The octave of notes may also be checked with the
@code{\octave}@tie{}@var{controlpitch} command. @var{controlpitch} is
specified in absolute mode. This checks that the interval between the
-previous note and the @var{controlpitch} is within a fourth (i.e. the
+previous note and the @var{controlpitch} is within a fourth (i.e., the
normal calculation of relative mode). If this check fails, a warning
is printed, but the previous note is not changed. Future notes are
relative to the @var{controlpitch}.
@end lilypond
Compare the two bars below. The first and third @code{\octave}
-check fail, but the second one does not fail.
+checks fail, but the second one does not fail.
@lilypond[verbatim,quote,ragged-right,fragment]
\relative c'' {
}
@end lilypond
-If a part written in C (normal concert pitch) is to be played on
+If a part written in C (normal @notation{concert pitch}) is to be played on
the A clarinet (for which an A is notated as a C and thus sounds a
minor third lower than notated), the appropriate part will be
produced with:
By adding @code{_8} or @code{^8} to the clef name, the clef is
transposed one octave down or up, respectively, and @code{_15} and
-@code{^15} transposes by two octaves. The argument @var{clefname}
+@code{^15} transpose by two octaves. The argument @var{clefname}
must be enclosed in quotes when it contains underscores or digits.
@cindex choral tenor clef
\new Staff = "Vln" {
\relative c'' {
\set Staff.instrumentName = "Vln"
- \set Staff.midiInstrument="violin"
+ \set Staff.midiInstrument = "violin"
% strictly speaking not necessary, but a good reminder
\transposition c'
}
\new Staff = "clarinet" {
\relative c'' {
- \set Staff.instrumentName = \markup {Cl (B\flat)}
- \set Staff.midiInstrument="clarinet"
+ \set Staff.instrumentName = \markup { Cl (B\flat) }
+ \set Staff.midiInstrument = "clarinet"
\transposition bes
% not concert pitch
\transposition a
c d e f
\textLengthOn
-r1^\markup{Switch to B\flat clarinet}
+s1*0^\markup { Switch to B\flat clarinet }
+R1
\key bes \major
\transposition bes
@item default
This is the default typesetting behavior. It corresponds to
eighteenth-century common practice: accidentals are remembered to
-the end of the measure in which they occur and only on their own
+the end of the measure in which they occur and only in their own
octave. Thus, in the example below, no natural signs are printed
before the@tie{}@code{b} in the second measure or the
last@tie{}@code{c}:
@end lilypond
@item voice
-The normal behavior is to remember the accidentals on Staff-level.
+The normal behavior is to remember the accidentals at @code{Staff}-level.
In this style, however, accidentals are typeset individually for
each voice. Apart from that, the rule is similar to
@code{default}.
This rule reflects twentieth-century practice for piano notation.
Its behavior is very similar to @code{modern} style, but here
accidentals also get canceled across the staves in the same
-GrandStaff or PianoStaff, hence all the cancellations of the final
-notes.
+@code{GrandStaff} or @code{PianoStaff}, hence all the cancellations
+of the final notes.
This accidental style applies to the current @code{GrandStaff} or
@code{PianoStaff} by default.
This is the opposite of @code{no-reset}: Accidentals are not
remembered at all -- and hence all accidentals are typeset
-relative to the key signature, regardless of what was before in
+relative to the key signature, regardless of what came before in
the music:
@lilypond[quote,ragged-right]
\layout {
\context {
\Voice
- \consists Ambitus_engraver
+ \consists "Ambitus_engraver"
}
}
\relative c'' {
- aes c e2 cis,2
+ aes c e2
+ cis,1
}
@end lilypond
@lilypond[verbatim,fragment,quote,ragged-right,relative=1]
\aikenHeads
-c8 d4 e8 a2 g1
+c8 d4 e8 a2
+g1
\sacredHarpHeads
-c,8 d4 e8 a2 g1
+c,8 d4 e8 a2
+g1
@end lilypond
Shapes are typeset according to the step in the scale, where
@lilypond[verbatim,quote,ragged-right]
\new Voice \with {
- \consists Pitch_squash_engraver
+ \consists "Pitch_squash_engraver"
} \transpose c c' {
e8 e g a a16( bes) a8 g
\improvisationOn
- e8
- ~e2~e8 f4 fis8
- ~fis2
+ e8 ~
+ e2 ~ e8 f4 f8 ~
+ f2
\improvisationOff
- a16(bes) a8 g e
+ a16( bes) a8 g e
}
@end lilypond
the notes are 2/3 of their written length.
