@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@ignore
- Translation of GIT committish: ba9298b3ea614367f3f463134bf49ba2cbd8c1fb
+ Translation of GIT committish: 0a8cfef9d285775b5587218e57ffaa9bbf134359
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@cindex NoteHead, ejemplo de sobreescritura
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-c d
+c4 d
\override NoteHead #'color = #red
-e f g
+e4 f |
\override NoteHead #'color = #green
-a b c
+g4 a b c |
@end lilypond
@strong{La instrucción \revert}
@cindex NoteHead, ejemplo de sobreescritura
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-c d
+c4 d
\override NoteHead #'color = #red
-e f g
+e4 f |
\override NoteHead #'color = #green
-a
+g4 a
\revert NoteHead #'color
-b c
+b4 c |
@end lilypond
@strong{El prefijo \once}
@cindex NoteHead, ejemplo de sobreescritura
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-c d
+c4 d
\once \override NoteHead #'color = #red
-e f g
+e4 f |
\once \override NoteHead #'color = #green
-a b c
+g4 a b c |
@end lilypond
@strong{La instrucción \overrideProperty}
@cindex NoteHead, ejemplo de sobreescritura
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
- <c e g>4
- \once \override NoteHead #'font-size = #-3
- <c e g>
- <c e g>
+<c e g>4
+\once \override NoteHead #'font-size = #-3
+<c e g>4
+<c e g>4
@end lilypond
Vemos que la sobreescritura con override afecta a @emph{todas} las
@cindex @code{\tweak}, ejemplo
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
- <c e g>4
- <c \tweak #'font-size #-3 e g>4
+<c e g>4
+<c \tweak #'font-size #-3 e g>4
@end lilypond
Observe que la sintaxis de @code{\tweak} no es igual que la de
@cindex @code{\tweak}, ejemplo
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-a ^Black
- -\tweak #'color #red ^Red
- -\tweak #'color #green _Green
+a4^"Black"
+ -\tweak #'color #red ^"Red"
+ -\tweak #'color #green _"Green"
@end lilypond
@noindent
\tweak #'direction #up
\times 4/3 {
\tweak #'color #red
- \times 2/3 { c8[ c8 c8] }
- \times 2/3 { c8[ c8 c8] }
- \times 2/3 { c8[ c8 c8] }
+ \times 2/3 { c8[ c c] }
+ \times 2/3 { c8[ c c] }
+ \times 2/3 { c8[ c c] }
}
@end lilypond
\once \override TupletNumber
#'text = #tuplet-number::calc-fraction-text
\times 2/3 {
- c[ c]
- c[ c]
+ c8[ c]
+ c8[ c]
\once \override TupletNumber #'transparent = ##t
\times 2/3 { c8[ c c] }
\times 2/3 { c8[ c c] }
Utilicemos un ejemplo concreto con un sencillo fragmento de música
real:
+@c Mozart, dúo, núm. 7 de La Flauta Mágica
+
@lilypond[quote,verbatim,relative=2]
{
+ \key es \major
\time 6/8
{
- r4 b8 b[( g]) g
- g4[( e]) e d[( f]) a
- a4 g
+ r4 bes8 bes[( g]) g |
+ g8[( es]) es d[( f]) as |
+ as8 g
}
\addlyrics {
- The man who feels love's sweet e -- mo -- tion
+ The man who | feels love's sweet e -- | mo -- tion
}
}
@end lilypond
@lilypond[quote,verbatim,relative=2]
{
+ \key es \major
\time 6/8
{
% Increase thickness of all following slurs from 1.2 to 5.0
\override Slur #'thickness = #5.0
- r4 b8 b[( g]) g
- g4[( e]) e d[( f]) a
- a4 g
+ r4 bes8 bes[( g]) g |
+ g8[( es]) es d[( f]) as |
+ as8 g
}
\addlyrics {
- The man who feels love's sweet e -- mo -- tion
+ The man who | feels love's sweet e -- | mo -- tion
}
}
@end lilypond
@lilypond[quote,verbatim,relative=2]
{
+ \key es \major
\time 6/8
{
- r4 b8
+ r4 bes8
% Increase thickness of immediately following slur only
\once \override Slur #'thickness = #5.0
- b4[( g]) g
- g4[( e]) e d[( f]) a
- a4 g
+ bes8[( g]) g |
+ g8[( es]) es d[( f]) as |
+ as8 g
}
\addlyrics {
- The man who feels love's sweet e -- mo -- tion
+ The man who | feels love's sweet e -- | mo -- tion
}
}
@end lilypond
@lilypond[quote,verbatim,relative=2]
{
+ \key es \major
\time 6/8
{
- r4 b8
+ r4 bes8
% Increase thickness of immediately following slur only
