these indications do not influence the note spacing, but by using the
command @code{\fatText}, the widths will be taken into account
-@lilypond[quote,fragment,raggedright,verbatim,relative=1]
+@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
c4^"longtext" \fatText c4_"longlongtext" c4
@end lilypond
More complex formatting may also be added to a note by using the
markup command,
-@lilypond[fragment,raggedright,verbatim,quote]
+@lilypond[fragment,ragged-right,verbatim,quote]
c'4^\markup { bla \bold bla }
@end lilypond
The string to be printed, as well as the style, is set through object
properties
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
c1
\textSpannerDown
\override TextSpanner #'edge-text = #'("rall " . "")
segno, and fermata on a bar line. Use @code{\markup} to
access the appropriate symbol
-@lilypond[fragment,quote,raggedright,verbatim,relative=2]
+@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
c1 \mark \markup { \musicglyph #"scripts.ufermata" }
c1
@end lilypond
@code{\mark} is often useful for adding text to the end of bar. In
such cases, changing the @code{#'self-alignment} is very useful
-@lilypond[fragment,quote,raggedright,verbatim,relative=2]
+@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
\override Score.RehearsalMark
#'break-visibility = #begin-of-line-invisible
c1 c c c4 c c c
block. This is primarily used in a @code{\book} (see
@ref{Multiple movements}).
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\markup{ Here is some text. }
@end lilypond
block to a markup expression. Such a score must contain a @code{\layout}
block.
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
\relative {
c4 d^\markup {
\score {
@cindex make-dynamic-script
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
sfzp = #(make-dynamic-script "sfzp")
\relative c' {
c4 c c\sfzp c
It is also possible to print dynamics in round parenthesis or square
brackets. These are often used for adding editorial dynamics.
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
rndf = \markup{ \center-align {\line { \bold{\italic (}
\dynamic f \bold{\italic )} }} }
boxf = \markup{ \bracket { \dynamic f } }
@code{Score.skipBars}. If this is set to true, empty measures will not
be expanded, and the appropriate number is added automatically
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\time 4/4 r1 | R1 | R1*2
\set Score.skipBars = ##t R1*17 R1*4
@end lilypond
notes. Hence, for time signatures other than 4/4, you must enter other
durations. This can be done with augmentation dots or fractions
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\set Score.skipBars = ##t
\time 3/4
R2. | R2.*2
(a series of rectangles) in the staff. To replace that with a simple
rest, use @code{MultiMeasureRest.expand-limit}.
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\set Score.skipBars = ##t
R1*2 | R1*5 | R1*9
\override MultiMeasureRest #'expand-limit = 1
A variable (@code{\fermataMarkup}) is provided for
adding fermatas
-@lilypond[quote,raggedright,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim,fragment]
\set Score.skipBars = ##t
\time 3/4
R2.*10^\markup { \italic "ad lib." }
Warning! This text is created by @code{MultiMeasureRestText}, not
@code{TextScript}.
-@lilypond[quote,raggedright,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim,fragment]
\override TextScript #'padding = #5
R1^"low"
\override MultiMeasureRestText #'padding = #5
In the MIDI output, they are interpreted as a tempo change. In the
layout output, a metronome marking is printed
@cindex @code{\tempo}
-@lilypond[quote,raggedright,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim,fragment]
\tempo 8.=120 c''1
@end lilypond
@end example
To print other metronome markings, use these markup commands
-@lilypond[quote,raggedright,verbatim,relative,fragment]
+@lilypond[quote,ragged-right,verbatim,relative,fragment]
c4^\markup {
(
\smaller \general-align #Y #DOWN \note #"16." #1
To print a rehearsal mark, use the @code{\mark} command
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
c1 \mark \default
c1 \mark \default
c1 \mark #8
example, @code{markFormatter} is set to a canned procedure. After a
few measures, it is set to function that produces a boxed number.
-@lilypond[fragment,quote,raggedright,verbatim,relative=2]
+@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
\set Score.markFormatter = #format-mark-numbers
c1 \mark \default
c1 \mark \default
whose source is available as
@inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
-@lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
+@lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
Bar numbers can be typeset manually by tweaking the
@code{markFormatter} property
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,ragged-right,quote]
\relative c' {
\set Score.markFormatter
= #(lambda (mark context)
Bar numbers can be manually changed by setting the
@code{Staff.currentBarNumber} property
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,ragged-right,quote]
\relative c' {
\repeat unfold 4 {c4 c c c} \break
\set Score.currentBarNumber = #50
the start of the staff. For the first staff, @code{instrument} is
used, for the following ones, @code{instr} is used.
-@lilypond[quote,verbatim,raggedright,relative=1,fragment]
+@lilypond[quote,verbatim,ragged-right,relative=1,fragment]
\set Staff.instrument = "Ploink "
\set Staff.instr = "Plk "
c1
You can also use markup texts to construct more complicated instrument
names, for example
-@lilypond[quote,fragment,verbatim,raggedright]
+@lilypond[quote,fragment,verbatim,ragged-right]
\set Staff.instrument = \markup {
\column { "Clarinetti"
\line { "in B" \smaller \flat } } }
If you wish to center the instrument names, you must center all of them
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
{ <<
\new Staff {
\set Staff.instrument = \markup {
@cindex 15ma
@cindex octavation
-@lilypond[quote,raggedright,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim,fragment]
\relative c''' {
a2 b
#(set-octavation 1)
@code{centralCPosition}. For overriding the text of the bracket, set
@code{ottavation} after invoking @code{set-octavation}, i.e.,
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
{
#(set-octavation 1)
\set Staff.ottavation = #"8"
@end example
would yield
-@lilypondfile[raggedright,quote]{tag-filter.ly}
+@lilypondfile[ragged-right,quote]{tag-filter.ly}
The argument of the @code{\tag} command should be a symbol. It's
possible to put multiple tags on a piece of music, with multiple
combiner: putting parts on one staff, and setting stem directions and
polyphony
-@lilypond[quote,verbatim,raggedright,fragment]
+@lilypond[quote,verbatim,ragged-right,fragment]
\new Staff \partcombine
\relative g' { g g a( b) c c r r }
\relative g' { g g r4 r e e g g }
If you just want the merging parts, and not the textual markings, you
may set the property @code{printPartCombineTexts} to false
-@lilypond[quote,verbatim,raggedright,fragment,relative=2]
+@lilypond[quote,verbatim,ragged-right,fragment,relative=2]
\new Staff <<
\set Staff.printPartCombineTexts = ##f
\partcombine
set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
properties.
-@lilypond[quote,verbatim,raggedright,fragment,relative=2]
+@lilypond[quote,verbatim,ragged-right,fragment,relative=2]
\new Staff <<
\set Score.soloText = #"ichi"
\set Score.soloIIText = #"ni"
@code{\RemoveEmptyStaffContext} variable. Observe how the second staff
in this example disappears in the second line
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\layout {
\context { \RemoveEmptyStaffContext }
}
Quotations take into account the transposition of both source and target
instruments, if they are specified using the @code{\transposition} command.
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\addquote clarinet \relative c' {
\transposition bes
f4 fis g gis
first or second voice.
-@lilypond[verbatim,raggedright]
+@lilypond[verbatim,ragged-right]
smaller = {
\set fontSize = #-2
\override Stem #'length-fraction = #0.8
long as the piece. The use of @code{mmrest-of-length} is demonstrated
in the following example.
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,ragged-right,quote]
cadenza = \relative c' {
c4 d8 << { e f g } \\ { d4. } >>
g4 f2 g4 g
created with a markup text. This markup text is inserted in the
@internalsref{TimeSignature} grob.
-@lilypond[verbatim,raggedright]
+@lilypond[verbatim,ragged-right]
% create 2/4 + 5/8
tsMarkup =\markup {
\number {
>>
@end example
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\layout{
\context{
\Score
2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
-@lilypond[quote,raggedright,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim,fragment]
\relative c' { <<
\new Staff {
\time 3/4
3/8 arises because 5/4 normally has 10/8, but we have manually
set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
-@lilypond[quote,raggedright,verbatim,relative,fragment]
+@lilypond[quote,ragged-right,verbatim,relative,fragment]
\set Score.measureLength = #(ly:make-moment 5 4)
c1 c4
c1 c4
can be denoted as the envelope of a set of notes. They are entered by
applying the function @code{makeClusters} to a sequence of
chords, e.g.,
-@lilypond[quote,raggedright,relative=2,fragment,verbatim]
+@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
\makeClusters { <c e > <b f'> }
@end lilypond
@inputfileref{input/@/regression,cluster@/.ly}) shows what the result
looks like
-@lilypondfile[raggedright,quote]{cluster.ly}
+@lilypondfile[ragged-right,quote]{cluster.ly}
Ordinary notes and clusters can be put together in the same staff,
even simultaneously. In such a case no attempt is made to
In contemporary music notation, special fermata symbols denote breaks
of differing lengths. The following fermatas are supported
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
<<
\oldaddlyrics {
b'2
etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
other notehead styles are produced by tweaking the property
-@lilypond[raggedright,relative=1,fragment,verbatim,quote]
+@lilypond[ragged-right,relative=1,fragment,verbatim,quote]
c4 d
\override NoteHead #'style = #'cross
e f
Trills that should be executed on an explicitly specified pitch can be
typeset with the command @code{pitchedTrill},
-@lilypond[raggedright,verbatim,fragment]
+@lilypond[ragged-right,verbatim,fragment]
\pitchedTrill c'4\startTrillSpan fis
f'\stopTrillSpan
@end lilypond
forcing two beams to overlap. Here is an example,
@c don't change relative setting witout changing positions!
-@lilypond[raggedright,relative=1,fragment,verbatim,quote]
+@lilypond[ragged-right,relative=1,fragment,verbatim,quote]
\new Staff <<
\new Voice
{
@code{\improvisationOff}) for this command sequence. They are used in
the following example
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,ragged-right,quote]
\new Staff \with {
\consists Pitch_squash_engraver
} \transpose c c' {
The following example demonstrates its use.
-@lilypond[quote,verbatim,fragment,raggedright,relative=2]
+@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
\context Voice {
\applyOutput
#(add-balloon-text 'NoteHead "heads, or tails?"
Hidden (or invisible or transparent) notes can be useful in preparing theory
or composition exercises.
-@lilypond[quote,raggedright,verbatim,relative=2,fragment]
+@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
c4 d4
\hideNotes
e4 f4
when doing pizzicato to indicate that the note should ring for as long
as possible.
-@lilypond[quote,raggedright,verbatim,relative=0,fragment]
+@lilypond[quote,ragged-right,verbatim,relative=0,fragment]
\clef bass
<< {
c4^"pizz"( \hideNotes c)
The `easy play' note head includes a note name inside the head. It is
used in music for beginners
-@lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
+@lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
\setEasyHeads
c'2 e'4 f' | g'1
@end lilypond
to @internalsref{Staff} context. A bracket is started with
@code{\startGroup} and closed with @code{\stopGroup}
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\score {
\relative c'' {
c4\startGroup\startGroup
Individual objects may be assigned colors. You may use the
color names listed in the @ref{List of colors}.
-@lilypond[quote,raggedright,verbatim,fragment,relative=1]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
\override NoteHead #'color = #red
c4 c
\override NoteHead #'color = #(x11-color 'LimeGreen)
color remains black after being set to (x11-color 'Boggle), which is
deliberate nonsense.
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
{
\override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
\set Staff.instrument = \markup {
As a result, accidentals from one voice do not get canceled in other
voices, which is often an unwanted result
-@lilypond[quote,raggedright,relative=1,fragment,verbatim]
+@lilypond[quote,ragged-right,relative=1,fragment,verbatim]
\context Staff <<
#(set-accidental-style 'voice)
<<
in the same octave, they also get canceled in the following
measure
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
#(set-accidental-style 'modern)
cis' c'' cis'2 | c'' c'
@end lilypond
This rule is similar to @code{modern}, but the ``extra'' accidentals
(the ones not typeset by @code{default}) are typeset as cautionary
accidentals. They are printed in reduced size or with parentheses
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
#(set-accidental-style 'modern-cautionary)
cis' c'' cis'2 | c'' c'
@end lilypond
@cindex @code{no-reset} accidental style
This is the same as @code{default} but with accidentals lasting
``forever'' and not only until the next measure
-@lilypond[quote,raggedright,fragment,verbatim,relative=1]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
#(set-accidental-style 'no-reset)
c1 cis cis c
@end lilypond
typeset relative to the key signature, regardless of what was
before in the music
-@lilypond[quote,raggedright,fragment,verbatim,relative=1]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
#(set-accidental-style 'forget)
\key d\major c4 c cis cis d d dis dis
@end lilypond
You can force the beam settings to only take effect on beams whose shortest
note is a certain duration
-@lilypond[quote,fragment,raggedright,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\time 2/4
#(override-auto-beam-setting '(end 1 16 * *) 1 16)
a16 a a a a a a a |
You can force the beam settings to only take effect in certain time
signatures
-@lilypond[quote,fragment,raggedright,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\time 5/8
#(override-auto-beam-setting '(end * * 5 8) 2 8)
c8 c d d d
default rules are specified in @file{scm/@/auto@/-beam@/.scm},
so you can revert rules that you did not explicitly create.
-@lilypond[quote,fragment,raggedright,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\time 4/4
a16 a a a a a a a a a a a a a a a
#(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
The rule in a revert-auto-beam-setting statement must exactly match the
original rule. That is, no wildcard expansion is taken into account.
-@lilypond[quote,fragment,raggedright,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\time 1/4
#(override-auto-beam-setting '(end 1 16 1 4) 1 8)
a16 a a a
A note is printed by specifying its pitch and then its duration,
-@lilypond[quote,verbatim,raggedright,fragment]
+@lilypond[quote,verbatim,ragged-right,fragment]
cis'4 d'8 e'16 c'16
@end lilypond
to @code{b}. The pitch @code{c} is an octave below middle C and the
letters span the octave above that C
-@lilypond[quote,fragment,verbatim,raggedright]
+@lilypond[quote,fragment,verbatim,ragged-right]
\clef bass
a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
@end lilypond
(`@code{,}') characters. Each @code{'} raises the pitch by one
octave; each @code{,} lowers the pitch by an octave
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
c' c'' e' g d'' d'
@end lilypond
@code{as}, but both forms are accepted. Similarly, both
@code{es} and @code{ees} are accepted
-@lilypond[fragment,quote,raggedright,verbatim,relative=2]
+@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
ceses4
ces
c
cancelled. To change this behaviour, use
@code{\set Staff.extraNatural = ##f}
-@lilypond[fragment,quote,raggedright,verbatim,relative=2]
+@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
ceses4 ces cis c
\set Staff.extraNatural = ##f
ceses4 ces cis c
question mark `@code{?}' after the pitch. These extra accidentals
can be used to produce natural signs, too.
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
cis' cis' cis'! cis'? c c? c! c
@end lilypond
Half-flats and half-sharps are formed by adding @code{-eh} and
@code{-ih}; the following is a series of Cs with increasing pitches
-@lilypond[verbatim,raggedright,quote,relative=2,fragment]
+@lilypond[verbatim,ragged-right,quote,relative=2,fragment]
\set Staff.extraNatural = ##f
ceseh ceh cih cisih
@end lilypond
@code{>}. A chord may be followed by a duration, and a set of
articulations, just like simple notes
-@lilypond[verbatim,raggedright,fragment,quote,relative=1]
+@lilypond[verbatim,ragged-right,fragment,quote,relative=1]
<c e g>4 <c>8
@end lilypond
Rests are entered like notes with the note name @code{r}
-@lilypond[fragment,quote,raggedright,verbatim]
+@lilypond[fragment,quote,ragged-right,verbatim]
r1 r2 r4 r8
@end lilypond
easier. Automatic rest collision formatting will leave these rests
alone
-@lilypond[fragment,quote,raggedright,verbatim]
+@lilypond[fragment,quote,ragged-right,verbatim]
a'4\rest d'4\rest
@end lilypond
An invisible rest (also called a `skip') can be entered like a note
with note name `@code{s}' or with @code{\skip @var{duration}}
-@lilypond[fragment,quote,raggedright,verbatim,relative=2]
+@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
a4 a4 s4 a4 \skip 1 a4
@end lilypond
other situations, for example, when entering lyrics, you should use
the @code{\skip} command
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
<<
\relative { a'2 a2 }
\new Lyrics \lyricmode { \skip 2 bla2 }
@internalsref{Voice} when necessary, similar to note and rest
commands. For example, the following results in an empty staff.
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
{ s4 }
@end lilypond
r1 r2 r4 r8 r16 r32 r64 r64
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
\context {
\Staff
\remove "Clef_engraver"
If the duration is omitted then it is set to the previously entered
duration. The default for the first note is a quarter note.
-@lilypond[quote,raggedright,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim,fragment]
{ a a a2 a a4 a a1 a }
@end lilypond
To obtain dotted note lenghts, simply add a dot (`@code{.}') to
the number. Double-dotted notes are produced in a similar way.
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
a'4 b' c''4. b'8 a'4. b'4.. c''8.
@end lilypond
notes have the length of 2, so the notes are 2/3 of their written
length
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
g'4 \times 2/3 {c'4 c' c'} d'4 d'4
@end lilypond
Tuplets may be nested, for example,
-@lilypond[fragment,raggedright,verbatim,relative=2]
+@lilypond[fragment,ragged-right,verbatim,relative=2]
\set tupletNumberFormatFunction = #fraction-tuplet-formatter
\times 4/6 {
a4 a
example, there are two triplets shown, while @code{\times} was only
used once
-@lilypond[quote,fragment,relative=2,raggedright,verbatim]
+@lilypond[quote,fragment,relative=2,ragged-right,verbatim]
\set tupletSpannerDuration = #(ly:make-moment 1 4)
\times 2/3 { c8 c c c c c }
@end lilypond
To avoid printing tuplet numbers, use
-@lilypond[quote,fragment,relative=2,raggedright,verbatim]
+@lilypond[quote,fragment,relative=2,ragged-right,verbatim]
\times 2/3 { c8 c c } \times 2/3 { c8 c c }
\override TupletNumber #'transparent = ##t
\times 2/3 { c8 c c } \times 2/3 { c8 c c }
In the following example, the first three notes take up exactly two
beats, but no triplet bracket is printed.
-@lilypond[quote,raggedright,fragment,relative=2,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
\time 2/4
a4*2/3 gis4*2/3 a4*2/3
a4 a4 a4*2
is specified, then middle C is used as a start.
Here is the relative mode shown in action
-@lilypond[quote,fragment,raggedright,verbatim]
+@lilypond[quote,fragment,ragged-right,verbatim]
\relative c'' {
b c d c b c bes a
}
@end lilypond
Octave changing marks are used for intervals greater than a fourth
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\relative c'' {
c g c f, c' a, e''
}
If the preceding item is a chord, the first note of the chord is used
to determine the first note of the next chord
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\relative c' {
c <c e g>
<c' e g>
check passes successfully, so the check could be deleted without changing
the output of the piece.
-@lilypond[quote,raggedright,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim,fragment]
\relative c' {
e
\octave b
half a tone. The first version will print sharps and the second
version will print flats
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
mus = { \key d \major cis d fis g }
\context Staff {
\clef "F" \mus
It is also possible to redefine the meaning of @code{|}. This is done
by assigning a music expression to @code{pipeSymbol},
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
pipeSymbol = \bar "||"
{ c'2 c' | c'2 c' }
fashing with the property @code{Score.skipTypesetting}. When it is
set, no typesetting is performed at all.
-@lilypond[quote,fragment,raggedright,verbatim]
+@lilypond[quote,fragment,ragged-right,verbatim]
\relative c'' {
c8 d
\set Score.skipTypesetting = ##t
@internalsref{Completion_heads_engraver}.
In the following examples, notes crossing the bar line are split and tied.
-@lilypond[quote,fragment,verbatim,relative=1,linewidth=12\cm]
+@lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
The clef indicates which lines of the staff correspond to which
pitches. The clef is set with the @code{\clef} command
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
{ c''2 \clef alto g'2 }
@end lilypond
example,
@cindex choral tenor clef
-@lilypond[quote,raggedright,verbatim,fragment,relative=1]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
\clef "G_8" c4
@end lilypond
when any of these properties are changed. The following example shows
possibilities when setting properties manually.
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
{
\set Staff.clefGlyph = #"clefs.F"
\set Staff.clefPosition = #2
can be suppressed by setting the @code{Staff.printKeyCancellation}
property.
-@lilypond[quote,fragment,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2]
\key d \major
a b cis d
\key g \minor
The time signature is set with the @code{\time} command
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\time 2/4 c'2 \time 3/4 c'2.
@end lilypond
property. Setting it to @code{#'()} uses fraction style for 4/4 and
2/2 time,
-@lilypond[fragment,quote,raggedright,verbatim]
+@lilypond[fragment,quote,ragged-right,verbatim]
\time 4/4 c'1
\time 2/2 c'1
\override Staff.TimeSignature #'style = #'()
measure is subdivided in 2, 2, 2 and 3. This is passed to
@code{set-time-signature} as the third argument @code{(2 2 2 3)}
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\score {
\relative c'' {
#(set-time-signature 9 8 '(2 2 2 3))
Partial measures, such as an anacrusis or upbeat, are entered using the
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\partial 16*5 c16 cis d dis e | a2. c,4 | b2
@end lilypond
the music. When a piece starts with graces notes in the pickup, then
the @code{\partial} should follow the grace notes
-@lilypond[verbatim,quote,raggedright,relative,fragment]
+@lilypond[verbatim,quote,ragged-right,relative,fragment]
\grace f16
\partial 4
g4
Special types of bar lines can be forced with the @code{\bar} command
-@lilypond[quote,raggedright,relative=2,fragment,verbatim]
+@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
c4 \bar "|:" c4
@end lilypond
The following bar types are available
-@lilypondfile[raggedright,quote]{bar-lines.ly}
+@lilypondfile[ragged-right,quote]{bar-lines.ly}
To allow a line break where there is no visible bar line, use
automatically applied to all staves. The resulting bar lines are
connected between different staves of a StaffGroup
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
<<
\context StaffGroup <<
\new Staff {
automatic bar lines and bar numbers, use the commands @code{\cadenzaOn}
and @code{\cadenzaOff}.
