@ignore
Tutorial guidelines: (different from policy.txt!)
-- unless you have a really good reason, use either
+- unless you have a really good reason, use
@lilypond[verbatim,quote]
- or
- @lilypond[verbatim,quote,relative=2]
-
- Don't use any other relative=X commands.
- use "aes" and "ees" instead of "as" and "es". I know it's not
correct Dutch naming, but let's not confuse people with this
per a la doble barra final. Per veure una llista completa de les
línies divisòries, consulteu @rusernamed{Bar lines,Línies divisòries}.
-@lilypond[verbatim,quote,relative=2]
-g1 e1 \bar "||" c2. c'4 \bar "|."
+@lilypond[verbatim,quote]
+\relative { g'1 e1 \bar "||" c2. c'4 \bar "|." }
@end lilypond
@node Comprovacions de compàs
utilitzar altres noms per a les @notation{alteracions
accidentals}, vegeu @ruser{Note names in other languages}.
-@lilypond[verbatim,quote,relative=2]
-cis4 ees fisis, aeses
+@lilypond[verbatim,quote]
+\relative { cis''4 ees fisis, aeses }
@end lilypond
@cindex tonalitat, armadura de la, establir
Al següent exemple:
-@lilypond[verbatim,quote,relative=2]
-\key d \major
-cis4 d e fis
+@lilypond[verbatim,quote]
+\relative {
+ \key d \major
+ cis''4 d e fis
+}
@end lilypond
@noindent
@qq{hi ha una nota Si natural.} A la tonalitat de La bemoll
major, @emph{porta} una alteració accidental:
-@lilypond[verbatim,quote,relative=2]
-\key aes \major
-aes4 c b c
+@lilypond[verbatim,quote]
+\relative {
+ \key aes \major
+ aes'4 c b c
+}
@end lilypond
Si l'anterior us causa confusió, penseu sobre el següent: si
Una @notation{lligadura d'unió} es crea adjuntant un caràcter
d'accent @code{~} a la primera nota lligada:
-@lilypond[verbatim,quote,relative=2]
-g4~ 4 c2~ | 4~ 8 a~ 2 |
+@lilypond[verbatim,quote]
+\relative { g'4~ 4 c2~ | 4~ 8 a~ 2 | }
@end lilypond
@node Lligadures d'expressió
abastant diverses notes. Les notes inicial i final es marquen
mitjançant @code{(} y @code{)} respectivament.
-@lilypond[verbatim,quote,relative=2]
-d4( c16) cis( d e c cis d) e( d4)
+@lilypond[verbatim,quote]
+\relative { d''4( c16) cis( d e c cis d) e( d4) }
@end lilypond
@node Lligadures de fraseig
però no és possible tenir legatos simultanis o lligadures
d'expressió simultànies.
-@lilypond[verbatim,quote,relative=2]
-g4\( g8( a) b( c) b4\)
+@lilypond[verbatim,quote]
+\relative { g'4\( g8( a) b( c) b4\) }
@end lilypond
@smallspace
lligadures d'unió i d'expressió es poden niuar unes a dins de les
altres.
-@lilypond[verbatim,quote,relative=2]
-c4~( c8 d~ 4 e)
+@lilypond[verbatim,quote]
+\relative { c''4(~ c8 d~ 4 e) }
@end lilypond
Les @notation{articulacions} més corrents es poden afegir a les
notes utilitzant un guió @code{-} seguit d'un caràcter únic:
-@lilypond[verbatim,quote,relative=2]
-c4-^ c-+ c-- c-!
-c4-> c-. c2-_
+@lilypond[verbatim,quote]
+\relative {
+ c''4-^ c-+ c-- c-!
+ c4-> c-. c2-_
+}
@end lilypond
@node Indicacions de digitació
De manera similar, les @notation{digitacions} es poden afegir a
una nota utilitzant un guió (@code{-}) seguit del dígit desitjat:
-@lilypond[verbatim,quote,relative=2]
-c4-3 e-5 b-2 a-1
+@lilypond[verbatim,quote]
+\relative { c''4-3 e-5 b-2 a-1 }
@end lilypond
Les articulacions i digitacions normalment es col·loquen de forma
millor deixar que el LilyPond determini la direcció de les
articulacions.
-@lilypond[verbatim,quote,relative=2]
-c4_-^1 d^. f^4_2-> e^-_+
+@lilypond[verbatim,quote]
+\relative { c''4_-^1 d^. f^4_2-> e^-_+ }
@end lilypond
@node Matisos dinàmics
Les expressions de @notation{matís} o signes dinàmics es fan
afegint les marques (amb una barra invertida) a la nota:
-@lilypond[verbatim,quote,relative=2]
-c4\ff c\mf c\p c\pp
+@lilypond[verbatim,quote]
+\relative { c''4\ff c\mf c\p c\pp }
@end lilypond
Els @notation{crescendi} i @notation{decrescendi} comencen amb les
per exemple @code{\f}, acabarà el (de)crescendo, o bé es pot usar
la instrucció @code{\!}:
-@lilypond[verbatim,quote,relative=2]
-c4\< c\ff\> c c\!
+@lilypond[verbatim,quote]
+\relative { c''4\< c\ff\> c c\! }
@end lilypond
És possible afegir text a la partitura:
-@lilypond[verbatim,quote,relative=2]
-c2^"espr" a_"legato"
+@lilypond[verbatim,quote,fragment]
+c''2^"espr" a'_"legato"
@end lilypond
Es pot aplicar un format addicional mitjançant la instrucció
@code{\markup}:
-@lilypond[verbatim,quote,relative=2]
-c2^\markup { \bold espr }
-a2_\markup {
+@lilypond[verbatim,quote,fragment]
+c''2^\markup { \bold espr }
+a'2_\markup {
\dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
}
@end lilypond
Totes les @notation{barres} de les figures es dibuixen
automàticament:
-@lilypond[verbatim,quote,relative=2]
-a8 ais d ees r d c16 b a8
+@lilypond[verbatim,quote]
+\relative { a'8 ais d ees r d c16 b a8 }
@end lilypond
Si no us agraden les barres automàtiques, poden forçar-se
manualment. Marqueu la primera nota que comprèn la barra amb
@code{[} i la última amb @code{]}.
-@lilypond[verbatim,quote,relative=2]
-a8[ ais] d[ ees r d] c16 b a8
+@lilypond[verbatim,quote]
+\relative { a'8[ ais] d[ ees r d] c16 b a8 }
@end lilypond
Si voleu desactivar completament el barrat automàtic o per a una
per desactivar-lo i @code{\autoBeamOn} para activar-lo un altre
cop.
-@lilypond[verbatim,quote,relative=2]
-\autoBeamOff
-a8 c b4 d8. c16 b4 |
-\autoBeamOn
-a8 c b4 d8. c16 b4 |
+@lilypond[verbatim,quote]
+\relative {
+ \autoBeamOff
+ a'8 c b4 d8. c16 b4 |
+ \autoBeamOn
+ a8 c b4 d8. c16 b4 |
+}
@end lilypond
@code{\partial}. Va seguida d'una duració: @code{\partial 4} és
una anacrusi de negra i @code{\partial 8} de corxera.
-@lilypond[verbatim,quote,relative=2]
-\partial 8 f8 |
-c2 d |
+@lilypond[verbatim,quote]
+\relative {
+ \partial 8 f''8 |
+ c2 d |
+}
@end lilypond
@node Grups especials
duració. Per als tresets hi ha tres notes a l'espai de dues, de
manera que els @notation{tresets} es fan amb una fracció de 3/2.
-@lilypond[verbatim,quote,relative=2]
-\tuplet 3/2 { f8 g a }
-\tuplet 3/2 { c8 r c }
-\tuplet 3/2 { f,8 g16[ a g a] }
-\tuplet 3/2 { d4 a8 }
+@lilypond[verbatim,quote]
+\relative {
+ \tuplet 3/2 { f''8 g a }
+ \tuplet 3/2 { c8 r c }
+ \tuplet 3/2 { f,8 g16[ a g a] }
+ \tuplet 3/2 { d4 a8 }
+}
@end lilypond
@node Notes d'adorn
expressió musical amb la paraula clau @code{\appoggiatura} o
@code{\acciaccatura}.
-@lilypond[verbatim,quote,relative=2]
-c2 \grace { a32 b } c2 |
-c2 \appoggiatura b16 c2 |
-c2 \acciaccatura b16 c2 |
+@lilypond[verbatim,quote]
+\relative {
+ c''2 \grace { a32 b } c2 |
+ c2 \appoggiatura b16 c2 |
+ c2 \acciaccatura b16 c2 |
+}
@end lilypond
mitjançant @emph{expressions musicals}. Una sola nota és una
expressió musical:
-@lilypond[verbatim,quote,relative=2]
-a4
+@lilypond[verbatim,quote,fragment]
+a'4
@end lilypond
En tancar un grup de notes dins de claudàtors creem una
@emph{expressió musical composta}. Aquí hem creat una expressió
musical composta amb dues notes:
-@lilypond[verbatim,quote,relative=2]
-{ a4 g4 }
+@lilypond[verbatim,quote]
+\relative { a'4 g4 }
@end lilypond
Si col·loquem un grup d'expressions musicals (per exemple: notes)
a dir, cada una segueix a l'anterior). El resultat és una altra
expressió musical:
-@lilypond[verbatim,quote,relative=2]
-{ { a4 g } f4 g }
+@lilypond[verbatim,quote]
+\relative { { a'4 g } f4 g }
@end lilypond
@node Analogia expressions matemàtiques
conté dues notes diferents) es combinen de forma simultània:
@lilypond[verbatim,quote]
-\relative {
- <<
- { a'2 g }
- { f2 e }
- { d2 b }
- >>
-}
+<<
+ \relative { a'2 g }
+ \relative { f'2 e }
+ \relative { d'2 b }
+>>
@end lilypond
Tingueu en compte que hem sagnat cada nivell jeràrquic de
paral·lel amb @code{<<} y @code{>>}:
@lilypond[verbatim,quote]
-\relative {
- <<
- \new Staff { \clef "treble" c''4 }
- \new Staff { \clef "bass" c,,4 }
- >>
-}
+<<
+ \new Staff { \clef "treble" c''4 }
+ \new Staff { \clef "bass" c4 }
+>>
@end lilypond
L'ordre @code{\new} inaugura un @q{context de notació}. Un
comunes que les partitures polirítmiques.
@lilypond[verbatim,quote]
-\relative {
- <<
- \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
- \new Staff { \clef "bass" c,,4 }
- >>
-}
+<<
+ \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
+ \new Staff { \clef "bass" c4 }
+>>
@end lilypond
Heus aquí un petit exemple:
@lilypond[verbatim,quote]
-\relative {
- \new PianoStaff <<
- \new Staff { \time 2/4 c''4 e | g g, | }
- \new Staff { \clef "bass" c,,4 c' | e c | }
- >>
-}
+\new PianoStaff <<
+ \new Staff \relative { \time 2/4 c''4 e | g g, | }
+ \new Staff \relative { \clef "bass" c4 c' | e c | }
+>>
@end lilypond
Altres grups de pentagrames es declaren mitjançant @code{\new
les notes d'un acord han de tenir la mateixa duració, i que la
duració s'escriu després de l'angle de tancament.
-@lilypond[verbatim,quote,relative=2]
-r4 <c e g> <c f a>2
+@lilypond[verbatim,quote]
+\relative { r4 <c'' e g> <c f a>2 }
@end lilypond
Hem de pensar que els acords són quelcom gairebé equivalent a les
lligadures, amb acords. Tan sols heu de recordar que s'escriuen
per fora dels angles.
-@lilypond[verbatim,quote,relative=2]
-r4 <c e g>~ <c f a>2 |
-<c e g>8[ <c f a> <c e g> <c f a>]
- <c e g>8\>[ <c f a> <c f a> <c e g>]\! |
-r4 <c e g>8.\p <c f a>16( <c e g>4-. <c f a>) |
+@lilypond[verbatim,quote]
+\relative {
+ r4 <c'' e g>~ <c f a>2 |
+ <c e g>8[ <c f a> <c e g> <c f a>]
+ <c e g>8\>[ <c f a> <c f a> <c e g>]\! |
+ r4 <c e g>8.\p <c f a>16( <c e g>4-. <c f a>) |
+}
@end lilypond
@seealso
la barra (una cosa que potser no sigui molt musical, però és
possible):
-@lilypond[quote,verbatim,ragged-right,relative=2]
-g8\( a b[ c b\) a] g4
+@lilypond[quote,verbatim,ragged-right]
+\relative { g'8\( a b[ c b\) a] g4 }
@end lilypond
En general, els diversos tipus de claudàtors, i els que es fan
dos grups especials, i una lligadura de fraseig que surt de
l'interior d'un grup excedent (línies 3 i 4).
-@lilypond[quote,verbatim,ragged-right,relative=1]
-r16[ g \tuplet 3/2 { r16 e'8] }
-g,16( a \tuplet 3/2 { b16 d) e }
-g,8[( a \tuplet 3/2 { b8 d) e~] } |
-\tuplet 5/4 { e32\( a, b d e } a4.\)
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ r16[ g' \tuplet 3/2 { r16 e'8] }
+ g,16( a \tuplet 3/2 { b16 d) e }
+ g,8[( a \tuplet 3/2 { b8 d) e~] } |
+ \tuplet 5/4 { e32\( a, b d e } a4.\)
+}
@end lilypond
suposat; aleshores, quan, exactament, es necessiten diverses veus?
En primer lloc observeu aquest exemple de quatre acords:
-@lilypond[quote,verbatim,ragged-right,relative=1]
-\key g \major
-<d g>4 <d fis> <d a'> <d g>
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ <d' g>4 <d fis> <d a'> <d g>
+}
@end lilypond
Això es pot expressar utilitzant sols símbols d'acord amb angles
fitxer d'entrada. Per exemple, compareu l'entrada i la sortida
del següent exemple:
-@lilypond[quote,verbatim,relative=2]
-cis4 cis2. | a4 a2. |
+@lilypond[quote,verbatim]
+\relative { cis''4 cis2. | a4 a2. | }
@end lilypond
L'entrada és força greu, però a la sortida s'han afegit línies
@cindex color, propietat, exemple
@cindex NoteHead, exemple de sobreescriptura
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-c4 d
-\override NoteHead.color = #red
-e4 f |
-\override NoteHead.color = #green
-g4 a b c |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ c'4 d
+ \override NoteHead.color = #red
+ e4 f |
+ \override NoteHead.color = #green
+ g4 a b c |
+}
@end lilypond
@cindex color, propietat, exemple
@cindex NoteHead, exemple de sobreescriptura
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-c4 d
-\override NoteHead.color = #red
-e4 f |
-\override NoteHead.color = #green
-g4 a
-\revert NoteHead.color
-b4 c |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ c'4 d
+ \override NoteHead.color = #red
+ e4 f |
+ \override NoteHead.color = #green
+ g4 a
+ \revert NoteHead.color
+ b4 c |
+}
@end lilypond
@cindex color, propietat, exemple
@cindex NoteHead, exemple de sobreescriptura
-@lilypond[quote,verbatim,relative=1]
-c4 d
-\override NoteHead.color = #red
-e4 f |
-\once \override NoteHead.color = #green
-g4 a
-\revert NoteHead.color
-b c |
+@lilypond[quote,verbatim]
+\relative {
+ c'4 d
+ \override NoteHead.color = #red
+ e4 f |
+ \once \override NoteHead.color = #green
+ g4 a
+ \revert NoteHead.color
+ b c |
+}
@end lilypond
El prefix @code{\once} també es pot usar davant de moltes
@cindex font-size, propiedad, ejemplo
@cindex NoteHead, exemple de sobreescriptura
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-<c e g>4
-\once \override NoteHead.font-size = #-3
-<c e g>4
-<c e g>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ <c' e g>4
+ \once \override NoteHead.font-size = #-3
+ <c e g>4
+ <c e g>4
+}
@end lilypond
Veiem que la sobreescriptura amb override afecta a @emph{tots} els
@cindex font-size, propietat, exemple
@cindex @code{\tweak}, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-<c e g>4
-<c \tweak font-size #-3 e g>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ <c' e g>4
+ <c \tweak font-size #-3 e g>4
+}
@end lilypond
Observeu que la sintaxi de @code{\tweak} no és igual que la de
@cindex color, propietat, exemple
@cindex @code{\tweak}, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-a4^"Black"
+@lilypond[quote,fragment,ragged-right,verbatim]
+a'4^"Black"
-\tweak color #red ^"Red"
-\tweak color #green _"Green"
@end lilypond
sempre i quan el LilyPond pugui rastrejar el seu origen fins
l'esdeveniment original:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-<\tweak Accidental.color #red cis4
- \tweak Accidental.color #green es
- g>
+@lilypond[quote,fragment,ragged-right,verbatim]
+<\tweak Accidental.color #red cis''4
+ \tweak Accidental.color #green es''
+ g''>
@end lilypond
Aquesta forma extensa de l'ordre @code{\tweak} es pot
@cindex direction, propietat, exemple
@cindex color, propietat, exemple
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
-\tweak direction #up
-\tuplet 3/4 {
- \tweak color #red
- \tuplet 3/2 { c8[ c c] }
- \tuplet 3/2 { c8[ c c] }
- \tuplet 3/2 { c8[ c c] }
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ \tweak direction #up
+ \tuplet 3/4 {
+ \tweak color #red
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ }
}
@end lilypond
@cindex transparent, propietat, exemple
@cindex TupletNumber, exemple de sobreescriptura
-@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
-\tuplet 3/2 { c8[ c c] }
-\once \override TupletNumber.text = #tuplet-number::calc-fraction-text
-\tuplet 3/2 {
- c8[ c]
- c8[ c]
- \once \override TupletNumber.transparent = ##t
- \tuplet 3/2 { c8[ c c] }
- \tuplet 3/2 { c8[ c c] }
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \tuplet 3/2 { c'8[ c c] }
+ \once \override TupletNumber.text = #tuplet-number::calc-fraction-text
+ \tuplet 3/2 {
+ c8[ c]
+ c8[ c]
+ \once \override TupletNumber.transparent = ##t
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ }
}
@end lilypond
@c Mozart, duo, núm. 7 de La Flauta Màgica
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8 bes[( g]) g |
+ \relative {
+ r4 bes'8 bes[( g]) g |
g8[( es]) es d[( f]) as |
as8 g
}
@cindex Slur, exemple de sobreescriptura
@cindex thickness, propietat, exemple
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
+ \relative {
% Increase thickness of all following slurs from 1.2 to 5.0
\override Slur.thickness = #5.0
- r4 bes8 bes[( g]) g |
+ r4 bes'8 bes[( g]) g |
g8[( es]) es d[( f]) as |
as8 g
}
@cindex Slur, exemple de sobreescriptura
@cindex thickness, propietat, exemple
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8
+ \relative {
+ r4 bes'8
% Increase thickness of immediately following slur only
\once \override Slur.thickness = #5.0
bes8[( g]) g |
@cindex Slur, exemple de sobreescriptura
@cindex thickness, propietat, exemple
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8
+ \relative {
+ r4 bes'8
% Increase thickness of immediately following slur only
\once \override Slur.thickness = #5.0
bes[( g]) g |
@cindex Slur, exemple de sobreesriptura
@cindex thickness, propietat, exemple
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8
+ \relative {
+ r4 bes'8
% Increase thickness of all following slurs from 1.2 to 5.0
\override Slur.thickness = #5.0
bes[( g]) g |
@cindex LyricText, exemple de sobreescriptura
@cindex @code{\addlyrics}, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8 bes[( g]) g |
+ \relative {
+ r4 bes'8 bes[( g]) g |
g8[( es]) es d[( f]) as |
as8 g
}
@cindex BarLine, exemple de sobreescriptura
@cindex stencil, propietat, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override BarLine.stencil = ##f
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex BarLine, exemple de sobreescriptura
@cindex stencil, propietat, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.stencil = ##f
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@code{\omit} (ometre):
@funindex \omit
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\omit Staff.BarLine
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@code{point-stencil}, que estableix el segell a un objecte amb
mida nul·la:
-@lilypond[quote,verbatim,relative=2]
-{
- c4 c
+@lilypond[quote,verbatim]
+\relative {
+ c''4 c
\once \override NoteHead.stencil = #point-stencil
c4 c
}
@cindex BarLine, exemple de sobreescriptura
@cindex break-visibility, propietat, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.break-visibility = ##(#f #f #f)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex TimeSignature, exemple de sobreescriptura
@cindex transparent, propietat, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.TimeSignature.transparent = ##t
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
anomenada @code{\hide} (amagar):
@funindex \hide
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\hide Staff.TimeSignature
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex TimeSignature, exemple de sobreescriptura
@cindex stencil, propietat, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\omit Staff.TimeSignature
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex BarLine, exemple de sobreescriptura
@cindex color, propietat, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.color = #white
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex BarLine, exemple de sobreescriptura
@cindex color, propietat, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.color = #(x11-color 'white)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex BarLine, exemplo de sobreescriptura
@cindex color, propietat, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.color = #(rgb-color 1 1 1)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex color property, exemple
@cindex x11-color, exemple d'utilització
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.StaffSymbol.color = #(x11-color 'grey30)
\override Staff.TimeSignature.color = #(x11-color 'grey60)
\override Voice.NoteHead.color = #(x11-color 'grey85)
\override Voice.Stem.color = #(x11-color 'grey85)
\override Staff.BarLine.color = #(x11-color 'grey10)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex alignAboveContext, propietat, exemple
@cindex @code{\with}, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex Clef, exemple de sobreescriptura
@cindex TimeSignature, exemple de sobreescriptura
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex Clef, exemple de sobreescriptura
@cindex TimeSignature, exemple de sobreesriptura
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex TimeSignature, exemple de sobreescriptura
@cindex fontSize, propietat, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex staff-space, propietat, exemple
@cindex stencil, propietat, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex markup, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-c2^"Text1"
-c2^"Text2" |
-c2^"Text3"
-c2^"Text4" |
+@lilypond[quote,fragment,ragged-right,verbatim]
+c''2^"Text1"
+c''2^"Text2" |
+c''2^"Text3"
+c''2^"Text4" |
@end lilypond
Els pentagrames també es posicionen, de forma predeterminada, tan
@cindex Fingering, exemple de sobreescriptura
@cindex direction, propietat, exemple
