* Beaming::
* Accidentals::
* Expressive marks::
-* Articulations::
-* Fingering instructions::
* Repeats::
* Rhythmic music::
* Piano music::
Special types
of barlines can be forced with the @code{\bar} command:
+@c
@lilypond[relative=1,fragment,verbatim]
c4 \bar "|:" c4
@end lilypond
\bar ".|." c
\bar "|."
@end lilypond
+For allowing linebreaks, there is a special command,
+@example
+ \bar "empty"
+@end example
+This will insert an invisible barline, and allow linebreaks at this
+point.
In scores with many staves, a @code{\bar} command in one staff is
automatically applied to all staves. The resulting bar lines are
@lilypond[verbatim,fragment]
\context Staff \relative c'' {
- c4 << { f d e } \\ { b c2 } >> c4 << g' \\ b, \\ f' \\ d >>
+ c4 << { f d e } \\ { b c2 } >>
+ c4 << g' \\ b, \\ f' \\ d >>
}
@end lilypond
@node Customized accidental rules
@subsection Customized accidental rules
-This section must be considered gurus-only, and hence it must be
-sufficient with a short description of the system and a reference to
-the internal documentation.
-
-The algorithm tries several different rules, and uses the rule
-that gives the highest number of accidentals. Each rule consists of
+For determining when to print an accidental, several different rules
+are tried. The rule that gives the highest number of accidentals is
+used. Each rule consists of
@table @var
@item context:
In which context is the rule applied. For example, if
@node Expressive marks
@section Expressive marks
+
+@c todo: should change ordering
+@c where to put text spanners, metronome marks,
+@c fingering?
+
@menu
* Slurs ::
* Phrasing slurs::
* Metronome marks::
* Text spanners::
* Analysis brackets::
+* Articulations::
+* Fingering instructions::
+* Text scripts::
+* Grace notes::
+* Glissando ::
+* Dynamics::
@end menu
@node Slurs
@syntax
They are entered using parentheses:
-@lilypond[fragment,verbatim,center]
- f'( g')( a') a'8[ b'(] a'4 g'2 f'4)
- <c' e'>2( <b d'>2)
+@lilypond[relative 1,fragment,verbatim,center]
+ f( g)( a) a8 b( a4 g2 f4)
+ <c e>2( <b d>2)
@end lilypond
@node Articulations
-@section Articulations
+@subsection Articulations
@cindex Articulations
@cindex articulations
@refbugs
-All of these note ornaments appear in the printed output but have no
+ These note ornaments appear in the printed output but have no
effect on the MIDI rendering of the music.
@node Fingering instructions
-@section Fingering instructions
+@subsection Fingering instructions
@cindex fingering
played with your thumb (used in cello music):
@lilypond[verbatim, singleline, fragment]
- <a' a''-3>8(_\thumb[ <b' b''-3>)_\thumb
- <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb]
+ <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
+ <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
@end lilypond
Fingerings for chords can also be added to individual notes
@internalsref{FingerEvent}, and @internalsref{Fingering}.
-@menu
-* Text scripts::
-* Grace notes::
-* Glissando ::
-* Dynamics::
-@end menu
-
@node Text scripts
@subsection Text scripts
@cindex Text scripts
@lilypond[relative=2,verbatim,fragment]
b4 \acciaccatura d8 c4 \appoggiatura e8 d4
-\acciaccatura { g16 f } e4
+\acciaccatura { g16[ f] } e4
@end lilypond
Both are special forms of the @code{\grace} command. By prefixing this
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[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
Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
@code{\grace} command does not start a slur.
<<
\relative c''{
c4 \grace c16 c4 \grace {
- c16[ d16] } c4
+ c16[ d16] } c2 c4
}
\new Lyrics \lyrics {
\markup { (0,0) } 4
-If you want to end a note with a grace note, then the standard trick
-is to put the grace notes before a phantom ``space note'', e.g.