-@lilypond[verbatim,quote,raggedright,relative=2,fragment]
+@lilypond[verbatim,quote,ragged-right,relative=2,fragment]
c4 d e d
\cadenzaOn
c4 c d8 d d f4 g4.
@item The group is started with a brace at the left, and bar lines are
connected. This is done with the @internalsref{GrandStaff} context.
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,ragged-right,quote]
\new GrandStaff
\relative <<
\new Staff { c1 c }
This is done with the
@internalsref{StaffGroup} context
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,ragged-right,quote]
\new StaffGroup
\relative <<
\new Staff { c1 c }
@item The group is started with a bracket, but bar lines are not
connected. This is done with the @internalsref{ChoirStaff} context.
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,ragged-right,quote]
\new ChoirStaff
\relative <<
\new Staff { c1 c }
@item The group is started with a vertical line. Bar lines are not
connected. This is the default for the score.
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,ragged-right,quote]
\relative <<
\new Staff { c1 c }
\new Staff { c c }
slurs, which indicate articulation, or phrasing slurs, which indicate
musical phrasing. A tie is entered using the tilde symbol `@code{~}'
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
e' ~ e' <c' e' g'> ~ <c' e' g'>
@end lilypond
augmentation dot. The following example shows two ways of notating
exactly the same concept
-@lilypond[quote,fragment,raggedright]
+@lilypond[quote,fragment,ragged-right]
\time 3/4 c'2. c'2 ~ c'4
@end lilypond
cannot be used to denote the rhythm. When using ties, larger note
values should be aligned to subdivisions of the measure, eg.
-@lilypond[fragment,quote,raggedright]
+@lilypond[fragment,quote,ragged-right]
\relative {
r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
}
@code{tieWaitForNote} property to true. The same feature is also useful,
for example, to tie a tremolo to a chord. For example,
-@lilypond[fragment,verbatim,relative=1,raggedright]
+@lilypond[fragment,verbatim,relative=1,ragged-right]
\set tieWaitForNote = ##t
\grace { c16[~ e~ g]~ } <c, e g>2
\repeat "tremolo" 8 { c32~ c'~ } <c c,>1
A slur indicates that notes are to be played bound or
@emph{legato}. They are entered using parentheses
-@lilypond[quote,raggedright,relative=2,fragment,verbatim]
+@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
f( g a) a8 b( a4 g2 f4)
<c e>2( <b d>2)
@end lilypond
directions. By adding @code{_} or @code{^} before the opening
parentheses, the direction is also set. For example,
-@lilypond[relative=2,raggedright,quote,verbatim,fragment]
+@lilypond[relative=2,ragged-right,quote,verbatim,fragment]
c4_( c) c^( c)
@end lilypond
Some composers write two slurs when they want legato chords. This can
be achieved in LilyPond by setting @code{doubleSlurs},
-@lilypond[verbatim,raggedright,relative,fragment,quote]
+@lilypond[verbatim,ragged-right,relative,fragment,quote]
\set doubleSlurs = ##t
<c e>4 ( <d f> <c e> <d f> )
@end lilypond
indicate a musical sentence. It is written using @code{\(} and @code{\)}
respectively
-@lilypond[quote,raggedright,fragment,verbatim,relative=1]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
\time 6/4 c'\( d( e) f( e) d\)
@end lilypond
LilyPond inserts beams automatically
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
@end lilypond
Individual notes may be marked with @code{\noBeam} to prevent them
from being beamed
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\time 2/4 c8 c\noBeam c c
@end lilypond
or bar lines. Such beams are specified manually by marking the begin
and end point with @code{[} and @code{]}
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
{
r4 r8[ g' a r8] r8 g[ | a] r8
}
either property is set, its value will be used only once, and then it
is erased
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
{
f8[ r16
f g a]
are entered with the commands @code{\acciaccatura} and
@code{\appoggiatura}, as demonstrated in the following example
-@lilypond[quote,raggedright,relative=2,verbatim,fragment]
+@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
b4 \acciaccatura d8 c4 \appoggiatura e8 d4
\acciaccatura { g16[ f] } e4
@end lilypond
keyword to a music expression, a new one is formed, which will be
printed in a smaller font and takes up no logical time in a measure.
-@lilypond[quote,raggedright,relative=2,verbatim,fragment]
+@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
c4 \grace c16 c4
\grace { c16[ d16] } c2 c4
@end lilypond
denotes the logical time, one denotes the grace timing. The above
example is shown here with timing tuples
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
<<
\relative c''{
c4 \grace c16 c4 \grace {
In the following example, there are two sixteenth grace notes for
every eighth grace note
-@lilypond[quote,raggedright,relative=2,verbatim,fragment]
+@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
<< \new Staff { e4 \grace { c16[ d e f] } e4 }
\new Staff { c4 \grace { g8[ b] } c4 } >>
@end lilypond
command. It takes two arguments: the main note, and the grace notes
following the main note.
-@lilypond[raggedright, verbatim,relative=2,fragment]
+@lilypond[ragged-right, verbatim,relative=2,fragment]
c1 \afterGrace d1 { c16[ d] } c4
@end lilypond
The same effect can be achieved manually by doing
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\context Voice {
<< { d1^\trill_( }
{ s2 \grace { c16[ d] } } >>
for example, to produce smaller type, and set directions. Hence, when
introducing layout tweaks, they should be inside the grace section,
for example,
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\new Voice {
\acciaccatura {
\stemDown
such as key signatures, bar lines, etc., are also synchronized. Take
care when you mix staves with grace notes and staves without, for example,
-@lilypond[quote,raggedright,relative=2,verbatim,fragment]
+@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
<< \new Staff { e4 \bar "|:" \grace c16 d4 }
\new Staff { c4 \bar "|:" d4 } >>
@end lilypond
by adding a dash and the character signifying the
articulation. They are demonstrated here
-@lilypondfile[quote,raggedright]{script-abbreviations.ly}
+@lilypondfile[quote,ragged-right]{script-abbreviations.ly}
The meanings of these shorthands can be changed. See
@file{ly/@/script@/-init@/.ly} for examples.
well. Like other pieces of LilyPond code, @code{_} will place them
below the staff, and @code{^} will place them above.
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
c''4^^ c''4_^
@end lilypond
can be forced up or down using @code{^} and @code{_},
e.g.,
-@lilypond[quote,raggedright,verbatim,fragment,relative=2]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
c\fermata c^\fermata c_\fermata
@end lilypond
Here is a chart showing all scripts available,
-@lilypondfile[raggedright,quote]{script-chart.ly}
+@lilypondfile[ragged-right,quote]{script-chart.ly}
@commonprop
inside. When two objects have the same priority, the order in which
they are entered decides which one comes first.
-@lilypond[verbatim,relative=3,raggedright,fragment,quote]
+@lilypond[verbatim,relative=3,ragged-right,fragment,quote]
\once \override TextScript #'script-priority = #-100
a4^\prall^\markup { \sharp }
@end example
For finger changes, use markup texts
-@lilypond[quote,verbatim,raggedright,fragment,relative=1]
+@lilypond[quote,verbatim,ragged-right,fragment,relative=1]
c4-1 c-2 c-3 c-4
c^\markup { \finger "2 - 3" }
@end lilypond
You can use the thumb-script to indicate that a note should be
played with the thumb (e.g., in cello music)
-@lilypond[quote,verbatim,raggedright,fragment,relative=2]
+@lilypond[quote,verbatim,ragged-right,fragment,relative=2]
<a_\thumb a'-3>8 <b_\thumb b'-3>
@end lilypond
Fingerings for chords can also be added to individual notes
of the chord by adding them after the pitches
-@lilypond[quote,verbatim,raggedright,fragment,relative=2]
+@lilypond[quote,verbatim,ragged-right,fragment,relative=2]
< c-1 e-2 g-3 b-5 >4
@end lilypond
You may exercise greater control over fingering chords by
setting @code{fingeringOrientations}
-@lilypond[quote,verbatim,raggedright,fragment,relative=1]
+@lilypond[quote,verbatim,ragged-right,fragment,relative=1]
\set fingeringOrientations = #'(left down)
<c-1 es-2 g-4 bes-5 > 4
\set fingeringOrientations = #'(up right down)
Using this feature, it is also possible to put fingering instructions
very close to note heads in monophonic music,
-@lilypond[verbatim,raggedright,quote,fragment]
+@lilypond[verbatim,ragged-right,quote,fragment]
\set fingeringOrientations = #'(right)
<es'-2>4
@end lilypond
@code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
-@lilypond[quote,verbatim,raggedright,fragment,relative=2]
+@lilypond[quote,verbatim,ragged-right,fragment,relative=2]
c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
@end lilypond
dynamic. Because these marks are bound to notes, you must
use spacer notes if multiple marks are needed during one note
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
c\< c\! d\> e\!
<< f1 { s4 s4\< s4\! \> s4\! } >>
@end lilypond
You can also use a text saying @emph{cresc.} instead of hairpins
-@lilypond[quote,raggedright,fragment,relative=2,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
\setTextCresc
c\< d e f\!
\setHairpinCresc
@end lilypond
You can also supply your own texts
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
\set crescendoText = \markup { \italic "cresc. poco" }
\set crescendoSpanner = #'dashed-line
a'2\< a a a\!\mf
Breath marks are entered using @code{\breathe}
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
c'4 \breathe d4
@end lilypond
The glyph of the breath mark can be tuned by overriding the
@code{text} property of the @code{BreathingSign} layout object with
any markup text. For example,
-@lilypond[quote,raggedright,fragment,verbatim,relative=1]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
c'4
\override BreathingSign #'text
= #(make-musicglyph-markup "scripts.rvarcomma")
Long running trills are made with @code{\startTrillSpan} and
@code{\stopTrillSpan},
-@lilypond[verbatim,raggedright,relative=2,quote,fragment]
+@lilypond[verbatim,ragged-right,relative=2,quote,fragment]
\new Voice {
<< { c1 \startTrillSpan }
{ s2. \grace { d16[\stopTrillSpan e] } } >>
wavy line between two notes. It is requested by attaching
@code{\glissando} to a note
-@lilypond[quote,raggedright,fragment,relative=2,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
c2\glissando c'
\override Glissando #'style = #'zigzag
c2\glissando c,
You can specify an arpeggio sign (also known as broken chord) on a
chord by attaching an @code{\arpeggio} to a chord
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
<c e g c>\arpeggio
@end lilypond
A square bracket on the left indicates that the player should not
arpeggiate the chord
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
\arpeggioBracket
<c' e g c>\arpeggio
@end lilypond
The direction of the arpeggio is sometimes denoted by adding an
arrowhead to the wiggly line
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
\context Voice {
\arpeggioUp
<c e g c>\arpeggio
in both staves and set
@internalsref{PianoStaff}.@code{connectArpeggios}
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
\context PianoStaff <<
\set PianoStaff.connectArpeggios = ##t
\new Staff { <c' e g c>\arpeggio }
the previous section. The crossed noteheads demonstrate that the main
melody is now in a single voice context.
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\new Staff \relative c' {
\override NoteHead #'style = #'cross
c16 d e f
@end lilypond
The correct definition of the voices allows the melody to be slurred.
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\new Staff \relative c' {
c16^( d e f
\voiceOne
constructs, which in some case might be a more natural way to typeset
the music.
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\new Staff \relative c' {
c16^( d e f
\voiceOne
Normally, note heads with a different number of dots are not merged, but
when the object property @code{merge-differently-dotted} is set in
the @internalsref{NoteCollision} object, they are merged
-@lilypond[quote,verbatim,fragment,raggedright,relative=2]
+@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
\context Voice << {
g8 g8
\override Staff.NoteCollision
Similarly, you can merge half note heads with eighth notes, by setting
@code{merge-differently-headed}
-@lilypond[quote,raggedright,fragment,relative=2,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
\context Voice << {
c8 c4.
\override Staff.NoteCollision
LilyPond also vertically shifts rests that are opposite of a stem,
for example
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\context Voice << c''4 \\ r4 >>
@end lilypond
property of the @internalsref{NoteColumn} object and pitched rests can
be used to override typesetting decisions.
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
\relative <<
{
<d g>
is assumed to be played more than once.
Standard repeats are used like this
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
c1
\repeat volta 2 { c4 d e f }
\repeat volta 2 { f e d c }
@end lilypond
With alternative endings
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
c1
\repeat volta 2 {c4 d e f}
\alternative { {d2 d} {f f,} }
@end lilypond
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\context Staff {
\partial 4
\repeat volta 4 { e | c2 d2 | e2 f2 | }
by setting @code{voltaSpannerDuration}. In the next example, the
bracket only lasts one measure, which is a duration of 3/4.
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,ragged-right,quote]
\relative c''{
\time 3/4
c c c
@code{\unfoldRepeats} music function. This functions changes all
repeats to unfold repeats.
-@lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
+@lilypond[quote,verbatim,fragment,line-width=8.0\cm]
\unfoldRepeats {
\repeat tremolo 8 {c'32 e' }
\repeat percent 2 { c''8 d'' }
Stop a running volta bracket.
@end table
-@lilypond[quote,raggedright,verbatim,fragment,relative=2]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
c4
\set Score.repeatCommands = #'((volta "93") end-repeat)
c4 c4
To place tremolo marks between notes, use @code{\repeat} with tremolo
style
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
\new Voice \relative c' {
\repeat "tremolo" 8 { c16 d16 }
\repeat "tremolo" 4 { c16 d16 }
Tremolo marks can also be put on a single note. In this case, the
note should not be surrounded by braces.
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
\repeat "tremolo" 4 c'16
@end lilypond
length is omitted, the last value (stored in @code{tremoloFlags}) is
used
-@lilypond[quote,raggedright,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim,fragment]
c'2:8 c':32 | c': c': |
@end lilypond
patterns that divide the measure length are replaced by slashes.
Percent repeats must be declared within a @code{Voice} context.
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
\new Voice \relative c' {
\repeat "percent" 4 { c4 }
\repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
Measure repeats of more than 2 measures get a counter, if you switch
on the @code{countPercentRepeats} property,
-@lilypond[relative=2,fragment,quote,verbatim,raggedright]
+@lilypond[relative=2,fragment,quote,verbatim,ragged-right]
\set countPercentRepeats = ##t
\new Voice
\repeat "percent" 4 { c1 }
staves. Each part that should be on its own staff, is preceded with
@code{\new Staff}.
-@lilypond[quote,verbatim,relative=2,raggedright,fragment]
+@lilypond[quote,verbatim,relative=2,ragged-right,fragment]
<< \new Staff { c4 c }
\new Staff { d4 d }
>>
\context Voice = "A" \arts
>>
@end example
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
music = { c4 c4 }
arts = { s4-. s4-> }
\relative c'' <<
@cindex polymetric scores
@cindex Time signatures, multiple
-@lilypond[quote,relative=1,raggedright,verbatim,fragment]
+@lilypond[quote,relative=1,ragged-right,verbatim,fragment]
\new Score \with {
\remove "Timing_translator"
\remove "Default_bar_line_engraver"
@code{Voice}, but prints centered slash noteheads only. It can be used
to indicate improvisation in Jazz pieces,
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\layout { \context {
\name ImproVoice
\type "Engraver_group"
This procedure is installed into @internalsref{Tie}, so the last part
of the broken tie is translated up.
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
#(define (my-callback grob)
(let* (
; have we been split?
instrument or a melodic fragment. Cut and paste this into a file,
add notes, and you're finished!
-@lilypond[quote,verbatim,raggedright]
-\version "2.6.0"
+@lilypond[quote,verbatim,ragged-right]
+\version "2.7.32"
melody = \relative c' {
\clef treble
\key c \major
automatic beaming, you'll have to change or comment out the relevant
line.
-@lilypond[quote,verbatim,raggedright]
-\version "2.6.0"
+@lilypond[quote,verbatim,ragged-right]
+\version "2.7.32"
melody = \relative c' {
\clef treble
\key c \major
Want to prepare a lead sheet with a melody and chords? Look no further!
-@lilypond[quote,verbatim,raggedright]
-\version "2.6.0"
+@lilypond[quote,verbatim,ragged-right]
+\version "2.7.32"
melody = \relative c' {
\clef treble
\key c \major
This template allows you to prepare a song with melody, words, and chords.
-@lilypond[quote,verbatim,raggedright]
-\version "2.6.0"
+@lilypond[quote,verbatim,ragged-right]
+\version "2.7.32"
melody = \relative c' {
\clef treble
\key c \major
Here is a simple piano staff.
-@lilypond[quote,verbatim,raggedright]
-\version "2.6.0"
+@lilypond[quote,verbatim,ragged-right]
+\version "2.7.32"
upper = \relative c'' {
\clef treble
\key c \major
Here is a typical song format: one staff with the melody and lyrics, with
piano accompaniment underneath.
-@lilypond[quote,verbatim,raggedright]
-\version "2.6.0"
+@lilypond[quote,verbatim,ragged-right]
+\version "2.7.32"
melody = \relative c'' {
\clef treble
\key c \major
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,raggedright]
-\version "2.6.0"
+@lilypond[quote,verbatim,ragged-right]
+\version "2.7.32"
upper = \relative c'' {
\clef treble
\key c \major
since the template is right here, you don't have to do the
tweaking yourself.
-@lilypond[quote,verbatim,raggedright]
-\version "2.6.0"
+@lilypond[quote,verbatim,ragged-right]
+\version "2.7.32"
upper = \relative c'' {
\clef treble
\key c \major
This template demonstrates a string quartet. It also uses a @code{\global}
section for time and key signatures.
-@lilypond[quote,verbatim,raggedright]
-\version "2.6.0"
+@lilypond[quote,verbatim,ragged-right]
+\version "2.7.32"
global= {
\time 4/4
@verbatim
%%%%% piece.ly
-\version "2.6.0"
+\version "2.7.32"
global= {
\time 4/4
%%%%% score.ly
-\version "2.6.0"
+\version "2.7.32"
\include "piece.ly"
#(set-global-staff-size 14)
\score {
%%%%% vn1.ly
-\version "2.6.0"
+\version "2.7.32"
\include "piece.ly"
\score {
\keepWithTag #'vn1 \music
%%%%% vn2.ly
-\version "2.6.0"
+\version "2.7.32"
\include "piece.ly"
\score {
\keepWithTag #'vn2 \music
%%%%% vla.ly
-\version "2.6.0"
+\version "2.7.32"
\include "piece.ly"
\score {
\keepWithTag #'vla \music
%%%%% vlc.ly
-\version "2.6.0"
+\version "2.7.32"
\include "piece.ly"
\score {
\keepWithTag #'vlc \music
parts. For example, the time signature and key signatures are almost
always the same for all parts.
-@lilypond[quote,verbatim,raggedright]
-\version "2.6.0"
+@lilypond[quote,verbatim,ragged-right]
+\version "2.7.32"
global = {
\key c \major
\time 4/4
to the vocal notes (say, tenorMusic), then the changes will also
apply to the piano reduction.
-@lilypond[quote,verbatim,raggedright]
-\version "2.6.0"
+@lilypond[quote,verbatim,ragged-right]
+\version "2.7.32"
global = {
\key c \major
\time 4/4
notes. As a compromise, bar lines are often printed between the
staves rather than on the staves.
-@lilypond[quote,verbatim,linewidth=11.0\cm]
-\version "2.6.0"
+@lilypond[quote,verbatim,line-width=11.0\cm]
+\version "2.7.32"
global = {
\set Score.skipBars = ##t
@c make whatever changes I feel like.
@c FIXME: produces a warning ; key change merge.
-@c The `linewidth' argument is for the \header.
+@c The `line-width' argument is for the \header.
-@lilypond[quote,verbatim,raggedright,linewidth]
-\version "2.6.0"
+@lilypond[quote,verbatim,ragged-right,line-width]
+\version "2.7.32"
\header {
title = "Song"
subtitle = "(tune)"
violin concerto as TchaikovskyPI, whereas perhaps you wish to print
"Petr Tchaikowski" on your music.
-@ The `linewidth' is for \header.
-@lilypond[quote,verbatim,raggedright,linewidth]
-\version "2.6.0"
+@ The `line-width' is for \header.
+@lilypond[quote,verbatim,ragged-right,line-width]
+\version "2.7.32"
\header {
dedication = "dedication"
title = "Title"
quarter notes, and two types of barlines, a short one indicating a rest,
and a second one indicating a breath mark.
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
barOne = { \once \override Staff.BarLine #'bar-size = #2
\bar "|" }
barTwo = { \once \override Staff.BarLine #'extra-offset = #'(0 . 2)
Texinfo text
-@@lilypond[verbatim,fragment,raggedright]
+@@lilypond[verbatim,fragment,ragged-right]
a4 b c d
@@end lilypond
More Texinfo text
-@@lilypond[verbatim,fragment,raggedright]
+@@lilypond[verbatim,fragment,ragged-right]
d4 c b a
@@end lilypond
@quotation
@table @code
-@cindex @code{firstpagenumber}
-@item firstpagenumber
+@cindex @code{first-page-number}
+@item first-page-number
The value of the page number of the first page. Default is@tie{}1.
-@cindex @code{printfirstpagenumber}
-@item printfirstpagenumber
+@cindex @code{printfirst-page-number}
+@item printfirst-page-number
If set to true, will print the page number in the first page. Default is
false.
-@cindex @code{printpagenumber}
-@item printpagenumber
+@cindex @code{print-page-number}
+@item print-page-number
If set to false, page numbers will not be printed.