-@lilypond[quote,verbatim,relative=2]
-c4-5 a-3 f-1 c'-5 |
-\override Fingering.direction = #DOWN
-c4-5 a-3 f-1 c'-5 |
-\override Fingering.direction = #UP
-c4-5 a-3 f-1 c'-5 |
+@lilypond[quote,verbatim]
+\relative {
+ c''4-5 a-3 f-1 c'-5 |
+ \override Fingering.direction = #DOWN
+ c4-5 a-3 f-1 c'-5 |
+ \override Fingering.direction = #UP
+ c4-5 a-3 f-1 c'-5 |
+}
@end lilypond
Tot i així, la sobreescriptura de la propietat @code{direction} no
@cindex fingering, exemple
@cindex digitación, exemple
-@lilypond[quote,verbatim,relative=2]
-c4-5 a-3 f-1 c'-5 |
-c4_5 a_3 f_1 c'_5 |
-c4^5 a^3 f^1 c'^5 |
+@lilypond[quote,verbatim]
+\relative {
+ c''4-5 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 propietat @code{direction} s'ignora per als acords, però els
@cindex fingering, exemple
@cindex digitación, exemple
-@lilypond[quote,verbatim,relative=2]
-<c-5 g-3>4
-<c-5 g-3 e-2>4
-<c-5 g-3 e-2 c-1>4
+@lilypond[quote,verbatim]
+\relative {
+ <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 fingering, exemple
@cindex digitación, exemple
-@lilypond[quote,verbatim,relative=2]
-<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
+@lilypond[quote,verbatim]
+\relative {
+ <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
És possible exercir un control encara més gran sobre la
@cindex @code{\set}, exemple d'utilització
@cindex fingeringOrientations, propietat, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-\set fingeringOrientations = #'(left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
-\set fingeringOrientations = #'(left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4 |
-\set fingeringOrientations = #'(up left down)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
-\set fingeringOrientations = #'(up left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4 |
-\set fingeringOrientations = #'(right)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \set fingeringOrientations = #'(left)
+ <f'-2>4
+ <c-1 e-2 g-3 b-5>4
+ \set fingeringOrientations = #'(left)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4 |
+ \set fingeringOrientations = #'(up left down)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4
+ \set fingeringOrientations = #'(up left)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4 |
+ \set fingeringOrientations = #'(right)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4
+}
@end lilypond
@noindent
@code{Fingering} del RFI que és @w{@code{-5}}, així que provarem
@w{@code{-7}}:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-\override Fingering.font-size = #-7
-\set fingeringOrientations = #'(left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
-\set fingeringOrientations = #'(left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4 |
-\set fingeringOrientations = #'(up left down)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
-\set fingeringOrientations = #'(up left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4 |
-\set fingeringOrientations = #'(right)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \override Fingering.font-size = #-7
+ \set fingeringOrientations = #'(left)
+ <f'-2>4
+ <c-1 e-2 g-3 b-5>4
+ \set fingeringOrientations = #'(left)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4 |
+ \set fingeringOrientations = #'(up left down)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4
+ \set fingeringOrientations = #'(up left)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4 |
+ \set fingeringOrientations = #'(right)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4
+}
@end lilypond
@cindex TextSpanner, exemple de sobreesriptura
@cindex bound-details, propietat, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
+@lilypond[quote,fragment,ragged-right,verbatim]
% Set details for later Text Spanner
\override TextSpanner.bound-details.left.text
= \markup { \small \bold Slower }
\dynamicUp
% Start Ottava Bracket
\ottava #1
-c'4 \startTextSpan
+c''4 \startTextSpan
% Add Dynamic Text and hairpin
-c4\pp\<
-c4
+c''4\pp\<
+c''4
% Add Text Script
-c4^Text |
-c4 c
+c''4^Text |
+c''4 c''
% Add Dynamic Text and terminate hairpin
-c4\ff c \stopTextSpan |
+c''4\ff c'' \stopTextSpan |
% Stop Ottava Bracket
\ottava #0
-c,4 c c c |
+c'4 c' c' c' |
@end lilypond
Aquest exemple també mostra com crear textos amb extensió (Text
@cindex TextSpanner, exemple de sobreescriptura
@cindex bound-details, propietat, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
+@lilypond[quote,fragment,ragged-right,verbatim]
% Set details for later Text Spanner
\override TextSpanner.bound-details.left.text
= \markup { \small \bold Slower }
\once \override Staff.OttavaBracket.outside-staff-priority = #340
% Start Ottava Bracket
\ottava #1
-c'4 \startTextSpan
+c''4 \startTextSpan
% Add Dynamic Text
-c4\pp
+c''4\pp
% Add Dynamic Line Spanner
-c4\<
+c''4\<
% Add Text Script
-c4^Text |
-c4 c
+c''4^Text |
+c''4 c''
% Add Dynamic Text
-c4\ff c \stopTextSpan |
+c''4\ff c'' \stopTextSpan |
% Stop Ottava Bracket
\ottava #0
-c,4 c c c |
+c'4 c' c' c' |
@end lilypond
Observeu que alguns d'aquests objectes, concretament els números de
fora del pentagrama d'acord amb aquest valor. Heus ací un exemple
que mostra l'efecte dels dos mètodes:
-@lilypond[quote,verbatim,relative=2]
-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 |
-\once \override Slur.outside-staff-priority = #500
-c4( c^\markup { \tiny \sharp } d4.) c8 |
+@lilypond[quote,verbatim]
+\relative c'' {
+ 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 |
+ \once \override Slur.outside-staff-priority = #500
+ c4( c^\markup { \tiny \sharp } d4.) c8 |
+}
@end lilypond
Els canvis a @code{outside-staff-priority} també es pode usar per
@cindex TextScript, exemple de sobreescriptura
@cindex outside-staff-priority, propietat, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-c2^"Text1"
-c2^"Text2" |
+@lilypond[quote,fragment,ragged-right,verbatim]
+c''2^"Text1"
+c''2^"Text2" |
\once \override TextScript.outside-staff-priority = #500
-c2^"Text3"
-c2^"Text4" |
+c''2^"Text3"
+c''2^"Text4" |
@end lilypond
Això, certament, eleva a @qq{Text3} per sobre de @qq{Text4} però
comportament, fent que les notes portin tant d'espai com sigui
necessari per acomodar el text:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,verbatim]
\textLengthOn % Cause notes to space out to accommodate text
-c2^"Text1"
-c2^"Text2" |
-c2^"Text3"
-c2^"Text4" |
+c''2^"Text1"
+c''2^"Text2" |
+c''2^"Text3"
+c''2^"Text4" |
@end lilypond
L'ordre per tornar al comportament predeterminat és
@cindex TextScript, exemple de sobreescriptura
@cindex outside-staff-priority, propietat, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-% This markup is short enough to fit without collision
-c2^"Tex" c'' |
-R1 |
-
-% This is too long to fit, so it is displaced upwards
-c,,2^"Text" c'' |
-R1 |
-
-% Turn off collision avoidance
-\once \override TextScript.outside-staff-priority = ##f
-c,,2^"Long Text " c'' |
-R1 |
-
-% Turn off collision avoidance
-\once \override TextScript.outside-staff-priority = ##f
-\textLengthOn % and turn on textLengthOn
-c,,2^"Long Text " % Spaces at end are honored
-c''2 |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ % This markup is short enough to fit without collision
+ c''2^"Tex" c'' |
+ R1 |
+
+ % This is too long to fit, so it is displaced upwards
+ c,,2^"Text" c'' |
+ R1 |
+
+ % Turn off collision avoidance
+ \once \override TextScript.outside-staff-priority = ##f
+ c,,2^"Long Text " c'' |
+ R1 |
+
+ % Turn off collision avoidance
+ \once \override TextScript.outside-staff-priority = ##f
+ \textLengthOn % and turn on textLengthOn
+ c,,2^"Long Text " % Spaces at end are honored
+ c''2 |
+}
@end lilypond
@node Posicionament dels matisos dinàmics
fraseig i números de compàs. Això pot oferir resultats força
acceptables, com mostra aquest exemple:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-\clef "bass"
-\key aes \major
-\time 9/8
-\dynamicUp
-bes4.~\f\< \( bes4 bes8 des4\ff\> c16 bes\! |
-ees,2.~\)\mf ees4 r8 |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \clef "bass"
+ \key aes \major
+ \time 9/8
+ \dynamicUp
+ bes4.~\f\< \( bes4 bes8 des4\ff\> c16 bes\! |
+ ees,2.~\)\mf ees4 r8 |
+}
@end lilypond
Tot i així, si les notes i les seves indicacions dinàmiques
lluny, tot i que pot no ser el lloc òptim, com mostra l'exemple
següent més aviat artificial:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim,fragment]
\dynamicUp
-a4\f b\mf a\mp b\p
+\relative { a'4\f b\mf a\mp b\p }
@end lilypond
@noindent
@cindex DynamicText, exemple de sobreescriptura
@cindex extra-spacing-width, propietat, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim,fragment]
\dynamicUp
% Extend width by 1 staff space
\override DynamicText.extra-spacing-width = #'(-0.5 . 0.5)
-a4\f b\mf a\mp b\p
+\relative { a'4\f b\mf a\mp b\p }
@end lilypond
@noindent
@cindex Script, exemple de sobreescriptura
@cindex padding, propietat, exemple
-@lilypond[quote,fragment,relative=1,verbatim]
-c2\fermata
+@lilypond[quote,fragment,verbatim]
+c'2\fermata
\override Script.padding = #3
b2\fermata
@end lilypond
@cindex MetronomeMark, exemple de sobreescriptura
@cindex padding, propietat, exemple
-@lilypond[quote,fragment,relative=1,verbatim]
+@lilypond[quote,fragment,verbatim]
% This will not work, see below
\override MetronomeMark.padding = #3
\tempo 4 = 120
-c1 |
+c'1 |
% This works
\override Score.MetronomeMark.padding = #3
\tempo 4 = 80
-d1 |
+d'1 |
@end lilypond
Observeu que al segon exemple la gran importància que té saber
@cindex DynamicLineSpanner, exemple de sobreescriptura
@cindex staff-padding, propietat, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,verbatim]
\override DynamicLineSpanner.staff-padding = #3
-a4\f b\mf a\p b\mp
+\relative { a'4\f b\mf a\p b\mp }
@end lilypond
@cindex StringNumber, exemple de sobreescriptura
@cindex self-alignment-X, propietat, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=3]
+@lilypond[quote,fragment,ragged-right,verbatim]
\voiceOne
-<a\2>
+<a''\2>
\once \override StringNumber.self-alignment-X = #RIGHT
-<a\2>
+<a''\2>
@end lilypond
@node La propietat staff-position (posició al pentagrama)
es fa solament per a notes i silencis que passen al mateix
moment. Heus ací un exemple de col·lisió d'aquest tipus:
-@lilypond[quote,verbatim,fragment,ragged-right, relative=1]
-<< { c4 c c c } \\ { R1 } >>
+@lilypond[quote,verbatim,ragged-right]
+<< \relative { c'4 c c c } \\ { R1 } >>
@end lilypond
La millor solució aquí és moure el silenci multi-compàs cap avall,
@cindex MultiMeasureRest, exemple de sobreesriptura
@cindex staff-position, propietat, exemple
-@lilypond[quote,verbatim,fragment,ragged-right, relative=1]
+@lilypond[quote,verbatim,ragged-right]
<<
- { c4 c c c }
+ \relative { c'4 c c c }
\\
\override MultiMeasureRest.staff-position = #-8
{ R1 }
Heus ací un exemple en al qual les lligadures de fraseig i
d'expressió xoquen entre sí:
-@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
-a8 \( ( a'16 ) a \)
+@lilypond[quote,verbatim,ragged-right]
+\relative { a'8 \( ( a'16 ) a \) }
@end lilypond
@cindex PhrasingSlur, exemple de sobreesriptura
lligadura de fraseig d'entre les candidates que ha trobat amb els
seus extrems més propers a ells:
-@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+@lilypond[quote,verbatim,fragment,ragged-right]
\once \override PhrasingSlur.positions = #'(2.5 . 4.5)
-a8 \( ( a'16 ) a \)
+a'8 \( ( a''16 ) a'' \)
@end lilypond
Això suposa una millora, però perquè no baixar una mica l'extrem
estiguin en la mateixa veu. Usant dues veus, amb les notes
lligades en una d'elles:
-@lilypond[quote,fragment,relative=2]
-<< { b8~ 8\noBeam } \\ { b8[ g] } >>
+@lilypond[quote]
+<< { b'8~ 8\noBeam } \\ { b'8[ g'] } >>
@end lilypond
@noindent
resultat són dos pentagrames, romanent el de sota amb les
notes amb el color negre predeterminat.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\override Staff.NoteHead.color = #red
-\new Staff { a }
+\new Staff { a' }
@end lilypond
Això és així perquè no hi ha cap context @code{Staff} quan es
diferent, en el qual es col·loquen les notes. El codi correcte
per acolorir totes les notes de vermell és
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\new Staff {
\override Staff.NoteHead.color = #red
- a
+ a'
}
@end lilypond
@ignore
Tutorial guidelines:
-- unless you have a really good reason, use either
- @l ilypond[quote,verbatim]
- or
- @l ilypond[quote,verbatim,fragment,relative=2]
+- unless you have a really good reason, use
+ @lilypond[quote,verbatim]
(without spaces)
- Don't use any other relative=X commands.
- use "aes" and "ees" instead of "as" and "aes". I know it's not
correct Dutch naming, but let's not confuse people with this until
@notation{předznamenání} v jiných jazycích.
Podívejte se na @ruser{Označení not v jiných jazycích}.
-@lilypond[verbatim,quote,relative=2]
-cis4 ees fisis, aeses
+@lilypond[verbatim,quote]
+\relative { cis''4 ees fisis, aeses }
@end lilypond
V tomto příkladu
-@lilypond[verbatim,quote,relative=2]
-\key d \major
-cis4 d e fis
+@lilypond[verbatim,quote]
+\relative {
+ \key d \major
+ cis''4 d e fis
+}
@end lilypond
@noindent
V tónině As Dur @emph{dostane} předznamenání (posuvku):
-@lilypond[verbatim,quote,relative=2]
-\key aes \major
-aes4 c b c
+@lilypond[verbatim,quote]
+\relative {
+ \key aes \major
+ aes'4 c b c
+}
@end lilypond
Zapsat všechna tato předznamenání výslovně, možná znamená o něco
více not. Jeho počáteční a koncová nota se značí
@q{(} popřípadě @q{)}.
-@lilypond[verbatim,quote,relative=2]
-d4( c16) cis( d e c cis d) e( d4)
+@lilypond[verbatim,quote]
+\relative { d''4( c16) cis( d e c cis d) e( d4) }
@end lilypond
@subheading Frázovací obloučky
tak frázovací obloučky, ale nemůže se současně dát více než právě
jeden legatový oblouček a jeden frázovací oblouček.
-@lilypond[verbatim,quote,relative=2]
-g4\( g8( a) b( c) b4\)
+@lilypond[verbatim,quote]
+\relative { g'4\( g8( a) b( c) b4\) }
@end lilypond
@sp 1
zapsány pro větší skupiny not. Ligatury a legatové obloučky mohou
být naskládány do sebe.
-@lilypond[verbatim,quote,relative=2]
-c4~( c8 d~ 4 e)
+@lilypond[verbatim,quote]
+\relative { c''4(~ c8 d~ 4 e) }
@end lilypond
Běžná @notation{artikulační znaménka} mohou být zadána pomocí
doplnění minus (@q{-}) a odpovídajícího znaménka:
-@lilypond[verbatim,quote,relative=2]
-c4-^ c-+ c-- c-!
-c4-> c-. c2-_
+@lilypond[verbatim,quote]
+\relative {
+ c''4-^ c-+ c-- c-!
+ c4-> c-. c2-_
+}
@end lilypond
@subheading Prstoklad
Stejným způsobem lze přidat označení prstokladu tím,
že se po minus (@q{-}) zapíše číslo:
-@lilypond[verbatim,quote,relative=2]
-c4-3 e-5 b-2 a-1
+@lilypond[verbatim,quote]
+\relative { c''4-3 e-5 b-2 a-1 }
@end lilypond
Artikulační znaménka a prstoklady jsou obvykle umísťovány
Většinou ale najde LilyPond sám tu nejlepší možnost,
jak se mají artikulační znaménka umístit.
-@lilypond[verbatim,quote,relative=2]
-c4_-^1 d^. f^4_2-> e^-_+
+@lilypond[verbatim,quote]
+\relative { c''4_-^1 d^. f^4_2-> e^-_+ }
@end lilypond
@subheading Dynamika
Dynamika (značky určující hlasitost) se do díla zadává tím, že se k notě
připojují značky (s obráceným lomítkem):
-@lilypond[verbatim,quote,relative=2]
-c4\ff c\mf c\p c\pp
+@lilypond[verbatim,quote]
+\relative { c''4\ff c\mf c\p c\pp }
@end lilypond
@notation{Crescendo} a @notation{decrescendo} začínají
například @code{\f}, (de)crescendo ukončuje.
Může se přesně ukončit i příkazem @code{\!}.
-@lilypond[verbatim,quote,relative=2]
-c4\< c\ff\> c c\!
+@lilypond[verbatim,quote]
+\relative { c''4\< c\ff\> c c\! }
@end lilypond
Text můžete do notového zápisu vložit následujícím způsobem:
-@lilypond[verbatim,quote,relative=2]
-c2^"espr" a_"legato"
+@lilypond[verbatim,quote,fragment]
+c''2^"espr" a'_"legato"
@end lilypond
Dodatečné formátování lze nasadit, když použijete příkaz
@code{\markup}:
-@lilypond[verbatim,quote,relative=2]
-c2^\markup { \bold espr }
-a2_\markup {
+@lilypond[verbatim,quote,fragment]
+c''2^\markup { \bold espr }
+a'2_\markup {
\dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
}
@end lilypond
Všechny @notation{trámce} se zapisují automaticky:
-@lilypond[verbatim,quote,relative=2]
-a8 ais d ees r d c16 b a8
+@lilypond[verbatim,quote]
+\relative { a'8 ais d ees r d c16 b a8 }
@end lilypond
@noindent
@q{[} (AltGr+8), a ta, na níž má končit, dostane
@q{]} (AltGr+9).
-@lilypond[verbatim,quote,relative=2]
-a8[ ais] d[ ees r d] c16 b a8
+@lilypond[verbatim,quote]
+\relative { a'8[ ais] d[ ees r d] c16 b a8 }
@end lilypond
Když chcete automatické trámce vypnout úplně nebo
příkaz @code{\autoBeamOff}, abyste trámce vypnul,
a @code{\autoBeamOn}, abyste je opět zapnul.
-@lilypond[verbatim,quote,relative=2]
-\autoBeamOff
-a8 c b4 d8. c16 b4 |
-\autoBeamOn
-a8 c b4 d8. c16 b4 |
+@lilypond[verbatim,quote]
+\relative {
+ \autoBeamOff
+ a'8 c b4 d8. c16 b4 |
+ \autoBeamOn
+ a8 c b4 d8. c16 b4 |
+}
@end lilypond
Potom následuje délka předtaktí: @code{\partial 4}
znamená jednu čtvrťovou notu předtaktí a @code{\partial 8} jednu osminovou notu.
-@lilypond[verbatim,quote,relative=2]
-\partial 8 f8 |
-c2 d |
+@lilypond[verbatim,quote]
+\relative {
+ \partial 8 f''8 |
+ c2 d |
+}
@end lilypond
V jedné triole trvají noty 2/3 jejich zapsané délky,
takže triola má 2/3 jako svůj zlomek:
-@lilypond[verbatim,quote,relative=2]
-\tuplet 3/2 { f8 g a }
-\tuplet 3/2 { c8 r c }
-\tuplet 3/2 { f,8 g16[ a g a] }
-\tuplet 3/2 { d4 a8 }
+@lilypond[verbatim,quote]
+\relative {
+ \tuplet 3/2 { f''8 g a }
+ \tuplet 3/2 { c8 r c }
+ \tuplet 3/2 { f,8 g16[ a g a] }
+ \tuplet 3/2 { d4 a8 }
+}
@end lilypond
@subheading Ozdoby
vytvářet uvozením hudebního výrazu příkazem @code{\appoggiatura} (dlouhý
příraz, prodleva) a @code{\acciaccatura} (příraz, krátká appogiatura).
-@lilypond[verbatim,quote,relative=2]
-c2 \grace { a32 b } c2 |
-c2 \appoggiatura b16 c2 |
-c2 \acciaccatura b16 c2 |
+@lilypond[verbatim,quote]
+\relative {
+ c''2 \grace { a32 b } c2 |
+ c2 \appoggiatura b16 c2 |
+ c2 \acciaccatura b16 c2 |
+}
@end lilypond
pomocí @emph{hudebních výrazů}. Jedna nota je jedním hudebním
výrazem.
-@lilypond[verbatim,quote,relative=2]
-a4
+@lilypond[verbatim,quote,fragment]
+a'4
@end lilypond
Skupina not uvnitř závorek tvoří nový výraz.
Zde byl jeden takový složený hudební výraz
se dvěmi notami vytvořen:
-@lilypond[verbatim,quote,relative=2]
-{ a4 g4 }
+@lilypond[verbatim,quote]
+\relative { a'4 g4 }
@end lilypond
Když je skupina hudebních výrazů (například not)
seřazeny v řadě (tj. každý následuje po předchozím). Výsledkem je další
hudební výraz.
-@lilypond[verbatim,quote,relative=2]
-{ { a4 g } f4 g }
+@lilypond[verbatim,quote]
+\relative { { a'4 g } f4 g }
@end lilypond
tři výrazy (každý obsahuje dvě oddělené noty):
@lilypond[verbatim,quote]
-\relative {
- <<
- { a'2 g }
- { f2 e }
- { d2 b }
- >>
-}
+<<
+ \relative { a'2 g }
+ \relative { f'2 e }
+ \relative { d'2 b }
+>>
@end lilypond
Ještě je třeba poznamenat, že jsme zde pro každou úroveň uvnitř
@code{>>}:
@lilypond[verbatim,quote]
-\relative {
- <<
- \new Staff { \clef "treble" c''4 }
- \new Staff { \clef "bass" c,,4 }
- >>
-}
+<<
+ \new Staff { \clef "treble" c''4 }
+ \new Staff { \clef "bass" c4 }
+>>
@end lilypond
Příkaz @code{\new} začíná nové @qq{prostředí notového zápisu}.
@lilypond[verbatim,quote]
-\relative {
- <<
- \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
- \new Staff { \clef "bass" c,,4 }
- >>
-}
+<<
+ \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
+ \new Staff { \clef "bass" c4 }
+>>
@end lilypond
Zde je jeden malý příklad:
@lilypond[verbatim,quote]
-\relative {
- \new PianoStaff <<
- \new Staff { \time 2/4 c''4 e | g g, | }
- \new Staff { \clef "bass" c,,4 c' | e c | }
- >>
-}
+\new PianoStaff <<
+ \new Staff \relative { \time 2/4 c''4 e | g g, | }
+ \new Staff \relative { \clef "bass" c4 c' | e c | }
+>>
@end lilypond
Jiné typické skupiny notových osnov je možné vytvořit příkazy
musejí mít stejnou dobu trvání a že tato doba trvání
se zapisuje po uzavírajících závorkách.
