths></key>
-<time><beats>4</beats><beat-type>4</beat-type></time>
-<clef><sign>G</sign><line>2</line></clef>
-</attributes>
-<note>
-<pitch>
-<step>G</step>
-<octave>4</octave>
-</pitch>
-<duration>960</duration>
-<voice>1</voice>
-<type>quarter</type>
-<notations>
-<technical>
-<harmonic />
-</technical>
-</notations>
-</note>
-<note>
-<pitch>
-<step>G</step>
-<octave>4</octave>
-</pitch>
-<duration>960</duration>
-<voice>1</voice>
-<type>quarter</type>
-<notations>
-<ornaments>
-<trill-mark placement="above" />
-</ornaments>
-</notations>
-</note>
-<note>
-<pitch>
-<step>G</step>
-<octave>4</octave>
-</pitch>
-<duration>960</duration>
-<voice>1</voice>
-<type>quarter</type>
-<notations>
-<ornaments>
-<trill-mark placement="above" />
-</ornaments>
-</notations>
-</note>
-<note>
-<pitch>
-<step>G</step>
-<octave>4</octave>
-</pitch>
-<duration>960</duration>
-<voice>1</voice>
-<type>quarter</type>
-<notations>
-<ornaments>
-<trill-mark placement="above" />
-</ornaments>
-</notations>
-</note>
-</measure>
-<measure number="4" >
-<attributes>
-<divisions>960</divisions>
-<key><fifths>0</fifths></key>
-<time><beats>4</beats><beat-type>4</beat-type></time>
-<clef><sign>G</sign><line>2</line></clef>
-</attributes>
-<note>
-<pitch>
-<step>G</step>
-<octave>4</octave>
-</pitch>
-<duration>960</duration>
-<voice>1</voice>
-<type>quarter</type>
-<notations>
-<ornaments>
-<trill-mark placement="above" />
-</ornaments>
-</notations>
-</note>
-<note>
-<pitch>
-<step>G</step>
-<octave>4</octave>
-</pitch>
-<duration>960</duration>
-<voice>1</voice>
-<type>quarter</type>
-<notations>
-<ornaments>
-<mordent placement="above" />
-</ornaments>
-</notations>
-</note>
-<note>
-<pitch>
-<step>G</step>
-<octave>4</octave>
-</pitch>
-<duration>960</duration>
-<voice>1</voice>
-<type>quarter</type>
-<notations>
-<ornaments>
-<inverted-mordent placement="above" />
-</ornaments>
-</notations>
-</note>
-<note>
-<pitch>
-<step>G</step>
-<octave>4</octave>
-</pitch>
-<duration>960</duration>
-<voice>1</voice>
-<type>quarter</type>
-<notations>
-</notations>
-</note>
-</measure>
-</part>
-</score-partwise>
+++ /dev/null
-<?xml version="1.0" encoding="UTF-8"?>
-<!DOCTYPE score-partwise PUBLIC "-//Recordare//DTD MusicXML 1.0 Partwise//EN"
- "http://www.musicxml.org/dtds/partwise.dtd">
-<score-partwise>
- <movement-title>Articulations Test</movement-title>
- <identification>
- <creator type="composer">Reinhold Kainhofer</creator>
- <rights>Public Domain</rights>
- <encoding>
- <software>Kate</software>
- </encoding>
- </identification>
- <part-list>
- <score-part id="P1">
- <part-name>Test part</part-name>
- </score-part>
- </part-list>
- <!--=========================================================-->
- <part id="P1">
- <measure number="1">
- <attributes>
- <divisions>1</divisions>
- <key>
- <fifths>0</fifths>
- <mode>major</mode>
- </key>
- <time symbol="common">
- <beats>12</beats>
- <beat-type>4</beat-type>
- </time>
- <clef>
- <sign>G</sign>
- <line>2</line>
- </clef>
- </attributes>
- <sound tempo="120"/>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <accent/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <ornaments>
- <turn/>
- <accidental-mark>sharp</accidental-mark>
- <accidental-mark>three-quarters-flat</accidental-mark>
- <accidental-mark>natural</accidental-mark>
- </ornaments>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <technical>
- <bend><bend-alter>4</bend-alter></bend>
- </technical>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <breath-mark/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <caesura/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <ornaments>
- <delayed-turn/>
- </ornaments>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <detached-legato/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <doit/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <technical>
- <double-tongue/>
- </technical>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
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- <!--=========================================================-->
-</score-partwise>
+++ /dev/null
-<?xml version="1.0" encoding="UTF-8"?>
-<!DOCTYPE score-partwise PUBLIC "-//Recordare//DTD MusicXML 1.0 Partwise//EN"
- "http://www.musicxml.org/dtds/partwise.dtd">