-@cindex @code{hsize}
-@item hsize
+@cindex @code{paper-width}
+@item paper-width
The width of the page.
-@cindex @code{vsize}
-@item vsize
+@cindex @code{paper-height}
+@item paper-height
The height of the page.
-@cindex @code{topmargin}
-@item topmargin
+@cindex @code{top-margin}
+@item top-margin
Margin between header and top of the page.
-@cindex @code{bottommargin}
-@item bottommargin
+@cindex @code{bottom-margin}
+@item bottom-margin
Margin between footer and bottom of the page.
-@cindex @code{leftmargin}
-@item leftmargin
+@cindex @code{left-margin}
+@item left-margin
Margin between the left side of the page and the beginning of the music.
-@cindex @code{linewidth}
-@item linewidth
+@cindex @code{line-width}
+@item line-width
The length of the systems.
-@cindex @code{headsep}
-@item headsep
+@cindex @code{heap-separation}
+@item heap-separation
Distance between the top-most music system and the page header.
-@cindex @code{footsep}
-@item footsep
+@cindex @code{foot-separation}
+@item foot-separation
Distance between the bottom-most music system and the page footer.
-@cindex @code{pagetopspace}
+@cindex @code{page-top-space}
Distance from the top of the printable area to the center of the first
staff. This only works for staves which are vertically small. Big staves
are set with the top of their bounding box aligned to the top of the
printable area.
-@cindex @code{raggedbottom}
-@item raggedbottom
+@cindex @code{ragged-bottom}
+@item ragged-bottom
If set to true, systems will not be spread across the page.
This should be set false for pieces that have only two or three
systems per page, for example orchestral scores.
-@cindex @code{raggedlastbottom}
-@item raggedlastbottom
+@cindex @code{ragged-last-bottom}
+@item ragged-last-bottom
If set to false, systems will be spread to fill the last page.
Pieces that amply fill two pages or more should have this set to
true.
-@cindex @code{betweensystemspace}
-@item betweensystemspace
+@cindex @code{between-system-space}
+@item between-system-space
This dimensions determines the distance between systems. It is the
ideal distance between the center of the bottom staff of one system
and the center of the top staff of the next system.
Increasing this will provide a more even appearance of the page at the
cost of using more vertical space.
-@cindex @code{betweensystempadding}
-@item betweensystempadding
+@cindex @code{between-system-padding}
+@item between-system-padding
This dimension is the minimum amount of white space that will always
be present between the bottom-most symbol of one system, and the
top-most of the next system.
farther apart.
-@cindex @code{horizontalshift}
-@item horizontalshift
+@cindex @code{horizontal-shift}
+@item horizontal-shift
All systems (including titles and system separators) are shifted by
this amount to the right. Page markup, such as headers and footers are
not affected by this. The purpose of this variable is to make space
for instrument names at the left.
-@cindex @code{aftertitlespace}
-@item aftertitlespace
+@cindex @code{after-title-space}
+@item after-title-space
Amount of space between the title and the first system.
-@cindex @code{aftertitlespace}
-@item beforetitlespace
+@cindex @code{after-title-space}
+@item before-title-space
Amount of space between the last system of the previous piece and the
title of the next.
-@cindex @code{betweentitlespace}
-@item betweentitlespace
+@cindex @code{between-title-space}
+@item between-title-space
Amount of space between consecutive titles (e.g., the title of the
book and the title of a piece).
The markup command @code{\slashSeparator} is provided as a sensible
default, for example
-@lilypond[raggedright]
+@lilypond[ragged-right]
\paper {
systemSeparatorMarkup = \slashSeparator
}
@example
\paper@{
- hsize = 2\cm
- topmargin = 3\cm
- bottommargin = 3\cm
- raggedlastbottom = ##t
+ paper-width = 2\cm
+ top-margin = 3\cm
+ bottom-margin = 3\cm
+ ragged-last-bottom = ##t
@}
@end example
@example
\paper @{
- #(define bottommargin (* 2 cm))
+ #(define bottom-margin (* 2 cm))
@}
@end example
@refbugs
-The option rightmargin is defined but doesn't set the right margin
+The option right-margin is defined but doesn't set the right margin
yet. The value for the right margin has to be defined adjusting the
-values of the leftmargin and linewidth.
+values of the left-margin and line-width.
The default page header puts the page number and the @code{instrument}
field from the @code{\header} block on a line.
@code{15} is distributed over all staves that have a fixed distance
alignment. For example,
-@lilypond[raggedright, fragment, relative=2, staffsize=13]
+@lilypond[ragged-right, fragment, relative=2, staffsize=13]
\new StaffGroup <<
\new Staff {
c1\break
To change the amount of space between systems, use
-@code{betweensystemspace}. A score with only one staff is still
-considered to have systems, so setting @code{betweensystemspace} will
+@code{between-system-space}. A score with only one staff is still
+considered to have systems, so setting @code{between-system-space} will
be much more useful than changing @code{minimum-Y-extent} of a Staff
context.
@example
\paper @{
- betweensystemspace = 10\mm
+ between-system-space = 10\mm
@}
@end example
@example
\paper @{
- betweensystempadding = #1
- raggedbottom=##f
- raggedlastbottom=##f
+ between-system-padding = #1
+ ragged-bottom=##f
+ ragged-last-bottom=##f
@}
@end example
@code{15} is distributed over all staves that have a fixed distance
alignment. For example,
-@lilypond[raggedright, fragment, relative=2, staffsize=13]
+@lilypond[ragged-right, fragment, relative=2, staffsize=13]
\new PianoStaff <<
\new Staff {
c1\break
these corrections, once with default settings, and once with
exaggerated corrections:
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
{
c'4 e''4 e'4 b'4 |
b'4 e''4 b'4 e''4|
@cindex breaking pages
@cindex @code{indent}
-@cindex @code{linewidth}
-@cindex @code{raggedright}
+@cindex @code{line-width}
+@cindex @code{ragged-right}
-@c Although linewidth can be set in \layout, it should be set in paper
+@c Although line-width can be set in \layout, it should be set in paper
@c block, to get page layout right.
@c Setting indent in \paper block makes not much sense, but it works.
@c Bit verbose and vague, use examples?
The most basic settings influencing the spacing are @code{indent} and
-@code{linewidth}. They are set in the @code{\layout} block. They
+@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{raggedright} is set to true in the @code{\layout} block, then
+If @code{ragged-right} is set to true in the @code{\layout} block, then
the lines are justified at their natural length. This is useful for
short fragments, and for checking how tight the natural spacing is.
@cindex page layout
@cindex vertical spacing
-The option @code{raggedlast} is similar to @code{raggedright}, but
+The option @code{raggedlast} is similar to @code{ragged-right}, but
only affects the last line of the piece. No restrictions are put on
that line. The result is similar to formatting text paragraphs. In a
paragraph, the last line simply takes its natural length.
Here is a demonstration of the fields available. Note that you
may use any @ref{Text markup} commands in the header.
-@lilypond[quote,verbatim,linewidth=11.0\cm]
+@lilypond[quote,verbatim,line-width=11.0\cm]
\paper {
- linewidth = 9.0\cm
- vsize = 10.0\cm
+ line-width = 9.0\cm
+ paper-height = 10.0\cm
}
\book {
If you define the @code{\header} inside the @code{\score} block, then
normally only the @code{piece} and @code{opus} headers will be printed.
-@lilypond[quote,verbatim,linewidth=11.0\cm]
+@lilypond[quote,verbatim,line-width=11.0\cm]
\score {
{ c'4 }
\header {
point), and it looks ahead skipping over rests to switch in
advance. Here is a practical example
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
\context PianoStaff
\autochange \relative c'
{
end. It is used in notation for piano, harp and other string and
percussion instruments. They can be entered using @code{\laissezVibrer},
-@lilypond[fragment,raggedright,verbatim,relative=1]
+@lilypond[fragment,ragged-right,verbatim,relative=1]
<c f g>\laissezVibrer
@end lilypond
@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
note or chord
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
c'4\sustainDown c'4\sustainUp
@end lilypond
Pedals can also be indicated by a sequence of brackets, by setting the
@code{pedalSustainStyle} property to bracket objects
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\set Staff.pedalSustainStyle = #'bracket
c\sustainDown d e
b\sustainUp\sustainDown
obtained by setting the @code{pedalSustainStyle} property to
@code{mixed}
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\set Staff.pedalSustainStyle = #'mixed
c\sustainDown d e
b\sustainUp\sustainDown
style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
default.
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
c\sostenutoDown d e c, f g a\sostenutoUp
@end lilypond
modified. For example, the bracket may be extended to the right edge
of the note head
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
c\sostenutoDown d e c, f g a\sostenutoUp
@end lilypond
can be printed automatically. This is switched on by setting
@code{followVoice} to true
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
\new PianoStaff <<
\context Staff=one {
\set followVoice = ##t
of the stem in the lower staff, so it reaches the stem in the upper
staff, or vice versa.
-@lilypond[raggedright,verbatim,quote]
+@lilypond[ragged-right,verbatim,quote]
stemExtend = \once \override Stem #'length = #22
noFlag = \once \override Stem #'flag-style = #'no-flag
\context PianoStaff <<
pitches, so they can be transposed
-@lilypond[quote,raggedright,verbatim,raggedright]
+@lilypond[quote,ragged-right,verbatim,ragged-right]
twoWays = \transpose c c' {
\chordmode {
c1 f:sus4 bes/f
names. A chord is entered by the root, which is entered like a
normal pitch
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\chordmode { es4. d8 c2 }
@end lilypond
Since an unaltered 11 does not sound good when combined with an
unaltered 3, the 11 is removed in this case (unless it is added
explicitly)
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\chordmode { c:13 c:13.11 c:m13 }
@end lilypond
An inversion (putting one pitch of the chord on the bottom), as well
as bass notes, can be specified by appending
@code{/}@var{pitch} to the chord
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\chordmode { c1 c/g c/f }
@end lilypond
@cindex @code{/+}
A bass note can be added instead transposed out of the chord,
by using @code{/+}@var{pitch}.
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\chordmode { c1 c/+g c/+f }
@end lilypond
simply produces the augmented chord, since @code{5+} is interpreted
last
@cindex clusters
-@lilypond[quote,raggedright,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim,fragment]
\chordmode { c:5.5-.5+ }
@end lilypond
The chords may be entered either using the notation
described above, or directly using @code{<} and @code{>}
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
harmonies = {
\chordmode {a1 b c} <d' f' a'> <e' g' b'>
}
display chord names when there is a change in the chords scheme and at
the start of a new line
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
harmonies = \chordmode {
c1:m c:m \break c:m c:m d
}
to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
for showing repeats.
-@lilypond[raggedright,verbatim]
+@lilypond[ragged-right,verbatim]
\new ChordNames \with {
\override BarLine #'bar-size = #4
voltaOnThisStaff = ##t
Different parts of a chord name are normally separated by a
slash. By setting @code{chordNameSeparator}, you can specify other
separators, e.g.,
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\context ChordNames \chordmode {
c:7sus4
\set chordNameSeparator
set these variables. The effect is
demonstrated here,
-@lilypondfile[raggedright]{chord-names-languages.ly}
+@lilypondfile[ragged-right]{chord-names-languages.ly}
There are also two other chord name schemes implemented: an alternate
Jazz chord notation, and a systematic scheme called Banter chords. The
@noindent
to a melody. Here is an example,
-@lilypond[raggedright,verbatim,fragment,quote]
+@lilypond[ragged-right,verbatim,fragment,quote]
\time 3/4
\relative { c2 e4 g2. }
\addlyrics { play the game }
More stanzas can be added by adding more
@code{\addlyrics} sections
-@lilypond[raggedright,verbatim,fragment,quote]
+@lilypond[ragged-right,verbatim,fragment,quote]
\time 3/4
\relative { c2 e4 g2. }
\addlyrics { play the game }
different ways to force linebreaks when using
@code{\markup}.
-@lilypond[raggedright,verbatim,quote]
+@lilypond[ragged-right,verbatim,quote]
melody = \relative c' {
e d c d | e e e e |
d d e d | c1 |
after the first note of the group, and @code{\melismaEnd} after the
last one, e.g.,
-@lilypond[quote,relative=2,raggedright,fragment,verbatim]
+@lilypond[quote,relative=2,ragged-right,fragment,verbatim]
<<
\context Voice = "lala" {
\time 3/4
Here is an example demonstrating manual lyric durations,
-@lilypond[relative=1,raggedright,verbatim,fragment,quote]
+@lilypond[relative=1,ragged-right,verbatim,fragment,quote]
<< \context Voice = melody {
\time 3/4
c2 e4 g2.
must be set one syllable @emph{before} the non-melismatic syllable
in the text, as shown here,
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,ragged-right,quote]
<<
\relative \context Voice = "lahlah" {
\set Staff.autoBeaming = ##f
lyrics. For every @code{\skip}, the text will be delayed another note.
For example,
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,ragged-right,quote]
\relative { c c g' }
\addlyrics {
twin -- \skip 4
to switch the melody for a line of lyrics during the text. This is
done by setting the @code{associatedVoice} property. In the example
-@lilypond[raggedright,quote]
+@lilypond[ragged-right,quote]
<<
\relative \context Voice = "lahlah" {
\set Staff.autoBeaming = ##f
To increase the space between lyrics, use the @code{SeparationItem}
property.
-@lilypond[relative,verbatim,fragment,quote,raggedright]
+@lilypond[relative,verbatim,fragment,quote,ragged-right]
{
c c c c
\override Score.SeparationItem #'padding = #5
Stanza numbers can be added by setting @code{stanza}, e.g.,
-@lilypond[quote,raggedright,verbatim,relative=2,fragment]
+@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
\new Voice {
\time 3/4 g2 e4 a2 f4 g2.
} \addlyrics {
@code{vocalName}. A short version may be entered as @code{vocNam}.
-@lilypond[fragment,raggedright,quote,verbatim,relative=2]
+@lilypond[fragment,ragged-right,quote,verbatim,relative=2]
\new Voice {
\time 3/4 g2 e4 a2 f4 g2.
} \addlyrics {
You can display alternate (or divisi) lyrics by naming voice
contexts and attaching lyrics to those specific contexts.
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,ragged-right,quote]
\score{ <<
\context Voice = "melody" {
\relative c' {
You can use this trick to display different lyrics for a repeated
section.
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,ragged-right,quote]
\score{ <<
\context Voice = melody \relative c' {
c2 e | g e | c1 |
This results in the following output
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\layout {
\context {
\Staff
@internalsref{Ambitus_engraver} to the @internalsref{Staff} context
rather than to the @internalsref{Voice} context. Here is an example,
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,ragged-right,quote]
\new Staff \with {
\consists "Ambitus_engraver"
}
can be done with the rhythmic staff. All pitches of notes on such a
staff are squashed, and the staff itself has a single line
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
\context RhythmicStaff {
\time 4/4
c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
percussion has a full name and an abbreviated name, and both can be used
in input files
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\drums {
hihat hh bassdrum bd
}
To typeset the music, the notes must be interpreted in a
@internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
down = \drummode { bassdrum4 snare8 bd r bd sn4 }
\new DrumStaff <<
polyphonic notation, described in @ref{Polyphony}, can also be used if
the @internalsref{DrumVoice}s are instantiated by hand first. For example,
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\new DrumStaff <<
\context DrumVoice = "1" { s1 *2 }
\context DrumVoice = "2" { s1 *2 }
@item drums-style
This is the default. It typesets a typical drum kit on a five-line staff
-@lilypond[quote,linewidth=10.0\cm]
+@lilypond[quote,line-width=10.0\cm]
nam = \lyricmode {
cymc cyms cymr hh hhc hho hhho hhp
cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
@item timbales-style
This typesets timbales on a two line staff
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
nam = \lyricmode { timh ssh timl ssl cb }
mus = \drummode { timh ssh timl ssl cb s16 }
@item congas-style
This typesets congas on a two line staff
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
@item bongos-style
This typesets bongos on a two line staff
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
@item percussion-style
To typeset all kinds of simple percussion on one line staves.
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
If you do not like any of the predefined lists you can define your own
list at the top of your file
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
#(define mydrums '(
(bassdrum default #f -1)
(snare default #f 0)
String numbers can be added to chords, by indicating the string number
with @code{\}@var{number},
-@lilypond[relative,relative=1,raggedright,fragment]
+@lilypond[relative,relative=1,ragged-right,fragment]
<c\1 e\2 g\3>
@end lilypond
are printed as tablature, by using @internalsref{TabStaff} and
@internalsref{TabVoice} contexts
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\context TabStaff {
a,4\5 c'\2 a\3 e'\1
e\4 c'\2 a\3 e'\1
\set TabStaff.minimumFret = #8
e16 fis gis a b4
@end example
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
frag = {
\key e \major
e16 fis gis a b4
by default middle C, in string order. In the next example,
@code{stringTunings} is set for the pitches e, a, d, and g
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\context TabStaff <<
\set TabStaff.stringTunings = #'(-5 -10 -15 -20)
{
markup contains information about the desired fret diagram, as shown in the
following example
-@lilypond[verbatim, raggedright, quote]
+@lilypond[verbatim, ragged-right, quote]
\context Voice {
d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
d' d' d'
This example demonstrates how to include guitar position and
barring indications.
-@lilypond[quote,raggedright,fragment,verbatim,relative=0]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=0]
\clef "G_8"
b16 d16 g16 b16 e16
\textSpannerDown
notes in the appropiate octaves, so you do not need to worry about
@code{\relative} or @code{\transpose}.
-@lilypond[raggedright,verbatim,quote,notime]
+@lilypond[ragged-right,verbatim,quote,notime]
\include "bagpipe.ly"
{ \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
@end lilypond
The following example demonstrates the @code{neomensural} style
-@lilypond[quote,fragment,raggedright,verbatim]
+@lilypond[quote,fragment,ragged-right,verbatim]
\set Score.skipBars = ##t
\override NoteHead #'style = #'neomensural
a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
select ancient accidentals. Supported styles are
@code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
-@lilypond[quote,raggedright,staffsize=26]
+@lilypond[quote,ragged-right,staffsize=26]
\score {
{
\fatText
The following example demonstrates the @code{neomensural} style
-@lilypond[quote,fragment,raggedright,verbatim]
+@lilypond[quote,fragment,ragged-right,verbatim]
\set Score.skipBars = ##t
\override Rest #'style = #'neomensural
r\longa r\breve r1 r2 r4 r8 r16
select ancient flags. Besides the @code{default} flag style,
only the @code{mensural} style is supported
-@lilypond[quote,fragment,raggedright,verbatim]
+@lilypond[quote,fragment,ragged-right,verbatim]
\override Stem #'flag-style = #'mensural
\override Stem #'thickness = #1.0
\override NoteHead #'style = #'mensural
command, @code{n} and @code{m} have to be chosen according to the
following table
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\layout {
indent = 0.0
\context {
The following examples show the differences in style,
-@lilypond[raggedright,fragment,relative=1,quote]
+@lilypond[ragged-right,fragment,relative=1,quote]
{
\fatText
provided. These are specifically designed for use with notation in
Editio Vaticana style.
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\include "gregorian-init.ly"
\score {
\context VaticanaVoice {
The result looks like this
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\score {
{
a'1
supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
@code{mensural}. They are demonstrated in the following fragment
-@lilypond[quote,raggedright,fragment]
+@lilypond[quote,ragged-right,fragment]
\new Lyrics \lyricmode {
\markup { \column {
\typewriter "vaticana"
Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
@code{\caesura}
-@lilypondfile[quote,raggedright]{divisiones.ly}
+@lilypondfile[quote,ragged-right]{divisiones.ly}
@refcommands
@internalsref{LigatureBracket} engraver just puts a square bracket
above the ligature
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\transpose c c' {
\[ g c a f d' \]
a g f
s4
\[ e'1 a g\breve \]
@end example
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\score {
\transpose c c' {
\set Score.timing = ##f
@internalsref{Mensural_ligature_engraver}, the same music transcribes
to the following
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\transpose c c' {
\set Score.timing = ##f
\set Score.defaultBarType = "empty"
@item
@code{1. Punctum}
@tab
-@lilypond[staffsize=26,linewidth=1.5\cm]
+@lilypond[staffsize=26,line-width=1.5\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=2.5\cm]
+@lilypond[staffsize=26,line-width=2.5\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{2. Virga}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{3. Apostropha vel Stropha}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{4. Oriscus}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{5. Clivis vel Flexa}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=2.0\cm]
+@lilypond[staffsize=26,line-width=2.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{6. Podatus vel Pes}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=2.0\cm]
+@lilypond[staffsize=26,line-width=2.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{7. Pes Quassus}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{8. Quilisma Pes}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{9. Podatus Initio Debilis}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{10. Torculus}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{11. Torculus Initio Debilis}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{12. Porrectus}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{13. Climacus}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{14. Scandicus}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{15. Salicus}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{16. Trigonus}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
proper values, so you can immediately go ahead entering the chant, as
the following excerpt demonstrates
-@lilypond[quote,raggedright,packed,verbatim]
+@lilypond[quote,ragged-right,packed,verbatim]
\include "gregorian-init.ly"
\score {
<<
grob properties to proper values, so you can immediately go ahead
entering the chant, as the following excerpt demonstrates
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\score {
<<
\context MensuralVoice = "discantus" \transpose c c' {
LilyPond has support for figured bass
-@lilypond[quote,raggedright,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim,fragment]
<<
\context Voice { \clef bass dis4 c d ais g fis}
\context FiguredBass \figuremode {
@example
<4 6>
@end example
-@lilypond[quote,raggedright,fragment]
+@lilypond[quote,ragged-right,fragment]
\context FiguredBass
\figuremode { <4 6> }
@end lilypond
@example
<4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
@end example
-@lilypond[quote,raggedright,fragment]
+@lilypond[quote,ragged-right,fragment]
\figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
@end lilypond
@example
< [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
@end example
-@lilypond[quote,raggedright,fragment]
+@lilypond[quote,ragged-right,fragment]
\context FiguredBass
\figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
@end lilypond
Artificial harmonics are notated with a different notehead style. They
are entered by marking the harmonic pitch with @code{\harmonic}.
