@refcommands
Notes can be hidden and unhidden with the following commands
-cindex @code{\hideNotes}
+@cindex @code{\hideNotes}
@code{\hideNotes},
@cindex @code{\unHideNotes}
@code{\unHideNotes}.
The pitch after the @code{\relative} contains a note name.
-@c Perfect place for a "refwarning"! -gp
-@c @refwarning
-
The relative conversion will not affect @code{\transpose},
@code{\chordmode} or @code{\relative} sections in its argument. To use
relative within transposed music, an additional @code{\relative} must
TODO Somebody needs to explain this example, but I don't know what
they're trying to do, so it won't be me. -gp
-TODO part 2, build message: programming error: No spacing entry from KeyCancellation to `key-signature'
-
@lilypond[verbatim]
\transpose c c' {
\override Staff.Clef #'break-visibility = #end-of-line-visible
@c todo: should change ordering
@c where to put text spanners, metronome marks,
@c fingering?
-
+
+Expressive marks help musicians to bring more to the music than simple
+notes and rhythms.
+
@menu
* Slurs::
* Phrasing slurs::
* Breath marks::
* Metronome marks::
+* Text scripts::
* Text spanners::
* Analysis brackets::
* Articulations::
* Running trills::
* Fingering instructions::
-* Text scripts::
* Grace notes::
* Glissando::
* Dynamics::
They are entered using parentheses
@lilypond[quote,relative=2,fragment,verbatim]
-f( g a) a8 b( a4 g2 f4)
-<c e>2( <b d>2)
+ f( g a) a8 b( a4 g2 f4)
+ <c e>2( <b d>2)
@end lilypond
The direction of a slur can be set with the
@example
\override Slur #'direction = #UP
- \slurUp % shortcut for the previous line
+ \slurUp % shortcut for the previous line
@end example
@noindent
parentheses, the direction is also set. For example,
@lilypond[relative=2,verbatim,fragment]
- c4_( c) c^( c)
+ 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},
+be achieved in LilyPond by setting @code{doubleSlurs},
@lilypond[verbatim,raggedright]
\relative {
- \set doubleSlurs = ##t
- <c e>4 ( <d f> <c e> <d f> )
+ \set doubleSlurs = ##t
+ <c e>4 ( <d f> <c e> <d f> )
}
@end lilypond
@cindex phrasing marks
A phrasing slur (or phrasing mark) connects chords and is used to
-indicate a musical sentence. It is started using @code{\(} and @code{\)}
+indicate a musical sentence. It is written using @code{\(} and @code{\)}
respectively
@lilypond[quote,fragment,verbatim,relative=1]
-\time 6/4 c'\( d( e) f( e) d\)
+ \time 6/4 c'\( d( e) f( e) d\)
@end lilypond
Typographically, the phrasing slur behaves almost exactly like a
@lilypond[quote,fragment,relative=1,verbatim]
-c'4 \breathe d4
+ 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,
+any markup text. For example,
@lilypond[quote,fragment,verbatim,relative=1]
-c'4
-\override BreathingSign #'text
- = #(make-musicglyph-markup "scripts-rvarcomma")
-\breathe
-d4
+ c'4
+ \override BreathingSign #'text
+ = #(make-musicglyph-markup "scripts-rvarcomma")
+ \breathe
+ d4
@end lilypond
@seealso
Metronome settings can be entered as follows
@example
- i \tempo @var{duration} = @var{per-minute}
+ \tempo @var{duration} = @var{per-minute}
@end example
-In the MIDI output, they are interpreted as a tempo change, and in the
+In the MIDI output, they are interpreted as a tempo change. In the
paper output, a metronome marking is printed
@cindex @code{\tempo}
@lilypond[quote,fragment,verbatim]
-\tempo 8.=120 c''1
+ \tempo 8.=120 c''1
@end lilypond
@seealso
Program reference: @internalsref{MetronomeChangeEvent}.
+@node Text scripts
+@subsection Text scripts
+@cindex Text scripts
+
+@cindex text items, non-empty
+@cindex non-empty texts
+
+It is possible to place arbitrary strings of text or markup text (see
+@ref{Text markup}) above or below notes by using a string
+@code{c^"text"}. By default, these indications do not influence the
+note spacing, but by using the command @code{\fatText}, the widths
+will be taken into account
+@c
+@lilypond[quote,fragment,raggedright,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]
+ c'4^\markup { bla \bold bla }
+@end lilypond
+
+The @code{\markup} is described in more detail in
+@ref{Text markup}.
