determine the absolute pitch of the first note inside.
@item no explicit starting pitch
-The form @code{\relative @{ gis''' @dots{} @}}) serves
+The form @code{\relative @{ gis''' @dots{} @}} serves
as a compact version of the previous option: the first note
inside is written in absolute pitch itself. (This happens to be
equivalent to choosing @code{f} as the reference pitch.)
derived from Dutch note naming conventions. To use other names
for accidentals, see @ref{Note names in other languages}.
-@lilypond[verbatim,quote,relative=2]
-ais1 aes aisis aeses
+@lilypond[verbatim,quote,fragment]
+\relative c'' { ais1 aes aisis aeses }
@end lilypond
A natural pitch is entered as a simple note name; no suffix is
required. A natural sign will be printed when needed to cancel
the effect of an earlier accidental or key signature.
-@lilypond[verbatim,quote,relative=2]
-a4 aes a2
+@lilypond[verbatim,quote,fragment]
+\relative c'' { a4 aes a2 }
@end lilypond
@cindex quarter tones
Quarter tones may be added; the following is a series of Cs with
increasing pitches:
-@lilypond[verbatim,quote,relative=2]
-ceseh1 ces ceh c cih cis cisih
+@lilypond[verbatim,quote,fragment]
+\relative c'' { ceseh1 ces ceh c cih cis cisih }
@end lilypond
be obtained by adding the question mark@tie{}@code{?} after the
pitch.
-@lilypond[verbatim,quote,relative=2]
-cis cis cis! cis? c c c! c?
+@lilypond[verbatim,quote,fragment]
+\relative c'' { cis cis cis! cis? c c c! c? }
@end lilypond
@cindex accidental on tied note
Accidentals on tied notes are only printed at the beginning of a
new system:
-@lilypond[verbatim,quote,relative=2,ragged-right]
-cis1~ 1~
-\break
-cis
+@lilypond[verbatim,quote,fragment,ragged-right]
+\relative c'' {
+ cis1~ 1~
+ \break
+ cis
+}
@end lilypond
@code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
contracted names are defined in the corresponding language files.
-@lilypond[verbatim,quote,relative=2]
-a2 as e es a ases e eses
+@lilypond[verbatim,quote,fragment]
+\relative c'' { a2 as e es a ases e eses }
@end lilypond
checks that the interval between the previous note and the
@code{@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 @code{@var{controlpitch}}.
+printed. While the previous note itself is not changed, future
+notes are relative to the corrected value.
@lilypond[verbatim,quote]
\relative {
Without any explicit command, the default clef for LilyPond is the
treble (or @emph{G}) clef.
-@lilypond[verbatim,quote,relative=1,ragged-right]
-c2 c
+@lilypond[verbatim,quote,fragment,ragged-right]
+c'2 c'
@end lilypond
However, the clef can be changed by using the @code{\clef} command and
an appropriate clef name. @emph{Middle C} is shown in each of the
following examples.
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment]
\clef treble
-c2 c
+c'2 c'
\clef alto
-c2 c
+c'2 c'
\clef tenor
-c2 c
+c'2 c'
\clef bass
-c2 c
+c'2 c'
@end lilypond
For the full range of possible clef names see @ref{Clef styles}.
Other integers can be used if required. Clef names containing
non-alphabetic characters must be enclosed in quotes
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment]
\clef treble
-c2 c
+c'2 c'
\clef "treble_8"
-c2 c
+c'2 c'
\clef "bass^15"
-c2 c
+c'2 c'
\clef "alto_2"
-c2 c
+c'2 c'
\clef "G_8"
-c2 c
+c'2 c'
\clef "F^5"
-c2 c
+c'2 c'
@end lilypond
Optional octavation can be obtained by enclosing the numeric
argument in parentheses or brackets:
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment]
\clef "treble_(8)"
-c2 c
+c'2 c'
\clef "bass^[15]"
-c2 c
+c'2 c'
@end lilypond
The pitches are displayed as if the numeric argument were
as a @emph{warning} clef, as well as the beginning of the next.