-@lilypond[raggedright,verbatim,quote,fragment,relative=1]
+@lilypond[ragged-right,verbatim,quote,fragment,relative=1]
<c g'\harmonic>4
@end lilypond
@c need to include it here, because we want two images.
@lilypond
\paper {
- raggedright = ##t
+ ragged-right = ##t
indent = #0.0
}
@lilypond
\paper {
- raggedright = ##t
+ ragged-right = ##t
indent = #0.0
}
have all directions down (or left). The second chord has all
directions up (right).
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\new Score \with {
\override SpacingSpanner #'spacing-increment = #3
\override TimeSignature #'transparent = ##t
style -- is a variable with a preset value. You are free to alter this
value, giving your score a different typographical impression.
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
fragment = {
\clef bass f8 as8
c'4-~ c'16 as g f e16 g bes c' des'4
head objects are used to produce their symbol is changed during the music
fragment.
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
#(define (mc-squared grob orig current)
(let ((interfaces (ly:grob-property grob 'interfaces))
(pos (ly:grob-property grob 'staff-position)))
In the following example, we see how we start out with a plug-in for
note heads, the @code{Note_heads_engraver}.
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\include "engraver-example.ily"
\score {
@noindent
Then a @code{Staff_symbol_engraver} adds the staff
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\include "engraver-example.ily"
\score {
@noindent
the @code{Clef_engraver} defines a reference point for the staff
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\include "engraver-example.ily"
\score {
@noindent
and the @code{Stem_engraver} adds stems.
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\include "engraver-example.ily"
\score {
time signature, and key signature, we get a complete piece of
notation.
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\include "engraver-example.ily"
\score { \topVoice }
@end lilypond
This system works well for monophonic music, but what about
polyphony? In polyphonic notation, many voices can share a staff.
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\include "engraver-example.ily"
\new Staff << \topVoice \\ \botVoice >>
@end lilypond
Program reference: @internalsref{Contexts}.
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\include "engraver-example.ily"
\score {
<<
@noindent
By adding chord names and lyrics we obtain a lead sheet.
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
<<
\chords { c2 c f2 c }
\new Staff \relative c' { \time 2/4 c4 c g'4 g a4 a g2 }
Polyphonic notation and piano music can also be printed. The following
example combines some more exotic constructs.
-@lilypondfile[quote,raggedright]{screech-boink.ly}
+@lilypondfile[quote,ragged-right]{screech-boink.ly}
The fragments shown above have all been written by hand, but that is
not a requirement. Since the formatting engine is mostly automatic, it
- \magnify #m => \fontsize #f, where f = 6ln(m)/ln(2)
remove-tag isn't changed.
- \applyMusic #(remove-tag '. . .) => \keepWithTag #'. . .
- firstpagenumber isn't changed.
- - firstpagenumber no => printfirstpagenumber = ##f
+ first-page-number isn't changed.
+ - first-page-number no => printfirst-page-number = ##f
Line breaks in header strings aren't converted.
- \\\\ as line break in \header strings => \markup \center-align <
"First Line" "Second Line" >
Using Mac OSX 10.3.7, fink package lilypond-devel
-\version "2.5.18"
+\version "2.7.32"
\relative c''@{
a4 b cis d
@}
@end example
@lilypond[quote]
-\version "2.5.18"
+\version "2.7.32"
\relative c''{
\override Accidental #'extra-offset = #'(1.0 . 0)
a4 b cis d
@example
\layout @{
% movements are non-justified by default
- raggedright = ##t
+ ragged-right = ##t
@}
\header @{
@code{\lilypond@{@}}, so this command is only useful with the
@code{fragment} option.
-The default linewidth of the music will be adjusted by examining the
+The default line-width of the music will be adjusted by examining the
commands in the document preamble, the part of the document before
@code{\begin@{document@}}. The @command{lilypond-book} command sends
these to La@TeX{} to find out how wide the text is. The line width for
the music fragments is then adjusted to the text width. Note that this
heuristic algorithm can fail easily; in such cases it is necessary to
-use the @code{linewidth} music fragment option.
+use the @code{line-width} music fragment option.
@cindex titling and lilypond-book
@cindex @code{\header} in La@TeX{} documents
@item staffsize=@var{ht}
Set staff size to @var{ht}, which is measured in points.
-@item raggedright
-Produce ragged-right lines with natural spacing (i.e., @code{raggedright
+@item ragged-right
+Produce ragged-right lines with natural spacing (i.e., @code{ragged-right
= ##t} is added to the LilyPond snippet). This is the default for the
-@code{\lilypond@{@}} command if no @code{linewidth} option is present.
+@code{\lilypond@{@}} command if no @code{line-width} option is present.
It is also the default for the @code{lilypond} environment if the
@code{fragment} option is set, and no line width is explicitly
specified.
Produce lines with packed spacing (i.e., @code{packed = ##t} is added
to the LilyPond snippet).
-@item linewidth
-@itemx linewidth=@var{size}\@var{unit}
+@item line-width
+@itemx line-width=@var{size}\@var{unit}
Set line width to @var{size}, using @var{unit} as units. @var{unit} is
one of the following strings: @code{cm}, @code{mm}, @code{in}, or
@code{pt}. This option affects LilyPond output (this is, the staff
If used without an argument, set line width to a default value (as
computed with a heuristic algorithm).
-If no @code{linewidth} option is given, @command{lilypond-book} tries to
+If no @code{line-width} option is given, @command{lilypond-book} tries to
guess a default for @code{lilypond} environments which don't use the
-@code{raggedright} option.
+@code{ragged-right} option.
@item notime
Do not print the time signature, and turns off the timing (key signature,
@c Not yet debugged or reported. This crashes gs-8.01:
@c compiling gs-8.01 right now... -- jcn
-@lilypond[raggedright]
+@lilypond[ragged-right]
\score {
\context Lyrics {
\override Score.RehearsalMark #'self-alignment-X = #LEFT
}
\layout {
indent = 0.0\pt
- raggedright = ##t
+ ragged-right = ##t
}
}
@end lilypond
lowers it by a whole tone. A natural cancels the effect of a previous
accidental.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override TextScript #'font-style = #'large
\oldaddlyrics
@aref{diatonic scale}.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\relative c'' {
a1 b c d e f g a }
a.@: is performed as a short note regardless of the duration of the main note
the duration of the long a.@: is proportional to that of the main note.
-@lilypond[linewidth=13.0\cm]
+@lilypond[line-width=13.0\cm]
\context Voice \relative c'' {
\key d \major
\time 4/4
An appoggiatura may have more notes preceding the main note.
-@lilypond[linewidth=13.0\cm]
+@lilypond[line-width=13.0\cm]
\relative c'' {
\key as \major
\time 2/4
S: arpeggio,
FI: arpeggio, murtosointu.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\context PianoStaff <<
\context Staff = SA \relative c'' {
\time 4/4
Line connecting a series of notes (shorter than a quarter note).
The number of beams determines the note value of the connected notes.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override TextScript #'font-style = #'large
\relative c'' {
The base counting value and the number of them per measure is indicated at
the start of the music.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\key g \major
\time 4/4
\relative c'' { g4 c b a | g1 \bar "||"}
for connecting piano staves, angular brackets for connecting parts in an
orchestral or choral score.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\context GrandStaff <<
\relative c''\context Staff = SA { \clef treble g4 e c2 }
\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
@end lilypond
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\context StaffGroup <<
% \set StaffGroup.minVerticalAlign = #12
\relative c'' \context Staff = SA { \clef treble g4 e c2 }
@aref{note value}, twice as long as a whole note. Mainly used
in pre-1650 music.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
\relative c'' { g\breve }
@end lilypond
Clef symbol indicating the position of the middle C. Used on all note
lines.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\override Score.Clef #'full-size-change = ##t
%\override Score.LyricText #'font-style = #'large
third above the lower notes to define their quality as major or minor. Such
chords are denoted open chords
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override TextScript #'font-style = #'large
\oldaddlyrics
A scale consisting of all 12 @aref{semitone}s.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\relative c' { c1 cis d dis e f fis g gis a ais b c }
@end lilypond
geometrical shape of a cluster covers the area in which any single
pitch contained in the cluster would be notated as an ordinary note.
-@lilypond[fragment,relative=2,verbatim,raggedright]
+@lilypond[fragment,relative=2,verbatim,ragged-right]
\makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
@end lilypond
Progressing melodically by intervals of a second. The opposite of a
@aref{disjunct movement}.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\key g \major \time 4/4
\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
@end lilypond
music of the baroque era, has been one of the most popular polyphonic
composition methods.
-@lilypond[fragment,staffsize=12,linewidth=13.0\cm]
+@lilypond[fragment,staffsize=12,line-width=13.0\cm]
\override Score.TimeSignature #'break-visibility = #all-invisible
\context PianoStaff <<
\context Staff = SA \relative c' {
Increasing volume. Indicated by a rightwards opening horizontal wedge or the
abbreviation ``cresc.''.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\key g \major \time 4/4
\relative c'' { g4 \< a b c | d1\! \bar "|." }
@end lilypond
\Staff
\consists Custos_engraver
}
- raggedright = ##t
+ ragged-right = ##t
}
}
@end lilypond
Abbreviated ``d.s.''. Repetition, not from the beginning, but from
another place frequently near the beginning marked by a sign:
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
%\override TextScript #'font-style = #'large
\override TextScript #'font-shape = #'italic
\key g \major \time 4/4
Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
or the abbreviation ``decresc.''.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\relative c'' {
\key g \major \time 4/4
d4 \> c b a | g1 \! \bar "|."
The church modes are used in gregorial chant and in pre-baroque early
music but also to some extent in newer jazz music.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
}
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
}
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
}
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
}
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
}
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
harmonic minor scale type an augmented second (A) occurs between the 6th and
7th tone.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
}
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
}
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
}
@end lilypond
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
Progressing melodically by intervals larger than a major second.
Opposite of @aref{conjunct movement}.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\key a \major
\time 4/4
\relative c' {
Two notes, intervals, or scales are enharmonic if they have different names
but equal pitch.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\oldaddlyrics
symbol indicates playing an octave lower (for example on double bass
@aref{strings}).
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\override Staff.Clef #'full-size-change = ##t
%\override Score.LyricText #'font-style = #'large
Prolonged note or rest of indefinite duration.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\time 4/4
\relative c'' {
a4 b c2^\fermata \bar "|."
less than a quarter note. The number of flags determines the
@aref{note value}.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\relative c'' {
dominant (D, the chord on the fifth note). Others are considered to be
variants of the base chords.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
indicates playing or singing an octave lower (most tenor parts in choral
scores are notated like that).
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\override Staff.Clef #'full-size-change = ##t
%\override Score.LyricText #'font-style = #'large
A sequence of chords that terminates a musical phrase or
section. @aref{functional harmony}.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\context PianoStaff <<
\context Staff = SA \relative c'' {
\time 4/4
Consonances:
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\context Voice \relative c'' {
Dissonances:
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\context Voice \relative c'' {
because they consist of three @aref{whole tone}s. The addition
of such two intervals forms an octave.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
}
@end lilypond
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
}
@end lilypond
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
The difference between an interval and an octave.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\context Staff \relative c'' {
A ledger line is an extension of the staff.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
\relative c'' { a,1 s c'' }
@end lilypond
unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
(d) @aref{staccato}.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\oldaddlyrics
\context Staff \relative c'' {
Note value: double length of @aref{breve}.
@aref{note value}.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
\relative c'' {
\override NoteHead #'style = #'mensural
one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\relative c'' {
\time 3/4
\key f \major
c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
@end lilypond
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\relative c' {
\time 6/8
\key f \major
c'8 c c c e16 d e c \bar "||"}
@end lilypond
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\relative c'' {
\time 5/4
\key g \major
First C below the 440 Hz A.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
\override Staff.Clef #'full-size-change = ##t
\relative c' {
The briefest intelligible and self-contained fragment of a musical theme or
subject.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\override Score.TimeSignature #'break-visibility = #all-invisible
%\override Score.TextScript #'font-style = #'large
\relative c'' {
S: flertaktspaus,
FI: usean tahdin mittainen tauko.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\relative c'' {
a1
\set Score.skipBars = ##t R1*3
but sometimes (mostly in pre-baroque music) the double length note value
@emph{longa} is used.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
%\override Score.TextScript #'font-style = #'large
\set Score.automaticBars = ##f
\relative c'' {
a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
@end lilypond
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
%\override Score.TextScript #'font-style = #'large
\set Score.automaticBars = ##f
\relative c'' {
An augmentation dot after a note multiplies the duration by one and a
half. Another dot adds yet a fourth of the duration.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
%\override Score.TextScript #'font-style = #'large
\relative c'' {
\time 4/4
Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
dotted notes are also frequently used.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
%\override Score.TextScript #'font-style = #'large
\relative c'' {
\time 4/4
}
@end lilypond
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\relative c'' {
\time 3/4
\times 3/2 {g4_"duplets" g} |
note first while in the music from the preceding baroque and classic periods
the upper note is played first.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
<<
\context Staff = sa {
% \override Score.TextScript #'font-style = #'large
Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the
@emph{prall} (inverted mordent).
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
<<
\context Staff = sa {
% \override Score.TextScript #'font-style = #'large
@aref{major} and @aref{minor} @aref{key}
with the same @aref{key signature}.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\relative c' {
}
@end lilypond
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\relative c' {
S: repris,
FI: toisto.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\key g \major
\time 4/4
\relative c'' {
roots of chords. The most important are degrees I = tonic (T), IV =
sub@-do@-mi@-nant (S) and V = dominant (D).
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\set minVerticalAlign = #8
semitone. An octave may be divided into 12@w{ }semitones.
@aref{interval}, @aref{chromatic scale}.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\relative c'' { g1 gis s a bes s b! c }
@end lilypond
Playing the note(s) short. Staccato is indicated by a dot above or below the
note head.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\key d \major
\time 4/4
\relative c'' {
Vertical line above or below a @aref{note head} shorter than a
whole note. @aref{beam}.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.autoBeaming = ##f
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
deviation from this scheme is felt as a disturbance or contradiction between
the underlaying (normal) pulse and the actual (abnormal) rhythm.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\time 4/4
\relative c' {
\partial 4
with figures designating the chief @aref{interval}s and
@aref{chord}s to be played above the bass notes.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\context GrandStaff <<
\context Staff = lh \relative c'' {
\time 4/4
connects two succesive notes of the same pitch, and which has the function of
uniting them into a single sound (tone) equal to the combined durations.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
\relative c'' { g2 ~ g4. }
@end lilypond
Shifting a melody up or down in pitch, while keeping the same
relative pitches.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\context Staff {
\time 3/4
\relative c'' {
}
@end lilypond
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\context Staff {
\time 3/4
\transpose c bes \relative c'' {
a @aref{chord}, usually in the distance of a third
(@aref{interval}).
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\relative c' {
Initial note(s) of a melody occurring before the first bar
line. @aref{measure}, @aref{meter}.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\key f \major
\time 4/4
\relative c' {
An example is a function that reverses the order of elements in
its argument,
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
#(define (rev-music-1 m)
(ly:music-set-property! m 'elements
(reverse (ly:music-property m 'elements)))
functions straightforward. In the following example, a function
setting the TextScript's padding is defined:
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
#(use-modules (ice-9 optargs))
#(define* (textpad padding #:optional once?)
(ly:export ; this is necessary for using the expression
variables may also be used in a similar fashion, as in the following
example:
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
#(define (with-padding padding)
(lambda (music)
#{ \override TextScript #'padding = #$padding
This function may also be defined as a music function:
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
withPadding =
#(def-music-function (parser location padding music) (number? ly:music?)
#{ \override TextScript #'padding = #$padding
@}
@end example
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
#(def-markup-command (smallcaps layout props str) (string?)
"Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
(interpret-markup layout props
@itemize @bullet
@item Include @code{\version} numbers in every file. Note that all
-templates contain a @code{\version "2.6.0"} string. We
+templates contain a @code{\version "2.7.32"} string. We
highly recommend that you always include the @code{\version}, no matter
how small your file is. Speaking from personal experience, it's
quite frustrating to try to remember which version of LilyPond you were
soprano part).
@example
-\version "2.6.0"
+\version "2.7.32"
melody = \relative c' @{
\clef treble
\key c \major
Now we want to add a cello part. Let's look at the ``Notes only'' example:
@example
-\version "2.6.0"
+\version "2.7.32"
melody = \relative c' @{
\clef treble
\key c \major
notes.
@example
-\version "2.6.0"
+\version "2.7.32"
sopranoMusic = \relative c' @{
\clef treble
\key c \major
This looks a bit messy; the indentation is messed up now. That is
easily fixed. Here's the complete soprano and cello template.
-@lilypond[quote,verbatim,raggedright]
-\version "2.6.0"
+@lilypond[quote,verbatim,ragged-right]
+\version "2.7.32"
sopranoMusic = \relative c' {
\clef treble
\key c \major
elements can overlap. This is unfortunate, but (in most cases) is easily
solved.
-@lilypond[quote,fragment,raggedright,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
e4^\markup{ \italic ritenuto } g b e
@end lilypond
less (it varies with each object). We want to increase it, so let's
try 1.5
-@lilypond[quote,fragment,raggedright,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\once \override TextScript #'padding = #1.5
e4^\markup{ \italic ritenuto } g b e
@end lilypond
the movement is done after LilyPond has placed all other objects. This means
that the result can overlap with other objects.
-@lilypond[quote,fragment,raggedright,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\once \override TextScript #'extra-offset = #'( 1.0 . -1.0 )
e4^\markup{ \italic ritenuto } g b e
@end lilypond
movement (up is positive). After a bit of experimenting, we decided
that these values look good
-@lilypond[quote,fragment,raggedright,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\once \override TextScript #'extra-offset = #'( -1.6 . 1.0 )
e4^\markup{ \italic ritenuto } g b e
@end lilypond
compile the examples, but in most cases the output will
look very odd if you omit the @code{\relative c'}.
-@lilypond[quote,fragment,raggedright,verbatim]
+@lilypond[quote,fragment,ragged-right,verbatim]
\relative c'' {
c4 a b c
}
LilyPond input that was used to generate that image.
Try it on this image
-@lilypond[fragment,quote,raggedright,relative=2]
+@lilypond[fragment,quote,ragged-right,relative=2]
c-\markup { \bold \huge { Click here. } }
@end lilypond
@end ifhtml
Remember to enclose the notes and commands in curly braces
@code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
-@lilypond[fragment,quote,noindent,linewidth=55\staffspace]
+@lilypond[fragment,quote,noindent,line-width=55\staff-space]
\time 3/4
\clef bass
c2 e4 g2.
Here are key signatures, accidentals and ties in action
-@lilypond[fragment,quote,noindent,linewidth=50\staffspace,verbatim]
+@lilypond[fragment,quote,noindent,line-width=50\staff-space,verbatim]
\relative c'' {
\time 4/4
\key g \minor
An example of the use of quotes is in the following Mozart fragment
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\key a \major
\time 6/8
cis''8. d''16 cis''8 e''4 e''8
without octavation quotes in relative mode. The previous example is
entered as
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\relative {
\key a \major
\time 6/8
@c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
-@lilypond[fragment,quote,verbatim,raggedright]
+@lilypond[fragment,quote,verbatim,ragged-right]
\relative <<
\new Staff {
\time 3/4
To mark a file for version 2.6.0, use
@example
-\version "2.6.0"
+\version "2.7.32"
@end example
@noindent
Consider the melody
-@lilypond[quote,verbatim,fragment,raggedright]
+@lilypond[quote,verbatim,fragment,ragged-right]
\relative {
r4 c \times 2/3 { f g g }
\times 2/3 { g4( a2) }
The lyrics can be set to these notes, combining both with the
@code{\addlyrics} keyword
-@lilypond[quote,verbatim,fragment,raggedright]
+@lilypond[quote,verbatim,fragment,ragged-right]
<<
\relative {
r4 c \times 2/3 { f g g }
@{ I want to break free __ @}
@end example
-@lilypond[fragment,quote,raggedright]
+@lilypond[fragment,quote,ragged-right]
<<
\relative {
r4 c \times 2/3 { f g g }
Twin -- kle twin -- kle
@end example
-@lilypond[fragment,quote,raggedright]
+@lilypond[fragment,quote,ragged-right]
<<
\relative {
\time 2/4
In popular music, it is common to denote accompaniment with chord names.
Such chords can be entered like notes,
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
\chordmode { c2 f4. g8 }
@end lilypond
Other chords can be created by adding modifiers after a colon. The
following example shows a few common modifiers
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
\chordmode { c2 f4:m g4:maj7 gis1:dim7 }
@end lilypond
but renders the notes in a @code{ChordNames} context, with the
following result.