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-a2 \times 2/3 {b4 b b}
-c4 c \times 2/3 {b4 a g}
+a2 \times 2/3 { b4 b b }
+c4 c \times 2/3 { b4 a g }
@end lilypond
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\autoBeamOff
-c4 \times 4/5 { f8 e f \times 2/3 {e[ f g] } } f4 |
+c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4 |
@end lilypond
Modifying nested tuplets which begin at the same musical moment
used when note values cross larger subdivisions of the measure:
@lilypond[fragment,quote,ragged-right]
-\relative {
- r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
+\relative c' {
+ r8 c8 ~ c2 r4 |
+ r8^"not" c2 ~ c8 r4
}
@end lilypond
-If you need to tie a lot of notes across bar lines, it may be
+If you need to tie many notes across bar lines, it may be
easier to use automatic note splitting, see @ref{Automatic note
splitting}. This mechanism automatically splits long notes, and
ties them across bar lines.
the chord.
@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
- <c e g> ~ <c e g>
+<c e g> ~ <c e g>
<c~ e g~ b> <c e g b>
@end lilypond
% First alternative: following note is tied normally
{ <c e>2. r4 }
% Second alternative: following note has a repeated tie
- {<c e>2\repeatTie d4 c }}
+ { <c e>2\repeatTie d4 c } }
@end lilypond
@cindex laissez vibrer
piano, harp and other string and percussion instruments. They can
be entered as follows:
-@lilypond[fragment,ragged-right,verbatim,relative=1]
+@lilypond[fragment,quote,ragged-right,verbatim,relative=1]
<c f g>\laissezVibrer
@end lilypond
followed by the required duration, as shown here:
@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
-% Skip the third beat in the first bar
+% Skip the third beat in the first measure
a4 a4 s4 a4
-% Use skip command to skip a whole note (bar)
+% Use skip command to skip a whole note (measure)
\skip 1
a2 a2
@end lilypond
The @code{s} skip rest implicitly causes @code{Staff} and
@code{Voice} contexts to be created if none exist, just
like notes and rests do. These in turn cause a staff with default
-clef and time signature to be printed, with if necessary, barlines.
+clef and time signature to be printed, with bar lines if necessary.
For example, the following results in a complete staff with three
-short empty bars:
+short empty measures:
@lilypond[quote,verbatim,fragment,ragged-right]
{ s1 s s }
\time 3/4 r2. | R2.*2 |
\time 2/4 R2 |
\time 4/4
-% Rest bars contracted to single bar
+% Rest measures contracted to single measure
\compressFullBarRests
r1 | R1*17 | R1*4 |
-% Rest bars expanded
+% Rest measures expanded
\expandFullBarRests
\time 3/4
R2.*2 |
@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
\compressFullBarRests
\textLengthOn
-s1*0^\markup {[MAJOR GENERAL]}
+s1*0^\markup { [MAJOR GENERAL] }
R1*19
-s1*0^\markup {[MABEL] }
-s1*0_\markup {\italic {Cue: ... it is yours}}
+s1*0^\markup { [MABEL] }
+s1*0_\markup { \italic { Cue: ... it is yours } }
R1*30
\textLengthOff
-c4^\markup {CHORUS} d f c
+c4^\markup { CHORUS } d f c
@end lilypond
@noindent
Text attached to a skip note in this way is left-aligned to the
-position where the note would be placed in the bar, and placed
-above the bar count numeral, but if the bar length is
+position where the note would be placed in the measure, and placed
+above the measure count numeral, but if the measure length is
determined by the length of the text, the text will appear to be
centered. If two (or more) texts are
-attached to skip notes in a bar the bar length is determined by
+attached to skip notes in a measure the measure length is determined by
the longer text, and the shorter text is then clearly
-left-aligned, as shown in the second bar above. If the shorter
+left-aligned, as shown in the second measure above. If the shorter
text of two marks is short enough to fit it will be placed
-alongside and to the left of the bar count numeral.