\once \override Slur #'thickness = #5.0
- b4[( g]) g
+ bes[( g]) g |
% Increase thickness of immediately following slur only
\once \override Slur #'thickness = #5.0
- g4[( e]) e d[( f]) a
- a4 g
+ g8[( es]) es d[( f]) as |
+ as8 g
}
\addlyrics {
- The man who feels love's sweet e -- mo -- tion
+ The man who | feels love's sweet e -- | mo -- tion
}
}
@end lilypond
@lilypond[quote,verbatim,relative=2]
{
+ \key es \major
\time 6/8
{
- r4 b8
+ r4 bes8
% Increase thickness of all following slurs from 1.2 to 5.0
\override Slur #'thickness = #5.0
- b4[( g]) g
- g4[( e])
+ bes[( g]) g |
+ g8[( es]) es
% Revert thickness of all following slurs to default of 1.2
\revert Slur #'thickness
- e4 d[( f]) a
- a4 g
+ d8[( f]) as |
+ as8 g
}
\addlyrics {
- The man who feels love's sweet e -- mo -- tion
+ The man who | feels love's sweet e -- | mo -- tion
}
}
@end lilypond
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
+ \key es \major
\time 6/8
{
- r4 b8 b[( g]) g
- g4[( e]) e d[( f]) a
- a4 g
+ r4 bes8 bes[( g]) g |
+ g8[( es]) es d[( f]) as |
+ as8 g
}
\addlyrics {
\override LyricText #'font-shape = #'italic
- The man who feels love's sweet e -- mo -- tion
+ The man who | feels love's sweet e -- | mo -- tion
}
}
@end lilypond
{
\time 12/16
\override BarLine #'stencil = ##f
- c4 b8 c d16 c d8
- g,8 a16 b8 c d4 e16
+ c4 b8 c d16 c d8 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
{
\time 12/16
\override Staff.BarLine #'stencil = ##f
- c4 b8 c d16 c d8
- g,8 a16 b8 c d4 e16
+ c4 b8 c d16 c d8 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
@lilypond[quote,verbatim,relative=2]
{
- c c
+ c4 c
\once \override NoteHead #'stencil = #point-stencil
- c c
+ c4 c
}
@end lilypond
{
\time 12/16
\override Staff.BarLine #'break-visibility = #'#(#f #f #f)
- c4 b8 c d16 c d8
- g,8 a16 b8 c d4 e16
+ c4 b8 c d16 c d8 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
{
\time 12/16
\override Staff.TimeSignature #'transparent = ##t
- c4 b8 c d16 c d8
- g,8 a16 b8 c d4 e16
+ c4 b8 c d16 c d8 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
{
\time 12/16
\override Staff.TimeSignature #'stencil = ##f
- c4 b8 c d16 c d8
- g,8 a16 b8 c d4 e16
+ c4 b8 c d16 c d8 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
{
\time 12/16
\override Staff.BarLine #'color = #white
- c4 b8 c d16 c d8
- g,8 a16 b8 c d4 e16
+ c4 b8 c d16 c d8 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
{
\time 12/16
\override Staff.BarLine #'color = #(x11-color 'white)
- c4 b8 c d16 c d8
- g,8 a16 b8 c d4 e16
+ c4 b8 c d16 c d8 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
{
\time 12/16
\override Staff.BarLine #'color = #(rgb-color 1 1 1)
- c4 b8 c d16 c d8
- g,8 a16 b8 c d4 e16
+ c4 b8 c d16 c d8 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
\override Voice.Stem #'color = #(x11-color 'grey85)
\override Staff.BarLine #'color = #(x11-color 'grey10)
c4 b8 c d16 c d8 |
- g, a16 b8 c d4 e16 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\new Staff ="main" {
\relative g' {
- r4 g8 g c4 c8 d
+ r4 g8 g c4 c8 d |
e4 r8
<<
{ f8 c c }
alignAboveContext = #"main" }
{ f8 f c }
>>
- r4
+ r4 |
}
}
@end lilypond
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\new Staff ="main" {
\relative g' {
- r4 g8 g c4 c8 d
+ r4 g8 g c4 c8 d |
e4 r8
<<
{ f8 c c }
{ f8 f c }
}
>>
- r4
+ r4 |
}
}
@end lilypond
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\new Staff ="main" {
\relative g' {
- r4 g8 g c4 c8 d
+ r4 g8 g c4 c8 d |
e4 r8
<<
{ f8 c c }
}
{ f8 f c }
>>
- r4
+ r4 |
}
}
@end lilypond
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\new Staff ="main" {
\relative g' {
- r4 g8 g c4 c8 d
+ r4 g8 g c4 c8 d |
e4 r8
<<
{ f8 c c }
}
{ f8 f c }
>>
- r4
+ r4 |
}
}
@end lilypond
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\new Staff ="main" {