-<score-partwise>
- <movement-title>Articulations Test</movement-title>
- <identification>
- <creator type="composer">Reinhold Kainhofer</creator>
- <rights>Public Domain</rights>
- <encoding>
- <software>Kate</software>
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- <part-list>
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- <part-name>Test part</part-name>
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- </part-list>
- <!--=========================================================-->
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- <!--=======================================================-->
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- <!--=======================================================-->
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- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <scoop/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <shake/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <snap-pizzicato/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <spiccato/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <staccatissimo/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <staccato/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <stopped/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <stress/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <string/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <strong-accent/>
- </articulations>
- </notations>
- </note>
- </measure>
- <!--=======================================================-->
- <measure number="4">
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <tap/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <tenuto/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <thumb-position/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <toe/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <turn/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <tremolo/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <trill-mark/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <triple-tongue/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <unstress/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <up-bow/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- <notations>
- <articulations>
- <wavy-line/>
- </articulations>
- </notations>
- </note>
- <note>
- <pitch>
- <step>C</step>
- <octave>4</octave>
- </pitch>
- <duration>1</duration>
- <voice>1</voice>
- <type>quarter</type>
- <stem>up</stem>
- </note>
- </measure>
- <!--=======================================================-->
- </part>
- <!--=========================================================-->
-</score-partwise>
<stem>down</stem>\r
<notations>\r
<ornaments>\r
- <wavy-line number="1" type="stop"/>\r
+ <wavy-line number="1" type="start"/>\r
</ornaments>\r
</notations>\r
</note>\r
<stem>down</stem>\r
<notations>\r
<ornaments>\r
- <wavy-line default-y="10" number="1" type="start"/>\r
+ <wavy-line default-y="10" number="1" type="stop"/>\r
</ornaments>\r
</notations>\r
</note>\r
<stem>down</stem>\r
<notations>\r
<ornaments>\r
+ <wavy-line number="1" type="start"/>\r
<wavy-line number="1" type="stop"/>\r
</ornaments>\r
</notations>\r
texidoc = "With @code{\\cueDuring} and @code{\\quoteDuring},
fragments of previously entered music may be
quoted. @code{quotedEventTypes} will determines what things are
-quoted. In this example, a 16th rests is not quoted, since
+quoted. In this example, a 16th rest is not quoted, since
@code{rest-event} is not in @code{quotedEventTypes}."
}
texidoc = "With @code{\\quote}, fragments of previously entered
music may be quoted. @code{quotedEventTypes} will determines what
-things are quoted. In this example, a 16th rests is not quoted, since
+things are quoted. In this example, a 16th rest is not quoted, since
@code{rest-event} is not in @code{quotedEventTypes}."
}
\header {
- texidoc = "Rests under beams moved by whole staff spaces."
+ texidoc = "Rests under beams are moved by whole staff spaces."
}
\layout {
\version "2.10.0"
\header
{
- texidoc ="Slurs may be placed over rest. The slur will avoid colliding with
-the rest.
+ texidoc ="Slurs may be placed over rests. The slur will avoid
+colliding with the rests.