+If you want to end a note with a grace, then the standard trick
+is to put the grace notes after a ``space note'', e.g.
@lilypond[fragment,verbatim, relative=2]
\context Voice {
<< { d1^\trill ( }
for example, to produce smaller type, and set directions. Hence, when
introducing layout tweaks, they should be inside the grace section,
for example,
-@lilypond[fragment,verbatim,relative 2]
+@lilypond[fragment,verbatim,relative 1]
\new Voice {
\acciaccatura {
\property Voice.Stem \override #'direction = #-1
@refbugs
-Additional texts (such as @emph{gliss.}) is not supported.
+Adding additional texts (such as @emph{gliss.}) is not supported.
@node Dynamics
\context Voice {
\property Voice.crescendoText = \markup { \italic "cresc. poco" }
\property Voice.crescendoSpanner = #'dashed-line
- a'2\mf\< a a a\!
+ a'2\< a a a\!\mf
}
@end lilypond
Repetition is a central concept in music, and multiple notations exist
for repetitions. In LilyPond, most of these notations can be captured
-in a uniform syntax. One of the advantages is, all these repetitions
-can be rendered in MIDI accurately.
+in a uniform syntax. One of the advantages is that they can be
+rendered in MIDI accurately.
The following types of repetition are supported:
alternative is assumed to be played more than once.
Normal notation repeats are used like this:
-@lilypond[fragment,verbatim]
- c'1
- \repeat volta 2 { c'4 d' e' f' }
- \repeat volta 2 { f' e' d' c' }
+@lilypond[fragment,verbatim,relative 1]
+ c1
+ \repeat volta 2 { c4 d e f }
+ \repeat volta 2 { f e d c }
@end lilypond
With alternative endings:
-@lilypond[fragment,verbatim]
- c'1
- \repeat volta 2 {c'4 d' e' f'}
- \alternative { {d'2 d'} {f' f} }
+@lilypond[fragment,verbatim,relative 1]
+ c1
+ \repeat volta 2 {c4 d e f}
+ \alternative { {d2 d} {f f,} }
@end lilypond
-@lilypond[fragment,verbatim]
+@lilypond[fragment,verbatim,relative 1]
\context Staff {
- \relative c' {
\partial 4
\repeat volta 4 { e | c2 d2 | e2 f2 | }
\alternative { { g4 g g } { a | a a a a | b2. } }
- }
}
@end lilypond
stops a running volta bracket:
@end table
-@lilypond[verbatim, fragment]
- c''4
+@lilypond[verbatim, fragment,relative 2]
+ c4
\property Score.repeatCommands = #'((volta "93") end-repeat)
- c''4 c''4
+ c4 c4
\property Score.repeatCommands = #'((volta #f))
- c''4 c''4
+ c4 c4
@end lilypond
@refbugs
The staff switches often do not end up in optimal places. For high
-quality output staff switches should be specified manually.
+quality output, staff switches should be specified manually.
For fine-tuning of the appearance of a pedal bracket, the properties
@code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
-@code{PianoPedalBracket} objects (, see the detailed documentation of
-@internalsref{PianoPedalBracket},) can be modified. For example, the bracket
-may be extended to the end of the note head:
+@code{PianoPedalBracket} objects (see
+@internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
+bracket may be extended to the end of the note head:
@lilypond[fragment,verbatim]
\property Staff.PianoPedalBracket \override
@seealso
-@internalsref{ArpeggioEvent} expression lead to
+@internalsref{ArpeggioEvent} music expressions lead to
@internalsref{Arpeggio} objects. Cross staff arpeggios are
@internalsref{PianoStaff}.@internalsref{Arpeggio}.
staves and lyrics first, e.g.