\relative g' {
- r4 g8 g c4 c8 d
+ r4 g8 g c4 c8 d |
e4 r8
<<
{ f8 c c }
}
{ f8 f c }
>>
- r4
+ r4 |
}
}
@end lilypond
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
c2^"Text1"
-c2^"Text2"
+c2^"Text2" |
c2^"Text3"
-c2^"Text4"
+c2^"Text4" |
@end lilypond
Los pentagramas también se posicionan, de forma predeterminada, tan
@cindex direction, propiedad, ejemplo
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-a4 g c a
+a4 g c a |
\override Stem #'direction = #DOWN
-a4 g c a
+a4 g c a |
\override Stem #'direction = #UP
-a4 g c a
+a4 g c a |
\revert Stem #'direction
-a4 g c a
+a4 g c a |
@end lilypond
Aquí utilizamos las constantes @code{DOWN} (abajo) y @code{UP}
@cindex direction, propiedad, ejemplo
@lilypond[quote,verbatim,relative=2]
-c-5 a-3 f-1 c'-5
+c4-5 a-3 f-1 c'-5 |
\override Fingering #'direction = #DOWN
-c-5 a-3 f-1 c'-5
+c4-5 a-3 f-1 c'-5 |
\override Fingering #'direction = #UP
-c-5 a-3 f-1 c'-5
+c4-5 a-3 f-1 c'-5 |
@end lilypond
Sin embargo, la sobreescritura de la propiedad @code{direction} no es
@cindex digitación, ejemplo
@lilypond[quote,verbatim,relative=2]
-c-5 a-3 f-1 c'-5
-c_5 a_3 f_1 c'_5
-c^5 a^3 f^1 c'^5
+c4-5 a-3 f-1 c'-5 |
+c4_5 a_3 f_1 c'_5 |
+c4^5 a^3 f^1 c'^5 |
@end lilypond
La propiedad @code{direction} se ignora para los acordes, pero los
@cindex digitación, ejemplo
@lilypond[quote,verbatim,relative=2]
-<c-5 g-3>
-<c-5 g-3 e-2>
-<c-5 g-3 e-2 c-1>
+<c-5 g-3>4
+<c-5 g-3 e-2>4
+<c-5 g-3 e-2 c-1>4
@end lilypond
@noindent
@cindex digitación, ejemplo
@lilypond[quote,verbatim,relative=2]
-<c-5 g-3 e-2 c-1>
-<c^5 g_3 e_2 c_1>
-<c^5 g^3 e^2 c_1>
+<c-5 g-3 e-2 c-1>4
+<c^5 g_3 e_2 c_1>4
+<c^5 g^3 e^2 c_1>4
@end lilypond
Es posible ejercer un control aún mayor sobre la colocación de las
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
\set fingeringOrientations = #'(left)
-<f-2>
+<f-2>4
<c-1 e-2 g-3 b-5>4
\set fingeringOrientations = #'(left)
-<f-2>
-<c-1 e-2 g-3 b-5>4
+<f-2>4
+<c-1 e-2 g-3 b-5>4 |
\set fingeringOrientations = #'(up left down)
-<f-2>
+<f-2>4
<c-1 e-2 g-3 b-5>4
\set fingeringOrientations = #'(up left)
-<f-2>
-<c-1 e-2 g-3 b-5>4
+<f-2>4
+<c-1 e-2 g-3 b-5>4 |
\set fingeringOrientations = #'(right)
-<f-2>
+<f-2>4
<c-1 e-2 g-3 b-5>4
@end lilypond
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
\override Fingering #'font-size = #-7
\set fingeringOrientations = #'(left)
-<f-2>
+<f-2>4
<c-1 e-2 g-3 b-5>4
\set fingeringOrientations = #'(left)
-<f-2>
-<c-1 e-2 g-3 b-5>4
+<f-2>4
+<c-1 e-2 g-3 b-5>4 |
\set fingeringOrientations = #'(up left down)
-<f-2>
+<f-2>4
<c-1 e-2 g-3 b-5>4
\set fingeringOrientations = #'(up left)
-<f-2>
-<c-1 e-2 g-3 b-5>4
+<f-2>4
+<c-1 e-2 g-3 b-5>4 |
\set fingeringOrientations = #'(right)
-<f-2>
+<f-2>4
<c-1 e-2 g-3 b-5>4
@end lilypond
c4\pp\<
c4
% Add Text Script
-c4^Text
+c4^Text |
c4 c
% Add Dynamic Text and terminate hairpin
-c4\ff c \stopTextSpan
+c4\ff c \stopTextSpan |
% Stop Ottava Bracket
\ottava #0
-c,4 c c c
+c,4 c c c |
@end lilypond
Este ejemplo también muestra cómo crear textos con extensión (Text
= \markup { \small \bold Slower }
% Place dynamics above staff
\dynamicUp
-%Place following Ottava Bracket below Text Spanners
+% Place following Ottava Bracket below Text Spanners
\once \override Staff.OttavaBracket #'outside-staff-priority = #340
% Start Ottava Bracket
\ottava #1
% Add Dynamic Line Spanner
c4\<
% Add Text Script
-c4^Text
+c4^Text |
c4 c
% Add Dynamic Text
-c4\ff c \stopTextSpan
+c4\ff c \stopTextSpan |
% Stop Ottava Bracket
\ottava #0
-c,4 c c c
+c,4 c c c |
@end lilypond
@cindex ligaduras y outside-staff-priority
que muestra el efecto de los dos métodos:
@lilypond[quote,verbatim,relative=2]
-c4( c^\markup { \tiny \sharp } d4.) c8
+c4( c^\markup { \tiny \sharp } d4.) c8 |
c4(