-@lilypond[verbatim,quote,relative=2]
-r4 <c e g> <c f a>2
+@lilypond[verbatim,quote]
+\relative { r4 <c'' e g> <c f a>2 }
@end lilypond
Akordy jsou v základě rovnocenné s jednoduchými notami:
-- takže kdy přesně je potřeba více hlasů? Podívejme se nejprve na
tento příklad se čtyřmi akordy:
-@lilypond[quote,verbatim,ragged-right,relative=1]
-\key g \major
-<d g>4 <d fis> <d a'> <d g>
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ <d' g>4 <d fis> <d a'> <d g>
+}
@end lilypond
To lze vyjádřit tak, že se pro ukázání akordů použijí jednoduché špičaté
Takto to vypadá, když jsou akordy rozděleny do dvou hlasů
a k průchodnému tónu je ještě přidán legatový oblouček:
-@lilypond[quote,verbatim,ragged-right,relative=2]
-\key g \major
-% Voice "1" Voice "2"
-<< { g4 fis8( g) a4 g } \\ { d4 d d d } >>
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ % Voice "1" Voice "2"
+ << { g'4 fis8( g) a4 g } \\ { d4 d d d } >>
+}
@end lilypond
Všimněte si, že nožičky druhého hlasu nyní ukazují dolů.
mnoho not, může být lepší napsat každý hlas odděleně,
jako zde:
-@lilypond[quote,verbatim,ragged-right,relative=2]
-\key d \minor
-<< {
- % Voice "1"
- r4 g g4. a8 |
- bes4 bes c bes |
- a2. r4 |
-} \\ {
- % Voice "2"
- d,2 d4 g |
- g4 g g8( a) g4 |
- fis2. s4 |
-} >>
+@lilypond[quote,verbatim,ragged-right]
+<<
+ \key d \minor
+ \relative { % Voice "1"
+ r4 g' g4. a8 |
+ bes4 bes c bes |
+ a2. r4 |
+ } \\
+ \relative { % Voice "2"
+ d'2 d4 g |
+ g4 g g8( a) g4 |
+ fis2. s4 |
+ }
+>>
@end lilypond
Tento příklad má jen dva hlasy, ale stejné stavby lze použít,
die im Quellcode gar nicht explizit vorkommen. Vergleichen Sie
etwa den Quellcode und die Notenausgabe des folgenden Beispiels:
-@lilypond[quote,verbatim,relative=2]
-cis4 cis2. | a4 a2. |
+@lilypond[quote,verbatim]
+\relative { cis''4 cis2. | a4 a2. | }
@end lilypond
Der Quellcode ist sehr kurz und knapp, während in der
auf die Notenköpfe auswirkt. Die Änderung bezieht sich immer auf den Standard,
nicht vom letzten gesetzten Wert.
-@lilypond[quote,verbatim,ragged-right,relative=1]
-c4 d
-% make note heads smaller
-\set fontSize = #-4
-e4 f |
-% make note heads larger
-\set fontSize = #2.5
-g4 a
-% return to default size
-\unset fontSize
-b4 c |
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ c'4 d
+ % make note heads smaller
+ \set fontSize = #-4
+ e4 f |
+ % make note heads larger
+ \set fontSize = #2.5
+ g4 a
+ % return to default size
+ \unset fontSize
+ b4 c |
+}
@end lilypond
Wir haben jetzt gesehen, wie sich die Werte von unterschiedlichen
@cindex NoteHead, Beispiel für override
@cindex Notenkopf, Beispiel für Veränderung
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-c4 d
-\override NoteHead.color = #red
-e4 f |
-\override NoteHead.color = #green
-g4 a b c |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ c'4 d
+ \override NoteHead.color = #red
+ e4 f |
+ \override NoteHead.color = #green
+ g4 a b c |
+}
@end lilypond
@cindex NoteHead, Beispiel für override
@cindex Notenkopf, Beispiel für Veränderung
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-c4 d
-\override NoteHead.color = #red
-e4 f |
-\override NoteHead.color = #green
-g4 a
-\revert NoteHead.color
-b4 c |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ c'4 d
+ \override NoteHead.color = #red
+ e4 f |
+ \override NoteHead.color = #green
+ g4 a
+ \revert NoteHead.color
+ b4 c |
+}
@end lilypond
@strong{\once-Präfix}
@cindex NoteHead, Beispiel für override
@cindex Notenkopf, Beispiel für Veränderung
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-<c e g>4
-\once \override NoteHead.font-size = #-3
-<c e g>4
-<c e g>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ <c' e g>4
+ \once \override NoteHead.font-size = #-3
+ <c e g>4
+ <c e g>4
+}
@end lilypond
Wie man sehen kann, beeinflusst @code{override} @emph{alle}
@cindex Schriftgröße, Beispiel
@cindex @code{\tweak}-Beispiel
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-<c e g>4
-<c \tweak font-size #-3 e g>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ <c' e g>4
+ <c \tweak font-size #-3 e g>4
+}
@end lilypond
Beachten Sie, dass die Syntax des @code{\tweak}-Befehls sich
@cindex Farb-Eigenschaft, Beispiel
@cindex @code{\tweak}-Beispiel
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-a4^"Black"
+@lilypond[quote,fragment,ragged-right,verbatim]
+a'4^"Black"
-\tweak color #red ^"Red"
-\tweak color #green _"Green"
@end lilypond
@cindex color-Eigenschaft, Beispiel
@cindex direction-Eigenschaft, Beispiel
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
-\tweak direction #up
-\tuplet 3/4 {
- \tweak color #red
- \tuplet 3/2 { c8[ c c] }
- \tuplet 3/2 { c8[ c c] }
- \tuplet 3/2 { c8[ c c] }
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ \tweak direction #up
+ \tuplet 3/4 {
+ \tweak color #red
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ }
}
@end lilypond
@c NOTE Tuplet brackets collide if notes are high on staff
@c See issue 509
-@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
-\tuplet 3/2 { c8[ c c] }
-\once \override TupletNumber.text = #tuplet-number::calc-fraction-text
-\tuplet 3/2 {
- c8[ c]
- c8[ c]
- \once \override TupletNumber.transparent = ##t
- \tuplet 3/2 { c8[ c c] }
- \tuplet 3/2 { c8[ c c] }
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \tuplet 3/2 { c'8[ c c] }
+ \once \override TupletNumber.text = #tuplet-number::calc-fraction-text
+ \tuplet 3/2 {
+ c8[ c]
+ c8[ c]
+ \once \override TupletNumber.transparent = ##t
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ }
}
@end lilypond
@c Mozart, Die Zauberflöte Nr. 7 Duett
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8 bes[( g]) g |
+ \relative {
+ r4 bes'8 bes[( g]) g |
g8[( es]) es d[( f]) as |
as8 g
}
@cindex thickness-Eigenschaft, Beispiel
@cindex Dicke-Eigenschaft, Beispiel
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
+ \relative {
% Increase thickness of all following slurs from 1.2 to 5.0
\override Slur.thickness = #5.0
- r4 bes8 bes[( g]) g |
+ r4 bes'8 bes[( g]) g |
g8[( es]) es d[( f]) as |
as8 g
}
@cindex Legatobogen, Beispiel zur Veränderung
@cindex thickness-Eigenschaft, Beispiel
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8
+ \relative {
+ r4 bes'8
% Increase thickness of immediately following slur only
\once \override Slur.thickness = #5.0
bes[( g]) g |
@cindex Legatobogen, Beispiel zur Veränderung
@cindex thickness-Eigenschaft, Beispiel
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8
+ \relative {
+ r4 bes'8
% Increase thickness of all following slurs from 1.2 to 5.0
\override Slur.thickness = #5.0
bes[( g]) g |
@cindex kursiv, Beispiel
@cindex @code{\addlyrics}, Beispiel
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8 bes[( g]) g |
+ \relative {
+ r4 bes'8 bes[( g]) g |
g8[( es]) es d[( f]) as |
as8 g
}
dessen die @code{point-stencil}-Funktion benutzt werden, welche
den Stencil auf ein Objekt mit der Größe Null setzt:
-@lilypond[quote,verbatim,relative=2]
-{
- c4 c
+@lilypond[quote,verbatim]
+\relative {
+ c''4 c
\once \override NoteHead.stencil = #point-stencil
c4 c
}
@cindex Taktart, Beispiel zur Veränderung
@cindex transparent-Eigenschaft, Beispiel
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.TimeSignature.transparent = ##t
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex Taktlinie, Beispiel zur Veränderung
@cindex color-Eigenschaft, Beispiel
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.color = #white
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex Taktlinie, Beispiel zur Veränderung
@cindex color-Eigenschaft, Beispiel
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.color = #(x11-color 'white)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex Taktlinie, Beispiel zur Veränderung
@cindex color-Eigenschaft, Beispiel
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.color = #(rgb-color 1 1 1)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex NoteHead, Beispiel zur Veränderung
@cindex Notenkopf, Beispiel zur Veränderung
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.StaffSymbol.color = #(x11-color 'grey30)
\override Staff.TimeSignature.color = #(x11-color 'grey60)
\override Voice.NoteHead.color = #(x11-color 'grey85)
\override Voice.Stem.color = #(x11-color 'grey85)
\override Staff.BarLine.color = #(x11-color 'grey10)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex Fingersatz-Beispiel
-@lilypond[quote,verbatim,relative=2]
-<c-5 g-3>4
-<c-5 g-3 e-2>4
-<c-5 g-3 e-2 c-1>4
+@lilypond[quote,verbatim]
+\relative {
+ <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 Fingersatz-Beispiel
-@lilypond[quote,verbatim,relative=2]
-<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
+@lilypond[quote,verbatim]
+\relative {
+ <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
Noch bessere Kontrolle über die Positionierung von Fingersatz für
@cindex TextScript, Beispiel zur Veränderung
@cindex outside-staff-priority-Eigenschaft, Beispiel
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-c2^"Text1"
-c2^"Text2" |
+@lilypond[quote,fragment,ragged-right,verbatim]
+c''2^"Text1"
+c''2^"Text2" |
\once \override TextScript.outside-staff-priority = #500
-c2^"Text3"
-c2^"Text4" |
+c''2^"Text3"
+c''2^"Text4" |
@end lilypond
Damit wird zwar @qq{Text3} ganz richtig über @qq{Text4}
dieses Verhalten, so dass die Noten gespreizt werden, wenn
die Breite des Textes es erfordert:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,verbatim]
\textLengthOn % Cause notes to space out to accommodate text
-c2^"Text1"
-c2^"Text2" |
-c2^"Text3"
-c2^"Text4" |
+c''2^"Text1"
+c''2^"Text2" |
+c''2^"Text3"
+c''2^"Text4" |
@end lilypond
Dieses Verhalten wird mit dem @code{\textLengthOff}-Befehl
@cindex Textbeschriftung, Beispiel zur Veränderung
@cindex outside-staff-priority-Eigenschaft, Beispiel
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-% This markup is short enough to fit without collision
-c2^"Tex" c'' |
-R1 |
-
-% This is too long to fit, so it is displaced upwards
-c,,2^"Text" c'' |
-R1 |
-
-% Turn off collision avoidance
-\once \override TextScript.outside-staff-priority = ##f
-c,,2^"Long Text " c'' |
-R1 |
-
-% Turn off collision avoidance
-\once \override TextScript.outside-staff-priority = ##f
-\textLengthOn % and turn on textLengthOn
-c,,2^"Long Text " % Spaces at end are honored
-c''2 |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ % This markup is short enough to fit without collision
+ c''2^"Tex" c'' |
+ R1 |
+
+ % This is too long to fit, so it is displaced upwards
+ c,,2^"Text" c'' |
+ R1 |
+
+ % Turn off collision avoidance
+ \once \override TextScript.outside-staff-priority = ##f
+ c,,2^"Long Text " c'' |
+ R1 |
+
+ % Turn off collision avoidance
+ \once \override TextScript.outside-staff-priority = ##f
+ \textLengthOn % and turn on textLengthOn
+ c,,2^"Long Text " % Spaces at end are honored
+ c''2 |
+}
@end lilypond
@cindex Verschiebungs-Eigenschaft, Beispiel
@cindex padding (Verschiebuns-Eigenschaft), Beispiel
-@lilypond[quote,fragment,relative=1,verbatim]
-c2\fermata
+@lilypond[quote,fragment,verbatim]
+c'2\fermata
\override Script.padding = #3
b2\fermata
@end lilypond
@cindex Verschiebungs-Eigenschaft, Beispiel
@cindex padding (Verschiebuns-Eigenschaft), Beispiel
-@lilypond[quote,fragment,relative=1,verbatim]
+@lilypond[quote,fragment,verbatim]
% This will not work, see below
\override MetronomeMark.padding = #3
\tempo 4 = 120
-c1 |
+c'1 |
% This works
\override Score.MetronomeMark.padding = #3
\tempo 4 = 80
-d1 |
+d'1 |
@end lilypond
Im zweiten Beispiel können Sie sehen, wie wichtig es ist den richtigen
zur selben Zeit auftreten. Hier ein typisches Beispiel für eine
Kollision dieser Art:
-@lilypond[quote,verbatim,fragment,ragged-right, relative=1]
-<< { c4 c c c } \\ { R1 } >>
+@lilypond[quote,verbatim,ragged-right]
+<< \relative { c'4 c c c } \\ { R1 } >>
@end lilypond
Die beste Lösung ist es, die Ganztaktpause nach unten zu
@cindex Ganztaktpausen, Beispiel zur Veränderung
@cindex staff-position-Eigenschaft, Beispiel
-@lilypond[quote,verbatim,fragment,ragged-right, relative=1]
+@lilypond[quote,verbatim,ragged-right]
<<
- { c4 c c c }
+ \relative { c'4 c c c }
\\
\override MultiMeasureRest.staff-position = #-8
{ R1 }
rot macht, aber als Resultat hat man zwei Systeme, während die
Notenköpfe immernoch schwarz im unteren System erscheinen.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\override Staff.NoteHead.color = #red
-\new Staff { a }
+\new Staff { a' }
@end lilypond
Das liegt daran, dass kein @code{Staff}-Kontext existiert, wenn
noch ein zusätzliches System, wo die Noten gesetzt werden. Die
richtige Schreibweise wäre:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\new Staff {
\override Staff.NoteHead.color = #red
- a
+ a'
}
@end lilypond
indem kleine Teile zu größeren kombiniert werden, kann komplexere
Musik dargestellt werden. So etwa hier:
-@lilypond[quote,verbatim,fragment,relative=1]
-f4
+@lilypond[quote,verbatim,fragment]
+f'4
@end lilypond
@noindent
Eigenschaften können auch auf eine Scheme-Prozedur gesetzt werden:
-@lilypond[fragment,verbatim,quote,relative=2]
+@lilypond[fragment,verbatim,quote]
\override Stem.thickness = #(lambda (grob)
(if (= UP (ly:grob-property grob 'direction))
2.0
7.0))
-c b a g b a g b
+\relative { c'' b a g b a g b }
@end lilypond
@noindent
@ignore
Tutorial guidelines:
-- unless you have a really good reason, use either
- @l ilypond[quote,verbatim]
- or
- @l ilypond[quote,verbatim,fragment,relative=2]
+- unless you have a really good reason, use
+ @lilypond[quote,verbatim]
(without spaces)
- Don't use any other relative=X commands.
- use "aes" and "ees" instead of "as" and "aes". I know it's not
correct Dutch naming, but let's not confuse people with this until
@notation{Versetzungszeichen} in anderen
Sprachen zu benutzen, siehe @ruser{Notenbezeichnungen in anderen Sprachen}.
-@lilypond[verbatim,quote,relative=2]
-cis4 ees fisis, aeses
+@lilypond[verbatim,quote]
+\relative { cis''4 ees fisis, aeses }
@end lilypond
In diesem Beispiel
-@lilypond[verbatim,quote,relative=2]
-\key d \major
-cis4 d e fis
+@lilypond[verbatim,quote]
+\relative {
+ \key d \major
+ cis''4 d e fis
+}
@end lilypond
@noindent
In der Tonart As-Dur @emph{bekommt} sie ein Versetzungszeichen:
-@lilypond[verbatim,quote,relative=2]
-\key aes \major
-aes4 c b c
+@lilypond[verbatim,quote]
+\relative {
+ \key aes \major
+ aes'4 c b c
+}
@end lilypond
Wenn das alles sehr verwirrend erscheint, muss man sich nur vorstellen,
erstreckt. Seine
Beginn- und Endnote werden mit @q{(} beziehungsweise @q{)} markiert.
-@lilypond[verbatim,quote,relative=2]
-d4( c16) cis( d e c cis d) e( d4)
+@lilypond[verbatim,quote]
+\relative { d''4( c16) cis( d e c cis d) e( d4) }
@end lilypond
@subheading Phrasierungsbögen
als jeweils einen Legato- und einen Phrasierungsbogen gleichzeitig
geben.
-@lilypond[verbatim,quote,relative=2]
-g4\( g8( a) b( c) b4\)
+@lilypond[verbatim,quote]
+\relative { g'4\( g8( a) b( c) b4\) }
@end lilypond
@sp 1
für größere Notengruppen gesetzt werden. Binde- und Legatobögen können
geschachtelt werden.
-@lilypond[verbatim,quote,relative=2]
-c4~( c8 d~ 4 e)
+@lilypond[verbatim,quote]
+\relative { c''4(~ c8 d~ 4 e) }
@end lilypond
Übliche @notation{Artikulationszeichen} können durch Anfügen von Minus
(@q{-}) und einem entsprechenden Zeichen eingegeben werden:
-@lilypond[verbatim,quote,relative=2]
-c4-^ c-+ c-- c-!
-c4-> c-. c2-_
+@lilypond[verbatim,quote]
+\relative {
+ c''4-^ c-+ c-- c-!
+ c4-> c-. c2-_
+}
@end lilypond
@subheading Fingersatz
Auf gleiche Weise können Fingersatzbezeichnungen hinzugefügt
werden, indem nach dem Minus (@q{-}) eine Zahl geschrieben wird:
-@lilypond[verbatim,quote,relative=2]
-c4-3 e-5 b-2 a-1
+@lilypond[verbatim,quote]
+\relative { c''4-3 e-5 b-2 a-1 }
@end lilypond
Artikulationszeichen und Fingersätze werden normalerweise
gehängt werden. Meistens findet aber LilyPond alleine die beste
Möglichkeit, wie die Artikulationen platziert werden sollen.
-@lilypond[verbatim,quote,relative=2]
-c4_-^1 d^. f^4_2-> e^-_+
+@lilypond[verbatim,quote]
+\relative { c''4_-^1 d^. f^4_2-> e^-_+ }
@end lilypond
@subheading Dynamik
die Markierungen (mit einem Backslash) an
die Note hängt:
-@lilypond[verbatim,quote,relative=2]
-c4\ff c\mf c\p c\pp
+@lilypond[verbatim,quote]
+\relative { c''4\ff c\mf c\p c\pp }
@end lilypond
@notation{Crescendi} und @notation{Decrescendi} werden mit dem
Dynamik-Zeichen, etwa @code{\f}, beendet das (De)Crescendo.
Auch mit dem Befehl @code{\!} kann es explizit beendet werden.
-@lilypond[verbatim,quote,relative=2]
-c4\< c\ff\> c c\!
+@lilypond[verbatim,quote]
+\relative { c''4\< c\ff\> c c\! }
@end lilypond
Text können Sie auf folgende Art in die Partitur einfügen:
-@lilypond[verbatim,quote,relative=2]
-c2^"espr" a_"legato"
+@lilypond[verbatim,quote,fragment]
+c''2^"espr" a'_"legato"
@end lilypond
Zusätzliche Formatierung kann eingesetzt werden, wenn Sie den
@code{\markup}-Befehl benutzen:
-@lilypond[verbatim,quote,relative=2]
-c2^\markup { \bold espr }
-a2_\markup {
+@lilypond[verbatim,quote,fragment]
+c''2^\markup { \bold espr }
+a'2_\markup {
\dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
}
@end lilypond
Alle @notation{Balken} werden automatisch gesetzt:
-@lilypond[verbatim,quote,relative=2]
-a8 ais d ees r d c16 b a8
+@lilypond[verbatim,quote]
+\relative { a'8 ais d ees r d c16 b a8 }
@end lilypond
@noindent
anfängt, ein @q{[} (AltGr+8) und die, an der er enden soll, ein
@q{]} (AltGr+9).
-@lilypond[verbatim,quote,relative=2]
-a8[ ais] d[ ees r d] c16 b a8
+@lilypond[verbatim,quote]
+\relative { a'8[ ais] d[ ees r d] c16 b a8 }
@end lilypond
Wenn Sie die automatischen Balken vollständig oder für
den Befehl @code{\autoBeamOff}, um die Balken abzuschalten,
und @code{\autoBeamOn}, um sie wieder einzuschalten.
-@lilypond[verbatim,quote,relative=2]
-\autoBeamOff
-a8 c b4 d8. c16 b4 |
-\autoBeamOn
-a8 c b4 d8. c16 b4 |
+@lilypond[verbatim,quote]
+\relative {
+ \autoBeamOff
+ a'8 c b4 d8. c16 b4 |
+ \autoBeamOn
+ a8 c b4 d8. c16 b4 |
+}
@end lilypond
eingegeben. Darauf folgt die Länge des Auftaktes: @code{\partial 4}
heißt eine Viertelnote Auftakt und @code{\partial 8} eine Achtelnote.
-@lilypond[verbatim,quote,relative=2]
-\partial 8 f8 |
-c2 d |
+@lilypond[verbatim,quote]
+\relative {
+ \partial 8 f''8 |
+ c2 d |
+}
@end lilypond
In einer Triole dauern die Noten 2/3 ihrer normalen Länge,
also hat eine Triole 2/3 als Bruch:
-@lilypond[verbatim,quote,relative=2]
-\tuplet 3/2 { f8 g a }
-\tuplet 3/2 { c8 r c }
-\tuplet 3/2 { f,8 g16[ a g a] }
-\tuplet 3/2 { d4 a8 }
+@lilypond[verbatim,quote]
+\relative {
+ \tuplet 3/2 { f''8 g a }
+ \tuplet 3/2 { c8 r c }
+ \tuplet 3/2 { f,8 g16[ a g a] }
+ \tuplet 3/2 { d4 a8 }
+}
@end lilypond
@subheading Verzierungen
eingegeben, Vorhalte durch den Befehl @code{\appoggiatura}
und Vorschläge mit @code{\acciaccatura}.
-@lilypond[verbatim,quote,relative=2]
-c2 \grace { a32 b } c2 |
-c2 \appoggiatura b16 c2 |
-c2 \acciaccatura b16 c2 |
+@lilypond[verbatim,quote]
+\relative {
+ c''2 \grace { a32 b } c2 |
+ c2 \appoggiatura b16 c2 |
+ c2 \acciaccatura b16 c2 |
+}
@end lilypond
Ausdrücke} dargestellt. Eine einzelne Note ist ein musikalischer
Ausdruck.