@example
\context ChoirStaff \notes <<
- \new Lyrics @{ s1 @}
- \new Staff @{ s1 @}
- \new Lyrics @{ s1 @}
- \new Staff @{ s1 @}
+ \context Lyrics = sopr @{ s1 @}
+ \context Staff = soprStaff @{ s1 @}
+ \context Lyrics = tenor @{ s1 @}
+ \context Staff = tenorStaff @{ s1 @}
>>
@end example
and then combine the appropriate melodies and lyric lines:
@example
\addlyrics
- \new Staff @emph{the music}
- \new Lyrics @emph{the lyrics}
+ \context Staff = soprStaff @emph{the music}
+ \context Lyrics = sopr @emph{the lyrics}
@end example
putting both together, you would get
@example
\context ChoirStaff \notes <<
- \new Lyrics @dots{}
- \new Staff @dots{}
+ \context Lyrics = @dots{}
+ \context Staff = @dots{}
\addlyrics @dots{}
>>
@end example
@}
@end example
-For example,
-
+This results in the following output:
@lilypond[singleline]
upper = \notes \relative c {
\clef "treble"
@internalsref{Ambitus_engraver} to the @internalsref{Staff} context
rather than to the @internalsref{Voice} context.
-If you have a score with multiple staves and you want the ambitus to
-appear only in some of the staves, then you have to declare a new
-context type derived from the @internalsref{Voice} context or
-@internalsref{Staff} context. The derived context must consist of the
-@internalsref{Ambitus_engraver} and it must be accepted by a proper
-parent context, in the below example the @internalsref{Staff} context
-or @internalsref{Score} context, respectively. The original context
-and the derived context can then be used in parallel in the same
-score.
-
-@lilypond[singleline]
-voiceA = \notes \transpose c c'' {
- c4 d e c e f g2
-}
-voiceB = \notes \transpose c c' {
- e4 f g2 g8 a g f e4 c
-}
-\score {
- \context ChoirStaff <<
- \new Staff <<
- \new VoiceWithAmbitus { \stemUp \voiceA }
- \new VoiceWithAmbitus { \stemDown \voiceB }
- >>
- \new StaffWithAmbitus <<
- \new Voice { \stemUp \voiceA }
- \new Voice { \stemDown \voiceB }
- >>
- \new Staff <<
- \new Voice { \stemUp \voiceA }
- \new Voice { \stemDown \voiceB }
- >>
- >>
- \paper {
- raggedright = ##t
- \translator {
- \VoiceContext
- \name "VoiceWithAmbitus"
- \alias "Voice"
- \consists Ambitus_engraver
- }
- \translator {
- \StaffContext
- \name "StaffWithAmbitus"
- \alias "Staff"
- \consists Ambitus_engraver
- }
- \translator {
- \StaffContext
- \accepts "VoiceWithAmbitus"
- }
- \translator {
- \ScoreContext
- \accepts "StaffWithAmbitus"
- }
- }
-}
-@end lilypond
-
+It is possible to tune individual ambiti for multiple voices on a
+single staff, for example by erasing or shifting them horizontally. An
+example is in @inputfileref{input/test,ambitus-mixed.ly}
@seealso
-@internalsref{Ambitus}, and @inputfileref{input/regression,ambitus.ly}.
+@internalsref{Ambitus}, @inputfileref{input/regression,ambitus.ly},
+@inputfileref{input/test,ambitus-mixed.ly}.
@refbugs
There is no collision handling in the case of multiple per-voice
-ambitus. To avoid collision, multiple ambitus in a single staff
-should be printed horizontally one after the other rather than on top
-of each other in the same horizontal position.
+ambitus.
@node Tablatures
@section Tablatures
@refbugs
-Most of the guitar special effects such as bend have not been
-implemented yet.
+No guitar special effects have been implemented.
@cindex @code{m}
Since an unaltered 11 does not sound good when combined with an
-unaltered 13, the 11 is removed in this case (, unless it is added
+unaltered 13, the 11 is removed in this case (unless it is added
explicitly):
+@c
@lilypond[fragment,verbatim]
\chords { c:13 c:13.11 c:m13 }
@end lilypond
function. Special note names (for example, the German ``H'' for a
B-chord) can be produced by storing a new function in this property.