+alongside and to the left of the measure count numeral.
@predefined
@code{\textLengthOn},
indicating how much of the measure has passed at this point. Note
that this is set to a negative number by the @code{\partial}
command: i.e., @code{\partial 4} is internally translated to
-@code{-4}, meaning @qq{there is a quarter note left in the bar.}
+@code{-4}, meaning @qq{there is a quarter note left in the measure.}
@seealso
}
@end lilypond
-@strong{Staves with different time signatures, equal bar lengths}
+@strong{Staves with different time signatures, equal measure lengths}
This notation can be created by setting a common time signature
for each staff but replacing the symbol manually by setting
@strong{Staves with different time signatures, unequal bar lengths}
Each staff can be given its own independent time signature by
-moving the Timing_translator to the Staff context.
+moving the @code{Timing_translator} to the @code{Staff} context.
@lilypond[quote,verbatim,ragged-right]
\layout {
\relative c' <<
\new Staff {
\time 3/4
- c4 c c | c c c |
+ c4 c c |
+ c c c |
}
\new Staff {
\time 2/4
- c4 c | c c | c c
+ c4 c |
+ c c |
+ c c |
}
\new Staff {
\time 3/8
- c4. c8 c c c4. c8 c c
+ c4. |
+ c8 c c |
+ c4. |
+ c8 c c |
}
>>
@end lilypond
\consists "Completion_heads_engraver"
}
-{c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2}
+{ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
@end lilypond
This engraver splits all running notes at the bar line, and
@lilypond[ragged-right,relative=2,fragment,verbatim,quote]
\override Beam #'breakable = ##t
-c8 \repeat unfold 15 {c[ c] } c
+c8 \repeat unfold 15 { c[ c] } c
@end lilypond
@cindex beams and line breaks
@end example
@noindent
-be, p, q, n, m, a, b and context are the same as above. Note that the
+@code{be}, @code{p}, @code{q}, @code{n}, @code{m}, @code{a},
+@code{b} and @code{context} are the same as above. Note that the
default rules are specified in @file{scm/@/auto@/-beam@/.scm},
so you can revert rules that you did not explicitly create.
a16 a a a a a a a a a a a a a a a
@end lilypond
-The rule in a revert-auto-beam-setting statement must exactly match the
-original rule. That is, no wildcard expansion is taken into account.
+The rule in a @code{revert-auto-beam-setting} statement must exactly
+match the original rule. That is, no wildcard expansion is taken into
+account.
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\time 1/4
draw on the left and right side, respectively, of the next note.
If either property is set, its value will be used only once, and
then it is erased. In this example, the last @code{f} is printed
-with only one beam on the left side, i.e. the eighth-note beam of
+with only one beam on the left side, i.e., the eighth-note beam of
the group as a whole.
@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
changing the overall tempo of the piece. The extent of the
feathered beam must be indicated manually using @code{[} and
@code{]}, and the beam feathering is turned on by specifying a
-direction to the Beam property @code{grow-direction}.
+direction to the @code{Beam} property @code{grow-direction}.