-@lilypond[verbatim,quote,relative=2]
-a4
+@lilypond[verbatim,quote,fragment]
+a'4
@end lilypond
Eine Gruppe von Noten innerhalb von Klammern bildet einen neuen
Ausdruck}. Hier wurde solch ein zusammengesetzter musikalischer
Ausdruck mit zwei Noten erstellt:
-@lilypond[verbatim,quote,relative=2]
-{ a4 g4 }
+@lilypond[verbatim,quote]
+\relative { a'4 g4 }
@end lilypond
Wenn eine Gruppe von musikalischen Ausdrücken (also beispielsweise
Gruppe nach der anderen gesetzt wird. Das Resultat ist ein neuer
musikalischer Ausdruck.
-@lilypond[verbatim,quote,relative=2]
-{ { a4 g } f4 g }
+@lilypond[verbatim,quote]
+\relative { { a'4 g } f4 g }
@end lilypond
(jeder mit zwei Noten) parallel kombiniert:
@lilypond[verbatim,quote]
-\relative {
- <<
- { a'2 g }
- { f2 e }
- { d2 b }
- >>
-}
+<<
+ \relative { a'2 g }
+ \relative { f'2 e }
+ \relative { d'2 b }
+>>
@end lilypond
Es ist noch zu bemerken, dass wir hier für jede Ebene innerhalb der
@code{>>}-Zeichen:
@lilypond[verbatim,quote]
-\relative {
- <<
- \new Staff { \clef "treble" c''4 }
- \new Staff { \clef "bass" c,,4 }
- >>
-}
+<<
+ \new Staff { \clef "treble" c''4 }
+ \new Staff { \clef "bass" c4 }
+>>
@end lilypond
Der Befehl @code{\new} beginnt einen neuen @qq{Notationskontext}. Ein
@lilypond[verbatim,quote]
-\relative {
- <<
- \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
- \new Staff { \clef "bass" c,,4 }
- >>
-}
+<<
+ \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
+ \new Staff { \clef "bass" c4 }
+>>
@end lilypond
Hier ein kleines Beispiel:
@lilypond[verbatim,quote]
-\relative {
- \new PianoStaff <<
- \new Staff { \time 2/4 c''4 e | g g, | }
- \new Staff { \clef "bass" c,,4 c' | e c | }
- >>
-}
+\new PianoStaff <<
+ \new Staff \relative { \time 2/4 c''4 e | g g, | }
+ \new Staff \relative { \clef "bass" c4 c' | e c | }
+>>
@end lilypond
Andere typische Gruppen von Notensystemen können mit den
dass alle Noten eines Akkordes die gleiche Dauer haben müssen, und
diese Dauer wird nach der schließenden Klammer geschrieben.
-@lilypond[verbatim,quote,relative=2]
-r4 <c e g> <c f a>2
+@lilypond[verbatim,quote]
+\relative { r4 <c'' e g> <c f a>2 }
@end lilypond
Akkorde sind im Grunde gleichwertig mit einfachen Noten:
enthalten -- wann also braucht man dann mehrere Stimmen? Schauen wir
uns zuerst dieses Beispiel mit vier Akkorden an:
-@lilypond[quote,verbatim,ragged-right,relative=1]
-\key g \major
-<d g>4 <d fis> <d a'> <d g>
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ <d' g>4 <d fis> <d a'> <d g>
+}
@end lilypond
Das kann ausgedrückt werden, indem man die einfachen spitzen Klammern
So sieht es aus, wenn die Akkorde in zwei Stimmen aufgeteilt werden
und zur Durchgangsnote noch ein Bogen hinzugefügt wird:
-@lilypond[quote,verbatim,ragged-right,relative=2]
-\key g \major
-% Voice "1" Voice "2"
-<< { g4 fis8( g) a4 g } \\ { d4 d d d } >>
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ % Voice "1" Voice "2"
+ << { g'4 fis8( g) a4 g } \\ { d4 d d d } >>
+}
@end lilypond
Beachten Sie, dass die Hälse der zweiten Stimme nun nach unten zeigen.
wenn in einem Takt viele Noten vorkommen, kann man die gesamten Stimmen
separat schreiben, wie hier:
-@lilypond[quote,verbatim,ragged-right,relative=2]
-\key d \minor
-<< {
- % Voice "1"
- r4 g g4. a8 |
- bes4 bes c bes |
- a2. r4 |
-} \\ {
- % Voice "2"
- d,2 d4 g |
- g4 g g8( a) g4 |
- fis2. s4 |
-} >>
+@lilypond[quote,verbatim,ragged-right]
+<<
+ \key d \minor
+ \relative { % Voice "1"
+ r4 g' g4. a8 |
+ bes4 bes c bes |
+ a2. r4 |
+ } \\
+ \relative { % Voice "2"
+ d'2 d4 g |
+ g4 g g8( a) g4 |
+ fis2. s4 |
+ }
+>>
@end lilypond
Dieses Beispiel hat nur zwei Stimmen, aber die gleiche Konstruktion kann
die im Quellcode gar nicht explizit vorkommen. Vergleichen Sie
etwa den Quellcode und die Notenausgabe des folgenden Beispiels:
-@lilypond[quote,verbatim,relative=2]
-cis4 cis2. | a4 a2. |
+@lilypond[quote,verbatim]
+\relative { cis''4 cis2. | a4 a2. | }
@end lilypond
Der Quellcode ist sehr kurz und knapp, während in der
auf die Notenköpfe auswirkt. Die Änderung bezieht sich immer auf den Standard,
nicht vom letzten gesetzten Wert.
-@lilypond[quote,verbatim,ragged-right,relative=1]
-c4 d
-% make note heads smaller
-\set fontSize = #-4
-e4 f |
-% make note heads larger
-\set fontSize = #2.5
-g4 a
-% return to default size
-\unset fontSize
-b4 c |
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ c'4 d
+ % make note heads smaller
+ \set fontSize = #-4
+ e4 f |
+ % make note heads larger
+ \set fontSize = #2.5
+ g4 a
+ % return to default size
+ \unset fontSize
+ b4 c |
+}
@end lilypond
Wir haben jetzt gesehen, wie sich die Werte von unterschiedlichen
@cindex NoteHead, Beispiel für override
@cindex Notenkopf, Beispiel für Veränderung
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-c4 d
-\override NoteHead.color = #red
-e4 f |
-\override NoteHead.color = #green
-g4 a b c |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ c'4 d
+ \override NoteHead.color = #red
+ e4 f |
+ \override NoteHead.color = #green
+ g4 a b c |
+}
@end lilypond
@cindex NoteHead, Beispiel für override
@cindex Notenkopf, Beispiel für Veränderung
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-c4 d
-\override NoteHead.color = #red
-e4 f |
-\override NoteHead.color = #green
-g4 a
-\revert NoteHead.color
-b4 c |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ c'4 d
+ \override NoteHead.color = #red
+ e4 f |
+ \override NoteHead.color = #green
+ g4 a
+ \revert NoteHead.color
+ b4 c |
+}
@end lilypond
@strong{\once-Präfix}
@cindex NoteHead, Beispiel für override
@cindex Notenkopf, Beispiel für Veränderung
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-<c e g>4
-\once \override NoteHead.font-size = #-3
-<c e g>4
-<c e g>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ <c' e g>4
+ \once \override NoteHead.font-size = #-3
+ <c e g>4
+ <c e g>4
+}
@end lilypond
Wie man sehen kann, beeinflusst @code{override} @emph{alle}
@cindex Schriftgröße, Beispiel
@cindex @code{\tweak}-Beispiel
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-<c e g>4
-<c \tweak font-size #-3 e g>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ <c' e g>4
+ <c \tweak font-size #-3 e g>4
+}
@end lilypond
Beachten Sie, dass die Syntax des @code{\tweak}-Befehls sich
@cindex Farb-Eigenschaft, Beispiel
@cindex @code{\tweak}-Beispiel
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-a4^"Black"
+@lilypond[quote,fragment,ragged-right,verbatim]
+a'4^"Black"
-\tweak color #red ^"Red"
-\tweak color #green _"Green"
@end lilypond
@cindex color-Eigenschaft, Beispiel
@cindex direction-Eigenschaft, Beispiel
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
-\tweak direction #up
-\tuplet 3/4 {
- \tweak color #red
- \tuplet 3/2 { c8[ c c] }
- \tuplet 3/2 { c8[ c c] }
- \tuplet 3/2 { c8[ c c] }
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ \tweak direction #up
+ \tuplet 3/4 {
+ \tweak color #red
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ }
}
@end lilypond
@c NOTE Tuplet brackets collide if notes are high on staff
@c See issue 509
-@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
-\tuplet 3/2 { c8[ c c] }
-\once \override TupletNumber.text = #tuplet-number::calc-fraction-text
-\tuplet 3/2 {
- c8[ c]
- c8[ c]
- \once \override TupletNumber.transparent = ##t
- \tuplet 3/2 { c8[ c c] }
- \tuplet 3/2 { c8[ c c] }
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \tuplet 3/2 { c'8[ c c] }
+ \once \override TupletNumber.text = #tuplet-number::calc-fraction-text
+ \tuplet 3/2 {
+ c8[ c]
+ c8[ c]
+ \once \override TupletNumber.transparent = ##t
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ }
}
@end lilypond
@c Mozart, Die Zauberflöte Nr. 7 Duett
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8 bes[( g]) g |
+ \relative {
+ r4 bes'8 bes[( g]) g |
g8[( es]) es d[( f]) as |
as8 g
}
@cindex thickness-Eigenschaft, Beispiel
@cindex Dicke-Eigenschaft, Beispiel
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
+ \relative {
% Increase thickness of all following slurs from 1.2 to 5.0
\override Slur.thickness = #5.0
- r4 bes8 bes[( g]) g |
+ r4 bes'8 bes[( g]) g |
g8[( es]) es d[( f]) as |
as8 g
}
@cindex Legatobogen, Beispiel zur Veränderung
@cindex thickness-Eigenschaft, Beispiel
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8
+ \relative {
+ r4 bes'8
% Increase thickness of immediately following slur only
\once \override Slur.thickness = #5.0
bes[( g]) g |
@cindex Legatobogen, Beispiel zur Veränderung
@cindex thickness-Eigenschaft, Beispiel
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8
+ \relative {
+ r4 bes'8
% Increase thickness of all following slurs from 1.2 to 5.0
\override Slur.thickness = #5.0
bes[( g]) g |
@cindex kursiv, Beispiel
@cindex @code{\addlyrics}, Beispiel
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8 bes[( g]) g |
+ \relative {
+ r4 bes'8 bes[( g]) g |
g8[( es]) es d[( f]) as |
as8 g
}
dessen die @code{point-stencil}-Funktion benutzt werden, welche
den Stencil auf ein Objekt mit der Größe Null setzt:
-@lilypond[quote,verbatim,relative=2]
-{
- c4 c
+@lilypond[quote,verbatim]
+\relative {
+ c''4 c
\once \override NoteHead.stencil = #point-stencil
c4 c
}
@cindex Taktart, Beispiel zur Veränderung
@cindex transparent-Eigenschaft, Beispiel
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.TimeSignature.transparent = ##t
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex Taktlinie, Beispiel zur Veränderung
@cindex color-Eigenschaft, Beispiel
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.color = #white
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex Taktlinie, Beispiel zur Veränderung
@cindex color-Eigenschaft, Beispiel
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.color = #(x11-color 'white)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex Taktlinie, Beispiel zur Veränderung
@cindex color-Eigenschaft, Beispiel
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.color = #(rgb-color 1 1 1)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex NoteHead, Beispiel zur Veränderung
@cindex Notenkopf, Beispiel zur Veränderung
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.StaffSymbol.color = #(x11-color 'grey30)
\override Staff.TimeSignature.color = #(x11-color 'grey60)
\override Voice.NoteHead.color = #(x11-color 'grey85)
\override Voice.Stem.color = #(x11-color 'grey85)
\override Staff.BarLine.color = #(x11-color 'grey10)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex Fingersatz-Beispiel
-@lilypond[quote,verbatim,relative=2]
-<c-5 g-3>4
-<c-5 g-3 e-2>4
-<c-5 g-3 e-2 c-1>4
+@lilypond[quote,verbatim]
+\relative {
+ <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 Fingersatz-Beispiel
-@lilypond[quote,verbatim,relative=2]
-<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
+@lilypond[quote,verbatim]
+\relative {
+ <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
Noch bessere Kontrolle über die Positionierung von Fingersatz für
@cindex TextScript, Beispiel zur Veränderung
@cindex outside-staff-priority-Eigenschaft, Beispiel
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-c2^"Text1"
-c2^"Text2" |
+@lilypond[quote,fragment,ragged-right,verbatim]
+c''2^"Text1"
+c''2^"Text2" |
\once \override TextScript.outside-staff-priority = #500
-c2^"Text3"
-c2^"Text4" |
+c''2^"Text3"
+c''2^"Text4" |
@end lilypond
Damit wird zwar @qq{Text3} ganz richtig über @qq{Text4}
dieses Verhalten, so dass die Noten gespreizt werden, wenn
die Breite des Textes es erfordert:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,verbatim]
\textLengthOn % Cause notes to space out to accommodate text
-c2^"Text1"
-c2^"Text2" |
-c2^"Text3"
-c2^"Text4" |
+c''2^"Text1"
+c''2^"Text2" |
+c''2^"Text3"
+c''2^"Text4" |
@end lilypond
Dieses Verhalten wird mit dem @code{\textLengthOff}-Befehl
@cindex Textbeschriftung, Beispiel zur Veränderung
@cindex outside-staff-priority-Eigenschaft, Beispiel
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-% This markup is short enough to fit without collision
-c2^"Tex" c'' |
-R1 |
-
-% This is too long to fit, so it is displaced upwards
-c,,2^"Text" c'' |
-R1 |
-
-% Turn off collision avoidance
-\once \override TextScript.outside-staff-priority = ##f
-c,,2^"Long Text " c'' |
-R1 |
-
-% Turn off collision avoidance
-\once \override TextScript.outside-staff-priority = ##f
-\textLengthOn % and turn on textLengthOn
-c,,2^"Long Text " % Spaces at end are honored
-c''2 |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ % This markup is short enough to fit without collision
+ c''2^"Tex" c'' |
+ R1 |
+
+ % This is too long to fit, so it is displaced upwards
+ c,,2^"Text" c'' |
+ R1 |
+
+ % Turn off collision avoidance
+ \once \override TextScript.outside-staff-priority = ##f
+ c,,2^"Long Text " c'' |
+ R1 |
+
+ % Turn off collision avoidance
+ \once \override TextScript.outside-staff-priority = ##f
+ \textLengthOn % and turn on textLengthOn
+ c,,2^"Long Text " % Spaces at end are honored
+ c''2 |
+}
@end lilypond
@cindex Verschiebungs-Eigenschaft, Beispiel
@cindex padding (Verschiebuns-Eigenschaft), Beispiel
-@lilypond[quote,fragment,relative=1,verbatim]
-c2\fermata
+@lilypond[quote,fragment,verbatim]
+c'2\fermata
\override Script.padding = #3
b2\fermata
@end lilypond
@cindex Verschiebungs-Eigenschaft, Beispiel
@cindex padding (Verschiebuns-Eigenschaft), Beispiel
-@lilypond[quote,fragment,relative=1,verbatim]
+@lilypond[quote,fragment,verbatim]
% This will not work, see below
\override MetronomeMark.padding = #3
\tempo 4 = 120
-c1 |
+c'1 |
% This works
\override Score.MetronomeMark.padding = #3
\tempo 4 = 80
-d1 |
+d'1 |
@end lilypond
Im zweiten Beispiel können Sie sehen, wie wichtig es ist den richtigen
zur selben Zeit auftreten. Hier ein typisches Beispiel für eine
Kollision dieser Art:
-@lilypond[quote,verbatim,fragment,ragged-right, relative=1]
-<< { c4 c c c } \\ { R1 } >>
+@lilypond[quote,verbatim,ragged-right]
+<< \relative { c'4 c c c } \\ { R1 } >>
@end lilypond
Die beste Lösung ist es, die Ganztaktpause nach unten zu
@cindex Ganztaktpausen, Beispiel zur Veränderung
@cindex staff-position-Eigenschaft, Beispiel
-@lilypond[quote,verbatim,fragment,ragged-right, relative=1]
+@lilypond[quote,verbatim,ragged-right]
<<
- { c4 c c c }
+ \relative { c'4 c c c }
\\
\override MultiMeasureRest.staff-position = #-8
{ R1 }
neomensurale Stil verwendet. Im folgenden Beispiel sind die
unterschiedlichen Stile dargestellt.
-@lilypond[ragged-right,relative=1,quote]
-{
+@lilypond[ragged-right,quote]
+\relative c' {
\textLengthOn
\time 2/2
@code{vaticana-do1}, @code{vaticana-do2},@*
@code{vaticana-do3}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\override Staff.StaffSymbol.line-count = #4
\override Staff.StaffSymbol.color = #red
\override Staff.LedgerLineSpanner.color = #red
\hide Voice.Stem
\override NoteHead.style = #'vaticana.punctum
\clef "vaticana-do2"
- c
+ c'
@end lilypond
@item
@tab
@code{vaticana-fa1}, @code{vaticana-fa2}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\override Staff.StaffSymbol.line-count = #4
\override Staff.StaffSymbol.color = #red
\override Staff.LedgerLineSpanner.color = #red
\hide Voice.Stem
\override NoteHead.style = #'vaticana.punctum
\clef "vaticana-fa2"
- c
+ c'
@end lilypond
@item
@code{medicaea-do1}, @code{medicaea-do2},@*
@code{medicaea-do3}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\override Staff.StaffSymbol.line-count = #4
\override Staff.StaffSymbol.color = #red
\override Staff.LedgerLineSpanner.color = #red
\hide Voice.Stem
\override NoteHead.style = #'medicaea.punctum
\clef "medicaea-do2"
- c
+ c'
@end lilypond
@item
@tab
@code{medicaea-fa1}, @code{medicaea-fa2}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\override Staff.StaffSymbol.line-count = #4
\override Staff.StaffSymbol.color = #red
\override Staff.LedgerLineSpanner.color = #red
\hide Voice.Stem
\override NoteHead.style = #'medicaea.punctum
\clef "medicaea-fa2"
- c
+ c'
@end lilypond
@item
@code{hufnagel-do1}, @code{hufnagel-do2},@*
@code{hufnagel-do3}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\override Staff.StaffSymbol.line-count = #4
\override Staff.StaffSymbol.color = #red
\override Staff.LedgerLineSpanner.color = #red
\hide Voice.Stem
\override NoteHead.style = #'hufnagel.punctum
\clef "hufnagel-do2"
- c
+ c'
@end lilypond
@item
@tab
@code{hufnagel-fa1}, @code{hufnagel-fa2}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\override Staff.StaffSymbol.line-count = #4
\override Staff.StaffSymbol.color = #red
\override Staff.LedgerLineSpanner.color = #red
\hide Voice.Stem
\override NoteHead.style = #'hufnagel.punctum
\clef "hufnagel-fa2"
- c
+ c'
@end lilypond
@item
@tab
@code{hufnagel-do-fa}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\override Staff.StaffSymbol.color = #red
\override Staff.LedgerLineSpanner.color = #red
\hide Voice.Stem
\override NoteHead.style = #'hufnagel.punctum
\clef "hufnagel-do-fa"
- c
+ c'
@end lilypond
@end multitable
Es gibt nur einen Schlüssel in der Kiever Notation (der Tse-fa-ut-Schlüssel).
Er bezeichnet die Position von @code{c}:
-@lilypond[quote,relative=1,notime,verbatim]
+@lilypond[quote,fragment,notime,verbatim]
\clef "kievan-do"
\kievanOn
- c
+ c'
@end lilypond
@seealso
eingesetzt, kann aber in früheren Manuskripten auftreten. Es wurde
vor allem der Vollständigkeit halber eingesetzt.