+The pre-defined variables @code{\germanChords},
+@code{\semiGermanChords} set these variables.
+
+
@cindex chordNoteNamer
@item chordNoteNamer
The default is to print single pitch, e.g. the bass note, using the
Jazz chord notation, and a systematic scheme called Banter chords. The
alternate jazz notation is also shown on the chart in @ref{Chord name
chart}. Turning on these styles is described in the input file
-@inputfileref{input/test/,chord-names-jazz.ly}.
+@inputfileref{input/test,chord-names-jazz.ly}.
@cindex Banter
@cindex jazz chords
the start of the staff. For the first start, @code{instrument} is
used, for the next ones @code{instr} is used:
+@quotation
@lilypond[verbatim,singleline]
\property Staff.instrument = "ploink " { c''4 }
@end lilypond
+@end quotation
You can also use markup texts to construct more complicated instrument
names:
+@quotation
@lilypond[fragment,verbatim,singleline]
\notes {
\property Staff.instrument = \markup {
{ c''1 }
}
@end lilypond
-
+@end quotation
@seealso
@cindex @code{R}
Multi measure rests are entered using `@code{R}'. It is specifically
-meant for full bar rests and for entering parts: the rest can expand to
-fill a score with rests, or it can be printed as a single multimeasure
-rest. This expansion is controlled by the property
-@code{Score.skipBars}. If this is set to true, Lily will not expand
-empty measures, and the appropriate number is added automatically:
+meant for full bar rests and for entering parts: the rest can expand
+to fill a score with rests, or it can be printed as a single
+multimeasure rest. This expansion is controlled by the property
+@code{Score.skipBars}. If this is set to true, empty measures will not
+be expanded, and the appropriate number is added automatically:
@lilypond[fragment,verbatim]
\time 4/4 r1 | R1 | R1*2
multimeasure rest. Multi measure rests do not take part in rest
collisions.
-Be careful when entering multimeasure rests followed by whole notes,
+Be careful when entering multimeasure rests followed by whole
+notes. The following will enter two notes lasting four measures each:
@example
R1*4 cis cis
@end example
-will enter two notes lasting four measures each. When @code{skipBars}
-is set, then the result will look OK, but the bar numbering will be
-off.
+When @code{skipBars} is set, then the result will look OK, but the
+bar numbering will be off.
@node Automatic part combining
@subsection Automatic part combining
}
@end lilypond
-In orchestral scores, the first page usually shows all staffs in
-full. To prevent empty staffs from being discarded from the first
-page, set @code{remove-first} to false in
-@internalsref{RemoveEmptyVerticalGroup}.
+The first page shows all staffs in full. If they should be removed
+from the first page too, set @code{remove-first} to false
+in @internalsref{RemoveEmptyVerticalGroup}.