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
\chords { c2 f4.:m g4.:maj7 gis8:dim7 }
@end lilypond
@}
@end example
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
<<
\chords { r2 c:sus4 f }
\relative {
In the next example, a two-note motive is repeated two times by using
variable substitution
-@lilypond[quote,raggedright,verbatim,nofragment]
+@lilypond[quote,ragged-right,verbatim,nofragment]
seufzer = {
e'4( dis'4)
}
@example
\paper @{
\aFivePaper
- linewidth = \width
+ line-width = \width
@}
@{ c4^\name @}
@end example
tuning of a normal French Horn in@tie{}F. The transposition can be seen
in the following output
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\transpose f c' \relative c {
\time 2/4
r4 f8 a cis4 f e d
@code{Score} context to true (@code{##t}). Prepending the rest and
this option to the music above, leads to the following result
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\transpose f c' \relative c {
\time 2/4
\set Score.skipBars = ##t
@noindent
leading to
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\relative c <<
\new Staff {
\time 2/4 R2*3
}
-\version "2.7.28"
+\version "2.7.32"
staffPiano = \new PianoStaff {
\set Score.timing = ##f
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
\context { \Staff \remove "Time_signature_engraver" }
}
}
%}
%% Optional version number
-\version "2.6.0"
+\version "2.7.32"
%}
%% Optional version number
-\version "2.6.0"
+\version "2.7.32"
%}
%% Optional version number
-\version "2.6.0"
+\version "2.7.32"
-\version "2.7.14"
+\version "2.7.32"
\header {
composer = "ARTHUR GRAY"
-\version "2.6.0"
+\version "2.7.32"
\header {
title = "Title"
subtitle = "Subtitle"
maintainer = "Jan Nieuwenhuizen"
maintainerEmail = "janneke@gnu.org"
lastupdated = "2001/Mar/19"
- mutopiapublicdomain = "\\parbox{\hsize}{\\thefooter\\quad\\small
+ mutopiapublicdomain = "\\parbox{\paper-width}{\\thefooter\\quad\\small
\\\\This music is part of the Mutopia project,
\\texttt{http://www.mutopiaproject.org/}\\\\It has been typeset
and placed in the public domain by " + \maintainer +
copyright = "Public Domain"
}
-\version "2.6.0"
+\version "2.7.32"
global = {
\key a \minor
}
-\version "2.7.14"
+\version "2.7.32"
manuscriptBreak = { \break }
\paper {
%#(set-global-staff-size (* 5.8 mm))
- linewidth = #(* mm 160)
+ line-width = #(* mm 160)
indent = 8\mm
interscoreline = 2.\mm
- betweensystemspace = 15\mm
- raggedbottom = ##t
+ between-system-space = 15\mm
+ ragged-bottom = ##t
}
modernAccidentals = {
maintainer = "Jan Nieuwenhuizen"
maintainerEmail = "janneke@gnu.org"
lastupdated = "2001/Apr/27"
- mutopiapublicdomain = "\\parbox[b]{\\hsize}{\\thefooter\\quad\\small
+ mutopiapublicdomain = "\\parbox[b]{\\paper-width}{\\thefooter\\quad\\small
\\\\This music is part of the Mutopia project,
\\texttt{http://www.mutopiaproject.org/}\\\\It has been typeset
and placed in the public domain by " + \maintainer +
footer = "Mutopia-2001/04/27-xx"
}
-\version "2.5.18"
+\version "2.7.32"
#(set-global-staff-size 16)
\global
{
\clef treble
- #(override-auto-beam-setting
- '(begin * * * *) @var{a} @var{b}
- (ly:make-moment 0 1))
+
\trebleIntro
\trebleVerseOne
\trebleEentje
\layout {
% Use
% textheight = 280.\mm
- % linewidth = 190.\mm
+ % line-width = 190.\mm
% to get this on 3 pages of a4.
% Mandatory Mutopia settings yield 4 pages :(
textheight = 270.0\mm
- linewidth = 180.0\mm
+ line-width = 180.0\mm
\context { \RemoveEmptyStaffContext }
}
-\version "2.6.0"
+\version "2.7.32"
forcedLastBreak = { \break }
#(define (assert-system-count-override count)
- (ly:export #{ \override NoteHead
- #'after-line-breaking-callback
+ (ly:export #{ \override NoteHead #'after-line-breaking
= #(lambda (smob) (assert-system-count smob $count))
#}))
}
indent = 5.6 \mm
- linewidth = 146.8 \mm
+ line-width = 146.8 \mm
}
\paper {
- raggedbottom = ##t
+ ragged-bottom = ##t
indent = 7. \mm
- linewidth =183.5 \mm
- betweensystemspace = 25\mm
- betweensystempadding = 0\mm
+ line-width =183.5 \mm
+ between-system-space = 25\mm
+ between-system-padding = 0\mm
%% annotatespacing = ##t
}
#(ly:set-option 'old-relative)
-\version "2.6.0"
+\version "2.7.32"
%{
Header for Petites Preludes.
maintainer = "Jan Nieuwenhuizen"
maintainerEmail = "janneke@gnu.org"
lastupdated = "2003/Aug/22"
- mutopiapublicdomain = "\\parbox{\hsize}{\\thefooter\\quad\\small
+ mutopiapublicdomain = "\\parbox{\paper-width}{\\thefooter\\quad\\small
\\\\This music is part of the Mutopia project,
\\texttt{http://www.mutopiaproject.org/}\\\\It has been typeset
and placed in the public domain by " + \maintainer +
>>
>>
\layout{
- linewidth = 17.0 \cm
+ line-width = 17.0 \cm
\context {
\Score
\override SpacingSpanner #'spacing-increment = #2.0
-\version "2.6.0"
+\version "2.7.32"
}
}
\paper {
- linewidth = 18.0 \cm
- raggedlastbottom = ##f
+ line-width = 18.0 \cm
+ ragged-last-bottom = ##f
}
}
#(set-global-staff-size 16)
-\version "2.7.31"
+\version "2.7.32"
\header {
title = "Romanzen"
indent = 0.5 \in
% textheight = 29.8 \cm
pagenumber = no
- linewidth = 17.0 \cm
+ line-width = 17.0 \cm
}
\score {
%}
-\version "2.6.0"
+\version "2.7.32"
\include "mozart-hrn3-defs.ily"
\include "mozart-hrn3-allegro.ily"
\include "mozart-hrn3-rondo.ily"
\paper {
- betweensystempadding = 0.0
- betweensystemspace = 20 \mm
+ between-system-padding = 0.0
+ between-system-space = 20 \mm
}
-\version "2.4.0"
+\version "2.7.32"
\include "mozart-hrn3-defs.ily"
allegro =
endlonggrace = \revert Stem #'stroke-style
ritenuto = \markup { \italic "rit." }
-\version "2.5.13"
+\version "2.7.32"
cresc = {
#(ly:export (make-event-chord (list (make-span-event 'CrescendoEvent START))))
}
\context {
\Staff
- minimumVerticalExtent = #'(-2.5 . 3.5)
+ \override VerticalAxisGroup #'minimum-Y-extent = #'(-2.5 . 3.5)
}
}
% #(define fonts my-sheet)
% stress page breaking on a6 paper:
- % linewidth = 80 \mm
- % hsize = 105 \mm
- % vsize = 149 \mm
+ % line-width = 80 \mm
+ % paper-width = 105 \mm
+ % paper-height = 149 \mm
indent = 10. \mm
- linewidth = 189. \mm
+ line-width = 189. \mm
}
-\version "2.5.13"
+\version "2.7.32"
\include "mozart-hrn3-defs.ily"
romanze = \relative c' {
-\version "2.5.13"
+\version "2.7.32"
% \include "mozart-hrn3-defs.ily"
-\version "2.7.4"
+\version "2.7.32"
\header
{
-\version "2.6.0"
+\version "2.7.32"
\header {
title = "Puer natus est nobis (excerptum)"
subtitle = "Antiphona ad introitum VII"
}
\paper {
- linethickness = \staffspace / 7.0
+ line-thickness = \staff-space / 7.0
}
\score {
\lyricsto "cantus" \verba
>>
\layout {
- linewidth = 137.0\mm
+ line-width = 137.0\mm
width = 137.0\mm
indent = 0.0
- raggedright = ##t
+ ragged-right = ##t
packed = ##t
\context {
\Score
-\version "2.7.13"
+\version "2.7.32"
%% +.ly: Be the first .ly file for lys-to-tely.py.
%% Better to make lys-to-tely.py include "introduction.texi" or
%% other .texi documents too?
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Cautionary accidentals are indicated using either
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
{
c''4
texidoc = "Accidentals are reset for clef changes."
}
-\version "2.7.18"
+\version "2.7.32"
\new Staff \relative c' {
\clef treble
cis dis fis
<cis dis fis gis>
}
-\layout {raggedright = ##t}
+\layout {ragged-right = ##t}
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "If two forced accidentals happen at the same time, only one
sharp sign is printed."
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\transpose c c'
\context Staff <<
-\version "2.7.13"
+\version "2.7.32"
\header {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc="
}
-\version "2.7.13"
+\version "2.7.32"
\layout
{
- raggedright = ##t
+ ragged-right = ##t
}
\new PianoStaff \relative <<
-\version "2.7.13"
+\version "2.7.32"
\header {
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
texidoc = "Quarter tone notation is supported, including
threequarters flat."
}
-\version "2.7.13"
-\layout { raggedright = ##t }
+\version "2.7.32"
+\layout { ragged-right = ##t }
\relative c'' {
\time 12/4
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
A sharp sign after a double sharp sign, as well as a flat sign
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
thenotes = \relative cis' {
\time 4/4
}
-\version "2.7.13"
+\version "2.7.32"
\paper {
- raggedright = ##t
+ ragged-right = ##t
}
\relative c'' {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "The second and third notes should not get accidentals,
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
mus = \relative c' {
wreak havoc in the spacing when unbroken."
}
-\version "2.7.13"
+\version "2.7.32"
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
\relative c' {
-\version "2.7.13"
-\layout { raggedright = ##t }
+\version "2.7.32"
+\layout { ragged-right = ##t }
\header{
texidoc="
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
"
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
foo = \relative c'' { \key as \major dis4 dis dis!^"force" dis? }
anywhere in the vertical alignment. "
}
-\version "2.7.13"
+\version "2.7.32"
\paper {
- raggedright = ##t
+ ragged-right = ##t
}
\relative <<
}
-\version "2.7.29"
+\version "2.7.32"
\book {
\score {
}
-\version "2.7.13"
+\version "2.7.32"
#(set-global-staff-size 13)
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
}
\paper {
- raggedright = ##t
+ ragged-right = ##t
}
\relative c'' \context Staff {
"
}
-\version "2.7.13"
+\version "2.7.32"
\layout {
- raggedright = ##t
+ ragged-right = ##t
\context {
\Voice
\consists Ambitus_engraver
-\version "2.7.13"
+\version "2.7.32"
\header {
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\relative c'' {
-\version "2.7.31"
+\version "2.7.32"
\header {
texidoc = "The @code{\applyOutput} expression is the most flexible way to
"
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
#(define (mc-squared gr org cur)
(let*
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
A square bracket on the left indicates that the player should not
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Arpeggio stays clear of accidentals and flipped note heads."
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
\context{
\Staff
connectArpeggios = ##t
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
Arpeggios are supported, both cross-staff and broken single staff.
"
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\context PianoStaff <<
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="No auto beams will be put over (manual) repeat bars."
}
-\layout{ raggedright = ##t }
+\layout{ ragged-right = ##t }
{
\time 3/4
}
-\version "2.7.13"
+\version "2.7.32"
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
\relative { c8 c-\noBeam c c }
texidoc = "Automatic beaming is also done on tuplets."
}
-\version "2.7.13"
-\layout { raggedright= ##t }
+\version "2.7.32"
+\layout { ragged-right= ##t }
\relative c''{
c8 c c c
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Tuplet-spanner should not put (visible) brackets on
beams even if they're auto generated."
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\relative c' {
\set tupletSpannerDuration = #(ly:make-moment 1 4)
beam."
}
-\version "2.7.13"
+\version "2.7.32"
\layout {
- raggedright = ##t
+ ragged-right = ##t
\context {
\Staff
\remove "Clef_engraver"
-\version "2.7.13"
+\version "2.7.32"
\header {
"
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\context PianoStaff <<
\context Staff = "up" {
texidoc = "Excercise all output functions"
}
-\version "2.7.13"
+\version "2.7.32"
-\paper { raggedright = ##t }
+\paper { ragged-right = ##t }
\relative {
\new StaffGroup \new PianoStaff <<
texidoc = "With balloon texts, objects in the output can be marked,
with lines and explanatory text added."
}
-\version "2.7.31"
+\version "2.7.32"
-\layout{ raggedright = ##t }
+\layout{ ragged-right = ##t }
{
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "The meaning of @code{|} is stored in the
identifier @code{pipeSymbol}."
pipeSymbol = \bar "||"
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
{ c'2 | c'2 | }
-\version "2.7.13"
+\version "2.7.32"
\header {
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
\relative c'' {
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
"
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
onestaff = \new Staff\relative c'' {
\set Staff.instr = instr
-\version "2.7.13"
+\version "2.7.32"
\header
{
threshold.
"
}
-\layout{ raggedright = ##t }
+\layout{ ragged-right = ##t }
\context Staff \relative c''{
c'8[ c,,] c8[ e']
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc = "@cindex Beaming Presets
There are presets for the @code{auto-beam} engraver in the case of common
"
}
-\version "2.7.13"
-\layout { raggedright= ##t }
+\version "2.7.32"
+\layout { ragged-right= ##t }
\relative c'' {
\set Score.allowBeamBreak = ##t
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="Simple beams on middle staffline are allowed to be
}
\layout{
- raggedright = ##t
+ ragged-right = ##t
indent = 0
}
texidoc = "Beams that are not strictly concave are damped
according to their concaveness. "
}
-\version "2.7.13"
+\version "2.7.32"
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
\relative c'' {
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc = "Fully concave beams should be horizontal. Informally spoken,
}
\layout{
- raggedright = ##t
+ ragged-right = ##t
#(define debug-beam-quanting #t)
}
-\version "2.7.13"
+\version "2.7.32"
\header{
}
\layout{
- raggedright = ##t
+ ragged-right = ##t
}
\context PianoStaff <<
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Cross staff (kneed) beams do not cause extreme slopes."
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
\context PianoStaff <<
\context Staff = "up"
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
Beams can be typeset over fixed distance aligned staves, beam
-\version "2.7.13"
+\version "2.7.32"
\header { texidoc = "@cindex Beam Damp
Beams are less steep than the notes they encompass. " }
\layout{
- raggedright = ##t
+ ragged-right = ##t
}
\relative c''{
-\layout{ raggedright = ##t}
+\layout{ ragged-right = ##t}
-\version "2.7.31"
+\version "2.7.32"
\header{
texidoc="Beamed stems have standard lengths if possible. Quantization is switched off in this example."
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
Beams should behave reasonably well, even under extreme circumstances.
}
\layout{
- %% raggedright = ##t
- raggedright = ##t
+ %% ragged-right = ##t
+ ragged-right = ##t
}
extreme = \relative c'' {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "In french style beaming, the stems do not go between beams."
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\relative c'
{
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc=" Funky kneed beams with beamlets also work. The beamlets
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
\relative c' {
c16 c''8 c,,16
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "In complex configurations of knee beaming, according to
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
\relative c'
{
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="@cindex Beam Isknee
}
\layout{
- raggedright = ##t
+ ragged-right = ##t
}
\context PianoStaff <<
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Point-symmetric beams should receive the same
}
\layout{
- raggedright = ##t
+ ragged-right = ##t
}
\relative c'{
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
Beams should look the same.
"
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\context Voice \relative c {
-\version "2.7.13"
+\version "2.7.32"
\header {
"Beaming can be overidden for individual stems."
}
\layout{
- raggedright = ##t
+ ragged-right = ##t
}
\relative c'' {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Kneed beams (often happens with cross-staff beams)
}
\layout {
- raggedright= ##t
+ ragged-right= ##t
}
\context PianoStaff \relative c' <<
}
-\version "2.7.13"
+\version "2.7.32"
\paper {
- raggedright = ##t
+ ragged-right = ##t
}
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Explicit beams may cross barlines. "
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\relative c'' { c2. c8[ c8 c8 c8] }
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc=" Beams on ledgered notes should always reach the middle staff
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
}
-\version "2.7.13"
+\version "2.7.32"
\layout {
- raggedright = ##t
+ ragged-right = ##t
#(define debug-beam-quanting #t)
}
}
-\version "2.7.13"
+\version "2.7.32"
\relative c''{
\time 3/8
-\version "2.7.13"
+\version "2.7.32"
\header{
-\version "2.7.13"
+\version "2.7.32"
\header
{
texidoc= "Quarter notes may be beamed: the beam is halted momentarily."
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\relative c'' {
c8[ c4 c8] % should warn here!
texidoc = "The number of beams does not change on a rest."
}
-\version "2.7.13"
+\version "2.7.32"
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\relative c, {
\clef bass
-\version "2.7.13"
+\version "2.7.32"
\header{
}
\layout{
- raggedright = ##t
+ ragged-right = ##t
}
\relative c''{
-\version "2.7.31"
+\version "2.7.32"
\header{
texidoc="Beams in unnatural direction, have shortened stems, but do not look too short."
}
-\layout{ raggedright = ##t }
+\layout{ ragged-right = ##t }
\relative c'{
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Automatic beaming works also in ternary time sigs."
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
\relative c'' {
\time 6/8
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Beaming can be also given explicitly."
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\relative c'
{
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
}
\layout {
indent = 0.0
- linewidth = 4.0\cm
+ line-width = 4.0\cm
}
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
Breathing signs are available in different tastes: commas (default),
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="Property chordChanges: display chord names only when
"
}
-\layout{ raggedright = ##t }
+\layout{ ragged-right = ##t }
scheme = \chordmode {
-\version "2.7.13"
+\version "2.7.32"
\header {
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\chordmode { c:13 c:13.11 c:m13 }
-\version "2.7.13"
+\version "2.7.32"
\header {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "The property @code{chordNameExceptions} can used
c:7sus4 c:dim7/+f
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
<< \context ChordNames \theMusic
\context Voice \theMusic
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "The layout of the major 7 can be tuned with
@code{majorSevenSymbol}."
-\version "2.7.13"
+\version "2.7.32"
\header {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Scripts can also be attached to chord elements."
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "
Tremolo repeats can be constructed for short tremolos (total duration smaller than 1/4) too. Only some of the beams are connected to the stems.
"
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\context Staff \relative c' {
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
-\version "2.7.13"
+\version "2.7.32"
\header {
-\version "2.7.13" \header {
+\version "2.7.32" \header {
texidoc = "Octavation signs may be added to clefs. These
octavation signs may be placed below or above (meaning an octave
higher or lower), and can take any value, including 15 for two octaves."
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\relative c'' {
-\version "2.7.13"
+\version "2.7.32"
\header{
}
\layout{
- raggedright = ##t
+ ragged-right = ##t
}
}
\layout {
- raggedright= ##t
+ ragged-right= ##t
}
-\version "2.7.13"
+\version "2.7.32"
\new PianoStaff <<
\context Staff = "up" {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Clusters are a device to denote that a complete range of
notes is to be played."
}
- \layout { raggedright = ##t }
+ \layout { ragged-right = ##t }
fragment = \relative c' {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Single head notes may collide. "
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\context Staff \transpose c c' <<
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
-\version "2.7.13"
+\version "2.7.32"
\relative <<
\new Staff {
dots: notes with dots should go to the right, if there could be
confusion to which notes the dots belong."
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
-\version "2.7.13"
+\version "2.7.32"
\relative c'' {
<< <a c>2\\ { <b d>4 <b d>4 } >>
<< { <a c>2 } \\ { <b d>4. <b e>8 } >>
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "If collision resolution finds dotted note head must
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\relative c {
\key d \minor
on the right side."
}
-\version "2.7.13"
-\layout { raggedright= ##t }
+\version "2.7.32"
+\layout { ragged-right= ##t }
% todo: b2 (up) + b8 down looks strange compared to c2up + b8. (down)
\context Staff <<
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Note heads in collisions should be merged if
they have the same positions in the extreme note heads.
"
}
-\layout {raggedright = ##t}
+\layout {ragged-right = ##t}
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc =
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\context Staff \relative c'' <<
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "If NoteCollision has merge-differently-dotted = ##t note
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\context Staff \relative c'' <<
{
texidoc = "When merging heads, the dots are merged too."
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
-\version "2.7.13"
+\version "2.7.32"
{
\relative c'' \new Staff {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Oppositely stemmed chords, meshing into each other,
are resolved."
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\context Staff \transpose c c' {
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
In addition to normal collision rules, there is support for polyphony,
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc = "Each grob can have a color assigned to it.
@code{color} property."
}
-\paper { raggedright = ##t }
+\paper { ragged-right = ##t }
\relative {
\override Accidental #'color = #darkgreen
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Completion heads are broken across bar lines. This was
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
"
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\new Voice \with {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Custodes may be engraved in various styles."
}
\Staff
\consists Custos_engraver
}
- raggedright = ##t
+ ragged-right = ##t
}
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Dots move to the right when a collision with the (up)flag happens."
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
\relative c''
-\version "2.7.13" \header{
+\version "2.7.32" \header{
texidoc=" Noteheads can have dots, and rests too.
}
-\version "2.7.13"
+\version "2.7.32"
drh = \drummode { cymc4.^"crash" hhc16^"h.h." hh \repeat "unfold" 5 {hhc8 hho hhc8 hh16 hh} hhc4 r4 r2 }
drl = \drummode {\repeat "unfold" 3 {bd4 sn8 bd bd4 << bd ss >> } bd8 tommh tommh bd toml toml bd tomfh16 tomfh }
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc = "Broken crescendi should be open on one side."
}
c1 \< \break c1\! \> \break c1\!
}
\layout {
- linewidth = 4.\cm
+ line-width = 4.\cm
}
-\version "2.7.13"
+\version "2.7.32"
\header {texidoc = "Dynamic letters are kerned, and their weight
matches that of the hairpin signs. The dynamic scripts should be
respectively."
}
-\version "2.7.13"
+\version "2.7.32"
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\relative c'' {
c4 \< c4 \!
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc=" Dynamics appear below or above the staff. If multiple
dynamics are linked with (de)crescendi, they should be on the same
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Crescendi may start off-notes, however, they should not collapse into flat lines."