If the placement of the notes and the sound in the MIDI output
is to reflect the ritardando or accelerando indicated by the
@warning{An incorrect duration can lead to poorly formatted
music.}
-It is not invalid if the final note in a bar does not
+It is not invalid if the final note in a measure does not
end on the automatically entered bar line: the note is assumed
-to carry over into the next bar. But if a long sequence
-of such carry-over bars appears the music can appear compressed
+to carry over into the next measure. But if a long sequence
+of such carry-over measures appears the music can appear compressed
or even flowing off the page. This is because automatic line
-breaks happen only at the end of complete bars, i.e. where
-the end of a note coincides with the end of a bar.
+breaks happen only at the end of complete measures, i.e., where
+the end of a note coincides with the end of a measure.
@cindex line breaks
@cindex bar lines, invisible
@cindex measure lines, invisible
Line breaks are also permitted at manually inserted bar lines
-even within incomplete bars. To allow a line break without
+even within incomplete measures. To allow a line break without
printing a bar line, use
@example
@ref{Line breaking}.
This and other special bar lines may be inserted manually at any
-point. When they coincide with the end of a bar they replace
+point. When they coincide with the end of a measure they replace
the simple bar line which would have been inserted there
automatically. When they do not coincide
-with the end of a bar the specified bar line is inserted at that
+with the end of a measure the specified bar line is inserted at that
point in the printed output. Such insertions do not affect
the calculation and placement of subsequent automatic bar lines.
@c and moved into the Snippets. -gp
@noindent
-and here the bar numbers are printed every two bars
+and here the bar numbers are printed every two measures
except at the end of the line:
@lilypond[verbatim,ragged-right,quote,fragment,relative]
\override Score.BarNumber #'break-visibility = ##(#f #t #t)
\set Score.currentBarNumber = #11
\bar "" % Permit first bar number to be printed
-% Print a bar number every 2nd bar
+% Print a bar number every second measure
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
c1 c c c c
\break
Bar numbers by default are left-aligned to their parent object.
This is usually the left edge of a line or, if numbers are printed
-within a line, the left bar line of the bar. The numbers may also
+within a line, the left bar line of the measure. The numbers may also
be positioned directly on the bar line or right-aligned to the
bar line:
\override Score.BarNumber #'break-visibility = ##(#t #t #t)
% Increase the size of the bar number by 2
\override Score.BarNumber #'font-size = #2
-% Print a bar number every 2nd bar
+% Print a bar number every second measure
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
c1 c1
% Center-align bar numbers
c1 c1
@end lilypond
-Bar numbers can be removed entirely by removing the Bar number
-engraver from the score context.
+Bar numbers can be removed entirely by removing the
+@code{Bar_number_engraver} from the @code{Score} context.
@lilypond[verbatim,ragged-right,quote]
\layout {
command. It takes two arguments: the main note, and the grace
notes following the main note.
-@lilypond[ragged-right, verbatim,relative=2,fragment]
+@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
c1 \afterGrace d1 { c16[ d] } c4
@end lilypond
This will put the grace notes after a @q{space} lasting 3/4 of the
length of the main note. The fraction 3/4 can be changed by
-setting @code{afterGraceFraction}, ie.
+setting @code{afterGraceFraction}, i.e.,
@example
#(define afterGraceFraction (cons 7 8))
@noindent
By adjusting the duration of the skip note (here it is a
-half-note), the space between the main-note and the grace
+half-note), the space between the main note and the grace
may be adjusted.
A @code{\grace} music expression will introduce special
A solution to this problem is to use the functions
@code{mmrest-of-length} and @code{skip-of-length}. These Scheme
-functions take a piece of music as argument, and generate a multi-rest
-or @code{\skip}, exactly as long as the piece. The use of
+functions take a piece of music as argument, and generate a multi-measure
+rest or @code{\skip}, exactly as long as the piece. The use of
@code{mmrest-of-length} is demonstrated in the following example.
@lilypond[verbatim,ragged-right,quote]
projects / lilypond.git / commitdiff