+
+
+@refcommands
+
+@cindex @code{\fatText}
+@code{\fatText},
+@cindex @code{\emptyText}
+@code{\emptyText}.
+
+@seealso
+
+In this manual: @ref{Text markup}.
+
+Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
+
@node Text spanners
@subsection Text spanners
@cindex Text spanners
Some performance indications, e.g. @i{rallentando} or @i{accelerando},
-are written as texts, and extended over many measures with dotted
-lines. Such texts are created using text spanners: attach
-@code{\startTextSpan} and @code{\stopTextSpan} to the start and ending
-note of the spanner.
+are written as text and are extended over many measures with dotted
+lines. Such texts are created using text spanners; attach
+@code{\startTextSpan} and @code{\stopTextSpan} to the first and last
+notes of the spanner.
The string to be printed, as well as the style, is set through object
properties
@lilypond[quote,fragment,relative=1,verbatim]
-\relative c' {
c1
\override TextSpanner #'direction = #-1
\override TextSpanner #'edge-text = #'("rall " . "")
c2\startTextSpan b c\stopTextSpan a
-}
@end lilypond
@cindex note grouping bracket
Brackets are used in musical analysis to indicate structure in musical
-pieces. LilyPond supports a simple form of nested horizontal brackets.
-To use this, add the @internalsref{Horizontal_bracket_engraver} to
-@internalsref{Staff} context. A bracket is started with
+pieces. LilyPond supports a simple form of nested horizontal
+brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
+to @internalsref{Staff} context. A bracket is started with
@code{\startGroup} and closed with @code{\stopGroup}
@lilypond[quote,raggedright,verbatim]
The script is automatically placed, but the direction can be forced as
-well. @code{_} will put them down, and @code{^} will put them up,
+well. Like other pieces of LilyPond code, @code{_} will place them
+below the staff, and @code{^} will place them above.
@lilypond[quote,fragment,verbatim]
-c''4^^ c''4_^
+ c''4^^ c''4_^
@end lilypond
Other symbols can be added using the syntax
-@var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
+@var{note}@code{\}@var{name}. Again, they
can be forced up or down using @code{^} and @code{_},
e.g.
@lilypond[quote,verbatim,fragment,relative=2]
-c\fermata c^\fermata c_\fermata
+ c\fermata c^\fermata c_\fermata
@end lilypond
they are entered decides which one comes first.
-@lilypond[verbatim,raggedright]
-\relative g''{
- \once \override TextScript #'script-priority = #-100
- a4^\prall^\markup { \sharp }
+@lilypond[verbatim,relative=3,raggedright,fragment,quote]
+ \once \override TextScript #'script-priority = #-100
+ a4^\prall^\markup { \sharp }
- \once \override Script #'script-priority = #-100
- a4^\prall^\markup { \sharp }
-}
+ \once \override Script #'script-priority = #-100
+ a4^\prall^\markup { \sharp }
@end lilypond
@code{\stopTrillSpan},
-@lilypond[verbatim,raggedright]
-\relative \new Voice {
- << { c1 \startTrillSpan }
- { s2. \grace { d16[\stopTrillSpan e] } } >>
- c4 }
+@lilypond[verbatim,raggedright,relative=2,quote,fragment]
+\new Voice {
+ << { c1 \startTrillSpan }
+ { s2. \grace { d16[\stopTrillSpan e] } } >>
+ c4 }
@end lilypond
@refcommands
@end example
For finger changes, use markup texts
@c
-@lilypond[quote,verbatim,raggedright,fragment]
-c'4-1 c'4-2 c'4-3 c'4-4
-c'^\markup { \finger "2-3" }
+@lilypond[quote,verbatim,raggedright,fragment,relative=1]
+ c4-1 c-2 c-3 c-4
+ c^\markup { \finger "2-3" }
@end lilypond
@cindex finger change
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]
-<a'_\thumb a''-3>8 <b'_\thumb b''-3>
+@lilypond[quote,verbatim,raggedright,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]
-< c-1 e-2 g-3 b-5 >4
+ < c-1 e-2 g-3 b-5 >4
@end lilypond
@noindent
to note heads
@lilypond[quote,verbatim,raggedright,fragment,relative=1]
-\set fingeringOrientations = #'(left down)
-<c-1 es-2 g-4 bes-5 > 4
-\set fingeringOrientations = #'(up right down)
-<c-1 es-2 g-4 bes-5 > 4
+ \set fingeringOrientations = #'(left down)
+ <c-1 es-2 g-4 bes-5 > 4
+ \set fingeringOrientations = #'(up right down)
+ <c-1 es-2 g-4 bes-5 > 4
@end lilypond
Using this feature, it is also possible to put fingering instructions
Examples: @inputfileref{input/regression,finger-chords.ly}.