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
\context Voice {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = " Easy-notation (or Ez-notation) prints names in note heads.
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
\relative {
-\version "2.7.13"
+\version "2.7.32"
\header { texidoc = "
Fermatas over multimeasure rests are positioned as over normal rests.
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
\relative c' {
r1^\fermata R1^\fermataMarkup
}
-\version "2.7.13"
+\version "2.7.32"
\paper {
- raggedright = ##t
+ ragged-right = ##t
}
<<
may be forbidden. "
}
-\version "2.7.13"
-\paper { raggedright = ##t }
+\version "2.7.32"
+\paper { ragged-right = ##t }
\figures {
\set useBassFigureExtenders = ##t
}
-\version "2.7.13"
+\version "2.7.32"
\paper {
- raggedright = ##t
+ ragged-right = ##t
}
<<
}
-\version "2.7.13"
+\version "2.7.32"
\paper
{
- raggedright = ##t
+ ragged-right = ##t
}
<<
-\version "2.7.13"
+\version "2.7.32"
\header {
}
-\paper { raggedright = ##t }
+\paper { ragged-right = ##t }
<<
-\version "2.7.13"
+\version "2.7.32"
\header {
-\version "2.7.13"
+\version "2.7.32"
\header {
}
-\paper { raggedright = ##t }
+\paper { ragged-right = ##t }
\relative {
%% input order is not 1 2 3 , output is.
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "With the new chord syntax, it is possible to associate
"
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Automatic fingering tries to put fingering instructions
"
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\relative c' {
c4-4
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc = "
The line-spanners connects to the Y position of the note on the next line.
}
-\layout{ raggedright = ##t }
+\layout{ ragged-right = ##t }
}
-\version "2.7.13"
+\version "2.7.32"
\paper {
% change for other default global staff size.
-\version "2.7.20"
+\version "2.7.32"
\header {
texidoc = "Text set in TrueType Fonts that contain kerning tables, are kerned. "
-\version "2.7.13"
+\version "2.7.32"
\header { texidoc = "The magnification can be set for any font. Note
that this does not change variable symbols such as beams or slurs.
" }
-\version "2.7.13"
+\version "2.7.32"
\header {
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
{
passed to LaTeX and dvips to help it find the uncb font."
}
-\version "2.7.13"
+\version "2.7.32"
\paper
{
#(system "afm2tfm `kpsewhich uncb8a.afm` uncb8a.tfm")
\layout {
- linewidth = 160 \mm - 2.0 * 9.0 \mm
+ line-width = 160 \mm - 2.0 * 9.0 \mm
indent = 0.0\mm
- raggedright = ##t
+ ragged-right = ##t
}
{
%% regression test for fret diagram markups
-\version "2.7.13"
+\version "2.7.32"
\paper {
%% stretch to prevent diagrams from colliding.
- linewidth = 18.0 \cm
+ line-width = 18.0 \cm
}
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
"
}
-\layout{ raggedright = ##t }
+\layout{ ragged-right = ##t }
\relative c''{
-\version "2.7.13"
+\version "2.7.32"
\header{
c4 \glissando c,, \glissando c' \glissando d
}
\layout{
- linewidth = 50.\mm indent = 0
+ line-width = 50.\mm indent = 0
}
-\version "2.7.13"
+\version "2.7.32"
\header
{
texidoc = "The autobeamer is not confused by grace notes."
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Bar line should come before the grace note."
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Grace notes do tricky things with timing. If a measure
printed correctly.
"
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\relative c'' { c1 \break
"
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
-\version "2.7.13"
+\version "2.7.32"
\relative c'' {
c4 d8[
\grace { e32[ d c d] } e8]
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc="@cindex Grace End
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Grace code should not be confused by nested sequential musics, containing grace notes; practically speaking, this means that the end-bar and measure bar coincide in this example."
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Grace code should not be confused by nested sequential musics, containing grace notes; practically speaking, this means that the end-bar and measure bar coincide in this example."
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Grace code should not be confused by nested sequential musics, containing grace notes; practically speaking, this means that the end-bar and measure bar coincide in this example."
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\context Voice {
{ \grace b'8 c''2 }
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "In nested syntax, graces are still properly handled."
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\relative c'' {
f1
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Also in the nested syntax here, grace notes appear rightly."
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\context Voice \relative c'' {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Graces notes may have the same duration as the main note."
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\relative c'' {
s2 <f>4
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Grace notes may be put in a @code{partcombine}r."
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\new Staff
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc = "Stripped version of trip.ly. Staves should be of correct length."
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\context PianoStaff \relative c'' <<
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Pieces may begin with grace notes."
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
\relative c' \context Staff {
\grace { a'16[ f] } g1
would lead to beam quanting program. "
}
-\version "2.7.13"
+\version "2.7.32"
\layout {
- raggedright = ##t
+ ragged-right = ##t
% "debug-beam-quanting" = ##t
}
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc = "Here @code{startGraceMusic} should set @code{no-stem-extend} to
true; the two grace beams should be the same here.
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
\context Voice \relative c {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Grace notes in different voices/staves are synchronized."
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
\relative c'' <<
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "There are three different kinds of grace types: the base
grace switches to smaller type, the appoggiatura inserts also a slur, and the
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
\relative c'' {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "When grace notes are entered with unfolded repeats,
line breaks take place before grace notes.
-\version "2.7.13"
+\version "2.7.32"
\header {
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\relative c' {
\repeat volta 2 {
-\version "2.7.13"
+\version "2.7.32"
\header {
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
-\version "2.7.13"
+\version "2.7.32"
\header{
"
}
-\layout {raggedright = ##t}
+\layout {ragged-right = ##t}
\context Voice = VA \relative c'' {
\grace b8 c4\fermata
staves synchronized with the notes."
}
-\version "2.7.14"
+\version "2.7.32"
skips =
{
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
\new Score
\with {
}
-\version "2.7.22"
+\version "2.7.32"
\paper {
- raggedright = ##t
+ ragged-right = ##t
}
{
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc ="Hairpin crescendi may be dashed. "
-\version "2.7.13"
+\version "2.7.32"
\header {
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\relative c'' {
c4 \> c4 c4\! c4_\ff \> c4 c4\!\p
-\version "2.7.13"
+\version "2.7.32"
\header { texidoc =
}
\layout {
- raggedright= ##t
+ ragged-right= ##t
\context {
\RemoveEmptyStaffContext
}
}
-\version "2.7.31"
+\version "2.7.32"
\new PianoStaff <<
\new Staff {
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
-\version "2.7.13"
+\version "2.7.32"
textFlat = \markup {\smaller \flat}
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Instrument names are also printed on partial starting measures."
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
Staff margins are also markings attached to barlines. They should be
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
-\version "2.7.13"
+\version "2.7.32"
\header { texidoc = "Each clef have own accidental placing rules. " }
#(set-global-staff-size 16)
}
-\version "2.7.13"
+\version "2.7.32"
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
{
-\version "2.7.13"
+\version "2.7.32"
\header { texidoc = "By setting @code{Staff.keySignature} directly,
key signatures can be set invidually per pitch.
}
\layout {
- raggedright = ##T
+ ragged-right = ##T
}
\relative c'
\new Staff {
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
Key signatures may appear on key changes, even without a barline.
\paper {
- raggedright = ##T
+ ragged-right = ##T
}
\relative
"
}
-\version "2.7.13"
+\version "2.7.32"
\paper {
- raggedright = ##t
+ ragged-right = ##t
}
\relative {
-\version "2.7.13"
+\version "2.7.32"
#(set-default-paper-size "a6" 'landscape)
pattern = \relative { a b c d \break }
}
-\version "2.7.13"
-\paper { raggedright = ##t}
+\version "2.7.32"
+\paper { ragged-right = ##t}
\relative c'' {
\time 2/4
c8 c c c
texidoc = "Ledger lines are shortened when they are very close. This ensures
that ledgers lines stay separate."
}
-\version "2.7.13"
+\version "2.7.32"
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
\relative {
}
-\version "2.7.13"
-\layout { raggedright = ##t }
+\version "2.7.32"
+\layout { ragged-right = ##t }
withPaddingA = #(def-music-function (parser location padding music) (number? ly:music?)
#{ \override TextScript #'padding = #$padding
texidoc = "Arrows can be applied to text-spanners and line-spanners (such as the Glissando)"
}
-\version "2.7.13"
+\version "2.7.32"
\paper {
- raggedright = ##t
+ ragged-right = ##t
}
\relative c'' {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "With the @code{\\lyricsto} mechanism, individual lyric
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc ="Polyphonic rhythms and rests do not disturb
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
{
\clef violin
-\version "2.7.13"
+\version "2.7.32"
\header{
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
-\version "2.7.13"
+\version "2.7.32"
\header
{
\lyricsto A \context Lyrics \lyricmode { a __ a __ ha }
>>
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
-\version "2.7.13"
+\version "2.7.32"
\header {
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\relative c''{
d8( e f) r4.
-\version "2.7.13"
+\version "2.7.32"
\header {
>>
\layout {
indent = 0.0 \cm
- linewidth = 3.4 \cm
+ line-width = 3.4 \cm
\context {
\Staff \remove "Time_signature_engraver"
}
-\version "2.7.22"
+\version "2.7.32"
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "In lyrics, hyphens may be used."
}
\layout {
- raggedright= ##t
+ ragged-right= ##t
}
<<
}
-\version "2.7.13"
+\version "2.7.32"
\paper {
- raggedright = ##t
+ ragged-right = ##t
}
\relative {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "
"
}
- \layout { raggedright = ##t }
+ \layout { ragged-right = ##t }
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
<<
-\version "2.7.13"
+\version "2.7.32"
\header
{
texidoc = "Melismata are triggered by manual beams."
}
- \layout { raggedright = ##t }
+ \layout { ragged-right = ##t }
texidoc = "Lyrics are not lowered despite the presence of an octavation 8."
}
-\version "2.7.14"
+\version "2.7.32"
\layout {
\context {
\Staff
\Lyrics
\override VerticalAxisGroup #'minimum-Y-extent = ##f
}
- raggedright = ##t
+ ragged-right = ##t
}
\relative { \clef "G_8" c c c c }
}
}
-\version "2.7.13"
+\version "2.7.32"
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "The epsfile markup command reads an EPS file"
}
-\version "2.7.31"
+\version "2.7.32"
#(let* ((port (open-output-file "box.eps")))
(display "%!PS-Adobe-3.0 EPSF-3.0
%%BoundingBox: 5 5 105 105
-10 setlinewidth 10 10 moveto 0 90 rlineto 90 0 rlineto 0 -90 rlineto
+10 setline-width 10 10 moveto 0 90 rlineto 90 0 rlineto 0 -90 rlineto
closepath stroke" port)
(close port))
texidoc = "The note markup function may be used to make metronome
markings. It works for a variety of flag, dot and duration settings."
}
-\version "2.7.13"
+\version "2.7.32"
{ c4^\markup {
\note #"1" #1
%}
\layout {
- raggedright = ##t
+ ragged-right = ##t
indent = #0
\context {
\Staff
-\version "2.7.13"
+\version "2.7.32"
{
\fatText
texidoc = "Use \\score block as markup command."
}
-\version "2.7.13"
+\version "2.7.32"
tuning = \markup {
\score {
} {
\clef bass <c, g, d g>1
}
- \layout { raggedright = ##t }
+ \layout { ragged-right = ##t }
}
}
-\version "2.7.13"
+\version "2.7.32"
\header {texidoc="Markup scripts may be stacked."}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
{
c''^\markup {
"a"
}
-\version "2.7.13"
+\version "2.7.32"
{
f'1-\markup {
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
-\version "2.7.13" % to be updated
+\version "2.7.32" % to be updated
#(def-markup-command (upcase paper props str) (string?)
"Upcase the string characters. Syntax: \\upcase #\"string\""
}
-\version "2.7.13"
+\version "2.7.32"
\markup {
this is normal text
- \override #'(linewidth . 60)
+ \override #'(line-width . 60)
\wordwrap {
This is a test of the wordwrapping function.
1 This is a test of the wordwrapping function.
\markup {
this is normal text
- \override #'(linewidth . 40)
+ \override #'(line-width . 40)
\justify {
This is a test of the wordwrapping function, but with justification.
1 This is a test of the wordwrapping function, but with justification.
\markup {
- \override #'(linewidth . 40)
+ \override #'(line-width . 40)
{ \wordwrap-string #" Om mani padme hum Om mani padme hum Om mani
padme hum Om mani padme hum Om mani padme hum Om mani padme hum Om
}
-\version "2.7.13"
+\version "2.7.32"
%% TODO: should have 2/4 + 5/8 time sig style.
g8 a4 g a4.->
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
\context { \Staff
\consists "Measure_grouping_engraver"
}
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Mensural ligatures show different shapes, depending on the
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
packed = ##t
indent = 0.0
\context {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "There is limited support for mensural notation: note head
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
-\version "2.7.13"
+\version "2.7.32"
\relative c'' {
\tempo \breve = 100 c1 c1 \tempo 8.. = 50 c1
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
-\version "2.7.13"
+\version "2.7.32"
\header
{
texidoc = "The multimeasure rest is centered exactly between bar lines."
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc= "Multi-measure rests are centered also in the case of grace notes."
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
<<
\new Staff { R1 R1 R1*3 }
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "There are both long and short instrument names.
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
\context {
\Staff
\consists Instrument_name_engraver
}
-\version "2.7.13"
-\layout { raggedright = ##t }
+\version "2.7.32"
+\layout { ragged-right = ##t }
<< \new Staff { R1 }
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
-\version "2.7.13"
+\version "2.7.32"
<<
-\version "2.7.31"
+\version "2.7.32"
\header {
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
{
\time 3/4
\set Score.skipBars = ##t
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
\Score
skipBars = ##t
}
- raggedright = ##t
+ ragged-right = ##t
}
@code{\bar}, but is implemented completely in Scheme."
}
-\version "2.7.13"
+\version "2.7.32"
myBar = #(def-music-function (parser location bar-type) (string?)
(context-spec-music
(context-spec-music (make-property-set 'whichBar bar-type) 'Timing)
'Score))
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
{
d4 \myBar #"|:" d4
}
-\version "2.7.13"
+\version "2.7.32"
#(define (notes-to-skip m)
"Convert all stuff with duration (notes, lyrics, bass figures, etc.) to skips.
)
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
foobar = \transpose c c' { c4\>-^ c4-^ c4\!-^ c4-^ }
texidoc = "newlyrics, multiple stanzas, multiple lyric voices."
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
<<
\new Staff \relative {
d'2 d c4 bes a2 \break
}
>>
-\version "2.7.13"
+\version "2.7.32"
-\version "2.7.13"
+\version "2.7.32"
% possible rename to staff-something. -gp
\header{ texidoc = "@cindex Staff Remove
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
\relative \new Staff \with {
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc=" By default, text is set with empty horizontal dimensions.
c_"very wide and long text" c
}
\layout {
- linewidth = 3.0\cm
+ line-width = 3.0\cm
}
-\version "2.7.13"
+\version "2.7.32"
\header {
\context {
\Staff \consists "Horizontal_bracket_engraver"
}
- raggedright = ##t
+ ragged-right = ##t
}
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Note heads are flipped on the stem to prevent collisions.
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\relative c''
\context Voice {
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
-\version "2.7.13"
+\version "2.7.32"
{
to the @code{tonic} property."
}
-\version "2.7.13"
+\version "2.7.32"
fragment = {
\key c \major
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
Note head shapes may be set from several choices.
\layout {
indent = 0.0
- raggedright = ##t
+ ragged-right = ##t
}
pattern = <<
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Note head lines (e.g. glissando)
}
>>
\layout {
- linewidth = 8.0 \cm
+ line-width = 8.0 \cm
}
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc=" The number of stafflines of a staff can be set. Ledger
}
-\version "2.7.13"
+\version "2.7.32"
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\relative c''' {
a2 b
#(set-octavation 1)
"
}
-\version "2.7.13"
+\version "2.7.32"
%% . There must be a minimum distance between the octavation line and the
%% topmost staff line, taking into account the height of the closing
%% by the user). The same holds for `8va' and `15ma'.
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
\relative c''' {
a b c a
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Sublist of grob property lists may be also tuned. In the
-\version "2.7.13"
+\version "2.7.32"
\header {
}
\paper {
- raggedlastbottom = ##f
+ ragged-last-bottom = ##f
bookTitleMarkup = \markup {
\override #'(baseline-skip . -3)
}
-\version "2.7.29"
+\version "2.7.32"
#(set-default-paper-size "a6" 'portrait)
\paper {
- linewidth = 5.0\cm
+ line-width = 5.0\cm
headerMarkup = "header"
indent =0.0
annotatespacing = ##f
texidoc = "Page breaking details can be stored for later reference."
}
-\version "2.7.29"
+\version "2.7.32"
\paper {
#(define write-page-layout #t)
-\version "2.7.13"
+\version "2.7.32"
}
\paper {
- %hsize = 2\cm
- %vsize = 2\cm
- topmargin = 2\cm
- bottommargin = 2\cm
- %headsep = 7\cm
- %footsep = 7\cm
- raggedbottom = ##t
- raggedlastbottom = ##t
- leftmargin = 3\cm
- linewidth = 15\cm
+ %paper-width = 2\cm
+ %paper-height = 2\cm
+ top-margin = 2\cm
+ bottom-margin = 2\cm
+ %heap-separation = 7\cm
+ %foot-separation = 7\cm
+ ragged-bottom = ##t
+ ragged-last-bottom = ##t
+ left-margin = 3\cm
+ line-width = 15\cm
%rigthmargin = 3\cm
interscoreline = 3\cm
}
}
}
\header {piece = "Piece I"}
- \layout {linewidth = 13\cm}
+ \layout {line-width = 13\cm}
}
\score {
\relative c'' {
breakbefore = ##f
piece = "Piece II"
}
- \layout {linewidth = 9\cm}
+ \layout {line-width = 9\cm}
}
}
}
-\version "2.7.13"
+\version "2.7.32"
#(set-global-staff-size 11)
>>
}
\paper {
- raggedlastbottom = ##f
+ ragged-last-bottom = ##f
annotatespacing = ##t
- betweensystemspace = 1.0
+ between-system-space = 1.0
#(set! text-font-defaults
(acons
'font-size 6
\header {
- texidoc = "By setting @code{pagetopspace,} the Y position of the
+ texidoc = "By setting @code{page-top-space,} the Y position of the
first system can be forced to be uniform."
}
-\version "2.7.13"
+\version "2.7.32"
#(set-default-paper-size "a6")
}
\paper {
- pagetopspace = 3 \cm
+ page-top-space = 3 \cm
}
}
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc ="The a2 string is printed only on notes (i.e. not on rests),
and only after chords, solo or polyphony."
comment = \relative { s1*2 s2_"a2" s2 s2_"no a2" s2 s4 s4 s4_"a2" }
-\layout { raggedright = ##T }
+\layout { ragged-right = ##T }
\new Staff << \set Score.skipBars = ##t
\partcombine \vone \vtwo
"
}
-\version "2.7.13"
+\version "2.7.32"
vone = \relative a' { g4 g f f e e d d }
vtwo = \relative a' { e4 e f f g g a a }
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\partcombine \vone \vtwo
"
}
-\version "2.7.13"
+\version "2.7.32"
vone =
\header { texidoc = " Multimeasure rests are printed after solos, both
for solo1 and for solo2." }
-\version "2.7.13"
+\version "2.7.32"
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\new Staff
\partcombine
\relative c''{ R1*2 | c4 r2. | c2 r | R1 }
}
-\version "2.7.13"
-\layout { raggedright = ##t }
+\version "2.7.32"
+\layout { ragged-right = ##t }
<<
\new Staff
}
-\version "2.7.13"
-\paper { raggedright = ##t }
+\version "2.7.32"
+\paper { ragged-right = ##t }
\new Staff
\partcombine \relative c'' {
vone = \relative a' { d4 r8 d8 d8 r8 d8 r8 d2 ~ d2 ~ d4 }
vtwo = \relative g' { g4. g8 r2 g4 r4 r2 g4 }
-\version "2.7.13"
+\version "2.7.32"
-\paper { raggedright = ##t }
+\paper { ragged-right = ##t }
<< \set Score.skipBars = ##t
}
-\version "2.7.13"
+\version "2.7.32"
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
vone = \relative a' { R1 a2 r4 r a a a a }
vtwo = \relative a' { R1 f4 f4 f4 f f f a a }
"
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
-\version "2.7.13"
+\version "2.7.32"
vone = \relative a' {
g2 g g g4 g f' c c( c) c c c ~ c
-\version "2.7.13"
+\version "2.7.32"
\header {
c4 d \unaCorda e f g
b | \break c b c \treCorde c
}
- \layout { raggedright = ##t }
+ \layout { ragged-right = ##t }
}
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Unterminated piano pedal brackets run to the end of the piece. "
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
{
-\version "2.7.13"
+\version "2.7.32"
\header
{
texidoc = "The standard piano pedals style comes with Ped symbols.
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="@code{PhrasingSlur}s go over normal slurs."
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\relative c''{
c8 \( (d e f) g ( a b c)
-\version "2.7.13"
+\version "2.7.32"
\header {
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
{
a a a a \break
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Distances between prefatory items (e.g. clef, bar,
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
\relative c'' {
not interfere with the overrides and reverts from polyphony."
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
-\version "2.7.13"
+\version "2.7.32"
\relative c'' {
<<
{ \grace e8 d2 }
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Once properties take effect during a single time step only."
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\relative c' {
c4
}
-\version "2.7.13"
+\version "2.7.32"
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
quoteMe = \relative c' { fis4 r16 a8.-> b4(-\ff~ b16 c8. b) }
}
-\version "2.7.13"
+\version "2.7.32"
A = \relative c' { c4 d e f | \cueDuring #"qB" #1 { R1 } | }
B = \relative c' { \cueDuring #"qA" #1 { R1 } | f4 e d c | }
\addquote "qA" \A
\addquote "qB" \B
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
<<
\context Staff = "A" \A
@code{rest-event} is not in @code{quotedEventTypes}."