@node Different editions from one source
@subsection Different editions from one source
@example
c1
\relative c' <<
- \tag #'part <<
- R1 \\
- @{
- \property Voice.fontSize = #-1
- c4_"cue" f2 g4 @}
+ \tag #'part <<
+ R1 \\
+ @{
+ \property Voice.fontSize = #-1
+ c4_"cue" f2 g4 @}
>>
- \tag #'score R1
+ \tag #'score R1
>>
c1
@end example
@example
\simultaneous @{
@var{the music}
- \apply #(remove-tag 'score) @var{the music}
- \apply #(remove-tag 'part) @var{the music}
+ \apply #(remove-tag 'score) @var{the music}
+ \apply #(remove-tag 'part) @var{the music}
@}
@end example
would yield
{ " " \musicglyph #"accidentals-vaticana-1"
" " \musicglyph #"accidentals-vaticana0" }
>
- \column <
+ \column <
"medicaea"
- { " " \musicglyph #"accidentals-medicaea-1" }
+ { " " \musicglyph #"accidentals-medicaea-1" }
>
- \column <
+ \column <
"hufnagel"
- { " " \musicglyph #"accidentals-hufnagel-1" }
+ { " " \musicglyph #"accidentals-hufnagel-1" }
>
\column <
"mensural"
}
}
\paper {
- raggedright = ##t
+ raggedright = ##t
interscoreline = 1
\translator {
\ScoreContext
@lilypond
\score {
\notes {
- \property Score.timing = ##f
- \property Score.barAlways = ##t
- s_\markup { "$\\backslash$time 4/4" }
- ^\markup { " " \musicglyph #"timesig-neo\_mensural4/4" }
+ \property Score.timing = ##f
+ \property Score.barAlways = ##t
+ s_\markup { "$\\backslash$time 4/4" }
+ ^\markup { " " \musicglyph #"timesig-neo\_mensural4/4" }
s
s_\markup { "$\\backslash$time 2/2" }
^\markup { " " \musicglyph #"timesig-neo\_mensural2/2" }
@lilypond[singleline,verbatim]
\score {
\notes \transpose c c' {
- \[ g c a f d' \]
- a g f
- \[ e f a g \]
+ \[ g c a f d' \]
+ a g f
+ \[ e f a g \]
}
}
@end lilypond
@example
\paper @{
- \translator @{
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
- @}
+ \translator @{
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Mensural_ligature_engraver
+ @}
@}
@end example
For example,
@example
- \property Score.timing = ##f
- \property Score.defaultBarType = "empty"
- \property Voice.NoteHead \set #'style = #'neo_mensural
- \property Staff.TimeSignature \set #'style = #'neo_mensural
- \clef "petrucci_g"
- \[ g\longa c\breve a\breve f\breve d'\longa \]
- s4
- \[ e1 f1 a\breve g\longa \]
+ \property Score.timing = ##f
+ \property Score.defaultBarType = "empty"
+ \property Voice.NoteHead \set #'style = #'neo_mensural
+ \property Staff.TimeSignature \set #'style = #'neo_mensural
+ \clef "petrucci_g"
+ \[ g\longa c\breve a\breve f\breve d'\longa \]
+ s4
+ \[ e1 f1 a\breve g\longa \]
@end example
@lilypond[singleline]
\score {
\notes \transpose c c' {
- \property Score.timing = ##f
- \property Score.defaultBarType = "empty"
- \property Voice.NoteHead \set #'style = #'neo_mensural
- \property Staff.TimeSignature \set #'style = #'neo_mensural
- \clef "petrucci_g"
- \[ g\longa c\breve a\breve f\breve d'\longa \]
- s4
- \[ e1 f1 a\breve g\longa \]
+ \property Score.timing = ##f
+ \property Score.defaultBarType = "empty"
+ \property Voice.NoteHead \set #'style = #'neo_mensural
+ \property Staff.TimeSignature \set #'style = #'neo_mensural
+ \clef "petrucci_g"
+ \[ g\longa c\breve a\breve f\breve d'\longa \]
+ s4
+ \[ e1 f1 a\breve g\longa \]
}
\paper {
- \translator {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
- }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Mensural_ligature_engraver
+ }
}
}
@end lilypond
@lilypond[singleline]
\score {
\notes \transpose c c' {
- \property Score.timing = ##f
- \property Score.defaultBarType = "empty"
- \property Voice.NoteHead \set #'style = #'neo_mensural
- \property Staff.TimeSignature \set #'style = #'neo_mensural
- \clef "petrucci_g"
- \[ g\longa c\breve a\breve f\breve d'\longa \]
- s4
- \[ e1 f1 a\breve g\longa \]
+ \property Score.timing = ##f
+ \property Score.defaultBarType = "empty"
+ \property Voice.NoteHead \set #'style = #'neo_mensural
+ \property Staff.TimeSignature \set #'style = #'neo_mensural
+ \clef "petrucci_g"
+ \[ g\longa c\breve a\breve f\breve d'\longa \]
+ s4
+ \[ e1 f1 a\breve g\longa \]
}
}
@end lilypond
In figures input mode, a group of bass figures is delimited by
@code{<} and @code{>}. The duration is entered after the @code{>>}:
@example
- <4 6>
+ <4 6>
@end example
@lilypond[fragment]
\context FiguredBass
introduced with @code{[} and @code{]}:
@example
- < [4 6] 8 [_! 12]>
+ < [4 6] 8 [_! 12]>
@end example
@lilypond[fragment]
\context FiguredBass
In the 20th century, composers have greatly expanded the musical
vocabulary. With this expansion, many innovations in musical notation
-have been tried. For a comprehensive overview, refer to @cite{Stone
-1980} (see @ref{Literature list}). In general, the use of new, innovative
-notation makes a piece harder to understand and perform and its use
-should therefore be avoided if possible. For this reason, support for
-contemporary notation in LilyPond is limited.