\once \override TextScript #'avoid-slur = #'inside
\once \override TextScript #'outside-staff-priority = ##f
-c4^\markup \tiny \sharp d4.) c8
+c4^\markup { \tiny \sharp } d4.) c8 |
\once \override Slur #'outside-staff-priority = #500
-c4( c^\markup { \tiny \sharp } d4.) c8
+c4( c^\markup { \tiny \sharp } d4.) c8 |
@end lilypond
Los cambios en @code{outside-staff-priority} también se pueden emplear
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
c2^"Text1"
-c2^"Text2"
+c2^"Text2" |
\once \override TextScript #'outside-staff-priority = #500
c2^"Text3"
-c2^"Text4"
+c2^"Text4" |
@end lilypond
Esto, ciertamente, eleva a @qq{Text3} por encima de @qq{Text4} pero
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\textLengthOn % Cause notes to space out to accommodate text
c2^"Text1"
-c2^"Text2"
+c2^"Text2" |
c2^"Text3"
-c2^"Text4"
+c2^"Text4" |
@end lilypond
La instrucción para volver al comportamiento predeterminado es
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
% This markup is short enough to fit without collision
-c2^"Tex"
-c''2
-R1
+c2^"Tex" c'' |
+R1 |
+
% This is too long to fit, so it is displaced upwards
-c,,2^"Text"
-c''2
-R1
+c,,2^"Text" c'' |
+R1 |
+
% Turn off collision avoidance
\once \override TextScript #'outside-staff-priority = ##f
-c,,2^"Long Text "
-c''2
-R1
+c,,2^"Long Text " c'' |
+R1 |
+
% Turn off collision avoidance
\once \override TextScript #'outside-staff-priority = ##f
-\textLengthOn % and turn on textLengthOn
+\textLengthOn % and turn on textLengthOn
c,,2^"Long Text " % Spaces at end are honored
-c''2
+c''2 |
@end lilypond
\key aes \major
\time 9/8
\dynamicUp
-bes4.~\f\< \( bes4 bes8 des4\ff\> c16 bes\!
-ees,2.~\)\mf ees4 r8
+bes4.~\f\< \( bes4 bes8 des4\ff\> c16 bes\! |
+ees,2.~\)\mf ees4 r8 |
@end lilypond
Sin embargo, si las notas y sus indicaciones dinámicas adosadas están
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\dynamicUp
\override DynamicText #'extra-spacing-width = #'(0 . 0)
-a4\f b\mf c\mp b\p
+a4\f b\mf c\mp b\p |
@end lilypond
@noindent
% This will not work, see below
\override MetronomeMark #'padding = #3
\tempo 4=120
-c1
+c1 |
% This works
\override Score.MetronomeMark #'padding = #3
\tempo 4=80
-d1
+d1 |
@end lilypond
Observe en el segundo ejemplo la gran importancia que tiene saber qué
\once \override Accidental
#'stencil = #ly:text-interface::print
\once \override Accidental #'text = #sesquisharp
- cis4
+ cis4 |
}
@end lilypond
@lilypond[quote,fragment,ragged-right,verbatim,relative=3]
\voiceOne
-< a\2 >
+<a\2>
\once \override StringNumber #'self-alignment-X = #RIGHT
-< a\2 >
+<a\2>
@end lilypond
@subheading la propiedad staff-position (posición en el pentagrama)
@lilypond[quote,verbatim,fragment,ragged-right,relative=1]
r4
\once \override PhrasingSlur #'positions = #'(-4 . -3)
-\acciaccatura
-e8\( d8 c~ c d c d\)
+\acciaccatura e8\( d8 c~ c d c d\)
@end lilypond
Presentamos un ejemplo más extraído del comienzo del pentagrama de la
@lilypond[quote,verbatim,fragment,ragged-right]
{
\clef "bass"
- << { b,8 ais, b, g, } \\ { e, g e, g } >>
- << { b,8 ais, b, g, } \\ { e, g e, g } >>
+ << { b,8 ais, b, g, } \\ { e,8 g e, g } >>
+ << { b,8 ais, b, g, } \\ { e,8 g e, g } >>
}
@end lilypond
\\
{ e,8 g e, g }
>>
- << { b,8 ais, b, g, } \\ { e, g e, g } >>
+ << { b,8 ais, b, g, } \\ { e,8 g e, g } >>
}
@end lilypond
\new Staff \relative c'' {
\key aes \major
<<
- { c2 aes4. bes8 } \\
- { aes2 f4 fes } \\
- { \voiceFour
- <ees c>2
- des2
+ { c2 aes4. bes8 }
+ \\
+ { aes2 f4 fes }
+ \\
+ {
+ \voiceFour
+ <ees c>2 des
}
- >>
- <c ees aes c>1
+ >> |
+ <c ees aes c>1 |
}
@end lilypond
\new Staff \relative c'' {
\key aes \major
<<
- { c2 aes4. bes8 } \\
- { aes2 f4 fes } \\
- { \voiceFour
+ { c2 aes4. bes8 }
+ \\
+ { aes2 f4 fes }
+ \\
+ {
+ \voiceFour