This @emph{warning} clef can be suppressed.
-@lilypond[verbatim,quote,relative=1]
-\clef treble { c2 c } \break
-\clef bass { c2 c } \break
+@lilypond[verbatim,quote,fragment]
+\clef treble { c'2 c' } \break
+\clef bass { c'2 c' } \break
\clef alto
\set Staff.explicitClefVisibility = #end-of-line-invisible
- { c2 c } \break
+ { c'2 c' } \break
\unset Staff.explicitClefVisibility
-\clef bass { c2 c } \break
+\clef bass { c'2 c' } \break
@end lilypond
By default, a clef that has previously been printed will not be
will be ignored. The the command
@code{\set Staff.forceClef = ##t} changes this behaviour.
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment]
\clef treble
- c1
+ c'1
\clef treble
- c1
+ c'1
\set Staff.forceClef = ##t
- c1
+ c'1
\clef treble
- c1
+ c'1
@end lilypond
When there is a manual clef change, the glyph of the changed clef
will be smaller than normal. This behaviour can be overridden.
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment]
\clef "treble"
- c1
+ c'1
\clef "bass"
- c1
+ c'1
\clef "treble"
- c1
+ c'1
\override Staff.Clef.full-size-change = ##t
\clef "bass"
- c1
+ c'1
\clef "treble"
- c1
+ c'1
\revert Staff.Clef.full-size-change
\clef "bass"
- c1
+ c'1
\clef "treble"
- c1
+ c'1
@end lilypond
@snippets
need to be applied, as a separate @code{\override}, to the
@var{ClefModifier} grob.
-@lilypond[fragment,quote,verbatim,relative=1]
+@lilypond[fragment,quote,verbatim]
\new Staff \with {
\override Clef.color = #blue
\override ClefModifier.color = #red
}
-\clef "treble_8" c4
+\clef "treble_8" c'4
@end lilypond
@code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
@code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
-@lilypond[verbatim,quote,relative=2]
-\key g \major
-fis1
-f
-fis
+@lilypond[verbatim,quote,fragment]
+\relative {
+ \key g \major
+ fis''1
+ f
+ fis
+}
@end lilypond
Additional modes can be defined, by listing the alterations
accidentals are placed within the octave ending at that staff
position.
-@lilypond[verbatim, quote,relative=0]
+@lilypond[verbatim, quote,fragment]
\override Staff.KeySignature.flat-positions = #'((-5 . 5))
\override Staff.KeyCancellation.flat-positions = #'((-5 . 5))
-\clef bass \key es \major es g bes d
-\clef treble \bar "||" \key es \major es g bes d
+\clef bass \key es \major es g bes d'
+\clef treble \bar "||" \key es \major es' g' bes' d''
\override Staff.KeySignature.sharp-positions = #'(2)
-\bar "||" \key b \major b fis b2
+\bar "||" \key b \major b' fis' b'2
@end lilypond
@snippets
@notation{Ottava brackets} introduce an extra transposition of an
octave for the staff:
-@lilypond[verbatim,quote,relative=2]
-a2 b
-\ottava #-2
-a2 b
-\ottava #-1
-a2 b
-\ottava #0
-a2 b
-\ottava #1
-a2 b
-\ottava #2
-a2 b
+@lilypond[verbatim,quote]
+\relative a' {
+ a2 b
+ \ottava #-2
+ a2 b
+ \ottava #-1
+ a2 b
+ \ottava #0
+ a2 b
+ \ottava #1
+ a2 b
+ \ottava #2
+ a2 b
+}
@end lilypond
@snippets
The appearance of note heads may be altered:
-@lilypond[verbatim,quote,relative=2]
-c4 b
-\override NoteHead.style = #'cross
-c4 b
-\revert NoteHead.style
-a b
-\override NoteHead.style = #'harmonic
-a b
-\revert NoteHead.style
-c4 d e f
+@lilypond[verbatim,quote]
+\relative c'' {
+ c4 b
+ \override NoteHead.style = #'cross
+ c4 b
+ \revert NoteHead.style
+ a b
+ \override NoteHead.style = #'harmonic
+ a b
+ \revert NoteHead.style
+ c4 d e f
+}
@end lilypond
To see all note head styles, see @ref{Note head styles}.