+have been tried. The book by Stone (1980) gives a comprehensive
+overview (see @ref{Literature list}). In general, the use of new,
+innovative notation makes a piece harder to understand and perform and
+its use should therefore be avoided if possible. For this reason,
+support for contemporary notation in LilyPond is limited.
@menu
@end example
@end itemize
-For the digirati, the object description is an Scheme association
+ The object description is an Scheme association
list. Since a Scheme list is a singly linked list, we can treat it as
a stack, and @code{\override} and @code{\revert} are push and pop
operations. The association list is stored in a normal context
\property Voice.NoteHead = #'()
@end example
will effectively erase @internalsref{NoteHead}s from the current
-@internalsref{Voice}. However, this mechanism is not guaranteed to
-work, and may cause crashes or other anomalous behavior.
+@internalsref{Voice}. Typically, this will blank the object. However,
+this mechanism should not be used: it may cause crashes or other
+anomalous behavior.
@seealso
@refbugs
The backend is not very strict in type-checking object properties.
-Cyclic references in @var{value} cause hangs and/or crashes.
-Similarly, reverting properties that are system defaults may also lead
+Cyclic references in Scheme values for properties cause hangs and/or
+crashes. Reverting properties that are system defaults may also lead
to crashes.
@node Constructing a tweak
included if you installed a binary distribution, typically in
@file{/usr/share/doc/lilypond}. They are also available on the web:
go to the @uref{http://lilypond.org,LilyPond website}, click
-``Documentation'', and then ``Program reference'' on the side bar. It
-is advisable to bookmark either the local HTML files if possible. They
-will load faster than the ones on the web. If you use the version
-from the web, you must check whether the documentation matches the
-program version: the documentation is generated from the definitions
-that the program uses, and therefore it is strongly tied to the
-LilyPond version.
+``Documentation'', select the correct version, and click then
+``Program reference.'' It is advisable to bookmark the local HTML
+files. They will load faster than the ones on the web. If you use the
+version from the web, you must check whether the documentation matches
+the program version: it is generated from the definitions that the
+program uses, and therefore it is strongly tied to the LilyPond
+version.
@c [TODO: revise for new site.]
@seealso
@internalsref{FingerEvent} and @internalsref{Fingering}.
+
@end quotation
+@separate
+
@noindent
In other words, the fingerings once entered, are internally stored as
@code{FingerEvent} music objects. When printed, a @code{Fingering}
layout object is created for every @code{FingerEvent}.
The Fingering object has a number of different functions, and each of
-those is captured in an interface, when we look up
-@internalsref{Fingering} in the generated documentation.
+those is captured in an interface. The interfaces are listed under
+@internalsref{Fingering} in the program reference.
@code{side-position-interface}
Position a victim object (this one) next to other objects (the
- support). In this case, the direction signifies where to put the
+ support). In this case, the property @code{direction} signifies where to put the
victim object relative to the support (left or right, up or down?)
@end quotation
@code{Voice}, for example, @internalsref{Staff} or
@internalsref{Score}.