}
-\version "2.7.13"
+\version "2.7.32"
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
to an unquoted note is not quoted."
}
-\paper { raggedright= ##t }
+\paper { ragged-right= ##t }
-\version "2.7.13"
+\version "2.7.32"
quoted = \relative c'' {
R1
\grace g16 f4 \grace a16 bes4 \grace b16 c4 c4
}
-\version "2.7.13"
+\version "2.7.32"
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\addquote clarinet {
@code{rest-event} is not in @code{quotedEventTypes}."
}
-\version "2.7.13"
+\version "2.7.32"
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
}
-\version "2.7.19"
+\version "2.7.32"
\relative {
c1 \mark "foo"
}
-\version "2.7.13"
-\paper { raggedright = ##t }
+\version "2.7.32"
+\paper { ragged-right = ##t }
\relative c'' {
c1 \mark \default
}
-\version "2.7.13"
+\version "2.7.32"
-\paper { raggedright = ##t }
+\paper { ragged-right = ##t }
\relative c''{
\set Score.markFormatter = #format-mark-numbers
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
"
}
-\paper { raggedright = ##t }
+\paper { ragged-right = ##t }
\context Staff \relative c'' {
\repeat fold 3 { c^"3x 0alt" d }
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
"
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\context Staff\relative c'' {
\repeat "volta" 2 { c1 \break } \alternative { d e }
}
-\version "2.7.13"
+\version "2.7.32"
\relative c'' \new Voice {
\set countPercentRepeats = ##t
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Percent repeats are not skipped, even when @code{skipBars} is set."
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\context Staff <<
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Measure repeats may be nested with beat repeats."
}
\paper {
- raggedright = ##t
+ ragged-right = ##t
}
\relative c'' \context Voice {
\set Score.skipBars = ##t
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Within a bar, beat repeats denote that a music snippet should be
played again."
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\relative c'
\context Voice {
-\version "2.7.13"
+\version "2.7.32"
\header { texidoc = "Volta repeats may be unfolded through the music
function @code{\unfoldRepeats}."
nots = \relative c' {
c4 \repeat volta 2 c4 \alternative { d e }
}
-\layout {raggedright = ##t}
+\layout {ragged-right = ##t}
\context Voice {
\nots
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Unfolding tremolo repeats. All fragments fill one
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "When too few alternatives are present, the first
}
-\paper { raggedright = ##t }
+\paper { ragged-right = ##t }
\relative c'' \context Voice {
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
-\version "2.7.13"
+\version "2.7.32"
fig = \relative c' {
<a c e>8[ r <c e a> r <e a c> r <a c e>]
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
Rests should not collide with beams, stems and noteheads. Rests may
"
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
scale = \relative c' {
c8 d e f g a b c c d e f g a b c
}
-\version "2.7.13"
+\version "2.7.32"
-\paper { raggedright = ##t }
+\paper { ragged-right = ##t }
{
\set Score.timing = ##f
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Whole and half rests moving outside the staff should get
ledger lines."
}
-\paper { raggedright = ##t }
+\paper { ragged-right = ##t }
{
\override Rest #'staff-position = #4
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Rests can have pitches--these will be affected by
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\relative c''
{
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
-\version "2.7.13"
+\version "2.7.32"
\new Staff \relative c' {
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
"
}
-\paper { raggedright = ##t }
+\paper { ragged-right = ##t }
{
\time 4/4
-\version "2.7.13"
+\version "2.7.32"
\header
{
have the size for a 5 line staff. The whole rest hangs from the
rhythmic staff." }
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\context RhythmicStaff
{
-\version "2.7.13"
+\version "2.7.32"
\header {
}
\paper {
- linewidth = #110
+ line-width = #110
}
%% using Book and Score to get text in lilypond-book
-\version "2.7.13"
+\version "2.7.32"
\header {
positioned correctly when there are collisions."
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
\relative c'' {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Scripts can be stacked. The order is determined by a
priority field, but when objects have the same priority, the input
"
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
\relative c'' { c4^"inner up"^"outer up"_"inner down"_"outer down" }
-\version "2.7.13"
+\version "2.7.32"
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\header {
texidoc = "Scripts may be stacked."
texidoc = "Scripts avoid stem tremolos even if there is no visible stem."
}
-\version "2.7.16"
+\version "2.7.32"
-\layout {raggedright =##t}
+\layout {ragged-right =##t}
{
\stemDown
g'1:32_"foo"
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
Fonts are available in a default set of sizes: 11, 13, 16, 20, 23 and
-26pt staffheight. Sizes of the text fonts and symbol fonts are made
+26pt staff-height. Sizes of the text fonts and symbol fonts are made
to match the staff dimensions.
"
foollilypondbook = "
-\version "2.7.13"
+\version "2.7.32"
foollilypondbook = "
\score
"
-\version "2.7.13"
+\version "2.7.32"
foollilypondbook = "
\score
"
-\version "2.7.13"
+\version "2.7.32"
foollilypondbook = "
\score
"
-\version "2.7.13"
+\version "2.7.32"
foollilypondbook = "
\score
"
-\version "2.7.13"
+\version "2.7.32"
foollilypondbook = "
\score
"
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
indent=0.
}
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
Slurs behave decently when broken across a linebreak.
-\version "2.7.13"
+\version "2.7.32"
\header {texidoc = "@cindex Slur, dotted, dashed
The appearance of slurs may be changed from solid to dotted or dashed.
"
}
-\layout{ raggedright=##t }
+\layout{ ragged-right=##t }
\relative c'{
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="Slurs should not get confused by augmentation dots. With a lot
of dots, the problems becomes more visible."
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
\relative c'' {
texidoc = "Some composers use slurs both above and below chords.
This can be typeset by setting @code{doubleSlurs}"
}
-\version "2.7.13"
+\version "2.7.32"
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\relative {
\set doubleSlurs = ##t
<c e>4 ( <d f> <c e> <d f> )
texidoc = "Dynamics avoid collision with slur."
}
-\version "2.7.13"
+\version "2.7.32"
\layout {
indent = 0\mm
- raggedright = ##t
+ ragged-right = ##t
}
\relative
{
-\version "2.7.13"
+\version "2.7.32"
\header {
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
baseWalk = \relative c {
the given pair. "
}
-\version "2.7.13"
+\version "2.7.32"
-\paper { raggedright = ##T }
+\paper { ragged-right = ##T }
\relative {
\override Slur #'positions = #'(-4 . -5)
e( f g)
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
Slurs should look nice and symmetric. The curvature may increase
\stemDown c( f, c')
}
\layout{
- linewidth = 120.\mm
+ line-width = 120.\mm
}
-\version "2.7.13"
+\version "2.7.32"
\header
{
texidoc ="Slurs may be placed over rest. The slur will avoid colliding with
"
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
{ \stemDown c'4 ( r4 c'2)
\relative c'' {
}
-\version "2.7.13"
+\version "2.7.32"
\layout {
- raggedright = ##t
+ ragged-right = ##t
% #(define debug-slur-scoring #t)
}
}
-\version "2.7.13"
+\version "2.7.32"
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\relative c''{
\clef alto
scripts can be moved manually."
}
-\version "2.7.13"
+\version "2.7.32"
\layout {
indent = 0\mm
- raggedright = ##t
+ ragged-right = ##t
}
\relative
{
-\version "2.7.13"
+\version "2.7.32"
\header
{
texidoc = "Symmetric figures should lead to symmetric slurs."
}
\layout{
- raggedright = ##t
+ ragged-right = ##t
}
-\version "2.7.13"
+\version "2.7.32"
\header
{
texidoc = "Symmetric figures should lead to symmetric slurs."
}
\layout{
- raggedright = ##t
+ ragged-right = ##t
}
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
-\version "2.7.13"
+\version "2.7.32"
\relative c'' {
\time 2/4
}
-\version "2.7.24"
+\version "2.7.32"
\paper {
- raggedright = ##t
+ ragged-right = ##t
% #(define debug-slur-scoring #t)
}
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Accidentals in different staves do not affect the
spacing of the eighth notes here."
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
\relative c'' <<
\new Staff {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Accidentals do not influence the amount of stretchable space.
"
}
-%% not raggedright!!
+%% not ragged-right!!
\layout {
- linewidth = 18.\cm
+ line-width = 18.\cm
}
\relative c'' \context GrandStaff {
#(set-accidental-style 'piano-cautionary)
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Accidentals sticking out to the left
of a note will take a little more space, but only if the spacing is tight."
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
\relative c'' {
\time 8/4
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Downstem notes following a barline are
printed with some extra space. This is an optical correction similar
"
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
\relative c''
{
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Clef changes at the start of a line get much more space
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
\context {
\Staff
\remove Time_signature_engraver
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc ="Broken engraving of a bar at the end of a line does not upset
}
\layout {
- raggedright = ##t }
+ ragged-right = ##t }
\relative c' {
-\version "2.7.13"
+\version "2.7.32"
\header { texidoc = "
A voicelet (a very short voice to get polyphonic chords correct)
should not confuse the spacing engine."
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
{ \context Staff \relative c' {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "A clef can be folded below notes in a different staff, if
this does not disrupt the flow of the notes."
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
\relative c'' <<
\new Staff { c4 c16[ c c c] c4 c4 }
-\version "2.7.31"
+\version "2.7.32"
\header {
texidoc = "A clef can be folded below notes in a different staff, if
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
\context {
\Score
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Spacing uses the duration of the notes, but disregards
"
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
\relative c''
\context Voice
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Grace note spacing. "
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
\context Voice \relative c'' { \grace { c16[ d] } c4 }
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "For knees, the spacing correction is such that the
"
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
{
g''8[ g g'' g'']
-\version "2.7.13" \header{
+\version "2.7.32" \header{
texidoc = "Concurrent tuplets should be equidistant on all staffs.
-\version "2.7.13"
+\version "2.7.32"
\header {
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
\relative c'' \context Staff {
}
-\version "2.7.13"
+\version "2.7.32"
-\paper { raggedright = ##t }
+\paper { ragged-right = ##t }
\relative c''
<<
-\version "2.7.13"
+\version "2.7.32"
\header {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Rests get a little less space, since they are narrower.
However, the quarter rest in feta font is relatively wide, causing this
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
\relative c'' \context Staff {
\time 12/4
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Notes that are shorter than the common shortest note get a
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
\relative c''
{
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Upstem notes before a barline are printed with some extra
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
\relative e'
{
-\version "2.7.13"
+\version "2.7.32"
\header{
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "For juxtaposed chords with the same direction, a
slight optical correction is used. It is constant, and works only if
two chords have no common head-positions range."
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
\relative c'' {
\stemDown
}
-\version "2.7.13"
+\version "2.7.32"
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\relative {
\override Score.PaperColumn #'keep-inside-line = ##t
}
-\version "2.7.13"
+\version "2.7.32"
\paper {
- raggedright = ##t
+ ragged-right = ##t
indent = 0
}
\layout {
}
-\version "2.7.13"
+\version "2.7.32"
\paper {
- raggedright = ##t
+ ragged-right = ##t
indent = 0
}
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc ="Space from a normal note (or barline) to a grace note is
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
\context Voice
}
-\version "2.7.13"
+\version "2.7.32"
\relative c''
<<
-\version "2.7.13"
+\version "2.7.32"
\header {
}
-\layout{ raggedright = ##t }
+\layout{ ragged-right = ##t }
\new PianoStaff <<
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Span bars are drawn only between staff bar lines. By setting
bar lines to transparent, they are shown only between systems.
\context {
\Staff
}
- raggedright =##t
+ ragged-right =##t
}
\relative c' \new StaffGroup <<
}
-\version "2.7.13"
+\version "2.7.32"
-\paper { raggedright = ##t }
+\paper { ragged-right = ##t }
\relative c'' {
\override Beam #'break-overshoot = #'(1.0 . 2.0)
-\version "2.7.13"
+\version "2.7.32"
\header{
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
texidoc = "Staves can be started and stopped at command. "
}
-\version "2.7.13"
+\version "2.7.32"
\paper {
- raggedright = ##t
+ ragged-right = ##t
}
\relative c'' {
}
-\version "2.7.26"
+\version "2.7.32"
\new Staff \relative c' {
}
-\version "2.7.13"
+\version "2.7.32"
\layout {
#(layout-set-staff-size 6)
- raggedright = ##t
+ ragged-right = ##t
}
<<
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "The staff is a grob (graphical object) which may be adjusted as well, for example, to have 6 thick lines and a slightly large @code{staff-space}.
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
-\version "2.7.13"
+\version "2.7.32"
\header { texidoc = "Stanza numbers are put left of their lyric. They
are aligned in a column." }
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\relative c'' { r4 r4 c4 c4 }
\addlyrics {
}
-\version "2.7.25"
+\version "2.7.32"
\relative c'' \new Voice {
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
\context Voice \relative c {
b''4 ~ b8(b8) e4 e,
-\version "2.7.13"
+\version "2.7.32"
\header {
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
}
-\version "2.7.13"
-\layout { raggedright = ##t }
+\version "2.7.32"
+\layout { ragged-right = ##t }
\relative {
\override Stem #'stemlet-length = #0.75
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
Stem tremolos or rolls are tremolo signs that look like beam segments
-\version "2.7.31"
+\version "2.7.32"
\header { texidoc=" You can write stencil callbacks in Scheme, thus
providing custom glyphs for notation elements. A simple example is
parenthesize-stencil)
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\relative c' {
c4 e
}
-\version "2.7.13"
+\version "2.7.32"
\paper {
- raggedright = ##t
+ ragged-right = ##t
}
\relative {
-\version "2.7.14"
+\version "2.7.32"
\header {
texidoc = "The size of every system is correctly determined; this
-\version "2.7.13"
-\header { texidoc = "By setting betweensystempadding to a negative
+\version "2.7.32"
+\header { texidoc = "By setting between-system-padding to a negative
value, it is possible to eliminate the anti-collision constraints.
-Then setting @code{betweensystemspace} to a low (nonzero) value,
+Then setting @code{between-system-space} to a low (nonzero) value,
print systems in overstrike.
Unfortunately, this does not show in the colllated texinfo document. Run this example stand-alone to see the effect.
}
\paper {
- raggedbottom =##t
- betweensystempadding = - 4\cm
- betweensystemspace = 3\mm
+ ragged-bottom =##t
+ between-system-padding = - 4\cm
+ between-system-space = 3\mm
}
{
-\version "2.7.13"
+\version "2.7.32"
\header {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc =
"
"
}
-\layout {raggedright = ##t}
+\layout {ragged-right = ##t}
{
\header { texidoc = "A heavy-bar system start delimiter may be created by tuning the @code{SystemStartBar} grob."
}
-\version "2.7.18"
+\version "2.7.32"
\paper {
- raggedright = ##t
+ ragged-right = ##t
}
<<
\new StaffGroup
}
-\version "2.7.18"
+\version "2.7.32"
\paper {
- raggedright = ##t
+ ragged-right = ##t
}
\new StaffGroup
}
-\version "2.7.13"
+\version "2.7.32"
\new TabStaff {
-\version "2.7.13"
+\version "2.7.32"
\header{ texidoc = "@cindex Tabulature
A sample tablature, with both normal staff and tab.
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "The @code{\\tag} command marks music expressions with a
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
common =
\relative c'' {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc= "Text spanners should not repeat start text when broken."
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
\relative c'' {
}
-\version "2.7.13"
+\version "2.7.32"
-\paper { raggedright = ##t }
+\paper { ragged-right = ##t }
\relative {
c~ e~ g~ <c, e g>
\set tieWaitForNote = ##t
texidoc = "Ties behave properly at line breaks."
}
-\version "2.7.13"
+\version "2.7.32"
-\paper { raggedright = ##t }
+\paper { ragged-right = ##t }
\relative c'
{
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Tie engraver uses @code{busyGrobs} to keep track of
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
}
-\version "2.7.13"
+\version "2.7.32"
\paper {
indent = #0.0
- raggedright = ##t
+ ragged-right = ##t
}
texidoc = "Ties avoid collisions with dots."
}
-\version "2.7.23"
+\version "2.7.32"
-\paper { raggedright = ##T }
+\paper { ragged-right = ##T }
\relative c'' {
\time 12/8
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Tieing a grace to the to a following grace or main note works."
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\context Voice \relative c'' {
c4 \grace { c8 ~ c16 ~ } c4
}
-\version "2.7.13"
+\version "2.7.32"
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
}
\layout {
indent = #0.0
- raggedright = ##t
+ ragged-right = ##t
}
-\version "2.7.13"
+\version "2.7.32"
frag =
\relative c'' {
-\version "2.7.13"
+\version "2.7.32"
\header {
}
\paper {
- raggedright = ##t
+ ragged-right = ##t
}
\relative {
texidoc = "Trill spanner"
}
-\version "2.7.13"
+\version "2.7.32"
\layout {
- raggedright = ##T
+ ragged-right = ##T
}
\relative \new Voice {
<< { c1 \startTrillSpan }
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "In combination with a beam, the bracket of the tuplet
the bracket."
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\context Voice\relative c'' {
\times 2/3 { r c8[ c8] }
}
-\version "2.7.13"
+\version "2.7.32"
\paper {
- raggedright = ##t
+ ragged-right = ##t
indent = 0.0
}
start of the next non-tuplet note. "
}
-\version "2.7.13"
+\version "2.7.32"
-\paper { raggedright = ##t
+\paper { ragged-right = ##t
indent = 0.0 }
\relative c'' \new Voice \with {
}
-\version "2.7.13"
+\version "2.7.32"
\layout {
indent = 0.0\mm
- raggedright = ##t
+ ragged-right = ##t
}
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc=" Tuplets may be nested."
}
\paper {
- raggedright = ##t
+ ragged-right = ##t
indent = 0.0
}
}
-\version "2.7.13"
+\version "2.7.32"
\times 2/3 { c8[ c c] }
\tupletUp
- \override TupletBracket #'number-visibility = ##f
+ \override TupletBracket #'number-visibility % number-visibility is deprecated. Tune the TupletNumber instead
+ = ##f
\times 2/3 { c8^""^""^"up, no digit" c[ c] }
- \revert TupletBracket #'number-visibility
+ \revert TupletBracket #'number-visibility % number-visibility is deprecated. Tune the TupletNumber instead
+
\override TupletBracket #'bracket-visibility = ##t
\override TupletBracket #'edge-height = #'(0.0 . 0.0)
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Tuplets may contain rests. "
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
-\version "2.7.13"
+\version "2.7.32"
\new Voice {
\relative c'' {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Horizontal tuplet brackets are shifted vertically
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\context Voice\relative c'' {
\times 2/3 { b'4 b b }
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="
"
}
-\layout { raggedright= ##t }
+\layout { ragged-right= ##t }
\context Voice \relative c'' {
-\version "2.7.13"
+\version "2.7.32"
%% Edit this file using a Unicode aware editor, such as GVIM, GEDIT, Emacs
-\version "2.7.13"
+\version "2.7.32"
\header { texidoc= "
}
\layout{
- raggedright = ##t
+ ragged-right = ##t
}
\relative c'
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc ="Broken volta spanners behave correctly at their left edge in all cases."
}
-\layout { raggedright =##t }
+\layout { ragged-right =##t }
%{
}
-\layout { raggedright = ##t }
-\version "2.7.13"
+\layout { ragged-right = ##t }
+\version "2.7.32"
vmus = { \repeat volta 2 c1 \alternative { d e } }
since staff lines are in a different layer. "
}
-\version "2.7.13"
+\version "2.7.32"
\paper
{
- raggedright = ##t
+ ragged-right = ##t
}
{
%% sakura-sakura.ly
-\version "2.6.0"
+\version "2.7.32"
\header {
title = "さくら さくら"
-\version "2.6.0"
+\version "2.7.32"
\header {
title = "Screech and boink"
subtitle = "Random complex notation"
\midi { \tempo 8 = 60 }
\layout {
- raggedright = ##t
+ ragged-right = ##t
\context {
\Staff
>>
%% Optional helper for automatic updating by convert-ly. May be omitted.
-\version "2.6.0"
+\version "2.7.32"
}
%% Optional helper for automatic updating by convert-ly. May be omitted.
-\version "2.6.0"
+\version "2.7.32"
-\version "2.7.13"
+\version "2.7.32"
%% +.ly: Be the first .ly file for lys-to-tely.py.
%% Better to make lys-to-tely.py include "introduction.texi" or
%% other .texi documents too?
-\version "2.7.13"
+\version "2.7.32"
\header {
\relative c'' {
a b \applyMusic #(lambda (x) (music-map add-staccato x)) { c c }
}
- \layout{ raggedright = ##t }
+ \layout{ ragged-right = ##t }
}
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc= "@cindex make-music Fingering
\score {
\applyMusic #(lambda (x) (add-text-script x "6") (display-music x) x ) { c'4-3 }
- \layout{ raggedright = ##t }
+ \layout{ ragged-right = ##t }
}
}
-\version "2.7.13"
+\version "2.7.32"
\layout {
- raggedright = ##t
+ ragged-right = ##t
}
\new Staff <<
"
}
-\version "2.7.13"
+\version "2.7.32"
\relative c'' {
\time 5/4
-\version "2.7.13"
+\version "2.7.32"
% TODO: split ancient-font into seperate files; possibly in
% different locations.