-@lilypond[quote,relative=1,notime,verbatim]
+@lilypond[quote,fragment,notime,verbatim]
\clef "kievan-do"
\override Accidental.glyph-name-alist =
#alteration-kievan-glyph-name-alist
-bes' dis,
+bes' dis'
@end lilypond
@seealso
@code{Clef_engraver} (Engraver für den Schlüssel) aus dem
@code{Staff}-Kontext entfernt werden:
-@lilypond[quote,relative=1,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Staff {
- f2 g
+ \new Staff \relative {
+ f'2 g
}
\new Staff \with {
\remove "Time_signature_engraver"
\remove "Clef_engraver"
- } {
- f2 g2
+ } \relative {
+ f'2 g2
}
>>
@end lilypond
das gerade aktuelle Notensystem aus. Andere Systeme behalten
ihr normales Aussehen. Hier ein Beispiel mit diesem Befehl:
-@lilypond[quote,verbatim,relative=2]
-c4
+@lilypond[quote,fragment,verbatim]
+c''4
\override Staff.Stem.thickness = #4.0
-c4
-c4
-c4
+c''4
+c''4
+c''4
@end lilypond
Der @code{\override}-Befehl verändert die Definitionen von
@code{Voice}-Kontext angenommen wird. Mit einem zusätzlichen
@code{\once} wirkt sich die Änderung nur einmal aus:
-@lilypond[quote,verbatim,relative=2]
-c4
+@lilypond[quote,fragment,verbatim]
+c''4
\once \override Stem.thickness = #4.0
-c4
-c4
+c''4
+c''4
@end lilypond
Der @code{\override}-Befehl muss geschrieben sein, bevor das Objekt
schon geschrieben werden, bevor das Objekt begonnen wird. In dem
folgenden Beispiel
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
\override Slur.thickness = #3.0
-c8[( c
+c''8[( c''
\override Beam.beam-thickness = #0.6
-c8 c])
+c''8 c''])
@end lilypond
@noindent
Kontexteigenschaft @code{skipBars} (Takte überspringen) auf @code{#t}
(wahr) gesetzt wird:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
R1*2
\set Score.skipBars = ##t
R1*2
üblicherweise @code{ChordNames}, @code{Voice} oder
@code{Lyrics}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
\set Score.autoBeaming = ##f
-<<
- {
- e8 e e e
- \set autoBeaming = ##t
- e8 e e e
- } \\ {
- c8 c c c c8 c c c
- }
->>
+\relative {
+ e''8 e e e
+ \set autoBeaming = ##t
+ e8 e e e
+} \\
+\relative {
+ c''8 c c c c8 c c c
+}
@end lilypond
Die Änderung wird zur Laufzeit während der Musik interpretiert, sodass
bezieht, die Eigenschaft sich aber im @code{Score}-Kontext
befindet:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
R1*2
\set skipBars = ##t
R1*2
Kontext rückgängig. Wenn also im @code{Staff}-Kontext die
Bebalkung ausgeschaltet wird:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
\set Score.autoBeaming = ##t
-<<
- {
- \unset autoBeaming
- e8 e e e
- \unset Score.autoBeaming
- e8 e e e
- } \\ {
- c8 c c c c8 c c c
- }
->>
+\relative {
+ \unset autoBeaming
+ e''8 e e e
+ \unset Score.autoBeaming
+ e8 e e e
+} \\
+\relative {
+ c''8 c c c c8 c c c
+}
@end lilypond
Wie für @code{\set} muss das @var{Kontext}-Argument für den untersten
Einstellungen, die nur einmal vorgenommen werden sollen, können
mit @code{\once} notiert werden, etwa:
-@lilypond[quote,verbatim,relative=2]
-c4
+@lilypond[quote,fragment,verbatim]
+c''4
\once \set fontSize = #4.7
-c4
-c4
+c''4
+c''4
@end lilypond
Eine vollständige Beschreibung aller vorhandenen Kontexteigenschaften
An einem Beispiel demonstriert: Das funktioniert:
-@lilypond[relative=2,verbatim,quote]
-<\tweak color #red c>4
+@lilypond[verbatim,fragment,quote]
+<\tweak color #red c''>4
@end lilypond
@noindent
und das nicht:
-@lilypond[relative=2,verbatim,quote]
-\tweak color #red c4
+@lilypond[verbatim,fragment,quote]
+\tweak color #red c''4
@end lilypond
@end ignore
In diesem Beispiel wird die Farbe eines Notenkopfes und die Art eines
anderen Notenkopfes innerhalb eines Akkordes verändert:
-@lilypond[relative=2,verbatim,quote]
-< c
+@lilypond[verbatim,fragment,quote]
+< c''
\tweak color #red
- d
- g
+ d''
+ g''
\tweak duration-log #1
- a
+ a''
> 4
@end lilypond
@code{\tweak} kann auch benutzt werden, um Bögen zu verändern:
-@lilypond[verbatim,quote,relative=1]
-c-\tweak thickness #5 ( d e f)
+@lilypond[verbatim,quote]
+\relative { c'-\tweak thickness #5 ( d e f) }
@end lilypond
Damit der @code{\tweak}-Befehl funktioniert, muss er direkt vor dem
Derartige indirekt erstellt Layoutobjekte können mit @code{\tweak} verändert
werden, indem man die ausführliche Form des Befehls einsetzt:
-@lilypond[relative=2,verbatim,quote]
+@lilypond[fragment,verbatim,quote]
\tweak Stem.color #red
-\tweak Beam.color #green c8 e
-<c e \tweak Accidental.font-size #-3 ges>4
+\tweak Beam.color #green c''8 e''
+<c'' e'' \tweak Accidental.font-size #-3 ges''>4
@end lilypond
@code{\tweak} kann auch nicht verwendet werden,
Mehrere @code{\tweak}-Befehle können vor ein Notationselement
gesetzt werden und alle werden interpretiert:
-@lilypond[verbatim,quote,relative=1]
-c
--\tweak style #'dashed-line
--\tweak dash-fraction #0.2
--\tweak thickness #3
--\tweak color #red
- \glissando
-f'
+@lilypond[verbatim,fragment,quote]
+c'
+ -\tweak style #'dashed-line
+ -\tweak dash-fraction #0.2
+ -\tweak thickness #3
+ -\tweak color #red
+ \glissando
+f''
@end lilypond
Der Strom der musikalischen Ereignisse (engl. music stream), der aus
Ausrichtungsmarkierer haben nur eine Auswirkung auf die nächste Note:
-@lilypond[verbatim,quote,relative=2]
-c2( c)
-c2_( c)
-c2( c)
-c2^( c)
+@lilypond[verbatim,quote]
+\relative {
+ c''2( c)
+ c2_( c)
+ c2( c)
+ c2^( c)
+}
@end lilypond
Diese Ausrichtungsanzeigen wirken sich auf alle Noten aus, bis sie
rückgängig gemacht werden:
-@lilypond[verbatim,quote,relative=2]
-c2( c)
-\slurDown
-c2( c)
-c2( c)
-\slurNeutral
-c2( c)
+@lilypond[verbatim,quote]
+\relative {
+ c''2( c)
+ \slurDown
+ c2( c)
+ c2( c)
+ \slurNeutral
+ c2( c)
+}
@end lilypond
In polyphoner Musik ist es normalerweise besser, eine explizite
die Anzahl der Elemente in der Liste der Werte von
@code{'line-positions}.}
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.line-positions = #'(7 3 0 -4 -6 -7)
}
-{ a4 e' f b | d1 }
+\relative { a4 e' f b | d1 }
@end lilypond
Die Breite eines Notensystems kann verändert werden. Die Einheit
in diesem Notensystem wird durch diese Einstellung nicht
beeinflusst.
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.width = #23
}
-{ a4 e' f b | d1 }
+\relative { a4 e' f b | d1 }
@end lilypond
Mindestlänge eines Glissandos etwa wird erst aktiv, wenn
die @code{springs-and-rods}-Eigenschaft gesetzt ist:
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,fragment,quote]
% default
-e \glissando c'
+e' \glissando c''
% not effective alone
\once \override Glissando.minimum-length = #20
-e, \glissando c'
+e' \glissando c''
% effective only when both overrides are present
\once \override Glissando.minimum-length = #20
\once \override Glissando.springs-and-rods = #ly:spanner::set-spacing-rods
-e, \glissando c'
+e' \glissando c''
@end lilypond
Das gilt auch für das @code{Beam}-(Balken-)Objekt:
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,fragment,quote]
% not effective alone
\once \override Beam.minimum-length = #20
-e8 e e e
+e'8 e' e' e'
% effective only when both overrides are present
\once \override Beam.minimum-length = #20
\once \override Beam.springs-and-rods = #ly:spanner::set-spacing-rods
-e8 e e e
+e'8 e' e' e'
@end lilypond
@strong{@i{Die @code{to-barline}-Eigenschaft}}
wird, erstrecken sich die Strecker entsprechend über die Taktlinie
hinüber und enden erst an der entsprechenden Note:
-@lilypond[verbatim,quote,relative=2]
-a \< a a a a \! a a a \break
-\override Hairpin.to-barline = ##f
-a \< a a a a \! a a a
+@lilypond[verbatim,quote]
+\relative {
+ a' \< a a a a \! a a a \break
+ \override Hairpin.to-barline = ##f
+ a \< a a a a \! a a a
+}
@end lilypond
Diese Eigenschaft wirkt sich nicht auf alle Strecker aus. Im Falle
tiefer angeordnet, aber die Syntax des @code{\override}-Befehls
ist ziemlich einfach:
-@lilypond[relative=2,quote,verbatim]
-e2 \glissando b
+@lilypond[quote,fragment,verbatim]
+e''2 \glissando b'
\once \override Glissando.bound-details.left.Y = #3
\once \override Glissando.bound-details.right.Y = #-2
-e2 \glissando b
+e''2 \glissando b'
@end lilypond
Die Einheiten für die @code{Y}-Eigenschaft werden in
in den Unterlisten @code{left-broken} bzw. @code{right-broken}
von @code{bound-details} abgelegt. Zum Beispiel:
-@lilypond[relative=2,ragged-right,verbatim,quote]
+@lilypond[ragged-right,fragment,verbatim,quote]
\override Glissando.breakable = ##t
\override Glissando.bound-details.right-broken.Y = #-3
-c1 \glissando \break
-f1
+c''1 \glissando \break
+f''1
@end lilypond
Eine Anzahl weitere Eigenschaft der @code{left}- und
um @i{cresc.}, @i{tr} oder andere Texte an horizontale
Strecker zu setzen.
-@lilypond[quote,ragged-right,relative=2,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\override TextSpanner.bound-details.left.text
= \markup { \small \bold Slower }
-c2\startTextSpan b c a\stopTextSpan
+\relative { c''2\startTextSpan b c a\stopTextSpan }
@end lilypond
@item stencil-align-dir-y
gesetzt werden, wird das Symbol am Rand vertikal entsprechend
des Endpunktes der Linie verschoben:
-@lilypond[relative=1,quote,verbatim]
+@lilypond[quote,fragment,verbatim]
\override TextSpanner.bound-details.left.stencil-align-dir-y = #-2
\override TextSpanner.bound-details.right.stencil-align-dir-y = #UP
\override TextSpanner.bound-details.left.text = #"ggg"
\override TextSpanner.bound-details.right.text = #"hhh"
-c4^\startTextSpan c c c \stopTextSpan
+
+\relative { c'4^\startTextSpan c c c \stopTextSpan }
@end lilypond
Dabei sollte beachtet werden, dass negative Werte das Objekt
@code{to-barline} auf wahr gesetzt ist und eine Taktlinie
vor der nächsten Note erscheint.
-@lilypond[verbatim,quote,ragged-right,relative=2]
-\endSpanners
-c2 \startTextSpan c2 c2
-\endSpanners
-c2 \< c2 c2
+@lilypond[verbatim,quote,ragged-right]
+\relative c'' {
+ \endSpanners
+ c2 \startTextSpan c2 c2
+ \endSpanners
+ c2 \< c2 c2
+}
@end lilypond
Wenn man @code{\endSpanners} benutzt, ist es nicht
Das Standardverhalten kann mit dem Befehl @code{\revert}
wieder hergestellt werden.
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,fragment,verbatim]
a1 a
\omit Score.BarLine
a a
sie auf @code{#t} gesetzt wird, nimmt das Objekt immer noch
den entsprechenden Platz ein, ist aber unsichtbar.
-@lilypond[quote,verbatim,relative=2]
-a4 a
+@lilypond[quote,fragment,verbatim]
+a'4 a'
\once \hide NoteHead
-a a
+a' a'
@end lilypond
dass man die Umrisse des weißen Objektes erahnen kann, wie
in diesem Beispiel:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
\override Staff.Clef.color = #white
-a1
+a'1
@end lilypond
Das kann man vermeiden, indem man die Satzreihenfolge der Objekte
(Notenschlüssel) ein niedrigerer Wert, etwa @w{@code{-1}}, gegeben
werden, sodass es früher gesetzt wird:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
\override Staff.Clef.color = #white
\override Staff.Clef.layer = #-1
-a1
+a'1
@end lilypond
nach dem expliziten Wechsel zu B-Dur immer noch sichtbar, obwohl
@code{all-invisible} eingesetzt wurde:
-@lilypond[quote,verbatim,relative=1,ragged-right]
-\key g \major
-f4 g a b
-% Try to remove all key signatures
-\override Staff.KeySignature.break-visibility = #all-invisible
-\key bes \major
-f4 g a b
-\break
-f4 g a b
-f4 g a b
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ f'4 g a b
+ % Try to remove all key signatures
+ \override Staff.KeySignature.break-visibility = #all-invisible
+ \key bes \major
+ f4 g a b
+ \break
+ f4 g a b
+ f4 g a b
+}
@end lilypond
Die Sichtbarkeit derartiger expliziter Tonart- und Schlüsseländerungen
Schlüssel zu Beginn einer Zeile -- um diese zu beeinflussen, muss
@code{break-visibility} benutzt werden.
-@lilypond[quote,verbatim,relative=1,ragged-right]
-\key g \major
-f4 g a b
-\set Staff.explicitKeySignatureVisibility = #all-invisible
-\override Staff.KeySignature.break-visibility = #all-invisible
-\key bes \major
-f4 g a b \break
-f4 g a b
-f4 g a b
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ f'4 g a b
+ \set Staff.explicitKeySignatureVisibility = #all-invisible
+ \override Staff.KeySignature.break-visibility = #all-invisible
+ \key bes \major
+ f4 g a b \break
+ f4 g a b
+ f4 g a b
+}
@end lilypond
@strong{@emph{Sichtbarkeit von erinnernden Versetzungszeichen}}
expliziten Tonartänderung auftreten, muss die @code{Staff}-Eigenschaft
@code{printKeyCancellation} auf @code{#f} gesetzt werden:
-@lilypond[quote,verbatim,relative=1,ragged-right]
-\key g \major
-f4 g a b
-\set Staff.explicitKeySignatureVisibility = #all-invisible
-\set Staff.printKeyCancellation = ##f
-\override Staff.KeySignature.break-visibility = #all-invisible
-\key bes \major
-f4 g a b \break
-f4 g a b
-f4 g a b
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ f'4 g a b
+ \set Staff.explicitKeySignatureVisibility = #all-invisible
+ \set Staff.printKeyCancellation = ##f
+ \override Staff.KeySignature.break-visibility = #all-invisible
+ \key bes \major
+ f4 g a b \break
+ f4 g a b
+ f4 g a b
+}
@end lilypond
Mit diesen Veränderungen bleiben nur noch die Versetzungszeichen
Hier einige Beispiele, welche Linienstile möglich sind
und wie sie verändert werden können:
-@lilypond[relative=2,ragged-right,verbatim,quote]
-d2 \glissando d'2
-\once \override Glissando.style = #'dashed-line
-d,2 \glissando d'2
-\override Glissando.style = #'dotted-line
-d,2 \glissando d'2
-\override Glissando.style = #'zigzag
-d,2 \glissando d'2
-\override Glissando.style = #'trill
-d,2 \glissando d'2
+@lilypond[ragged-right,verbatim,quote]
+\relative {
+ d''2 \glissando d'2
+ \once \override Glissando.style = #'dashed-line
+ d,2 \glissando d'2
+ \override Glissando.style = #'dotted-line
+ d,2 \glissando d'2
+ \override Glissando.style = #'zigzag
+ d,2 \glissando d'2
+ \override Glissando.style = #'trill
+ d,2 \glissando d'2
+}
@end lilypond
Die Position der Endpunkte des Streckers werden in
es ist möglich, sie manuell vorzugeben:
@c TODO Complete
-@lilypond[relative=2,ragged-right,verbatim,quote]
-e2 \glissando f
-\once \override Glissando.bound-details.right.Y = #-2
-e2 \glissando f
+@lilypond[ragged-right,verbatim,quote]
+\relative {
+ e''2 \glissando f
+ \once \override Glissando.bound-details.right.Y = #-2
+ e2 \glissando f
+}
@end lilypond
Der Wert von @code{Y} wird für den rechten Endpunkt auf
Layout-Objektes sinnvoll ist. Das folgende Beispiel zeigt
eine sinnvolle Anwendung:
-@lilypond[quote,verbatim,relative=1]
-g4\< e' d' f\!
+@lilypond[quote,fragment,verbatim]
+g4\< e' d'' f''\!
\override Hairpin.rotation = #'(20 -1 0)
-g,,4\< e' d' f\!
+g4\< e' d'' f''\!
@end lilypond
werden, wodurch andernfalls einige der Texte zu hoch geschoben werden
würden.
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,fragment,verbatim]
\override TextScript.outside-staff-priority = ##f
g4^\markup { \rotate #30 "a G" }
b^\markup { \rotate #30 "a B" }
-des^\markup { \rotate #30 "a D-Flat" }
-fis^\markup { \rotate #30 "an F-Sharp" }
+des'^\markup { \rotate #30 "a D-Flat" }
+fis'^\markup { \rotate #30 "an F-Sharp" }
@end lilypond
und die Positionen, wenn @code{X-offset} und @code{Y-offset}
verändert werden.
-@lilypond[verbatim,quote,relative=2]
-a-3
-a
+@lilypond[verbatim,fragment,quote]
+a'-3
+a'
-\tweak X-offset #0
-\tweak Y-offset #0
-3
-a
+a'
-\tweak X-offset #-1
-\tweak Y-offset #1
-3
@code{\tweak}-Befehl kann benutzen, um verschiedene Anmerkungen
an einer einzigen Note auszurichten:
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,verbatim,fragment]
a'
-\tweak self-alignment-X #-1
^"left-aligned"
Das folgende Beispiel zeigt, wie man eine Fingersatzanweisung so
ausrichtet, dass sie nah am Notenkopf bleibt.
-@lilypond[quote,verbatim,relative=2]
-a
+@lilypond[quote,verbatim,fragment]
+a'
-\tweak self-alignment-X #0.5 % move horizontally left
-\tweak Y-offset #ly:self-alignment-interface::y-aligned-on-self
-\tweak self-alignment-Y #-1 % move vertically up
erscheint, und wo auch @code{\tieDown} das Problem nicht
lösen würde.
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote]
<<
- { e1~ 1 }
+ { e'1~ 1 }
\\
- { r4 <g c,> <g c,> <g c,> }
+ \relative { r4 <g' c,> <g c,> <g c,> }
>>
@end lilypond
Akkordmodus und Notenmodus können gemischt verwendet werden:
-@lilypond[verbatim,quote,ragged-right,relative=1]
-<c e g>2 <g b d>
-\chordmode { c2 f }
-<c e g>2 <g' b d>
-\chordmode { f2 g }
+@lilypond[verbatim,quote,ragged-right]
+\relative {
+ <c' e g>2 <g b d>
+ \chordmode { c2 f }
+ <c e g>2 <g' b d>
+ \chordmode { f2 g }
+}
@end lilypond
@seealso
Pausen, die in einem @code{ChordNames}-Kontext notiert werden, werden
mit der @code{noChordSymbol}-Beschriftung darstellt.
-@lilypond[verbatim, quote, relative=1]
+@lilypond[verbatim,quote]
<<
\new ChordNames \chordmode {
c1
Fingersatzanweisungen können folgenderweise notiert werden:
@samp{Note}-@var{Zahl}
-@lilypond[verbatim,quote,relative=2]
-c4-1 d-2 f-4 e-3
+@lilypond[verbatim,quote]
+\relative { c''4-1 d-2 f-4 e-3 }
@end lilypond
Für Fingerwechsel muss eine Textbeschriftung (markup) benutzt werden:
werden, die mit dem
Daumen (etwa auf dem Cello) gespielt werden sollen.
-@lilypond[verbatim,quote,relative=2]
-<a_\thumb a'-3>2 <b_\thumb b'-3>
+@lilypond[verbatim,quote]
+\relative { <a'_\thumb a'-3>2 <b_\thumb b'-3> }
@end lilypond
@cindex Fingersatz: Akkorde
hinzugefügt werden, indem sie innerhalb der Akkord-Klammer
direkt an die Noten angefügt werden.
-@lilypond[verbatim,quote,relative=2]
-<c-1 e-2 g-3 b-5>2 <d-1 f-2 a-3 c-5>
+@lilypond[verbatim,quote]
+\relative {
+ <c''-1 e-2 g-3 b-5>2 <d-1 f-2 a-3 c-5>
+}
@end lilypond
Fingersatzanweisungen können manuell oberhalb des Systems gesetzt werden, siehe
wenn man Notation für den Theorieunterricht oder Kompositionsübungen
erstellen will.
-@lilypond[verbatim,quote,relative=2]
-c4 d
-\hideNotes
-e4 f
-\unHideNotes
-g a
-\hideNotes
-b
-\unHideNotes
-c
+@lilypond[verbatim,quote]
+\relative {
+ c''4 d
+ \hideNotes
+ e4 f
+ \unHideNotes
+ g a
+ \hideNotes
+ b
+ \unHideNotes
+ c
+}
@end lilypond
Notenköpfe, Hälse, Fähnchen und Pausen sind unsichtbar. Balken sind unsichtbar,
wenn sie auf einer unsichtbaren Note beginnen. Objekte, die an unsichtbare
Noten angehängt werden, sind trotzdem noch sichtbar.
-@lilypond[verbatim,quote,relative=2]
-e8(\p f g a)--
-\hideNotes
-e8(\p f g a)--
+@lilypond[verbatim,quote]
+\relative c'' {
+ e8(\p f g a)--
+ \hideNotes
+ e8(\p f g a)--
+}
@end lilypond
Einzelnen Objekten können einfach eigene Farben zugewiesen werden.
Gültige Farben-Bezeichnungen sind aufgelistet in @ref{Liste der Farben}.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote,fragment]
\override NoteHead.color = #red
-c4 c
+c''4 c''
\override NoteHead.color = #(x11-color 'LimeGreen)
-d
+d''
\override Stem.color = #blue
-e
+e''
@end lilypond
Die ganze Farbpalette, die für X11 definiert ist, kann mit der
Wenn @code{x11-color} die angegebene Farbbezeichnung nicht kennt, wird
Schwarz eingesetzt.
-@lilypond[verbatim,quote,relative=2]
-\override Staff.StaffSymbol.color = #(x11-color 'SlateBlue2)
-\set Staff.instrumentName = \markup {
- \with-color #(x11-color 'navy) "Clarinet"
-}
+@lilypond[verbatim,quote]
+\relative c'' {
+ \override Staff.StaffSymbol.color = #(x11-color 'SlateBlue2)
+ \set Staff.instrumentName = \markup {
+ \with-color #(x11-color 'navy) "Clarinet"
+ }
-gis8 a
-\override Beam.color = #(x11-color "medium turquoise")
-gis a
-\override Accidental.color = #(x11-color 'DarkRed)
-gis a
-\override NoteHead.color = #(x11-color "LimeGreen")
-gis a
-% this is deliberate nonsense; note that the stems remain black
-\override Stem.color = #(x11-color 'Boggle)
-b2 cis
+ gis8 a
+ \override Beam.color = #(x11-color "medium turquoise")
+ gis a
+ \override Accidental.color = #(x11-color 'DarkRed)
+ gis a
+ \override NoteHead.color = #(x11-color "LimeGreen")
+ gis a
+ % this is deliberate nonsense; note that the stems remain black
+ \override Stem.color = #(x11-color 'Boggle)
+ b2 cis
+}
@end lilypond
@cindex RGB-Farbe
Exakte RGB-Farben können mit Hilfe der Scheme-Funktion @code{rgb-color}
definiert werden.
-@lilypond[verbatim,quote,relative=2]
-\override Staff.StaffSymbol.color = #(x11-color 'SlateBlue2)
-\set Staff.instrumentName = \markup {
- \with-color #(x11-color 'navy) "Clarinet"
-}
+@lilypond[verbatim,quote]
+\relative c'' {
+ \override Staff.StaffSymbol.color = #(x11-color 'SlateBlue2)
+ \set Staff.instrumentName = \markup {
+ \with-color #(x11-color 'navy) "Clarinet"
+ }
-\override Stem.color = #(rgb-color 0 0 0)
-gis8 a
-\override Stem.color = #(rgb-color 1 1 1)
-gis8 a
-\override Stem.color = #(rgb-color 0 0 0.5)
-gis4 a
+ \override Stem.color = #(rgb-color 0 0 0)
+ gis8 a
+ \override Stem.color = #(rgb-color 1 1 1)
+ gis8 a
+ \override Stem.color = #(rgb-color 0 0 0.5)
+ gis4 a
+}
@end lilypond
@seealso
wird, wirkt sich das auf jede Noten im Akkord aus. Innerhalb von einem
Akkord gesetzte Befehle wirken sich auf einzelne Noten aus.