\once \override NoteColumn #'force-hshift = #0
<ees c>2
\once \override NoteColumn #'force-hshift = #0.5
des2
}
- >>
- <c ees aes c>1
+ >> |
+ <c ees aes c>1 |
}
@end lilypond
@c line-width ensures no break
@lilypond[quote,ragged-right,line-width=5.5\in]
rhMusic = \relative c'' {
- r2
- c4.\( g8
+ r2 c4.\( g8 |
\once \override Tie #'staff-position = #3.5
- bes1~
+ bes1~ |
\bar "||"
\time 6/4
\mergeDifferentlyHeadedOn
<<
{ c,8 d fis bes a }
\\
- % Reposition the c2 to the right of the merged note
- { c,8~ \once \override NoteColumn #'force-hshift = #1.0
- % Move the c2 out of the main note column so the merge will work
- \shiftOnn c2 }
+ {
+ % Reposition the c2 to the right of the merged note
+ c,8~ \once \override NoteColumn #'force-hshift = #1.0
+ % Move the c2 out of the main note column so the merge will work
+ \shiftOnn c2
+ }
\\
- % Stem on the d2 must be down to permit merging
- { s8 \stemDown
+ {
+ % Stem on the d2 must be down to permit merging
+ s8 \stemDown
\once \override Stem #'transparent = ##t
d2
}
\\
{ s4 fis4. }
- >>
+ >> |
\mergeDifferentlyHeadedOff
\mergeDifferentlyDottedOff
g2.\)
}
lhMusic = \relative c' {
- r2 <c g ees>2(
- <d g, d>1)\arpeggio
- r2. d,,4 r4 r
+ r2 <c g ees>2( |
+ <d g, d>1)\arpeggio |
+ r2. d,,4 r4 r |
r4
}
@c line-width ensures no break
@lilypond[quote,verbatim,ragged-right,line-width=5.5\in]
rhMusic = \relative c'' {
- r2 c4. g8
- bes1~
+ r2 c4. g8 |
+ bes1~ |
\time 6/4
bes2. r8
% Start polyphonic section of four voices
{ s8 d2 }
\\
{ s4 fis4. }
- >>
- g2.
+ >> |
+ g2. |
}
lhMusic = \relative c' {
- r2 <c g ees>2
- <d g, d>1
- r2. d,,4 r4 r
+ r2 <c g ees>2 |
+ <d g, d>1 |
+ r2. d,,4 r4 r |
r4
}
@c line-width ensures no break
@lilypond[quote,verbatim,ragged-right,line-width=5.5\in]
rhMusic = \relative c'' {
- r2 c4.\( g8
- bes1~
+ r2 c4.\( g8 |
+ bes1~ |
\time 6/4
bes2. r8
% Start polyphonic section of four voices
{ s8 d2 }
\\
{ s4 fis4. }
- >>
- g2.\)
+ >> |
+ g2.\) |
}
lhMusic = \relative c' {
- r2 <c g ees>2(
- <d g, d>1)
- r2. d,,4 r4 r
+ r2 <c g ees>2( |
+ <d g, d>1) |
+ r2. d,,4 r4 r |
r4
}
@c line-width ensures no break
@lilypond[quote,verbatim,ragged-right,line-width=5.5\in]
rhMusic = \relative c'' {
- r2 c4.\( g8
+ r2 c4.\( g8 |
\once \override Tie #'staff-position = #3.5
- bes1~
+ bes1~ |
\bar "||"
\time 6/4
bes2. r8
{ s8 d2 }
\\
{ s4 fis4. }
- >>
- g2.\)
+ >> |
+ g2.\) |
}
lhMusic = \relative c' {
- r2 <c g ees>2(
- <d g, d>1)\arpeggio
- r2. d,,4 r4 r
+ r2 <c g ees>2( |
+ <d g, d>1)\arpeggio |
+ r2. d,,4 r4 r |
r4
}
@c line-width ensures no break
@lilypond[quote,ragged-right,line-width=5.5\in]
rhMusic = \relative c'' {
- r2 c4.\( g8
+ r2 c4.\( g8 |
\once \override Tie #'staff-position = #3.5
- bes1~
+ bes1~ |
\bar "||"
\time 6/4
bes2.^\markup { \bold "Moderato" } r8
{ s8 d2 }
\\
{ s4 fis4. }
- >>
+ >> |
\mergeDifferentlyHeadedOff
\mergeDifferentlyDottedOff
- g2.\)
+ g2.\) |
}
lhMusic = \relative c' {
- r2 <c g ees>2(
- <d g, d>1)\arpeggio
- r2. d,,4 r4 r
+ r2 <c g ees>2( |
+ <d g, d>1)\arpeggio |
+ r2. d,,4 r4 r |
r4
}
@c line-width ensures no break
@lilypond[quote,verbatim,ragged-right,line-width=5.5\in]
rhMusic = \relative c'' {
- r2 c4.\( g8
+ r2 c4.\( g8 |
\once \override Tie #'staff-position = #3.5
- bes1~
+ bes1~ |
\bar "||"
\time 6/4
bes2.^\markup { \bold "Moderato" } r8
<<
{ c,8 d fis bes a }
\\
- % Move the c2 out of the main note column so the merge will work
- { c,8~ \shiftOnn c2 }
+ {
+ % Move the c2 out of the main note column so the merge will work
+ c,8~ \shiftOnn c2
+ }
\\
- % Stem on the d2 must be down to permit merging
- { s8 \stemDown d2 }
+ {
+ % Stem on the d2 must be down to permit merging
+ s8 \stemDown d2
+ }
\\
{ s4 fis4. }
- >>
+ >> |
\mergeDifferentlyHeadedOff
\mergeDifferentlyDottedOff
- g2.\)
+ g2.\) |
}
lhMusic = \relative c' {
- r2 <c g ees>2(