-The internals document also contains alphabetical lists of
+@seealso
+
+The program reference also contains alphabetical lists of
@internalsref{Contexts}, @internalsref{All-layout-objects} and
@internalsref{Music-expressions}, so you can also find which objects to
tweak by browsing the internals document.
@end example
@noindent
-where @var{proc} is a Scheme function, taking four arguments.
+where @var{proc} is a Scheme function, taking three arguments.
-When interpreted, the function @var{proc} is called for every layout object found
-in the context, with the following arguments:
+When interpreted, the function @var{proc} is called for every layout
+object found in the context, with the following arguments:
@itemize @bullet
@item the layout object itself,
@item the context where the layout object was created, and
this is a @internalsref{NoteHead} object.
-@node Outputproperty
-@subsection Outputproperty
-
-@cindex @code{\outputproperty}
-
-Another way of tuning objects is the more arcane @code{\outputproperty}
-feature. The syntax is as follows:
-@example
-\outputproperty @var{predicate} @var{symbol} = @var{value}
-@end example
-Here @code{predicate} is a Scheme function taking an object argument, and
-returning a boolean. This statement is processed by the
-@code{Output_property_engraver}. It instructs the engraver to feed all
-objects that it sees to @var{predicate}. Whenever the predicate returns
-true, the object property @var{symbol} will be set to @var{value}.
-
-You will need to combine this statement with @code{\context} to select
-the appropriate context to apply this to.
-@inputfileref{input/regression,output-property.ly} shows an example of
-the use of @code{\outputproperty}.
-
-@refbugs
-
-This command is slated for removal. Please use the
-@code{\applyoutput} command, see @ref{Applyoutput}.
-
@node Font selection
@subsection Font selection
are defined respectively. The default @code{\paper} block is also
set. These files should be imported at toplevel, i.e.
@example
- \include "paper26.ly"
- \score @{ ... @}
+ \include "paper26.ly"
+ \score @{ ... @}
@end example
The default font size settings for each staff heights are generated
-\version "1.9.1"
+\version "1.9.7"
%{
common dutch names for notes. es means flat, is means sharp
%}
\pitchnames #`(
- (ceses . ,(ly:make-pitch -1 0 -2))
- (ces . ,(ly:make-pitch -1 0 -1 ))
- (c . ,(ly:make-pitch -1 0 0 ))
- (cis . ,(ly:make-pitch -1 0 1 ))
- (cisis . ,(ly:make-pitch -1 0 2 ))
- (deses . ,(ly:make-pitch -1 1 -2 ))
- (des . ,(ly:make-pitch -1 1 -1 ))
- (d . ,(ly:make-pitch -1 1 0 ))
- (dis . ,(ly:make-pitch -1 1 1 ))
- (disis . ,(ly:make-pitch -1 1 2 ))