note head in both staff and tablature contexts and can be used to
represent any musical meaning:
-@lilypond[verbatim,quote,relative=2]
-c4 b
-\xNotesOn
- a b c4 b
-\xNotesOff
-c4 d
+@lilypond[verbatim,quote]
+\relative {
+ c''4 b
+ \xNotesOn
+ a b c4 b
+ \xNotesOff
+ c4 d
+}
@end lilypond
The music function form of this predefined command may be used
inside and outside chords to generate crossed note heads in both
staff and tablature contexts:
-@lilypond[verbatim,quote,relative=2]
-c4 b
-\xNote { e f }
-c b < g \xNote c f > b
+@lilypond[verbatim,quote]
+\relative {
+ c''4 b
+ \xNote { e f }
+ c b < g \xNote c f > b
+}
@end lilypond
As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
There is also a similar shorthand for diamond shapes:
-@lilypond[verbatim,quote,relative=2]
-<c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic> f\harmonic
+@lilypond[verbatim,quote]
+\relative c'' {
+ <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic> f\harmonic
+}
@end lilypond
@predefined
Shape note heads can be produced in Sacred Harp, Southern Harmony,
Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
-@lilypond[verbatim,quote,relative=2]
-\aikenHeads
-c, d e f g2 a b1 c \break
-\sacredHarpHeads
-c,4 d e f g2 a b1 c \break
-\southernHarmonyHeads
-c,4 d e f g2 a b1 c \break
-\funkHeads
-c,4 d e f g2 a b1 c \break
-\walkerHeads
-c,4 d e f g2 a b1 c \break
+@lilypond[verbatim,quote]
+\relative c'' {
+ \aikenHeads
+ c, d e f g2 a b1 c \break
+ \sacredHarpHeads
+ c,4 d e f g2 a b1 c \break
+ \southernHarmonyHeads
+ c,4 d e f g2 a b1 c \break
+ \funkHeads
+ c,4 d e f g2 a b1 c \break
+ \walkerHeads
+ c,4 d e f g2 a b1 c \break
+}
@end lilypond
@funindex \key
in a minor key, the scale step can be determined from the relative
major:
-@lilypond[verbatim,quote,relative=2]
-\key a \minor
-\aikenHeads
-a b c d e2 f g1 a \break
-\aikenHeadsMinor
-a,4 b c d e2 f g1 a \break
-\sacredHarpHeadsMinor
-a,2 b c d \break
-\southernHarmonyHeadsMinor
-a2 b c d \break
-\funkHeadsMinor
-a2 b c d \break
-\walkerHeadsMinor
-a2 b c d \break
-
+@lilypond[verbatim,quote]
+\relative c'' {
+ \key a \minor
+ \aikenHeads
+ a b c d e2 f g1 a \break
+ \aikenHeadsMinor
+ a,4 b c d e2 f g1 a \break
+ \sacredHarpHeadsMinor
+ a,2 b c d \break
+ \southernHarmonyHeadsMinor
+ a2 b c d \break
+ \funkHeadsMinor
+ a2 b c d \break
+ \walkerHeadsMinor
+ a2 b c d \break
+}
@end lilypond
the performer may choose any pitch but should play the specified
rhythm. Such note heads can be created:
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Voice \with {
\consists "Pitch_squash_engraver"
-} {
- e8 e g a a16( bes) a8 g
+} \relative {
+ e''8 e g a a16( bes) a8 g
\improvisationOn
e8 ~
2 ~ 8 f4 f8 ~
projects / lilypond.git / blobdiff