- <d g, d>1)\arpeggio
- r2. d,,4 r4 r
+ r2 <c g ees>2( |
+ <d g, d>1)\arpeggio |
+ r2. d,,4 r4 r |
r4
}
@c line-width ensures no break
@lilypond[quote,verbatim,ragged-right,line-width=5.5\in]
rhMusic = \relative c'' {
- r2
- c4.\( g8
+ r2 c4.\( g8 |
\once \override Tie #'staff-position = #3.5
- bes1~
+ bes1~ |
\bar "||"
\time 6/4
bes2.^\markup { \bold "Moderato" } r8
<<
{ c,8 d fis bes a }
\\
- % Reposition the c2 to the right of the merged note
- { c,8~ \once \override NoteColumn #'force-hshift = #1.0
- % Move the c2 out of the main note column so the merge will work
- \shiftOnn c2 }
+ {
+ % Reposition the c2 to the right of the merged note
+ c,8~ \once \override NoteColumn #'force-hshift = #1.0
+ % Move the c2 out of the main note column so the merge will work
+ \shiftOnn c2
+ }
\\
- % Stem on the d2 must be down to permit merging
- { s8 \stemDown
+ {
+ % Stem on the d2 must be down to permit merging
+ s8 \stemDown
\once \override Stem #'transparent = ##t
d2
}
\\
{ s4 fis4. }
- >>
+ >> |
\mergeDifferentlyHeadedOff
\mergeDifferentlyDottedOff
- g2.\)
+ g2.\) |
}
lhMusic = \relative c' {
- r2 <c g ees>2(
- <d g, d>1)\arpeggio
- r2. d,,4 r4 r
+ r2 <c g ees>2( |
+ <d g, d>1)\arpeggio |
+ r2. d,,4 r4 r |
r4
}
misma voz. Usando dos voces, con las notas ligadas en una de ellas:
@lilypond[quote,fragment,relative=2]
-<< { b8~ b8\noBeam }
-\\ { b[ g8] }
->>
+<< { b8~ b\noBeam } \\ { b8[ g] } >>
@end lilypond
@noindent
<<
{
\once \override Stem #'transparent = ##t
- b8~ b8\noBeam
+ b8~ b\noBeam
}
\\
- { b[ g8] }
+ { b8[ g] }
>>
@end lilypond
{
\once \override Stem #'transparent = ##t
\once \override Stem #'length = #8
- b8~ b8\noBeam
+ b8~ b\noBeam
}
\\
- { b[ g8] }
+ { b8[ g] }
>>
@end lilypond
\once \override Score.MetronomeMark #'transparent = ##t
% Invisible tempo marking to lengthen fermata in MIDI
\tempo 4=80
- a4\fermata
+ a4\fermata |
% New tempo for next section
\tempo 4=100
- a4 a a a
+ a4 a a a |
}
\layout { }
\midi { }
\once \override Score.MetronomeMark #'stencil = ##f
% Invisible tempo marking to lengthen fermata in MIDI
\tempo 4=80
- a4\fermata
+ a4\fermata |
% New tempo for next section
\tempo 4=100
- a4 a a a
+ a4 a a a |
}
\layout { }
\midi { }
\override Lyrics.LyricText #'font-shape = #'italic
\override Lyrics.LyricText #'font-series = #'bold
}
+
normal = {
\revert Lyrics.LyricText #'font-shape
\revert Lyrics.LyricText #'font-series
}
-global = { \time 4/4 \partial 4 \key c \major}
-SopranoMusic = \relative c' { c4 | e4. e8 g4 g | a a g }
-AltoMusic = \relative c' { c4 | c4. c8 e4 e | f f e }
-TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 }
-BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 }
-VerseOne = \lyrics { E -- | ter -- nal \emphasize Fa -- ther, \normal | strong to save, }
-VerseTwo = \lyricmode { O | \emphasize Christ, \normal whose voice the | wa -- ters heard, }
-VerseThree = \lyricmode { O | \emphasize Ho -- ly Spi -- rit, \normal | who didst brood }
-VerseFour = \lyricmode { O | \emphasize Tri -- ni -- ty \normal of | love and pow'r }
+global = { \key c \major \time 4/4 \partial 4 }
+
+SopranoMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g }
+AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e }
+TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 }
+BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 }
+
+VerseOne = \lyrics {
+ E -- | ter -- nal \emphasize Fa -- ther, | \normal strong to save,
+}
+
+VerseTwo = \lyricmode {
+ O | \emphasize Christ, \normal whose voice the | wa -- ters heard,
+}
+
+VerseThree = \lyricmode {
+ O | \emphasize Ho -- ly Spi -- rit, | \normal who didst brood
+}
+
+VerseFour = \lyricmode {
+ O | \emphasize Tri -- ni -- ty \normal of | love and pow'r
+}
\score {
\new ChoirStaff <<
@ref{Trucos avanzados con Scheme}.