-@node Text scripts
-@subsection Text scripts
-@cindex Text scripts
-
-@cindex text items, non-empty
-@cindex non-empty texts
-
-It is possible to place arbitrary strings of text or markup text (see
-@ref{Text markup}) above or below notes by using a string
-@code{c^"text"}. By default, these indications do not influence the
-note spacing, but by using the command @code{\fatText}, the widths
-will be taken into account
-@c
-@lilypond[quote,fragment,raggedright,verbatim]
-\relative c' {
- 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]
-{
- c'4^\markup { bla \bold bla }
-}
-@end lilypond
-
-The @code{\markup} is described in more detail in
-@ref{Text markup}.
-
-
-@refcommands
-
-@cindex @code{\fatText}
-@code{\fatText},
-@cindex @code{\emptyText}
-@code{\emptyText}.
-
-@seealso
-
-In this manual: @ref{Text markup}.
-
-Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
-
Grace notes are ornaments that are written out. The most common ones
are acciaccatura, which should be played as very short. It is denoted
by a slurred small note with a slashed stem. The appoggiatura is a
-grace note that takes a fixed fraction of the main note, is and
-denoted as a slurred note in small print without a slash.
-They are entered with the commands @code{\acciaccatura} and
+grace note that takes a fixed fraction of the main note, and is
+denoted as a slurred note in small print without a slash. They
+are entered with the commands @code{\acciaccatura} and
@code{\appoggiatura}, as demonstrated in the following example
@cindex acciaccatura
@lilypond[quote,relative=2,verbatim,fragment]
-b4 \acciaccatura d8 c4 \appoggiatura e8 d4
-\acciaccatura { g16[ f] } e4
+ b4 \acciaccatura d8 c4 \appoggiatura e8 d4
+ \acciaccatura { g16[ f] } e4
@end lilypond
Both are special forms of the @code{\grace} command. By prefixing this
printed in a smaller font and takes up no logical time in a measure.
@lilypond[quote,relative=2,verbatim,fragment]
-c4 \grace c16 c4
-\grace { c16[ d16] } c2 c4
+ c4 \grace c16 c4
+ \grace { c16[ d16] } c2 c4
@end lilypond
@noindent
@lilypond[quote,fragment,verbatim,relative=2]
\new Voice {
\acciaccatura {
- \override Stem #'direction = #-1
+ \stemDown
f16->
- \revert Stem #'direction
+ \stemNeutral
}
g4
}
wavy line between two notes. It is requested by attaching
@code{\glissando} to a note
-@lilypond[quote,fragment,relative=1,verbatim]
-c'\glissando c'
+@lilypond[quote,fragment,relative=2,verbatim]
+c\glissando c'
@end lilypond
@seealso
@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=1]
-c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
-c2\sf c\rfz
+@lilypond[quote,verbatim,raggedright,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
@cindex @code{\<}
with @code{\!}. Because these marks are bound to notes, if you must
use spacer notes if multiple marks are needed during one note
-@lilypond[quote,fragment,verbatim]
-c''\< c''\! d''\> e''\!
-<< f''1 { s4 s4\< s4\! \> s4\! } >>
+@lilypond[quote,fragment,verbatim,relative=2]
+ c\< c\! d\> e\!
+ << f1 { s4 s4\< s4\! \> s4\! } >>
@end lilypond
This may give rise to very short hairpins. Use @code{minimum-length}
in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
example
@example
- \override Staff.Hairpin #'minimum-length = #5
+ \override Staff.Hairpin #'minimum-length = #5
@end example
You can also use a text saying @emph{cresc.} instead of hairpins. Here
is an example how to do it
@lilypond[quote,fragment,relative=2,verbatim]
-\setTextCresc
-c \< d e f\!
-\setHairpinCresc
-e\> d c b\!
+ \setTextCresc
+ c \< d e f\!
+ \setHairpinCresc
+ e\> d c b\!
@end lilypond
@cindex crescendo
You can also supply your own texts
@lilypond[quote,fragment,relative=1,verbatim]
-\context Voice {
\set crescendoText = \markup { \italic "cresc. poco" }
\set crescendoSpanner = #'dashed-line
a'2\< a a a\!\mf
-}
@end lilypond
@cindex diminuendo
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