\header {
>>
\paper {
- linethickness = #(/ staffspace 5.0)
+ line-thickness = #(/ staff-space 5.0)
}
\score {
>>
\layout {
% do we want to keep these settings? -gp
- linewidth = 17.25\cm
+ line-width = 17.25\cm
textheight = 26.0\cm
indent = 0.0
\context {
-\version "2.7.13"
+\version "2.7.32"
% TODO: move stuff from ancient-font into here? See comment
% for ancient-font.ly
\header {
\override Staff.TimeSignature #'style = #'neomensural
s1
}
- \layout {raggedright = ##t}
+ \layout {ragged-right = ##t}
}
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "@cindex Bars Always
\set Score.barAlways = ##t
\set Score.defaultBarType = ":|:"
c4 c4 c4 c4 }
- \layout{raggedright = ##t}
+ \layout{ragged-right = ##t}
}
-\version "2.7.13"
+\version "2.7.32"
\header { texidoc = "@cindex Bar line lyric only
You can move @code{Bar_engraver} and @code{Span_bar_engraver} to
a different engraving context, if you want, for example, bar lines
\layout {
- raggedright = ##t
+ ragged-right = ##t
\context {
\Lyrics
\consists Bar_engraver
-\version "2.7.13"
+\version "2.7.32"
\header {
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\relative {
\override Score.RehearsalMark #'padding = #3
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "@cindex Bar Number Every Fifth Reset
\bar "|."
}
>>
-\layout{raggedright = ##t}
+\layout{ragged-right = ##t}
}
" }
-\version "2.7.31"
+\version "2.7.32"
\relative c'{
\override Score.BarNumber #'break-visibility = #end-of-line-invisible
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="@cindex Bar Number Show All
By default, bar numbers are printed only in the first measure. This
\break
c c c
}
- \layout{ raggedright = ##t }
+ \layout{ ragged-right = ##t }
}
}
-\version "2.7.13"
+\version "2.7.32"
wipeNote = {
\once \override NoteHead #'transparent = ##t
\once \override Stem #'transparent = ##t
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\relative c''<< {
-%% \version "2.7.13"
+%% \version "2.7.32"
%% keep for now, although merging into beam-auto-override is a possibility.
\header {
"
}
-\layout{raggedright = ##t}
+\layout{ragged-right = ##t}
\relative c''{
\time 4/8
%% ugh
-%% \version "2.7.13"
+%% \version "2.7.32"
\header {
%% TODO: check doc string. -hw
-\layout{raggedright = ##t}
+\layout{ragged-right = ##t}
\relative c''{
%% This has now (2.5.21) changed, (end * * * *) no longer
%% masks the default config entry ('(end * * 2 4) 1 4))
-\version "2.7.13"
+\version "2.7.32"
\header{
texidoc="@cindex Beam Position Control
\override Beam #'positions = #'(0 . 1)
c[ c]
}
-\layout{raggedright = ##t}
+\layout{ragged-right = ##t}
}
-%%\version "2.7.13"
+%%\version "2.7.32"
\header{
texidoc="@cindex Beam Count
" }
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
\relative {
%% This has now (2.5.21) changed, (end * * * *) no longer
-\version "2.7.31"
+\version "2.7.32"
\header {
texidoc = "@cindex Boxed Stencil
grob. " }
-\layout{raggedright = ##t}
+\layout{ragged-right = ##t}
\relative c'' {
\override TextScript #'stencil =
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "@cindex Capital Letters
The font can be changed to small caps.
\context Lyrics \lyricmode {
what4 is4 \shapeSC The8 Ma -- trix? }
>>
- \layout { raggedright = ##t}
+ \layout { ragged-right = ##t}
}
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = " Chord names are generated from a list pitches. The
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "@cindex Chord Names German
The english naming of chords (default) can be changed to german
\layout {
- raggedright = ##t
+ ragged-right = ##t
\context {\ChordNames \consists Instrument_name_engraver }
}
-\version "2.7.31"
+\version "2.7.32"
\header {
texidoc = "@cindex Circle
"
}
-\layout{raggedright = ##t}
+\layout{ragged-right = ##t}
\relative c'{
c1
-\version "2.7.14"
+\version "2.7.32"
\header {
texidoc = "@cindex compound time
@cindex plus
"
}
-\layout{raggedright = ##t}
+\layout{ragged-right = ##t}
#(define (compound-time grob one two num)
(interpret-markup
-\version "2.7.13"
+\version "2.7.32"
% Ugh, we need to override some LaTeX titling stuff
\paper {
indent=10.0\mm
- linewidth=150.0\mm
- raggedbottom = ##t
+ line-width=150.0\mm
+ ragged-bottom = ##t
}
#(set-global-staff-size 16)
% this is ignored?
\paper {
indent=10.0\mm
- linewidth=150.0\mm
+ line-width=150.0\mm
}
}
" }
-\version "2.7.13"
+\version "2.7.32"
\include "gregorian-init.ly"
-\version "2.7.13"
+\version "2.7.32"
% probably should be merged into refman.
\header{
texidoc = "@cindex Dynamic Piu Forte
piuf = \markup { \italic "più" \dynamic "f" }
-\layout{raggedright = ##t}
+\layout{ragged-right = ##t}
\relative c''{
c-\piuf
-\version "2.7.13"
+\version "2.7.32"
\header {
}
\layout {
- linewidth = 70 * 5 \pt
+ line-width = 70 * 5 \pt
}
\relative c'' {
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc ="In polyphonic notation, many voices can share a staff: In
%% texidoc = "Include file for engraver example."
-\version "2.7.13"
+\version "2.7.32"
topVoice = \relative c' {
\key d\major
es8([ g] a[ fis])
-\version "2.7.14"
+\version "2.7.32"
\header {
texidoc = "The notation problem, creating a certain symbol,
"
}
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
\include "engraver-example.ily"
-\version "2.7.13"
+\version "2.7.32"
% definitely wil be renamed to something.
%{
}
>>
\layout {
- raggedright = ##t
+ ragged-right = ##t
\context{
\Score
evenFooterMarkup = \markup {}
}
-\version "2.7.29"
+\version "2.7.32"
#(define (doc-char name)
(make-line-markup
texidoc = "Frets are supported as markup commands."
}
-\version "2.7.13"
+\version "2.7.32"
\score {
<<
g' ^\markup \override #'(dot-color . white) {\fret-diagram-terse #'"3 5;2 3 5;2 4 5;2 4 5;3 5;2 3;" }
r r r}
>>
- \layout{ raggedright = ##f }
+ \layout{ ragged-right = ##f }
}
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "@cindex Gregorian Scripts
\include "gregorian-init.ly"
\paper {
- linethickness = \staffspace / 5.0
+ line-thickness = \staff-space / 5.0
}
\score {
}
}
\layout {
- linewidth = 70.0
+ line-width = 70.0
width = 60.0
indent = 0.0
- raggedright = ##t
+ ragged-right = ##t
}
}
-\version "2.7.13"
+\version "2.7.32"
#(if (not (defined? 'pieceTagLine))
"
}
-\layout {raggedright=##t}
+\layout {ragged-right=##t}
{ c'4 }
-\version "2.7.13"
+\version "2.7.32"
\header { texidoc = "
}
>>
\layout{
- linewidth=140.\mm
+ line-width=140.\mm
\context {
\Voice
printPartCombineTexts = ##f
-\version "2.7.13"
+\version "2.7.32"
\header { texidoc = "@cindex Instrument Name Grandstaff
You can have a name for the whole @code{GrandStaff} in addition to
individual @code{Staff}s. " }
\layout {
-raggedright = ##t
+ragged-right = ##t
\context { \GrandStaff \consists "Instrument_name_engraver" }
}}
-\version "2.7.13"
+\version "2.7.32"
\header { texidoc = "@cindex Ancient Vaticana
Vaticana ligature uses four staff lines, special clef, and
}
\paper {
- linethickness = \staffspace / 7.0
+ line-thickness = \staff-space / 7.0
}
\score {
\lyricsto "cantus" \verba
>>
\layout {
- linewidth = 137.0 \mm
+ line-width = 137.0 \mm
width = 137.0 \mm
indent = 0.0
- raggedright = ##t
+ ragged-right = ##t
packed = ##t
\context {
\Score
-\version "2.7.13"
+\version "2.7.32"
% MERGE with title.ly -gp
%{
-\version "2.7.13"
+\version "2.7.32"
% TODO:
% check with ancient- stuff. rename, merge, something. -gp
}
\paper {
- linethickness = \staffspace / 5.0
+ line-thickness = \staff-space / 5.0
}
\score {
\context ChoirStaff <<
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc ="@cindex Ancient Mensural Note Heads
c\longa*1/4 c\breve*1/2 c1 c2 c4 c8
}
}
- \layout{raggedright=##t}
+ \layout{ragged-right=##t}
}
-\version "2.7.13"
+\version "2.7.32"
% possible rename to scheme- or something like that. -gp
\header { texidoc = "@cindex Scheme Move Text
Objects, like text, can be moved around by using some Scheme code.
'extra-offset '(-3.5 . -4.5))
a^2^"m.d."
}
- \layout { raggedright = ##t}
+ \layout { ragged-right = ##t}
}
-\version "2.7.13"
+\version "2.7.32"
\include "deutsch.ly"
% possible rename to scheme- something. -gp
% TODO: ask if it needs to have so many empty bars in the middle. -gp
-\version "2.7.13"
+\version "2.7.32"
pat = \transpose c c' \repeat unfold 2 {
<< { \context Staff = "up" {r8 e16 f g e f g } }
\PianoStaff
\override VerticalAlignment #'forced-distance = #10
}
- linewidth = 18.0 \cm
+ line-width = 18.0 \cm
}
\midi {
-\version "2.7.13"
+\version "2.7.32"
% possible rename to scheme- something. -gp
\header { texidoc = "@cindex Scheme Music Creation
(make-note (list (make-note-req (ly:make-pitch 1 1 0) (ly:make-duration 2 0))))))
\score { \fooMusic
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
}
-\version "2.7.13"
+\version "2.7.32"
% possible rename to bar-lines-foo. -gp
\header{ texidoc = "@cindex Bar Lines Remove
d c b a
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
\context {
\Staff
whichBar = #""
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "@cindex Key Signature End of Line
\header { texidoc = "Ossia fragments can be done with starting and
stopping staves. " }
-\version "2.7.13"
-\paper { raggedright = ##t }
+\version "2.7.32"
+\paper { ragged-right = ##t }
<<
\new Staff \with
-\version "2.7.13"
+\version "2.7.32"
% check with invisible-notes or blank-notes. possible rename. -gp
\header{ texidoc = "@cindex Partial Blank
When entering partially typeset music (i.e. for students to be
-\version "2.7.13"
+\version "2.7.32"
\header { texidoc = "
@cindex Preset Extent
\override LyricText #'X-extent = #'(-10.0 . 10.0)
bar baz
}
- \layout { raggedright = ##t}
+ \layout { ragged-right = ##t}
}
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "@cindex Rests
\layout {
indent = 0.0
- raggedright = ##t
+ ragged-right = ##t
}
\context Staff \relative c {
-\version "2.7.13"
+\version "2.7.32"
% possible rename to scheme-something.
\header { texidoc="@cindex Scheme Reverse Music
Symmetric, or palindromical music can be produced, first, by printing
\music
\applyMusic #reverse-music \music
}
- \layout { raggedright = ##t}
+ \layout { ragged-right = ##t}
}
% this chart is used in the manual too.
-\version "2.7.13"
+\version "2.7.32"
\header { texidoc = "@cindex Script Abbreviations
Some articulations may be entered using an abbreviation.
-\version "2.7.13"
+\version "2.7.32"
% this chart is used in the manual too.
}
>>
\layout {
- linewidth = 5.1\in
+ line-width = 5.1\in
indent = 0.0\mm
}
}
-\version "2.7.13"
+\version "2.7.32"
\header {
-\version "2.7.13"
+\version "2.7.32"
\header { texidoc = "@cindex Slur Minimum Length
By setting the minimum length of a slur, notes are more separated. "
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc="@cindex Smart Transpose
\transpose c deses \music
\applyMusic #naturalise \transpose c deses \music
}
- \layout { raggedright = ##t}
+ \layout { ragged-right = ##t}
}
}
-\version "2.7.13"
+\version "2.7.32"
\paper {
- raggedright = ##t
+ ragged-right = ##t
indent = #0.0
}
-\version "2.7.13"
+\version "2.7.32"
\header{ texidoc="@cindex Nested Staff Groups
Staffs can be nested in various combinations. Here, @code{StaffGroup}
>>
- \layout { raggedright = ##t}
+ \layout { ragged-right = ##t}
}
-\version "2.7.13"
+\version "2.7.32"
\header {
\remove Clef_engraver
\remove Time_signature_engraver
}
- raggedright=##t
+ ragged-right=##t
}
}
-\version "2.7.13"
+\version "2.7.32"
\header {
\lower
}
>>
- \layout { raggedright=##t}
+ \layout { ragged-right=##t}
}
-\version "2.7.13"
+\version "2.7.32"
\header { texidoc = "@cindex Staff Size
}
-\layout { raggedright = ##t}
+\layout { ragged-right = ##t}
\relative c' <<
% \new Staff \relative c'' { \dynamicDown c4 \ff c c c }
-\version "2.7.13"
+\version "2.7.32"
\header { texidoc = "@cindex Stem Extend
Extending stems to the center line may be prevented using @code{no-stem-extend}.
>>
}
- \layout { raggedright = ##t}
+ \layout { ragged-right = ##t}
}
-\version "2.7.13"
+\version "2.7.32"
\header {texidoc = "@cindex Tablature hammer
A hammer in tablature can be faked with slurs. "
}
d(c)
}
>>
- \layout{ raggedright = ##t}
+ \layout{ ragged-right = ##t}
}
-\version "2.7.13"
+\version "2.7.32"
\header {
}
-\version "2.7.13"
+\version "2.7.32"
\score {
\new Staff \relative c'' {
c4 c4 }
-\layout { raggedright = ##t }
+\layout { ragged-right = ##t }
}
-\version "2.7.13"
+\version "2.7.32"
\header { texidoc = "@cindex text spanner
Text spanners can be used in the similar manner than markings for pedals
or octavation.
"
}
-\layout{ raggedright = ##t}
+\layout{ ragged-right = ##t}
\relative c''{
\override TextSpanner #'edge-text = #'("bla" . "blu")
used contemporary pieces with many time signature changes. "
}
-\version "2.7.13"
+\version "2.7.32"
\layout {
- raggedright = ##T
+ ragged-right = ##T
}
\layout{
-\version "2.7.13"
+\version "2.7.32"
\header {
texidoc = "Applying the standard function @code{unfold-repeats} unfolds
-\version "2.7.13"
+\version "2.7.32"
\header {
-\version "2.7.14"
+\version "2.7.32"
% TODO: huh? what's this file about? -gp
\header { texidoc = "
}
>>
\layout{
- raggedright = ##t
+ ragged-right = ##t
}
}
the @code{voltaOnThisStaff} property to true for the @code{ChordNames} context and to false for the topmost ordinary @code{Staff} context."
}
-\version "2.7.13"
+\version "2.7.32"
\score { <<
\new ChordNames \with {
voltaOnThisStaff = ##t
-\version "2.6.0"
+\version "2.7.32"
\header{
filename = "twinkle-pop.ly"
composer = "traditional"
}
-\version "2.7.14"
+\version "2.7.32"
ignoreMelisma = \set ignoreMelismata = ##t
ignoreMelismaOff = \unset ignoreMelismata
\paper {
%#(set-global-staff-size (* 5.8 mm))
indent = #(* mm 4)
- linewidth = #(* mm 140)
+ line-width = #(* mm 140)
interscoreline = 2.\mm
- betweensystemspace = 15\mm
- raggedbottom = ##t
+ between-system-space = 15\mm
+ ragged-bottom = ##t
}
modernAccidentals = {
-\version "2.7.31"
+\version "2.7.32"
\header {
texidoc = "Wilhelmus van Nassouwe"
%% first line left margin
%% justified:
%% \context Staff \applyContext #(set-extra-space 'TimeSignature 'first-note 4.5)
- %% raggedright:
+ %% ragged-right:
\context Staff \applyContext #(set-extra-space 'TimeSignature 'first-note 9.5)
%% next lines left margin
\layout {
indent = 0.0\mm
- linewidth = 120.0\mm
+ line-width = 120.0\mm
textheight = 270.0\mm
}
%% justified lines:
%%\override Staff.BarLine #'extra-offset = #'(12 . 0)
- %% raggedright:
+ %% ragged-right:
\override Staff.BarLine #'extra-offset = #'(23 . 0)
\bar "|."
}
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
\context {
\Score
%% hai2zi5: child,
%% guai1-guai1: well-behaved)
-\version "2.6.0"
+\version "2.7.32"
\header {
title = "小孩子乖乖"
(max (1+ (cadr box)) (cadddr box))
)))
- (display (ly:stencil-extent dump-me X))
(let* ((outputter (ly:make-paper-outputter
;; FIXME: better wrap open/open-file,
;; content-mangling is always bad.
* this script is too complex. Modularize.
* ly-options: intertext?
- * --linewidth?
+ * --line-width?
* eps in latex / eps by lilypond -b ps?
* check latex parameters, twocolumn, multicolumn?
* use --png --ps --pdf for making images?
INDENT = 'indent'
LATEX = 'latex'
LAYOUT = 'layout'
-LINEWIDTH = 'linewidth'
+LINE_WIDTH = 'line-width'
NOFRAGMENT = 'nofragment'
NOINDENT = 'noindent'
NOQUOTE = 'noquote'
PAPER: {
INDENT: r'''indent = %(indent)s''',
- LINEWIDTH: r'''linewidth = %(linewidth)s''',
+ LINE_WIDTH: r'''line-width = %(line-width)s''',
- QUOTE: r'''linewidth = %(linewidth)s - 2.0 * %(exampleindent)s''',
+ QUOTE: r'''line-width = %(line-width)s - 2.0 * %(exampleindent)s''',
RAGGEDRIGHT: r'''raggedright = ##t''',
%% ****************************************************************
'''
-texinfo_linewidths = {
+texinfo_line_widths = {
'@afourpaper': '160\\mm',
'@afourwide': '6.5\\in',
'@afourlatex': '150\\mm',
if m:
return ('staffsize', m.group (1))
- if key == 'indent' or key == 'linewidth':
+ if key == 'indent' or key == 'line-width':
m = re.match ('([-.0-9]+)(cm|in|mm|pt|staffspace)', value)
if m:
f = float (m.group (1))
def set_default_options (source):
global default_ly_options
- if not default_ly_options.has_key (LINEWIDTH):
+ if not default_ly_options.has_key (LINE_WIDTH):
if format == LATEX:
textwidth = get_latex_textwidth (source)
- default_ly_options[LINEWIDTH] = \
+ default_ly_options[LINE_WIDTH] = \
'''%.0f\\pt''' % textwidth
elif format == TEXINFO:
- for (k, v) in texinfo_linewidths.items ():
+ for (k, v) in texinfo_line_widths.items ():
# FIXME: @layout is usually not in
# chunk #0:
#
# source.
# s = chunks[0].replacement_text ()
if re.search (k, source[:1024]):
- default_ly_options[LINEWIDTH] = v
+ default_ly_options[LINE_WIDTH] = v
break
class Chunk:
else:
self.option_dict[i] = None
- has_linewidth = self.option_dict.has_key (LINEWIDTH)
- no_linewidth_value = 0
+ has_line_width = self.option_dict.has_key (LINE_WIDTH)
+ no_line_width_value = 0
- # If LINEWIDTH is used without parameter, set it to default.
- if has_linewidth and self.option_dict[LINEWIDTH] == None:
- no_linewidth_value = 1
- del self.option_dict[LINEWIDTH]
+ # If LINE_WIDTH is used without parameter, set it to default.
+ if has_line_width and self.option_dict[LINE_WIDTH] == None:
+ no_line_width_value = 1
+ del self.option_dict[LINE_WIDTH]
for i in default_ly_options.keys ():
if i not in self.option_dict.keys ():
self.option_dict[i] = default_ly_options[i]
- if not has_linewidth:
+ if not has_line_width:
if type == 'lilypond' or FRAGMENT in self.option_dict.keys ():
self.option_dict[RAGGEDRIGHT] = None
if type == 'lilypond':
- if LINEWIDTH in self.option_dict.keys ():
- del self.option_dict[LINEWIDTH]
+ if LINE_WIDTH in self.option_dict.keys ():
+ del self.option_dict[LINE_WIDTH]
else:
if RAGGEDRIGHT in self.option_dict.keys ():
- if LINEWIDTH in self.option_dict.keys ():
- del self.option_dict[LINEWIDTH]
+ if LINE_WIDTH in self.option_dict.keys ():
+ del self.option_dict[LINE_WIDTH]
if QUOTE in self.option_dict.keys () or type == 'lilypond':
- if LINEWIDTH in self.option_dict.keys ():
- del self.option_dict[LINEWIDTH]
+ if LINE_WIDTH in self.option_dict.keys ():
+ del self.option_dict[LINE_WIDTH]
if not INDENT in self.option_dict.keys ():
self.option_dict[INDENT] = '0\\mm'
- # The QUOTE pattern from ly_options only emits the `linewidth'
+ # The QUOTE pattern from ly_options only emits the `line-width'
# keyword.
- if has_linewidth and QUOTE in self.option_dict.keys ():
- if no_linewidth_value:
- del self.option_dict[LINEWIDTH]
+ if has_line_width and QUOTE in self.option_dict.keys ():
+ if no_line_width_value:
+ del self.option_dict[LINE_WIDTH]
else:
del self.option_dict[QUOTE]
# To set @exampleindent locally to zero, we use the @format
# environment for non-quoted snippets.
override[EXAMPLEINDENT] = r'0.4\in'
- override[LINEWIDTH] = texinfo_linewidths['@smallbook']
+ override[LINE_WIDTH] = texinfo_line_widths['@smallbook']
override.update (default_ly_options)
option_list = []
projects / lilypond.git / commitdiff