@lilypond[quote,verbatim,ragged-right]
-mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
- #:line(#:dynamic "mp" #:text #:italic "dolce" )))
-
-inst = #(define-music-function (parser location string) (string?)
- (make-music
+mpdolce =
+#(make-dynamic-script
+ (markup #:hspace 0
+ #:translate '(5 . 0)
+ #:line (#:dynamic "mp"
+ #:text #:italic "dolce")))
+
+inst =
+#(define-music-function
+ (parser location string)
+ (string?)
+ (make-music
'TextScriptEvent
'direction UP
'text (markup #:bold (#:box string))))
\relative c'' {
\tempo 4=50
- a4.\mpdolce d8 cis4--\glissando a
- b4 bes a2
+ a4.\mpdolce d8 cis4--\glissando a |
+ b4 bes a2 |
\inst "Clarinet"
- cis4.\< d8 e4 fis
- g8(\! fis)-. e( d)-. cis2
+ cis4.\< d8 e4 fis |
+ g8(\! fis)-. e( d)-. cis2 |
}
@end lilypond
@example
%%% guardar esto en un archivo de nombre "definiciones.ily"
-mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
- #:line(#:dynamic "mp" #:text #:italic "dolce" )))
-
-inst = #(define-music-function (parser location string) (string?)
- (make-music
+mpdolce =
+#(make-dynamic-script
+ (markup #:hspace 0
+ #:translate '(5 . 0)
+ #:line (#:dynamic "mp"
+ #:text #:italic "dolce")))
+
+inst =
+#(define-music-function
+ (parser location string)
+ (string?)
+ (make-music
'TextScriptEvent
'direction UP
'text (markup #:bold (#:box string))))
@end example
@lilypond[quote,ragged-right]
-mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
- #:line(#:dynamic "mp" #:text #:italic "dolce" )))
-
-inst = #(define-music-function (parser location string) (string?)
- (make-music
+mpdolce =
+#(make-dynamic-script
+ (markup #:hspace 0
+ #:translate '(5 . 0)
+ #:line (#:dynamic "mp"
+ #:text #:italic "dolce")))
+
+inst =
+#(define-music-function
+ (parser location string)
+ (string?)
+ (make-music
'TextScriptEvent
'direction UP
'text (markup #:bold (#:box string))))
\relative c'' {
\tempo 4=50
- a4.\mpdolce d8 cis4--\glissando a
- b4 bes a2
+ a4.\mpdolce d8 cis4--\glissando a |
+ b4 bes a2 |
\inst "Clarinet"
- cis4.\< d8 e4 fis
- g8(\! fis)-. e( d)-. cis2
+ cis4.\< d8 e4 fis |
+ g8(\! fis)-. e( d)-. cis2 |
}
@end lilypond
-
-
Eso tiene mejor aspecto, pero haremos algunos cambios más. El glissando es difícil
de ver, así que lo haremos más grueso y lo acercaremos a las cabezas de las notas. Pondremos
la indicación metronómica encima de la clave, en lugar de ir encima de la primera
@example
%%% definiciones.ily
-mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
- #:line( #:dynamic "mp" #:text #:italic "dolce" )))
-
-inst = #(define-music-function (parser location string) (string?)
- (make-music
+mpdolce =
+#(make-dynamic-script
+ (markup #:hspace 0
+ #:translate '(5 . 0)
+ #:line (#:dynamic "mp"
+ #:text #:italic "dolce")))
+
+inst =
+#(define-music-function
+ (parser location string)
+ (string?)
+ (make-music
'TextScriptEvent
'direction UP
'text (markup #:bold (#:box string))))
\layout@{
- \context @{ \Score
+ \context @{
+ \Score
\override MetronomeMark #'extra-offset = #'(-9 . 0)
\override MetronomeMark #'padding = #'3
@}
- \context @{ \Staff
+ \context @{
+ \Staff
\override TimeSignature #'style = #'numbered
@}
- \context @{ \Voice
+ \context @{
+ \Voice
\override Glissando #'thickness = #3
\override Glissando #'gap = #0.1
@}
@end example
@lilypond[quote,ragged-right]
-mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
- #:line( #:dynamic "mp" #:text #:italic "dolce" )))
-
-inst = #(define-music-function (parser location string) (string?)
- (make-music
+mpdolce =
+#(make-dynamic-script
+ (markup #:hspace 0
+ #:translate '(5 . 0)
+ #:line (#:dynamic "mp"
+ #:text #:italic "dolce")))
+
+inst =
+#(define-music-function
+ (parser location string)
+ (string?)