-@lilypond[verbatim,quote,relative=2]
-c2 \parenthesize d
-c2 \parenthesize <c e g>
-c2 <c \parenthesize e g>
+@lilypond[verbatim,quote]
+\relative {
+ c''2 \parenthesize d
+ c2 \parenthesize <c e g>
+ c2 <c \parenthesize e g>
+}
@end lilypond
Auch andere Objekte als Noten können in Klammern gesetzt werden.
Wenn Artikulationszeichen in Klammern gesetzt werden sollen,
braucht man ein Minuszeichen vor dem @code{\parenthesize}-Befehl.
-@lilypond[verbatim,quote,relative=2]
-c2-\parenthesize -. d
-c2 \parenthesize r
+@lilypond[verbatim,quote]
+\relative {
+ c''2-\parenthesize -. d
+ c2 \parenthesize r
+}
@end lilypond
@seealso
rechteckige Blase gezeichnet wird. Dies ist vor allem dazu da, Notation
zu erklären.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Voice \with { \consists "Balloon_engraver" }
-{
+\relative c'' {
\balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" }
a8
\balloonGrobText #'Rest #'(-4 . -4) \markup { "I'm a rest" }
Die möglichen Werte für @var{Bezeichnung} sind aufgelistet in
@ref{Liste der Artikulationszeichen}. Ein Beispiel:
-@lilypond[verbatim,quote,relative=2]
-c4\staccato c\mordent b2\turn
-c1\fermata
+@lilypond[verbatim,quote]
+\relative {
+ c''4\staccato c\mordent b2\turn
+ c1\fermata
+}
@end lilypond
@cindex Akzent
und @notation{portato}. Die ihnen entsprechenden Symbole
werden also folgendermaßen notiert:
-@lilypond[verbatim,quote,relative=2]
-c4-^ c-+ c-- c-!
-c4-> c-. c2-_
+@lilypond[verbatim,quote]
+\relative {
+ c''4-^ c-+ c-- c-!
+ c4-> c-. c2-_
+}
@end lilypond
Die Regeln für die standardmäßige Platzierung von
an eine Mehrtaktpause anfügen kann (und nur hieran). Damit wird ein
@code{MultiMeasureRestText}-Objekt erstellt.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote,fragment]
\override Script.color = #red
\override MultiMeasureRestText.color = #blue
-a2\fermata r\fermata
+a'2\fermata r\fermata
R1\fermataMarkup
@end lilypond
Dynamikzeichen können manuell unter- oder oberhalb des Systems
platziert werden, siehe @ref{Richtung und Platzierung}.
-@lilypond[verbatim,quote,relative=2]
-c2\ppp c\mp
-c2\rfz c^\mf
-c2_\spp c^\ff
+@lilypond[verbatim,quote]
+\relative c'' {
+ c2\ppp c\mp
+ c2\rfz c^\mf
+ c2_\spp c^\ff
+}
@end lilypond
@cindex Crescendo-Klammer
@code{\>} benutzt werden. Die Befehle ergeben standardmäßig
Crescendo-Klammern.
-@lilypond[verbatim,quote,relative=2]
-c2\< c\!
-d2\< d\f
-e2\< e\>
-f2\> f\!
-e2\> e\mp
-d2\> d\>
-c1\!
+@lilypond[verbatim,quote]
+\relative c'' {
+ c2\< c\!
+ d2\< d\f
+ e2\< e\>
+ f2\> f\!
+ e2\> e\mp
+ d2\> d\>
+ c1\!
+}
@end lilypond
Eine Crescendo-Klammer, die mit @code{\!} beendet wird, endet an der rechten
Rand der selben Note anstatt dem normalerweise linken Rand, wenn die
vorherige Klammer mit @code{\!} beendet worden wäre.
-@lilypond[verbatim,quote,relative=2]
-c1\< | c4 a c\< a | c4 a c\! a\< | c4 a c a\!
+@lilypond[verbatim,quote]
+\relative {
+ c''1\< | c4 a c\< a | c4 a c\! a\< | c4 a c a\!
+}
@end lilypond
@cindex mehre Dynamikzeichen an einer Note
zu notieren. Das ist insbesondere nützlich, wenn man @notation{crescendo}
und @notation{decrescendo} zu der selben Note hinzufügen will:
-@lilypond[verbatim,quote,relative=2]
-c4\< c\! d\> e\!
-<< f1 { s4 s4\< s4\> s4\! } >>
+@lilypond[verbatim,quote]
+\relative {
+ c''4\< c\! d\> e\!
+ << f1 { s4 s4\< s4\> s4\! } >>
+}
@end lilypond
@cindex Espressivo-Artikulation
und decrescendo für die selbe Note anzuzeigen. Dieser Befehl ist
jedoch als Artikulation, nicht als Dynamikzeichen implementiert.
-@lilypond[verbatim,quote,relative=2]
-c2 b4 a
-g1\espressivo
+@lilypond[verbatim,quote]
+\relative {
+ c''2 b4 a
+ g1\espressivo
+}
@end lilypond
@funindex \cresc
Mit Text gesetzte Decrescendo-Bezeichnungen beginnen mit @code{\decresc}
oder @code{\dim}. Fortsetzungslinien werden gesetzt, wenn sie benötigt werden.
-@lilypond[verbatim,quote,relative=2]
-g8\cresc a b c b c d e\mf |
-f8\decresc e d c e\> d c b |
-a1\dim ~ |
-a2. r4\! |
+@lilypond[verbatim,quote]
+\relative {
+ g'8\cresc a b c b c d e\mf |
+ f8\decresc e d c e\> d c b |
+ a1\dim ~ |
+ a2. r4\! |
+}
@end lilypond
Als Text gesetzte Dynamik-Bezeichnungen können auch die Crescendo-Klammern
ersetzen:
-@lilypond[verbatim,quote,relative=2]
-\crescTextCresc
-c4\< d e f\! |
-\dimTextDecresc
-g4\> e d c\! |
-\dimTextDecr
-e4\> d c b\! |
-\dimTextDim
-d4\> c b a\! |
-\crescHairpin
-\dimHairpin
-c4\< d\! e\> d\! |
+@lilypond[verbatim,quote]
+\relative c'' {
+ \crescTextCresc
+ c4\< d e f\! |
+ \dimTextDecresc
+ g4\> e d c\! |
+ \dimTextDecr
+ e4\> d c b\! |
+ \dimTextDim
+ d4\> c b a\! |
+ \crescHairpin
+ \dimHairpin
+ c4\< d\! e\> d\! |
+}
@end lilypond
Um neue absolute Dynamikzeichen oder Text, der mit ihnen
@warning{In polyphoner Musik muss ein Legatobogen in der gleichen
Stimme beendet werden, in der er begonnen wurde.}
-@lilypond[verbatim,quote,relative=2]
-f4( g a) a8 b(
-a4 g2 f4)
-<c e>2( <b d>2)
+@lilypond[verbatim,quote]
+\relative {
+ f''4( g a) a8 b(
+ a4 g2 f4)
+ <c e>2( <b d>2)
+}
@end lilypond
@cindex Bögen, manuelle Platzierung
Legatobögen können durchgehend, gepunktet oder gestrichelt dargestellt
werden. Standard ist der durchgehende Bogen:
-@lilypond[verbatim,quote,relative=1]
-c4( e g2)
-\slurDashed
-g4( e c2)
-\slurDotted
-c4( e g2)
-\slurSolid
-g4( e c2)
+@lilypond[verbatim,quote]
+\relative {
+ c'4( e g2)
+ \slurDashed
+ g4( e c2)
+ \slurDotted
+ c4( e g2)
+ \slurSolid
+ g4( e c2)
+}
@end lilypond
@funindex \slurHalfDashed
halb durchgehend (die erste Hälfte durchgehend, die
zweite Hälfte gestrichelt:
-@lilypond[verbatim,quote,relative=1]
-c4( e g2)
-\slurHalfDashed
-g4( e c2)
-\slurHalfSolid
-c4( e g2)
-\slurSolid
-g4( e c2)
+@lilypond[verbatim,quote]
+\relative {
+ c'4( e g2)
+ \slurHalfDashed
+ g4( e c2)
+ \slurHalfSolid
+ c4( e g2)
+ \slurSolid
+ g4( e c2)
+}
@end lilypond
@funindex \slurDashPattern
Eigene Muster für die Strichelung können definiert werden:
-@lilypond[verbatim,quote,relative=1]
-c4( e g2)
-\slurDashPattern #0.7 #0.75
-g4( e c2)
-\slurDashPattern #0.5 #2.0
-c4( e g2)
-\slurSolid
-g4( e c2)
+@lilypond[verbatim,quote]
+\relative {
+ c'4( e g2)
+ \slurDashPattern #0.7 #0.75
+ g4( e c2)
+ \slurDashPattern #0.5 #2.0
+ c4( e g2)
+ \slurSolid
+ g4( e c2)
+}
@end lilypond
@funindex \slurUp
musikalischen Ausdruck anzuzeigen. Er wird mit den Befehlen
@code{\(} und @code{\)} eingegeben.
-@lilypond[verbatim,quote,relative=2]
-c4\( d( e) f(
-e2) d\)
+@lilypond[verbatim,quote]
+\relative {
+ c''4\( d( e) f(
+ e2) d\)
+}
@end lilypond
@funindex \phrasingSlurUp
Phrasierungsbögen können durchgehend, gepunktet oder gestrichelt dargestellt
werden. Standard ist der durchgehende Bogen:
-@lilypond[verbatim,quote,relative=1]
-c4\( e g2\)
-\phrasingSlurDashed
-g4\( e c2\)
-\phrasingSlurDotted
-c4\( e g2\)
-\phrasingSlurSolid
-g4\( e c2\)
+@lilypond[verbatim,quote]
+\relative {
+ c'4\( e g2\)
+ \phrasingSlurDashed
+ g4\( e c2\)
+ \phrasingSlurDotted
+ c4\( e g2\)
+ \phrasingSlurSolid
+ g4\( e c2\)
+}
@end lilypond
funindex phrasingSlurHalfDashed
oder halb durchgehend (die erste Hälfte durchgehend, die zweite
gestrichelt):
-@lilypond[verbatim,quote,relative=1]
-c4\( e g2\)
-\phrasingSlurHalfDashed
-g4\( e c2\)
-\phrasingSlurHalfSolid
-c4\( e g2\)
-\phrasingSlurSolid
-g4\( e c2\)
+@lilypond[verbatim,quote]
+\relative {
+ c'4\( e g2\)
+ \phrasingSlurHalfDashed
+ g4\( e c2\)
+ \phrasingSlurHalfSolid
+ c4\( e g2\)
+ \phrasingSlurSolid
+ g4\( e c2\)
+}
@end lilypond
@funindex \phrasingSlurDashPattern
Eigene Strichelmuster für Phrasierungsbögen können definiert werden:
-@lilypond[verbatim,quote,relative=1]
-c4\( e g2\)
-\phrasingSlurDashPattern #0.7 #0.75
-g4\( e c2\)
-\phrasingSlurDashPattern #0.5 #2.0
-c4\( e g2\)
-\phrasingSlurSolid
-g4\( e c2\)
+@lilypond[verbatim,quote]
+\relative {
+ c'4\( e g2\)
+ \phrasingSlurDashPattern #0.7 #0.75
+ g4\( e c2\)
+ \phrasingSlurDashPattern #0.5 #2.0
+ c4\( e g2\)
+ \phrasingSlurSolid
+ g4\( e c2\)
+}
@end lilypond
Strichelmusterdefinitionen für Phrasierungsbögen haben die
Atemzeichen werden mit dem Befehl @code{\breathe} eingegeben.
-@lilypond[verbatim,quote,relative=2]
-c2. \breathe d4
+@lilypond[verbatim,quote]
+{ c''2. \breathe d''4 }
@end lilypond
Ein Atemzeichen bezeichnet gleichzeitig das Ende eines automatischen
Balkens. Um das Verhalten zu verändern siehe @ref{Manuelle Balken}.
-@lilypond[verbatim,quote,relative=2]
-c8 \breathe d e f g2
+@lilypond[verbatim,quote]
+\relative { c''8 \breathe d e f g2 }
@end lilypond
Musikalische Zeichen für Atemzeichen in Alter Notation, auch
Zahl zeigt die Intervallgröße an, über die sich das Glissando @emph{nach}
der Note erstreckt.
-@lilypond[verbatim,quote,relative=2]
-c2\bendAfter #+4
-c2\bendAfter #-4
-c2\bendAfter #+6.5
-c2\bendAfter #-6.5
-c2\bendAfter #+8
-c2\bendAfter #-8
+@lilypond[verbatim,quote]
+\relative c'' {
+ c2\bendAfter #+4
+ c2\bendAfter #-4
+ c2\bendAfter #+6.5
+ c2\bendAfter #-6.5
+ c2\bendAfter #+8
+ c2\bendAfter #-8
+}
@end lilypond
@snippets
kann mit dem Befehl @code{\arpeggio} hinter der
Akkord-Konstruktion erzeugt werden.
-@lilypond[verbatim,quote,relative=1]
-<c e g c>1\arpeggio
+@lilypond[verbatim,quote]
+\relative { <c' e g c>1\arpeggio }
@end lilypond
Unterschiedliche Arpeggio-Typen können benutzt werden.
@code{\arpeggioNormal} stellt wieder das normale Verhalten
her:
-@lilypond[verbatim,quote,relative=1]
-<c e g c>2\arpeggio
+@lilypond[verbatim,quote]
+\relative {
+ <c' e g c>2\arpeggio
-\arpeggioArrowUp
-<c e g c>2\arpeggio
+ \arpeggioArrowUp
+ <c e g c>2\arpeggio
-\arpeggioArrowDown
-<c e g c>2\arpeggio
+ \arpeggioArrowDown
+ <c e g c>2\arpeggio
-\arpeggioNormal
-<c e g c>2\arpeggio
+ \arpeggioNormal
+ <c e g c>2\arpeggio
+}
@end lilypond
@cindex Arpeggio-Symbole, besondere
Besondere Arpeggios mit Klammern können erstellt werden:
-@lilypond[verbatim,quote,relative=1]
-<c e g c>2
+@lilypond[verbatim,quote]
+\relative {
+ <c' e g c>2
-\arpeggioBracket
-<c e g c>2\arpeggio
+ \arpeggioBracket
+ <c e g c>2\arpeggio
-\arpeggioParenthesis
-<c e g c>2\arpeggio
+ \arpeggioParenthesis
+ <c e g c>2\arpeggio
-\arpeggioParenthesisDashed
-<c e g c>2\arpeggio
+ \arpeggioParenthesisDashed
+ <c e g c>2\arpeggio
-\arpeggioNormal
-<c e g c>2\arpeggio
+ \arpeggioNormal
+ <c e g c>2\arpeggio
+}
@end lilypond
Die @code{dash}-Eigenschaft der Arpeggioklammern werden von
@code{\startTrillSpan} zu
Beginn und @code{\stopTrillSpan} am Ende erstellt.
-@lilypond[verbatim,quote,relative=2]
-d1\startTrillSpan
-d1
-c2\stopTrillSpan
-r2
+@lilypond[verbatim,quote]
+\relative {
+ d''1\startTrillSpan
+ d1
+ c2\stopTrillSpan
+ r2
+}
@end lilypond
Ein Triller-Strekcer, der über einen Zeilenumbruch geht,
beginnt genau über der ersten Note auf der neue Zeile erneut.
-@lilypond[ragged-right,verbatim,quote,relative=2]
-d1\startTrillSpan
-\break
-d1
-c2\stopTrillSpan
-r2
+@lilypond[ragged-right,verbatim,quote]
+\relative {
+ d''1\startTrillSpan
+ \break
+ d1
+ c2\stopTrillSpan
+ r2
+}
@end lilypond
Aufeinanderfolgende Trillerstrecker funktieren ohne einen
für diese Konstruktion und die Methode, um die Position der Vorschläge
präzise zu positionieren, wird gezeigt in @ref{Verzierungen}.
-@lilypond[verbatim,quote,relative=2]
-d1~\afterGrace
-d1\startTrillSpan { c32[ d]\stopTrillSpan }
-c2 r2
+@lilypond[verbatim,quote]
+\relative {
+ d''1~\afterGrace
+ d1\startTrillSpan { c32[ d]\stopTrillSpan }
+ c2 r2
+}
@end lilypond
@cindex Triller mit Tonhöhe
Argument ist die Hauptnote, das zweite die Note, auf der getrillert
wird. Sie wird als Note ohne Hals in Klammern ausgegeben.
-@lilypond[verbatim,quote,relative=2]
-\pitchedTrill
-d2\startTrillSpan fis
-d2
-c2\stopTrillSpan
-r2
+@lilypond[verbatim,quote]
+\relative {
+ \pitchedTrill
+ d''2\startTrillSpan fis
+ d2
+ c2\stopTrillSpan
+ r2
+}
@end lilypond
@cindex Triller mit Tonhöhe und Versetzungszeichen
Takt müssen selbst hinzugefügt werden. Nur das Versetzungszeichen
des ersten Trillers mit Tonhöhe innerhalb eines Taktes wird ausgegeben.
-@lilypond[verbatim,quote,relative=2]
-\pitchedTrill
-eis4\startTrillSpan fis
-eis4\stopTrillSpan
-\pitchedTrill
-eis4\startTrillSpan cis
-eis4\stopTrillSpan
-\pitchedTrill
-eis4\startTrillSpan fis
-eis4\stopTrillSpan
-\pitchedTrill
-eis4\startTrillSpan fis!
-eis4\stopTrillSpan
+@lilypond[verbatim,quote]
+\relative {
+ \pitchedTrill
+ eis''4\startTrillSpan fis
+ eis4\stopTrillSpan
+ \pitchedTrill
+ eis4\startTrillSpan cis
+ eis4\stopTrillSpan
+ \pitchedTrill
+ eis4\startTrillSpan fis
+ eis4\stopTrillSpan
+ \pitchedTrill
+ eis4\startTrillSpan fis!
+ eis4\stopTrillSpan
+}
@end lilypond
@predefined
angezeigt werden, indem @code{\@var{Zahl}} an eine Note
gehängt wird:
-@lilypond[verbatim,quote,relative=0]
+@lilypond[verbatim,quote,fragment]
\clef "treble_8"
c4\5 e\4 g2\3
-<c,\5 e\4 g\3>1
+<c\5 e\4 g\3>1
@end lilypond
Wenn Fingersatz und Saitennummer zusammen benutzt werden, wird
einzelne Noten @emph{außerhalb} eines Akkords gehängt wird, wird
nach anderen Regeln positioniert.
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment]
\clef "treble_8"
g4\3-0
g-0\3
@warning{Wenn die Zahl in Scheme-Notation eingegeben wird, muss darauf
geachtet werden, ein Leerzeichen anzuhängen vor dem schließenden @code{>} o. Ä.}
-@lilypond[quote,verbatim,relative=0]
+@lilypond[quote,verbatim,fragment]
\clef "treble_8"
c4\rightHandFinger #1
e\rightHandFinger #2
g\rightHandFinger #3
-c\rightHandFinger #4
-<c,\rightHandFinger #1 e\rightHandFinger #2
- g\rightHandFinger #3 c\rightHandFinger #4 >1
+c'\rightHandFinger #4
+<c\rightHandFinger #1 e\rightHandFinger #2
+ g\rightHandFinger #3 c'\rightHandFinger #4 >1
@end lilypond
Zur Erleichterung kann der Befehl @code{\rightHandFinger} zu ein paar
Das Beispiel zeigt, wie man Griff- und Barréposition
notieren kann.
-@lilypond[quote,ragged-right,verbatim,relative=0]
-\clef "treble_8"
-b16 d g b e
-\textSpannerDown
-\override TextSpanner.bound-details.left.text = #"XII "
-g16\startTextSpan
-b16 e g e b g\stopTextSpan
-e16 b g d
+@lilypond[quote,ragged-right,verbatim,fragment]
+\relative {
+ \clef "treble_8"
+ b,16 d g b e
+ \textSpannerDown
+ \override TextSpanner.bound-details.left.text = #"XII "
+ g16\startTextSpan
+ b16 e g e b g\stopTextSpan
+ e16 b g d
+}
@end lilypond
Instrumentenwechsel ausgelassen. Man muss also sehr genau darauf
achten, dass nichts unerwartetes geschieht.
-@lilypond[quote,relative=2,ragged-right,verbatim]
-c8 d
-\set Score.skipTypesetting = ##t
-e8 e e e e e e e
-\set Score.skipTypesetting = ##f
-c8 d b bes a g c2
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ c''8 d
+ \set Score.skipTypesetting = ##t
+ e8 e e e e e e e
+ \set Score.skipTypesetting = ##f
+ c8 d b bes a g c2
+}
@end lilypond
In polyphoner Notation wirkt sich @code{Score.skipTypesetting} auf
wechselt, kann automatisch eine Linie zur Verdeutlichung des
Stimmenverlaufs ausgegeben werden:
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,verbatim]
\new PianoStaff <<
\new Staff = "one" {
\showStaffSwitch
- c1
+ c'1
\change Staff = "two"
b2 a
}
und das Sostenuto-Pedal. Die englischen Begriff hierzu lauten:
@notation{sustain}, @notation{sostenuto} und @notation{una corda}.
-@lilypond[quote,verbatim,relative=2]
-c4\sustainOn d e g
-<c, f a>1\sustainOff
-c4\sostenutoOn e g c,
-<bes d f>1\sostenutoOff
-c4\unaCorda d e g
-<d fis a>1\treCorde
+@lilypond[quote,verbatim]
+\relative {
+ c''4\sustainOn d e g
+ <c, f a>1\sustainOff
+ c4\sostenutoOn e g c,
+ <bes d f>1\sostenutoOff
+ c4\unaCorda d e g
+ <d fis a>1\treCorde
+}
@end lilypond
@cindex Pedalbezeichnung, Stile
und das Una-corda-Pedal benutzen als Standard die Textdarstellung,
während das Sostenuto-Pedal den gemischten Stil benutzt:
-@lilypond[quote,verbatim,relative=2]
-c4\sustainOn g c2\sustainOff
-\set Staff.pedalSustainStyle = #'mixed
-c4\sustainOn g c d
-d\sustainOff\sustainOn g, c2\sustainOff
-\set Staff.pedalSustainStyle = #'bracket
-c4\sustainOn g c d
-d\sustainOff\sustainOn g, c2
-\bar "|."
+@lilypond[quote,verbatim]
+\relative {
+ c''4\sustainOn g c2\sustainOff
+ \set Staff.pedalSustainStyle = #'mixed
+ c4\sustainOn g c d
+ d\sustainOff\sustainOn g, c2\sustainOff
+ \set Staff.pedalSustainStyle = #'bracket
+ c4\sustainOn g c d
+ d\sustainOff\sustainOn g, c2
+ \bar "|."