"
}
value = None
at = len( self.elements ) - 1
while (at >= 0 and
- not isinstance (self.elements[at], EventChord) and
+ not isinstance (self.elements[at], ChordEvent) and
not isinstance (self.elements[at], BarLine)):
at -= 1
- if (at >= 0 and isinstance (self.elements[at], EventChord)):
+ if (at >= 0 and isinstance (self.elements[at], ChordEvent)):
value = self.elements[at]
return value
printer.newline ()
-class EventChord (NestedMusic):
+class ChordEvent (NestedMusic):
def __init__ (self):
NestedMusic.__init__ (self)
self.grace_elements = None
'elements
(list (make-music (quote BarCheck))
(make-music
- 'EventChord
+ 'ChordEvent
'elements
(list (make-music
'MultiMeasureRestEvent
def test_printer ():
def make_note ():
- evc = EventChord()
+ evc = ChordEvent()
n = NoteEvent()
evc.append (n)
return n
def test_expr ():
m = SequentialMusic()
l = 2
- evc = EventChord()
+ evc = ChordEvent()
n = NoteEvent()
n.duration.duration_log = l
n.pitch.step = 1
evc.insert_around (None, n, 0)
m.insert_around (None, evc, 0)
- evc = EventChord()
+ evc = ChordEvent()
n = NoteEvent()
n.duration.duration_log = l
n.pitch.step = 3
evc.insert_around (None, n, 0)
m.insert_around (None, evc, 0)
- evc = EventChord()
+ evc = ChordEvent()
n = NoteEvent()
n.duration.duration_log = l
n.pitch.step = 2
evc.type = 'treble'
m.insert_around (None, evc, 0)
- evc = EventChord()
+ evc = ChordEvent()
tonic = Pitch ()
tonic.step = 2
tonic.alteration = -2
alter = int (ch.get_text ().strip ())
return alter
+class Unpitched (Music_xml_node):
+ def get_step (self):
+ ch = self.get_unique_typed_child (get_class (u'display-step'))
+ step = ch.get_text ().strip ()
+ return step
+
+ def get_octave (self):
+ ch = self.get_unique_typed_child (get_class (u'display-octave'))
+
+ if ch:
+ octave = ch.get_text ().strip ()
+ return int (octave)
+ else:
+ return None
+
class Measure_element (Music_xml_node):
def get_voice_id (self):
voice_id = self.get_maybe_exist_named_child ('voice')
'whole': 0,
'breve': -1,
'long': -2}.get (log, 0)
+ elif self.get_maybe_exist_named_child (u'grace'):
+ # FIXME: is it ok to default to eight note for grace notes?
+ return 3
else:
- self.message ("Encountered note at %s without %s duration (no <type> element):" % (self.start, self.duration) )
+ self.message ("Encountered note at %s with %s duration (no <type> element):" % (self.start, self.duration) )
return 0
def get_factor (self):
'time-modification': Time_modification,
'tuplet': Tuplet,
'type': Type,
+ 'unpitched': Unpitched,
'wavy-line': Wavy_line,
'wedge': Wedge,
'words': Words,
(gridInterval ,ly:moment? "Interval for which to generate
-@ref{GridPoint}s.")
+@code{GridPoint}s.")
(hairpinToBarline ,boolean? "If set, end a hairpin at the barline
;; todo: add X self alignment?