+ (make-music
'TextScriptEvent
'direction UP
'text (markup #:bold (#:box string))))
\layout{
- \context { \Score
+ \context {
+ \Score
\override MetronomeMark #'extra-offset = #'(-9 . 0)
\override MetronomeMark #'padding = #'3
}
- \context { \Staff
+ \context {
+ \Staff
\override TimeSignature #'style = #'numbered
}
- \context { \Voice
+ \context {
+ \Voice
\override Glissando #'thickness = #3
\override Glissando #'gap = #0.1
}
\relative c'' {
\tempo 4=50
- a4.\mpdolce d8 cis4--\glissando a
- b4 bes a2
+ a4.\mpdolce d8 cis4--\glissando a |
+ b4 bes a2 |
\inst "Clarinet"
- cis4.\< d8 e4 fis
- g8(\! fis)-. e( d)-. cis2
+ cis4.\< d8 e4 fis |
+ g8(\! fis)-. e( d)-. cis2 |
}
@end lilypond
@example
%%% definiciones.ily
-mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
- #:line( #:dynamic "mp" #:text #:italic "dolce" )))
-
-inst = #(define-music-function (parser location string) (string?)
- (make-music
+mpdolce =
+#(make-dynamic-script
+ (markup #:hspace 0
+ #:translate '(5 . 0)
+ #:line (#:dynamic "mp"
+ #:text #:italic "dolce")))
+
+inst =
+#(define-music-function
+ (parser location string)
+ (string?)
+ (make-music
'TextScriptEvent
'direction UP
'text (markup #:bold (#:box string))))
#(set-global-staff-size 23)
+
\layout@{
- \context @{ \Score
+ \context @{
+ \Score
\override MetronomeMark #'extra-offset = #'(-9 . 0)
\override MetronomeMark #'padding = #'3
@}
- \context @{ \Staff
+ \context @{
+ \Staff
@}
- \context @{ \Voice
+ \context @{
+ \Voice
\override Glissando #'thickness = #3
\override Glissando #'gap = #0.1
@}
@end example
@lilypond[quote,ragged-right]
-mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
- #:line( #:dynamic "mp" #:text #:italic "dolce" )))
-
-inst = #(define-music-function (parser location string) (string?)
- (make-music
+mpdolce =
+#(make-dynamic-script
+ (markup #:hspace 0
+ #:translate '(5 . 0)
+ #:line (#:dynamic "mp"
+ #:text #:italic "dolce")))
+
+inst =
+#(define-music-function
+ (parser location string)
+ (string?)
+ (make-music
'TextScriptEvent
'direction UP
'text (markup #:bold (#:box string))))
#(set-global-staff-size 23)
+
\layout{
\context { \Score
\override MetronomeMark #'extra-offset = #'(-9 . 0)
\relative c'' {
\tempo 4=50
- a4.\mpdolce d8 cis4--\glissando a
- b4 bes a2
+ a4.\mpdolce d8 cis4--\glissando a |
+ b4 bes a2 |
\inst "Clarinet"
- cis4.\< d8 e4 fis
- g8(\! fis)-. e( d)-. cis2
+ cis4.\< d8 e4 fis |
+ g8(\! fis)-. e( d)-. cis2 |
}
@end lilypond
@example
%%% global.ily
\version @w{"@version{}"}
+
#(ly:set-option 'point-and-click #f)
+
\include "../iniciar/iniciar-definiciones.ily"
\include "../iniciar/iniciar-disposicion.ily"
\include "../iniciar/iniciar-cabeceras.ily"
@lilypond[quote,verbatim,ragged-right]
#(define (color-notehead grob)
- "Color the notehead according to its position on the staff."
- (let ((mod-position (modulo (ly:grob-property grob 'staff-position) 7)))
- (case mod-position
- ;; Return rainbow colors
- ((1) (x11-color 'red )) ; for C
- ((2) (x11-color 'orange )) ; for D
- ((3) (x11-color 'yellow )) ; for E
- ((4) (x11-color 'green )) ; for F
- ((5) (x11-color 'blue )) ; for G
- ((6) (x11-color 'purple )) ; for A
- ((0) (x11-color 'violet )) ; for B
- )
- )
-)
+ "Color the notehead according to its position on the staff."
+ (let ((mod-position (modulo (ly:grob-property grob 'staff-position)
+ 7)))
+ (case mod-position
+ ;; Return rainbow colors
+ ((1) (x11-color 'red )) ; for C
+ ((2) (x11-color 'orange )) ; for D
+ ((3) (x11-color 'yellow )) ; for E
+ ((4) (x11-color 'green )) ; for F
+ ((5) (x11-color 'blue )) ; for G
+ ((6) (x11-color 'purple )) ; for A
+ ((0) (x11-color 'violet )) ; for B
+ )))
\relative c' {
% Arrange to obtain color from color-notehead procedure
\override NoteHead #'color = #color-notehead
- a2 b
- c2 d
- e2 f
- g2 a
+ a2 b | c2 d | e2 f | g2 a |
}
@end lilypond
projects / lilypond.git / commitdiff