- (eeses . ,(ly:make-pitch -1 2 -2 ))
- (eses . ,(ly:make-pitch -1 2 -2 ))
- (ees . ,(ly:make-pitch -1 2 -1 ))
- (es . ,(ly:make-pitch -1 2 -1 ))
- (e . ,(ly:make-pitch -1 2 0 ))
- (eis . ,(ly:make-pitch -1 2 1 ))
- (eisis . ,(ly:make-pitch -1 2 2 ))
- (feses . ,(ly:make-pitch -1 3 -2 ))
- (fes . ,(ly:make-pitch -1 3 -1 ))
- (f . ,(ly:make-pitch -1 3 0 ))
- (fis . ,(ly:make-pitch -1 3 1 ))
- (fisis . ,(ly:make-pitch -1 3 2 ))
- (geses . ,(ly:make-pitch -1 4 -2 ))
- (ges . ,(ly:make-pitch -1 4 -1 ))
- (g . ,(ly:make-pitch -1 4 0 ))
- (gis . ,(ly:make-pitch -1 4 1 ))
- (gisis . ,(ly:make-pitch -1 4 2 ))
- (aeses . ,(ly:make-pitch -1 5 -2 ))
- (ases . ,(ly:make-pitch -1 5 -2 ))
- (aes . ,(ly:make-pitch -1 5 -1 ))
- (as . ,(ly:make-pitch -1 5 -1 ))
- (a . ,(ly:make-pitch -1 5 0 ))
- (ais . ,(ly:make-pitch -1 5 1 ))
- (aisis . ,(ly:make-pitch -1 5 2 ))
- (beses . ,(ly:make-pitch -1 6 -2 ))
- (bes . ,(ly:make-pitch -1 6 -1 ))
- (b . ,(ly:make-pitch -1 6 0 ))
- (bis . ,(ly:make-pitch -1 6 1 ))
- (bisis . ,(ly:make-pitch -1 6 2 ))
+ (ceses . ,(ly:make-pitch -1 0 DOUBLE-FLAT))
+ (ces . ,(ly:make-pitch -1 0 FLAT))
+ (c . ,(ly:make-pitch -1 0 NATURAL))
+ (cis . ,(ly:make-pitch -1 0 SHARP))
+ (cisis . ,(ly:make-pitch -1 0 DOUBLE-SHARP))
+ (deses . ,(ly:make-pitch -1 1 DOUBLE-FLAT))
+ (des . ,(ly:make-pitch -1 1 FLAT))
+ (d . ,(ly:make-pitch -1 1 NATURAL))
+ (dis . ,(ly:make-pitch -1 1 SHARP))
+ (disis . ,(ly:make-pitch -1 1 DOUBLE-SHARP))
+ (eeses . ,(ly:make-pitch -1 2 DOUBLE-FLAT))
+ (eses . ,(ly:make-pitch -1 2 DOUBLE-FLAT))
+ (ees . ,(ly:make-pitch -1 2 FLAT))
+ (es . ,(ly:make-pitch -1 2 FLAT))
+ (e . ,(ly:make-pitch -1 2 NATURAL))
+ (eis . ,(ly:make-pitch -1 2 SHARP))
+ (eisis . ,(ly:make-pitch -1 2 DOUBLE-SHARP))
+ (feses . ,(ly:make-pitch -1 3 DOUBLE-FLAT))
+ (fes . ,(ly:make-pitch -1 3 FLAT))
+ (f . ,(ly:make-pitch -1 3 NATURAL))
+ (fis . ,(ly:make-pitch -1 3 SHARP))
+ (fisis . ,(ly:make-pitch -1 3 DOUBLE-SHARP))
+ (geses . ,(ly:make-pitch -1 4 DOUBLE-FLAT))
+ (ges . ,(ly:make-pitch -1 4 FLAT))
+ (g . ,(ly:make-pitch -1 4 NATURAL))
+ (gis . ,(ly:make-pitch -1 4 SHARP))
+ (gisis . ,(ly:make-pitch -1 4 DOUBLE-SHARP))
+ (aeses . ,(ly:make-pitch -1 5 DOUBLE-FLAT))
+ (ases . ,(ly:make-pitch -1 5 DOUBLE-FLAT))
+ (aes . ,(ly:make-pitch -1 5 FLAT))
+ (as . ,(ly:make-pitch -1 5 FLAT))
+ (a . ,(ly:make-pitch -1 5 NATURAL))
+ (ais . ,(ly:make-pitch -1 5 SHARP))
+ (aisis . ,(ly:make-pitch -1 5 DOUBLE-SHARP))
+ (beses . ,(ly:make-pitch -1 6 DOUBLE-FLAT))
+ (bes . ,(ly:make-pitch -1 6 FLAT))
+ (b . ,(ly:make-pitch -1 6 NATURAL))
+ (bis . ,(ly:make-pitch -1 6 SHARP))
+ (bisis . ,(ly:make-pitch -1 6 DOUBLE-SHARP))
)
projects / lilypond.git / commitdiff