(baseline-skip . 2)
(side-axis . ,Y)
+ (avoid-slur . outside )
(font-series . bold)
(meta . ((class . Item)
(interfaces . (text-script-interface
(set! (ly:music-property m 'elements) (list m1 m2))
(set! (ly:music-property m 'split-list)
- (determine-split-list (reverse! (cdr (assoc "one" evs1)) '())
- (reverse! (cdr (assoc "two" evs2)) '())))
+ (if (and (assoc "one" evs1) (assoc "two" evs2))
+ (determine-split-list (reverse! (cdr (assoc "one" evs1)) '())
+ (reverse! (cdr (assoc "two" evs2)) '()))
+ '() ))
m))
(define-public (determine-split-list evl1 evl2)
error_message ("Unprocessed PartGroupInfo %s encountered" % self)
return ''
-
def staff_attributes_to_string_tunings (mxl_attr):
details = mxl_attr.get_maybe_exist_named_child ('staff-details')
if not details:
step = i.get_named_child (u'tuning-step')
step = step.get_text ().strip ()
- p.step = (ord (step) - ord ('A') + 7 - 2) % 7
+ p.step = musicxml_step_to_lily (step)
octave = i.get_named_child (u'tuning-octave')
octave = octave.get_text ().strip ()
return ev
def musicxml_direction_to_indicator (direction):
- return { "above": 1, "upright": 1, "up":1, "below": -1, "downright": -1, "down": -1 }.get (direction, 0)
+ return { "above": 1, "upright": 1, "up":1, "below": -1, "downright": -1, "down": -1, "inverted": -1 }.get (direction, 0)
def musicxml_fermata_to_lily_event (mxl_event):
ev = musicexp.ArticulationEvent ()
- ev.type = "fermata"
+ txt = mxl_event.get_text ()
+ # The contents of the element defined the shape, possible are normal, angled and square
+ ev.type = { "angled": "shortfermata", "square": "longfermata" }.get (txt, "fermata")
if hasattr (mxl_event, 'type'):
dir = musicxml_direction_to_indicator (mxl_event.type)
if dir and options.convert_directions:
ev.force_direction = dir
return ev
-
def musicxml_arpeggiate_to_lily_event (mxl_event):
ev = musicexp.ArpeggioEvent ()
ev.direction = musicxml_direction_to_indicator (getattr (mxl_event, 'direction', None))
return ev
-
def musicxml_tremolo_to_lily_event (mxl_event):
ev = musicexp.TremoloEvent ()
- ev.bars = mxl_event.get_text ()
+ txt = mxl_event.get_text ()
+ if txt:
+ ev.bars = txt
+ else:
+ ev.bars = "3"
+ return ev
+
+def musicxml_falloff_to_lily_event (mxl_event):
+ ev = musicexp.BendEvent ()
+ ev.alter = -4
+ return ev
+
+def musicxml_doit_to_lily_event (mxl_event):
+ ev = musicexp.BendEvent ()
+ ev.alter = 4
return ev
def musicxml_bend_to_lily_event (mxl_event):
ev.alter = mxl_event.bend_alter ()
return ev
+def musicxml_caesura_to_lily_event (mxl_event):
+ ev = musicexp.MarkupEvent ()
+ # FIXME: default to straight or curved caesura?
+ ev.contents = "\\musicglyph #\"scripts.caesura.straight\""
+ ev.force_direction = 1
+ return ev
def musicxml_fingering_event (mxl_event):
ev = musicexp.ShortArticulationEvent ()
"accidental-mark": musicxml_accidental_mark,
"bend": musicxml_bend_to_lily_event,
"breath-mark": (musicexp.NoDirectionArticulationEvent, "breathe"),
- #"caesura": "caesura",
+ "caesura": musicxml_caesura_to_lily_event,
#"delayed-turn": "?",
"detached-legato": (musicexp.ShortArticulationEvent, "_"), # or "portato"
- #"doit": "",
+ "doit": musicxml_doit_to_lily_event,
#"double-tongue": "",
"down-bow": "downbow",
- #"falloff": "",
+ "falloff": musicxml_falloff_to_lily_event,
"fingering": musicxml_fingering_event,
#"fingernails": "",
#"fret": "",
"strong-accent": (musicexp.ShortArticulationEvent, "^"), # or "marcato"
#"tap": "",
"tenuto": (musicexp.ShortArticulationEvent, "-"), # or "tenuto"
- #"thumb-position": "",
+ "thumb-position": "thumb",
#"toe": "",
"turn": "turn",
"tremolo": musicxml_tremolo_to_lily_event,
def musicxml_note_to_lily_main_event (n):
pitch = None
duration = None
-
- mxl_pitch = n.get_maybe_exist_typed_child (musicxml.Pitch)
event = None
+
+ mxl_pitch = n.get_maybe_exist_typed_child (musicxml.Pitch)
if mxl_pitch:
pitch = musicxml_pitch_to_lily (mxl_pitch)
- event = musicexp.NoteEvent()
+ event = musicexp.NoteEvent ()
event.pitch = pitch
acc = n.get_maybe_exist_named_child ('accidental')
if acc:
# let's not force accs everywhere.
event.cautionary = acc.editorial
+
+ elif n.get_maybe_exist_typed_child (musicxml.Unpitched):
+ # Unpitched elements have display-step and can also have
+ # display-octave.
+ unpitched = n.get_maybe_exist_typed_child (musicxml.Unpitched)
+ event = musicexp.NoteEvent ()
+ event.pitch = musicxml_unpitched_to_lily (unpitched)
elif n.get_maybe_exist_typed_child (musicxml.Rest):
# rests can have display-octave and display-step, which are
# treated like an ordinary note pitch
rest = n.get_maybe_exist_typed_child (musicxml.Rest)
- event = musicexp.RestEvent()
+ event = musicexp.RestEvent ()
pitch = musicxml_restdisplay_to_lily (rest)
event.pitch = pitch
+
elif n.instrument_name:
event = musicexp.NoteEvent ()
drum_type = instrument_drumtype_dict.get (n.instrument_name)
else:
n.message ("drum %s type unknown, please add to instrument_drumtype_dict" % n.instrument_name)
event.drum_type = 'acousticsnare'
-
- if not event:
+
+ else:
n.message ("cannot find suitable event")
- event.duration = musicxml_duration_to_lily (n)
+ if event:
+ event.duration = musicxml_duration_to_lily (n)
+
return event
self.set_duration (duration)
# Insert all pending dynamics right after the note/rest:
- if isinstance (music, musicexp.EventChord) and self.pending_dynamics:
+ if isinstance (music, musicexp.ChordEvent) and self.pending_dynamics:
for d in self.pending_dynamics:
music.append (d)
self.pending_dynamics = []
skip.duration.factor = duration_factor
skip.duration.dots = duration_dots
- evc = musicexp.EventChord ()
+ evc = musicexp.ChordEvent ()
evc.elements.append (skip)
self.add_music (evc, diff)
value = None
- # if the position matches, find the last EventChord, do not cross a bar line!
+ # if the position matches, find the last ChordEvent, do not cross a bar line!
at = len( self.elements ) - 1
while (at >= 0 and
- not isinstance (self.elements[at], musicexp.EventChord) and
+ not isinstance (self.elements[at], musicexp.ChordEvent) and
not isinstance (self.elements[at], musicexp.BarLine)):
at -= 1
if (self.elements
and at >= 0
- and isinstance (self.elements[at], musicexp.EventChord)
+ and isinstance (self.elements[at], musicexp.ChordEvent)
and self.begin_moment == starting_at):
value = self.elements[at]
else:
def correct_negative_skip (self, goto):
self.end_moment = goto
self.begin_moment = goto
- evc = musicexp.EventChord ()
+ evc = musicexp.ChordEvent ()
self.elements.append (evc)
self.lyrics_dict = {}
self.lyrics_order = []
+def musicxml_step_to_lily (step):
+ if step:
+ return (ord (step) - ord ('A') + 7 - 2) % 7
+ else:
+ return None
+
def musicxml_voice_to_lily_voice (voice):
tuplet_events = []
modes_found = {}
first_pitch = main_event.pitch
ignore_lyrics = inside_slur or is_tied or is_chord
- if hasattr (main_event, 'drum_type') and main_event.drum_type:
+ if main_event and hasattr (main_event, 'drum_type') and main_event.drum_type:
modes_found['drummode'] = True
-