+}
@end lilypond
Die Platzierung der Befehle entspricht der Bewegung der Pedale
die Pedale: D, C und H für die linke und E, F, G und A für die rechte
Seite. Die Position des Pedals kann mit Textbeschriftungselementen:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\textLengthOn
-cis1_\markup \concat \vcenter {
+cis''1_\markup \concat \vcenter {
[D \flat C \sharp B|E \sharp F \sharp G A \flat] }
-c!1_\markup \concat \vcenter {
+c''!1_\markup \concat \vcenter {
[ C \natural ] }
@end lilypond
@noindent
oder Pedaldiagrammen angezeigt werden:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\textLengthOn
-cis1_\markup { \harp-pedal #"^v-|vv-^" }
-c!1_\markup { \harp-pedal #"^o--|vv-^" }
+cis''1_\markup { \harp-pedal #"^v-|vv-^" }
+c''!1_\markup { \harp-pedal #"^o--|vv-^" }
@end lilypond
Der @code{\harp-pedal}-Befehl braucht eine Anzahl an Zeichen, von
ab. Um andere Bezeichnungen für Versetzungszeichen zu
benutzen, siehe @ref{Notenbezeichnungen in anderen Sprachen}.
-@lilypond[verbatim,quote,relative=2]
-ais1 aes aisis aeses
+@lilypond[verbatim,quote,fragment]
+\relative c'' { ais1 aes aisis aeses }
@end lilypond
Auch die deutschen Varianten @code{as} für @code{aes} und
Tonhöhenbuchstaben erstellt. Das Beispiel zeigt eine in Vierteltönen
aufsteigende Serie vom eingestrichenen C.
-@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
@code{eeses}@tie{}/@tie{}@code{eses}.
In manchen Sprachen sind nur diese Kurzformen definiert.
-@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
Der Schlüssel kann verändert werden. Das eingestrichene
C wird in jedem Beispiel gezeigt:
-@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
Andere Schlüssel sind u. A.:
Die Schlüsselbezeichnung muss in Anführungszeichen gesetzt werden,
wenn nicht-alphabetische Zeichen enthält, siehe Beispiel:
-@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
Weitere unterstützte Schlüssel sind beschrieben in @ref{Mensurale Schlüssel},
@code{\mixolydian} (Mixolydisch), @code{\lydian} (Lydisch),
@code{\phrygian} (Phrygisch) und @code{\dorian} (Dorisch).
-@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
@snippets
@notation{Oktavierungsklammern} zeigen eine zusätzliche
Transposition von einer Oktave an:
-@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
zwischen B- und A-Klarinette wechseln.
@c KEEP LY
-@lilypond[verbatim,quote,relative=2]
-\set Staff.instrumentName = #"Cl (A)"
-\key a \major
-\transposition a
-c d e f
-\textLengthOn
-<>^\markup { B-Klarinette benutzen }
-R1
+@lilypond[verbatim,quote]
+\relative c'' {
+ \set Staff.instrumentName = #"Cl (A)"
+ \key a \major
+ \transposition a
+ c d e f
+ \textLengthOn
+ <>^\markup { B-Klarinette benutzen }
+ R1
-\key bes \major
-\transposition bes
-c2 g
+ \key bes \major
+ \transposition bes
+ c2 g
+}
@end lilypond
Notenköpfe können verändert werden:
-@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
Für alle Notenkopfstile siehe @ref{Notenkopfstile}
benutzt werden, um alle musikalischen Bedeutungen zu
notieren:
-@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
Die Form als musikalische Funktion dieses Befehls kann innerhalb
und außerhalb von Akkorden benutzt werden, um Notenköpfe mit Kreuzen
in normalen und Tabulatursystemen zu erstellen:
-@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
Als Synonym für @code{\xNote}, @code{\xNotesOn} und @code{\xNotesOff}
Sacred Harp, Southern Harmony, Funk (Harmonica Sacra), Walker
und Aiken (Christian Harmony) benutzt werden:
-@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
aber den vorgegebenen Rhythmus spielen soll. Sie können wie folgt
benutzt werden:
-@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 ~
Wiederholung ohne alternativen Schluß:
-@lilypond[verbatim,quote,relative=2]
-\repeat volta 2 { c4 d e f }
-c2 d
-\repeat volta 2 { d4 e f g }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat volta 2 { c''4 d e f }
+ c2 d
+ \repeat volta 2 { d4 e f g }
+}
@end lilypond
Alternative
Eine einfache Wiederholung mit einer Alternative:
-@lilypond[verbatim,quote,relative=2]
-\repeat volta 2 { c4 d e f | }
-\alternative {
- { c2 e | }
- { f2 g | }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat volta 2 { c''4 d e f | }
+ \alternative {
+ { c2 e | }
+ { f2 g | }
+ }
+ c1
}
-c1
@end lilypond
Eine einfache Wiederholung mit mehr als einer Alternative:
-@lilypond[verbatim,quote,relative=2]
-\repeat volta 4 { c4 d e f | }
-\alternative {
- { c2 e | }
- { f2 g | }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat volta 4 { c''4 d e f | }
+ \alternative {
+ { c2 e | }
+ { f2 g | }
+ }
+ c1
}
-c1
@end lilypond
Mehrfache Wiederholungen mit mehr als einer Alternative:
-@lilypond[verbatim,quote,relative=2]
-\repeat volta 3 { c4 d e f | }
-\alternative {
- { c2 e | }
- { f2 g | }
- { a2 g | }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat volta 3 { c''4 d e f | }
+ \alternative {
+ { c2 e | }
+ { f2 g | }
+ { a2 g | }
+ }
+ c1
}
-c1
@end lilypond
@warning{Wenn es zwei oder mehr Alternativen gibt, darf nicht zwischen
nicht @code{\partial}-Befehle oder Taktüberprüfung, wo die
Wiederholungslinien gesetzt werden:
-@lilypond[verbatim,quote,relative=1]
-% no \partial here
-c4 e g % no bar check here
-% no \partial here
-\repeat volta 4 {
- e4 |
- c2 e |
+@lilypond[verbatim,quote]
+\relative { % no \partial here
+ c'4 e g % no bar check here
% no \partial here
- g4 g g % no bar check here
+ \repeat volta 4 {
+ e4 |
+ c2 e |
+ % no \partial here
+ g4 g g % no bar check here
+ }
+ % no \partial here
+ g4 |
+ a2 a |
+ g1 |
}
-% no \partial here
-g4 |
-a2 a |
-g1 |
@end lilypond
Ähnlich ist es, wenn eine Wiederholung mit einem Auftakt beginnt und
keine Alternativen hat. In diesem Fall muss man aber den
@code{\partial}-Befehl zu Beginn der Partitur setzen:
-@lilypond[verbatim,quote,relative=1]
-\partial 4 % required
-\repeat volta 4 {
- e4 |
- c2 e |
+@lilypond[verbatim,quote]
+\relative {
+ \partial 4 % required
+ \repeat volta 4 {
+ e'4 |
+ c2 e |
+ % no \partial here
+ g4 g g % no bar check here
+ }
% no \partial here
- g4 g g % no bar check here
+ g4 |
+ a2 a |
+ g1 |
}
-% no \partial here
-g4 |
-a2 a |
-g1 |
@end lilypond
Wenn alternative Endungen zu einer Wiederholung hinzugefügt werden,
Bindebögen können auch an eine zweite Klammer angefügt werden:
-@lilypond[verbatim,quote,relative=2]
-c1
-\repeat volta 2 { c4 d e f~ }
-\alternative {
- { f2 d }
- { f2\repeatTie f, }
+@lilypond[verbatim,quote]
+\relative {
+ c''1
+ \repeat volta 2 { c4 d e f~ }
+ \alternative {
+ { f2 d }
+ { f2\repeatTie f, }
+ }
}
@end lilypond
@item start-repeat
Setzt eine @code{|:} Taktlinie.
-@lilypond[verbatim,quote,relative=2]
-c1
-\set Score.repeatCommands = #'(start-repeat)
-d4 e f g
-c1
+@lilypond[verbatim,quote]
+\relative {
+ c''1
+ \set Score.repeatCommands = #'(start-repeat)
+ d4 e f g
+ c1
+}
@end lilypond
Der Notensatzpraxis folgend werden Wiederholungstaktstriche nicht zu
@item end-repeat
Setzt eine @code{:|} Taktlinie.
-@lilypond[verbatim,quote,relative=2]
-c1
-d4 e f g
-\set Score.repeatCommands = #'(end-repeat)
-c1
+@lilypond[verbatim,quote]
+\relative {
+ c''1
+ d4 e f g
+ \set Score.repeatCommands = #'(end-repeat)
+ c1
+}
@end lilypond
@item (volta @var{Zahl}) ... (volta #f)
Volta-Klammer muss explizit beendet werden, sonst wird sie nicht
ausgegeben.
-@lilypond[verbatim,quote,relative=2]
-f4 g a b
-\set Score.repeatCommands = #'((volta "2"))
-g4 a g a
-\set Score.repeatCommands = #'((volta #f))
-c1
+@lilypond[verbatim,quote]
+\relative {
+ f''4 g a b
+ \set Score.repeatCommands = #'((volta "2"))
+ g4 a g a
+ \set Score.repeatCommands = #'((volta #f))
+ c1
+}
@end lilypond
@end table
Mehrfache Wiederholungszeichen können an der selben Stelle vorkommen:
-@lilypond[verbatim,quote,relative=2]
-f4 g a b
-\set Score.repeatCommands = #'((volta "2, 5") end-repeat)
-g4 a g a
-c1
-\set Score.repeatCommands = #'((volta #f) (volta "95") end-repeat)
-b1
-\set Score.repeatCommands = #'((volta #f))
+@lilypond[verbatim,quote]
+\relative {
+ f''4 g a b
+ \set Score.repeatCommands = #'((volta "2, 5") end-repeat)
+ g4 a g a
+ c1
+ \set Score.repeatCommands = #'((volta #f) (volta "95") end-repeat)
+ b1
+ \set Score.repeatCommands = #'((volta #f))
+}
@end lilypond
@cindex Volta-Klammer mit Text
@code{@var{Wiederholungszähler}} die Anzahl bezeichnet, mit der
@code{@var{musikAusdr}} wiederholt wird.
-@lilypond[verbatim,quote,relative=2]
-\repeat unfold 2 { c4 d e f }
-c1
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 2 { c''4 d e f }
+ c1
+}
@end lilypond
In einigen Fällen, insbesondere in einer @code{\relative}-Umgebung,
Repititive Wiederholungen können auch mit mehreren Alternativeklammern
notiert werden:
-@lilypond[verbatim,quote,relative=2]
-\repeat unfold 2 { c4 d e f }
-\alternative {
- { c2 g' }
- { c,2 b }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 2 { c''4 d e f }
+ \alternative {
+ { c2 g' }
+ { c,2 b }
+ }
+ c1
}
-c1
@end lilypond
Wenn es mehr Wiederholungen als Alternativen gibt, wird die erste
restlichen Alternativen die Gesamtanzahl der Wiederholungen
ergeben.
-@lilypond[verbatim,quote,relative=2]
-\repeat unfold 4 { c4 d e f }
-\alternative {
- { c2 g' }
- { c,2 b }
- { e2 d }
- }
-c1
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 4 { c''4 d e f }
+ \alternative {
+ { c2 g' }
+ { c,2 b }
+ { e2 d }
+ }
+ c1
+}
@end lilypond
Wenn es mehr Alternativen als Wiederholungen gibt, wird nur die
ersten Alternativen ausgegeben und die restlichen Alternativen
ignoriert und nicht gesetzt.
-@lilypond[verbatim,quote,relative=2]
-\repeat unfold 2 { c4 d e f }
-\alternative {
- { c2 g' }
- { c,2 b }
- { e2 d }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 2 { c''4 d e f }
+ \alternative {
+ { c2 g' }
+ { c,2 b }
+ { e2 d }
+ }
+ c1
}
-c1
@end lilypond
Es ist auch möglich, mehrere @code{unfold}-Wiederholungen (mit oder
ohne Alternativen) ineinander zu verschachteln:
-@lilypond[verbatim,quote,relative=2]
-\repeat unfold 2 {
- \repeat unfold 2 { c4 d e f }
- \alternative {
- { c2 g' }
- { c,2 b }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 2 {
+ \repeat unfold 2 { c''4 d e f }
+ \alternative {
+ { c2 g' }
+ { c,2 b }
+ }
}
+ c1
}
-c1
@end lilypond
Akkordkonstruktionen können mit dem Akkordwiederholungssymbol @code{q}
Muster, die kürzer als ein Takt sind, werden mit Schrägstrichen
ersetzt:
-@lilypond[verbatim,quote,relative=2]
-\repeat percent 4 { c128 d e f }
-\repeat percent 4 { c64 d e f }
-\repeat percent 5 { c32 d e f }
-\repeat percent 4 { c16 d e f }
-\repeat percent 4 { c8 d }
-\repeat percent 4 { c4 }
-\repeat percent 2 { c2 }
+@lilypond[verbatim,quote]
+\relative c'' {
+ \repeat percent 4 { c128 d e f }
+ \repeat percent 4 { c64 d e f }
+ \repeat percent 5 { c32 d e f }
+ \repeat percent 4 { c16 d e f }
+ \repeat percent 4 { c8 d }
+ \repeat percent 4 { c4 }
+ \repeat percent 2 { c2 }
+}
@end lilypond
Muster von einem oder zwei Takten Dauer werden mit prozentartigen
Symbolen ersetzt:
-@lilypond[verbatim,quote,relative=2]
-\repeat percent 2 { c4 d e f }
-\repeat percent 2 { c2 d }
-\repeat percent 2 { c1 }
+@lilypond[verbatim,quote]
+\relative c'' {
+ \repeat percent 2 { c4 d e f }
+ \repeat percent 2 { c2 d }
+ \repeat percent 2 { c1 }
+}
@end lilypond
-@lilypond[verbatim,quote,relative=2]
-\repeat percent 3 { c4 d e f | c2 g' }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat percent 3 { c''4 d e f | c2 g' }
+}
@end lilypond
Muster, die kürzer als ein Takt sind, aber unterschiedliche Dauern beinhalten,
benützten ein doppeltes Prozent-Symbol.
-@lilypond[verbatim,quote,relative=2]
-\repeat percent 4 { c8. <d f>16 }
-\repeat percent 2 { \tuplet 3/2 { r8 c d } e4 }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat percent 4 { c''8. <d f>16 }
+ \repeat percent 2 { \tuplet 3/2 { r8 c d } e4 }
+}
@end lilypond
@snippets
Um Tremolobalken zwischen Noten zu setzen, kann der @code{\repeat}-Befehl
mit dem Tremolo-Stil benutzt werden:
-@lilypond[quote,verbatim,relative=2]
-\repeat tremolo 8 { c16 d }
-\repeat tremolo 6 { c16 d }
-\repeat tremolo 2 { c16 d }
+@lilypond[quote,verbatim]
+\relative c'' {
+ \repeat tremolo 8 { c16 d }
+ \repeat tremolo 6 { c16 d }
+ \repeat tremolo 2 { c16 d }
+}
@end lilypond
Die @code{\repeat tremolo}-Syntax braucht genau zwei Noten innerhalb
Notenhals. Wenn die Zahl ausgelassen wird, wird der letzte
benutzte Wert eingesetzt (gespeichert in @code{tremoloFlags}):
-@lilypond[quote,verbatim,relative=2]
-c2:8 c:32
-c: c:
+@lilypond[quote,verbatim]
+\relative {
+ c''2:8 c:32
+ c: c:
+}
@end lilypond
@snippets
auch notiert werden, können allerdings nur als Noten mit Balken auftreten.
@c Two 64th notes are needed to obtain beams
-@lilypond[quote,verbatim,relative=2]
-\time 8/1
-c\longa c\breve c1 c2
-c4 c8 c16 c32 c64 c128 c128
+@lilypond[quote,verbatim]
+\relative {
+ \time 8/1
+ c''\longa c\breve c1 c2
+ c4 c8 c16 c32 c64 c128 c128
+}
@end lilypond
Hier die selben Notendauern ohne die Balken.
@c not strictly "writing rhythms"; more of a "displaying" thing,
@c but it's ok here. -gp
-@lilypond[quote,verbatim,relative=2]
-\time 8/1
-\autoBeamOff
-c\longa c\breve c1 c2
-c4 c8 c16 c32 c64 c128 c128
+@lilypond[quote,verbatim]
+\relative {
+ \time 8/1
+ \autoBeamOff
+ c''\longa c\breve c1 c2
+ c4 c8 c16 c32 c64 c128 c128
+}
@end lilypond
Eine Note mit der vierfachen Dauer einer Brevis kann mit dem
wird die Dauer der vorhergehenden Note eingesetzt. Der Standardwert
für die erste Note ist eine Viertel.
-@lilypond[quote,verbatim,relative=2]
-a a a2 a a4 a a1 a
+@lilypond[quote,verbatim]
+\relative { a' a a2 a a4 a a1 a }
@end lilypond
@funindex .
(@code{.}) hinter die Zahl der Dauer gesetzt werden. Zwei Punkte
ergeben eine doppelte Punktierung, usw.
-@lilypond[quote,verbatim,relative=2]
-a4 b c4. b8 a4. b4.. c8.
+@lilypond[quote,verbatim]
+\relative { a'4 b c4. b8 a4. b4.. c8. }
@end lilypond
Manche Notenlängen können nicht mit binären Dauern und Punkten
N-tolen können ineinander geschachtelt werden:
-@lilypond[quote,verbatim,relative=2]
-\autoBeamOff
-c4 \tuplet 5/4 { f8 e f \tuplet 3/2 { e[ f g] } } f4
+@lilypond[quote,verbatim]
+\relative {
+ \autoBeamOff
+ c''4 \tuplet 5/4 { f8 e f \tuplet 3/2 { e[ f g] } } f4
+}
@end lilypond
Wenn man die Eigenschaften von N-tolen verändern will, die zum
Im nächsten Beispiel nehmen die drei ersten Noten genau zwei Schläge ein,
aber es wird keine Triolenklammer über ihnen ausgegeben.
-@lilypond[quote,relative=2,verbatim]
-\time 2/4
-% Alter durations to triplets
-a4*2/3 gis a
-% Normal durations
-a4 a
-% Double the duration of chord
-<a d>4*2
-% Duration of quarter, appears like sixteenth
-b16*4 c4
+@lilypond[quote,verbatim]
+\relative {
+ \time 2/4
+ % Alter durations to triplets
+ a'4*2/3 gis a
+ % Normal durations
+ a4 a
+ % Double the duration of chord
+ <a d>4*2
+ % Duration of quarter, appears like sixteenth
+ b16*4 c4
+}
@end lilypond
Die Dauer von unsichtbaren Pausen kann auch mit einem Faktor
man die Musik ausklingen lassen soll. Sie werden in der Klavier-, Harfen-,
anderer Saiteninstrument- und Schlagzeugnotation verwendet. Sie können folgendermaßen notiert werden:
-@lilypond[quote,verbatim,relative=1]
-<c f g>1\laissezVibrer
+@lilypond[quote,verbatim,fragment]
+<c' f' g'>1\laissezVibrer
@end lilypond
@cindex ties, placement
@var{layer} (Ebene) kann verhindert werden, dass Bindebögen mit anderen
Objekten im Notensystem zusammenstoßen.
-@lilypond[verbatim,quote,ragged-right,relative=2]
-\override Tie.layer = #-2
-\override Staff.TimeSignature.layer = #-1
-\override Staff.KeySignature.layer = #-1
-\override Staff.TimeSignature.whiteout-box = ##t
-\override Staff.KeySignature.whiteout-box = ##t
-b2 b~
-\time 3/4
-\key a \major
-b r4
+@lilypond[verbatim,quote,ragged-right]
+\relative {
+ \override Tie.layer = #-2
+ \override Staff.TimeSignature.layer = #-1
+ \override Staff.KeySignature.layer = #-1
+ \override Staff.TimeSignature.whiteout = ##t
+ \override Staff.KeySignature.whiteout = ##t
+ b'2 b~
+ \time 3/4
+ \key a \major
+ b r4
+}
@end lilypond
@predefined
@c \time 16/1 is used to avoid spurious bar lines
@c and long tracts of empty measures
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\new Staff {
% These two lines are just to prettify this example
\time 16/1
sehr viel einfacher, da die Formatierungsfunktion zur automatischen
Auflösung von Zusammenstößen diese Pausen nicht mit einbezieht.
-@lilypond[quote,verbatim,relative=2]
-a4\rest d4\rest
+@lilypond[quote,verbatim]
+\relative { a'4\rest d4\rest }
@end lilypond
@snippets
der Befehl @code{\skip} benutzt werden. @code{\skip} benötigt eine
explizite Dauerangabe.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
{
- a2 \skip2 a2 a2
+ a'2 \skip2 a'2 a'2
}
\new Lyrics {
\lyricmode {
Weil @code{\skip} ein Befehl ist, wirkt er sich nicht auf die Dauer
der folgenden Noten aus, anders als@tie{}@code{s}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
{
- \repeat unfold 8 { a4 }
+ \repeat unfold 8 { a'4 }
}
{
- a4 \skip 2 a |
- s2 a
+ a'4 \skip 2 a' |
+ s2 a'
}
>>
@end lilypond
Die Platzhalterpause mit @code{s} erstellt @code{Staff}- und
@code{Voice}-Kontext, wenn es erforderlich ist, genauso wie Noten und Pausen.
-@lilypond[quote,verbatim,relative=2]
-s1 s s
+@lilypond[quote,verbatim]
+{ s1 s s }
@end lilypond
Der Überspringungsbefehl (@code{\skip}) ist einfach ein leerer Platzhalter.
Durch ihn wird überhaupt nichts gesetzt, auch keine transparenten Objekte.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
% This is valid input, but does nothing
-\skip 1 \skip1 \skip 1
+{ \skip 1 \skip1 \skip 1 }
@end lilypond
@seealso
Eine Ganztaktpause wird abhängig von der Taktart entweder als
Ganze oder Brevis-Pause gesetzt, zentriert im Takt.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\time 4/4
R1 |
\time 6/4
nicht ignoriert werden. Siehe auch das folgende Beispiel.
}
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
% This fails, as the wrong object name is specified
\override TextScript.padding = #5
R1^"wrong"
ausgegeben. Dieses Verhalten kann verändert werden, siehe
@ref{Sichtbarkeit von Objekten}.