ev_chord = voice_builder.last_event_chord (n._when)
if not ev_chord:
- ev_chord = musicexp.EventChord()
+ ev_chord = musicexp.ChordEvent()
voice_builder.add_music (ev_chord, n._duration)
grace = n.get_maybe_exist_typed_child (musicxml.Grace)
if n.get_maybe_exist_typed_child (musicxml.Chord) and ev_chord.grace_elements:
grace_chord = ev_chord.grace_elements.get_last_event_chord ()
if not grace_chord:
- grace_chord = musicexp.EventChord ()
+ grace_chord = musicexp.ChordEvent ()
ev_chord.append_grace (grace_chord)
if hasattr (grace, 'slash'):
# TODO: use grace_type = "appoggiatura" for slurred grace notes
if grace.slash == "yes":
ev_chord.grace_type = "acciaccatura"
- elif grace.slash == "no":
- ev_chord.grace_type = "grace"
# now that we have inserted the chord into the grace music, insert
# everything into that chord instead of the ev_chord
ev_chord = grace_chord
# shake | wavy-line | mordent | inverted-mordent |
# schleifer | tremolo | other-ornament, accidental-mark
ornaments = notations.get_named_children ('ornaments')
- for a in ornaments:
- for ch in a.get_named_children ('tremolo'):
- ev = musicxml_tremolo_to_lily_event (ch)
- if ev:
- ev_chord.append (ev)
-
ornaments += notations.get_named_children ('articulations')
ornaments += notations.get_named_children ('technical')
tuplet_events.append ((ev_chord, tuplet_event, frac))
## force trailing mm rests to be written out.
- voice_builder.add_music (musicexp.EventChord (), Rational (0))
+ voice_builder.add_music (musicexp.ChordEvent (), Rational (0))
ly_voice = group_tuplets (voice_builder.elements, tuplet_events)
ly_voice = group_repeats (ly_voice)
return return_value
-
def musicxml_id_to_lily (id):
digits = ['Zero', 'One', 'Two', 'Three', 'Four', 'Five',
'Six', 'Seven', 'Eight', 'Nine', 'Ten']
id = re.sub ('[^a-zA-Z]', 'X', id)
return id
-
def musicxml_pitch_to_lily (mxl_pitch):
- p = musicexp.Pitch()
+ p = musicexp.Pitch ()
p.alteration = mxl_pitch.get_alteration ()
- p.step = (ord (mxl_pitch.get_step ()) - ord ('A') + 7 - 2) % 7
+ p.step = musicxml_step_to_lily (mxl_pitch.get_step ())
p.octave = mxl_pitch.get_octave () - 4
return p
+def musicxml_unpitched_to_lily (mxl_unpitched):
+ p = None
+ step = mxl_unpitched.get_step ()
+ if step:
+ p = musicexp.Pitch ()
+ p.step = musicxml_step_to_lily (step)
+ octave = mxl_unpitched.get_octave ()
+ if octave and p:
+ p.octave = octave - 4
+ return p
+
def musicxml_restdisplay_to_lily (mxl_rest):
p = None
step = mxl_rest.get_step ()
if step:
- p = musicexp.Pitch()
- p.step = (ord (step) - ord ('A') + 7 - 2) % 7
+ p = musicexp.Pitch ()
+ p.step = musicxml_step_to_lily (step)
octave = mxl_rest.get_octave ()
if octave and p:
p.octave = octave - 4
mv $$TMP/*pfb $(outdir) ; \
rm -rf $$TMP
-$(outdir)/mf2pt1.mem:
- cd $(outdir) && mpost -progname=mpost -ini ../mf2pt1 \\dump
+$(outdir)/mf2pt1.mem: mf2pt1.mp
+ cd $(outdir) && mpost -progname=mpost -ini $(top-src-dir)/mf/mf2pt1.mp \\dump
projects / lilypond.git / commitdiff