-@lilypond[quote,verbatim,relative=2]
-\time 2/4
-c2 c
-\break
-c c
-\break
-\time 4/4
-c c c c
+@lilypond[quote,verbatim]
+\relative c'' {
+ \time 2/4
+ c2 c
+ \break
+ c c
+ \break
+ \time 4/4
+ c c c c
+}
@end lilypond
@funindex \numericTimeSignature
Das Symbol für die Taktarten 2/2 und 4/4 kann in ein Zahlensymbol
umgewandelt werden:
-@lilypond[quote,verbatim,relative=2]
-% Default style
-\time 4/4 c1
-\time 2/2 c1
-% Change to numeric style
-\numericTimeSignature
-\time 4/4 c1
-\time 2/2 c1
-% Revert to default style
-\defaultTimeSignature
-\time 4/4 c1
-\time 2/2 c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ % Default style
+ \time 4/4 c1
+ \time 2/2 c1
+ % Change to numeric style
+ \numericTimeSignature
+ \time 4/4 c1
+ \time 2/2 c1
+ % Revert to default style
+ \defaultTimeSignature
+ \time 4/4 c1
+ \time 2/2 c1
+}
@end lilypond
Symbole für Modus und Proprietas der mensuralen Notation
Eine Metronomanweisung wird wie folgt erstellt:
-@lilypond[verbatim,quote,relative=1]
-\tempo 4 = 120
-c2 d
-e4. d8 c2
+@lilypond[verbatim,quote]
+\relative {
+ \tempo 4 = 120
+ c'2 d
+ e4. d8 c2
+}
@end lilypond
Metronombezeichnungen können auch für einen Zahlenbereich notiert werden:
-@lilypond[verbatim,quote,relative=1]
-\tempo 4 = 40 - 46
-c4. e8 a4 g
-b,2 d4 r
+@lilypond[verbatim,quote]
+\relative {
+ \tempo 4 = 40 - 46
+ c'4. e8 a4 g
+ b,2 d4 r
+}
@end lilypond
Anstelle dessen kann auch Text als Argument angegeben werden:
-@lilypond[verbatim,quote,relative=2]
-\tempo "Allegretto"
-c4 e d c
-b4. a16 b c4 r4
+@lilypond[verbatim,quote]
+\relative {
+ \tempo "Allegretto"
+ c''4 e d c
+ b4. a16 b c4 r4
+}
@end lilypond
Wenn eine Metronombezeichnung und Text kombiniert wird, wird
die Metronombezeichnung automatisch in Klammern gesetzt:
-@lilypond[verbatim,quote,relative=2]
-\tempo "Allegro" 4 = 160
-g4 c d e
-d4 b g2
+@lilypond[verbatim,quote]
+\relative {
+ \tempo "Allegro" 4 = 160
+ g'4 c d e
+ d4 b g2
+}
@end lilypond
Der Text kann ein beliebiges Textbeschriftungsobjekt sein:
-@lilypond[verbatim,quote,relative=2]
-\tempo \markup { \italic Faster } 4 = 132
-a8-. r8 b-. r gis-. r a-. r
+@lilypond[verbatim,quote]
+\relative {
+ \tempo \markup { \italic Faster } 4 = 132
+ a'8-. r8 b-. r gis-. r a-. r
+}
@end lilypond
Eine Metronombezeichnung in Klammern ohne Text kann erstellt
werden, indem eine leere Zeichenkette hinzugefügt wird:
-@lilypond[verbatim,quote,relative=2]
-\tempo "" 8 = 96
-d4 g e c
+@lilypond[verbatim,quote]
+\relative {
+ \tempo "" 8 = 96
+ d''4 g e c
+}
@end lilypond
Die @var{Dauer} kan ein beliebiger Wert kleiner als der vollständige
Takt sein.
-@lilypond[quote,verbatim,relative=1]
-\time 3/4
-\partial 4.
-r4 e8 | a4 c8 b c4 |
+@lilypond[quote,verbatim]
+\relative {
+ \time 3/4
+ \partial 4.
+ r4 e'8 | a4 c8 b c4 |
+}
@end lilypond
@code{\partial @var{Dauer}} kann auch folgendermaßen geschrieben werden:
@code{\cadenzaOn}, um dann wieder zum normalen Verhalten mit
@code{\cadenzaOff} zurückzukehren.
-@lilypond[verbatim,relative=2,quote]
-c4 d e d
-\cadenzaOn
-c4 c d8[ d d] f4 g4.
-\cadenzaOff
-\bar "|"
-d4 e d c
+@lilypond[verbatim,quote]
+\relative c'' {
+ c4 d e d
+ \cadenzaOn
+ c4 c d8[ d d] f4 g4.
+ \cadenzaOff
+ \bar "|"
+ d4 e d c
+}
@end lilypond
Taktnummerierung wird am Ende der Kadenz wieder aufgenommen:
Automatische Bebalkung wird durch @code{\cadenzeOn} ausgestellt. Darum müssen
alle Balken in Kadenzen manuell eingegeben werden (siehe @ref{Manuelle Balken}).
-@lilypond[verbatim,relative=2,quote]
-\repeat unfold 8 { c8 }
-\cadenzaOn
-cis8 c c c c
-\bar"|"
-c8 c c
-\cadenzaOff
-\repeat unfold 8 { c8 }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 8 { c''8 }
+ \cadenzaOn
+ cis8 c c c c
+ \bar"|"
+ c8 c c
+ \cadenzaOff
+ \repeat unfold 8 { c8 }
+}
@end lilypond
Diese vordefinierten Befehle wirken sich auf alle Systeme in der
Noten und Pausen, die über die Taktlinie dauern, aufgeteilt; Noten
werden auch übergebunden.
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,verbatim]
\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
\remove "Rest_engraver"
\consists "Completion_rest_engraver"
}
-
-{ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2 }
+\relative {
+ c'2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2
+}
@end lilypond
Dieser Engraver teilt alle Noten und Pausen
auf eine Linie reduziert und das System hat auch nur eine einzige
Linie.
-@lilypond[quote,relative=1,verbatim]
+@lilypond[quote,verbatim]
<<
\new RhythmicStaff {
- \new Voice = "myRhythm" {
+ \new Voice = "myRhythm" \relative {
\time 4/4
- c4 e8 f g2
+ c'4 e8 f g2
r4 g g f
g1
}
@funindex \autoBeamOff
@funindex autoBeamOff
-@lilypond[quote,verbatim,relative=2]
-\time 2/4 c8 c c c
-\time 6/8 c8 c c c8. c16 c8
+@lilypond[quote,verbatim]
+\relative c'' {
+ \time 2/4 c8 c c c
+ \time 6/8 c8 c c c8. c16 c8
+}
@end lilypond
Wenn diese automatischen Entscheidungen nicht gut genug sind, können
aufgehoben werden und mit dem Befehl @code{\autoBeamOn} wieder
eingeschaltet werden.
-@lilypond[quote,relative=1,verbatim]
-c4 c8 c8. c16 c8. c16 c8
-\autoBeamOff
-c4 c8 c8. c16 c8.
-\autoBeamOn
-c16 c8
+@lilypond[quote,verbatim]
+\relative c' {
+ c4 c8 c8. c16 c8. c16 c8
+ \autoBeamOff
+ c4 c8 c8. c16 c8.
+ \autoBeamOn
+ c16 c8
+}
@end lilypond
@cindex Melismen, Balken
definiert wird, werden die automatischen Bebalkungsregeln für den
@code{Timing}-Kontext auf den Standard zurückgesetzt.
-@lilypond[quote,verbatim,relative=2]
-\time 6/8
-\repeat unfold 6 { a8 }
-% group (4 + 2)
-\set Timing.beatStructure = #'(4 2)
-\repeat unfold 6 { a8 }
-% go back to default behavior
-\time 6/8
-\repeat unfold 6 { a8 }
+@lilypond[quote,verbatim]
+\relative a' {
+ \time 6/8
+ \repeat unfold 6 { a8 }
+ % group (4 + 2)
+ \set Timing.beatStructure = #'(4 2)
+ \repeat unfold 6 { a8 }
+ % go back to default behavior
+ \time 6/8
+ \repeat unfold 6 { a8 }
+}
@end lilypond
Die automatischen Standardeinstellungen für die Bebalkung einer
Die @code{beamExceptions}-Regel kann die @code{beatStructure}-Einstellung
überschreiben, wenn @code{beamExceptions} nicht zurückgesetzt wird:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\time 4/4
\set Timing.baseMoment = #(ly:make-moment 1/8)
\set Timing.beatStructure = #'(3 3 2)
% This won't beam (3 3 2) because of beamExceptions
-\repeat unfold 8 {c8} |
+\repeat unfold 8 {c''8} |
% This will beam (3 3 2) because we clear beamExceptions
\set Timing.beamExceptions = #'()
-\repeat unfold 8 {c8}
+\repeat unfold 8 {c''8}
@end lilypond
Auf gleiche Art werden Achtelnoten im 3/4-Takt über den ganzen Takt hin
die Eigenschaft @code{beamHalfMeasure} bestimmt, welche sich nur auf
Takte mit einer 3 im Zähler auswirkt:
-@lilypond[quote,verbatim,relative=2]
-\time 3/4
-r4. a8 a a |
-\set Timing.beamHalfMeasure = ##f
-r4. a8 a a |
+@lilypond[quote,verbatim]
+\relative a' {
+ \time 3/4
+ r4. a8 a a |
+ \set Timing.beamHalfMeasure = ##f
+ r4. a8 a a |
+}
@end lilypond
@subsubheading @i{Wie die automatische Bebalkung funktioniert}
der automatischen Bebalkungsregeln für eine Taktart sind in
@ref{Taktangabe} beschrieben.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
\new Staff {
\overrideTimeSignatureSettings
#'(1 5) % beatStructure
#'() % beamExceptions
\time 3/4
- \repeat unfold 6 { a8 }
+ \repeat unfold 6 { a'8 }
}
\new Staff {
\time 3/4
- \repeat unfold 6 { a8 }
+ \repeat unfold 6 { a'8 }
}
>>
@end lilypond
Manuell definierte Balken werden mit den Zeichen @code{[} und
@code{]} (AltGr+8 bzw. 9) markiert.
-@lilypond[quote,relative=1,verbatim]
-r4 r8[ g' a r] r g[ | a] r
+@lilypond[quote,verbatim]
+\relative { r4 r8[ g' a r] r g[ | a] r }
@end lilypond
@cindex manuelle Balken, Richtung zuweisen
Die Richtung von Balken kann mit den Richtungszeichen verändert werden:
-@lilypond[quote,relative=2,verbatim]
-c8^[ d e] c,_[ d e f g]
+@lilypond[quote,verbatim]
+\relative { c''8^[ d e] c,_[ d e f g] }
@end lilypond
@funindex \noBeam
gesetzt werden. Unbebalkte Verzierungen werden nicht innerhalb von
normalen Balken gesetzt.
-@lilypond[quote,verbatim,relative=2]
-c4 d8[
-\grace { e32 d c d }
-e8] e[ e
-\grace { f16 }
-e8 e]
+@lilypond[quote,verbatim]
+\relative {
+ c''4 d8[
+ \grace { e32 d c d }
+ e8] e[ e
+ \grace { f16 }
+ e8 e]
+}
@end lilypond
@funindex stemLeftBeamCount
an seiner linken Seite (der als Achtelbalken der gesamten
Gruppe gewertet wird).
-@lilypond[quote,relative=2,verbatim]
-a8[ r16 f g a]
-a8[ r16
-\set stemLeftBeamCount = #2
-\set stemRightBeamCount = #1
-f16
-\set stemLeftBeamCount = #1
-g16 a]
+@lilypond[quote,verbatim]
+\relative a' {
+ a8[ r16 f g a]
+ a8[ r16
+ \set stemLeftBeamCount = #2
+ \set stemRightBeamCount = #1
+ f16
+ \set stemLeftBeamCount = #1
+ g16 a]
+}
@end lilypond
@snippets
das Tempo, während die darauffolgenden vier 32-Noten ein
gleichmäßiges Tempo haben.
-@lilypond[relative=1,verbatim,quote]
-\override Beam.grow-direction = #LEFT
-\featherDurations #(ly:make-moment 2/1)
-{ c16[ c c c c c c c] }
-\override Beam.grow-direction = #RIGHT
-\featherDurations #(ly:make-moment 2/3)
-{ c32[ d e f] }
-% revert to non-feathered beams
-\override Beam.grow-direction = #'()
-{ g32[ a b c] }
+@lilypond[verbatim,quote]
+\relative c' {
+ \override Beam.grow-direction = #LEFT
+ \featherDurations #(ly:make-moment 2/1)
+ { c16[ c c c c c c c] }
+ \override Beam.grow-direction = #RIGHT
+ \featherDurations #(ly:make-moment 2/3)
+ { c32[ d e f] }
+ % revert to non-feathered beams
+ \override Beam.grow-direction = #'()
+ { g32[ a b c] }
+}
@end lilypond
@noindent
@code{\bar}-Befehl geändert werden. Eine doppelter Taktstrich etwa
wird normalerweise am Ende eines Stückes gesetzt:
-@lilypond[quote,relative=1,verbatim]
-e4 d c2 \bar "|."
+@lilypond[quote,verbatim]
+\relative { e'4 d c2 \bar "|." }
@end lilypond
Es ist kein Fehler, wenn die letzte Note in einem Takt nicht
Manuell können zwei einfache Taktstriche und zusätzlich fünf Arten
eines doppelten Taktstriches gesetzt werden:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar "|"
-f1 \bar "."
-g1 \bar "||"
-a1 \bar ".|"
-b1 \bar ".."
-c1 \bar "|.|"
-d1 \bar "|."
-e1
+@lilypond[quote,verbatim]
+\relative {
+ f'1 \bar "|"
+ f1 \bar "."
+ g1 \bar "||"
+ a1 \bar ".|"
+ b1 \bar ".."
+ c1 \bar "|.|"
+ d1 \bar "|."
+ e1
+}
@end lilypond
Zusätzlich gibt es noch punktierte und gestrichelte Taktstriche:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar ";"
-g1 \bar "!"
-a1
+@lilypond[quote,verbatim]
+\relative {
+ f'1 \bar ";"
+ g1 \bar "!"
+ a1
+}
@end lilypond
@noindent
Taktstricharten, die sich in ihrem Verhalten an Zeilenumbrüchen
unterscheiden:
-@lilypond[quote,relative=2,verbatim]
-c4 c c c
-\bar "S"
-c4 c c c \break
-\bar "S"
-c4 c c c
-\bar "S-|"
-c4 c c c \break
-\bar "S-|"
-c4 c c c
-\bar "S-S"
-c4 c c c \break
-\bar "S-S"
-c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ c4 c c c
+ \bar "S"
+ c4 c c c \break
+ \bar "S"
+ c4 c c c
+ \bar "S-|"
+ c4 c c c \break
+ \bar "S-|"
+ c4 c c c
+ \bar "S-S"
+ c4 c c c \break
+ \bar "S-S"
+ c1
+}
@end lilypond
@cindex Wiederholungen
doppelter Taktstrich am Ende der Zeile ausgegeben wird und ein
öffnender Wiederholungsstrich am Anfang der nächsten Zeile.
-@lilypond[quote,relative=2,verbatim]
-c4 c c c
-\bar ".|:-||"
-c4 c c c \break
-\bar ".|:-||"
-c4 c c c
+@lilypond[quote,verbatim]
+\relative c'' {
+ c4 c c c
+ \bar ".|:-||"
+ c4 c c c \break
+ \bar ".|:-||"
+ c4 c c c
+}
@end lilypond
Für Kombinationen von Wiederholungen mit dem segno-Zeichen gibt
es sechs verschiedene Variationen:
-@lilypond[quote,relative=2,verbatim]
-c4 c c c
-\bar ":|.S"
-c4 c c c \break
-\bar ":|.S"
-c4 c c c
-\bar ":|.S-S"
-c4 c c c \break
-\bar ":|.S-S"
-c4 c c c
-\bar "S.|:-S"
-c4 c c c \break
-\bar "S.|:-S"
-c4 c c c
-\bar "S.|:"
-c4 c c c \break
-\bar "S.|:"
-c4 c c c
-\bar ":|.S.|:"
-c4 c c c \break
-\bar ":|.S.|:"
-c4 c c c
-\bar ":|.S.|:-S"
-c4 c c c \break
-\bar ":|.S.|:-S"
-c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ c4 c c c
+ \bar ":|.S"
+ c4 c c c \break
+ \bar ":|.S"
+ c4 c c c
+ \bar ":|.S-S"
+ c4 c c c \break
+ \bar ":|.S-S"
+ c4 c c c
+ \bar "S.|:-S"
+ c4 c c c \break
+ \bar "S.|:-S"
+ c4 c c c
+ \bar "S.|:"
+ c4 c c c \break
+ \bar "S.|:"
+ c4 c c c
+ \bar ":|.S.|:"
+ c4 c c c \break
+ \bar ":|.S.|:"
+ c4 c c c
+ \bar ":|.S.|:-S"
+ c4 c c c \break
+ \bar ":|.S.|:-S"
+ c1
+}
@end lilypond
Darüber hinaus wählt der @code{\inStaffSegno}-Befehl eines dieser
(@code{StaffGroup}) oder einem Klaviersystem
(@code{PianoStaff} bzw. (@code{GrandStaff}).
-@lilypond[quote,relative=1,verbatim]
+@lilypond[quote,verbatim]
<<
\new StaffGroup <<
- \new Staff {
- e4 d
+ \new Staff \relative {
+ e'4 d
\bar "||"
f4 e
}
- \new Staff { \clef bass c4 g e g }
+ \new Staff \relative { \clef bass c'4 g e g }
>>
- \new Staff { \clef bass c2 c2 }
+ \new Staff \relative { \clef bass c'2 c2 }
>>
@end lilypond
Der Wert, der eingesetzt werden soll, wird in der Eigenschaft
@code{rehearsalMark} gespeichert.
-@lilypond[quote,verbatim,relative=2]
-c1 \mark \default
-c1 \mark \default
-c1 \mark #8
-c1 \mark \default
-c1 \mark \default
+@lilypond[quote,verbatim]
+\relative c'' {
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark #8
+ c1 \mark \default
+ c1 \mark \default
+}
@end lilypond
@noindent
\set Score.markFormatter = #format-mark-circle-alphabet
@end example
-@lilypond[quote,verbatim,relative=2]
-\set Score.markFormatter = #format-mark-box-alphabet
-c1 \mark \default
-c1 \mark \default
-c1 \mark #8
-c1 \mark \default
-c1 \mark \default
+@lilypond[quote,verbatim]
+\relative c'' {
+ \set Score.markFormatter = #format-mark-box-alphabet
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark #8
+ c1 \mark \default
+ c1 \mark \default
+}
@end lilypond
@cindex Übungszeichen formatieren
eine Zahl ausgegeben wird. Dann wird ein Übungszeichen in einem
Kasten produziert.
-@lilypond[quote,verbatim,relative=2]
-\set Score.markFormatter = #format-mark-numbers
-c1 \mark \default
-c1 \mark \default
-\set Score.markFormatter = #format-mark-box-numbers
-c1 \mark \default
-\set Score.markFormatter = #format-mark-circle-numbers
-c1 \mark \default
-\set Score.markFormatter = #format-mark-circle-letters
-c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ \set Score.markFormatter = #format-mark-numbers
+ c1 \mark \default
+ c1 \mark \default
+ \set Score.markFormatter = #format-mark-box-numbers
+ c1 \mark \default
+ \set Score.markFormatter = #format-mark-circle-numbers
+ c1 \mark \default
+ \set Score.markFormatter = #format-mark-circle-letters
+ c1
+}
@end lilypond
Die Datei @file{scm/translation-functions.scm} beinhaltet
@code{\musicglyph} als ein
@code{\mark}-Zeichen definierte werden:
-@lilypond[quote,verbatim,relative=1]
-c1 \mark \markup { \musicglyph #"scripts.segno" }
-c1 \mark \markup { \musicglyph #"scripts.coda" }
-c1 \mark \markup { \musicglyph #"scripts.ufermata" }
-c1
+@lilypond[quote,verbatim]
+\relative c' {
+ c1 \mark \markup { \musicglyph #"scripts.segno" }
+ c1 \mark \markup { \musicglyph #"scripts.coda" }
+ c1 \mark \markup { \musicglyph #"scripts.ufermata" }
+ c1
+}
@end lilypond
@noindent
Ornamente. Sie werden in einer kleineren Schriftgröße gesetzt und nehmen
keine logische Zeit im Takt ein.
-@lilypond[quote,relative=2,verbatim]
-c4 \grace b16 a4(
-\grace { b16 c16 } a2)
+@lilypond[quote,verbatim]
+\relative {
+ c''4 \grace b16 a4(
+ \grace { b16 c16 } a2)
+}
@end lilypond
Es gibt drei Arten von Verzierungen:
Verzierung wird mit dem Befehl @code{\slashedGrace} notiert und wird
zwischen Noten notiert, die selber einen Legatobogen haben.
-@lilypond[quote,relative=2,verbatim]
-\acciaccatura d8 c4
-\appoggiatura e8 d4
-\acciaccatura { g16 f } e2
-\slashedGrace a,8 g4
-\slashedGrace b16 a4(
-\slashedGrace b8 a2)
+@lilypond[quote,verbatim]
+\relative {
+ \acciaccatura d''8 c4
+ \appoggiatura e8 d4
+ \acciaccatura { g16 f } e2
+ \slashedGrace a,8 g4
+ \slashedGrace b16 a4(
+ \slashedGrace b8 a2)
+}
@end lilypond
Die Position von Verzierungen ist zwischen Notensystemen
Argumente: die Hauptnote und die Verzierung, die nach der
Hauptnote folgen soll:
-@lilypond[quote,verbatim,relative=2]
-c1 \afterGrace d1 { c16[ d] } c1
+@lilypond[quote,verbatim]
+\relative { c''1 \afterGrace d1 { c16[ d] } c1 }
@end lilypond
Damit wird die Verzierung mit einem Abstand von der Hauptnote
der Abstand verändert, wenn der Wert 3/4, 15/16 und 1/2 der
Hauptnote beträgt.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- \new Staff {
- c1 \afterGrace d1 { c16[ d] } c1
+ \new Staff \relative {
+ c''1 \afterGrace d1 { c16[ d] } c1
}
- \new Staff {
+ \new Staff \relative {
#(define afterGraceFraction (cons 15 16))
- c1 \afterGrace d1 { c16[ d] } c1
+ c''1 \afterGrace d1 { c16[ d] } c1
}
- \new Staff {
+ \new Staff \relative {
#(define afterGraceFraction (cons 1 2))
- c1 \afterGrace d1 { c16[ d] } c1
+ c''1 \afterGrace d1 { c16[ d] } c1
}
>>
@end lilypond
Fall wird die Richtung der Hälse geändert und dann wieder der
Standard eingestellt:
-@lilypond[quote,verbatim,relative=2]
-\new Voice {
+@lilypond[quote,verbatim]
+\new Voice \relative {
\acciaccatura {
\stemDown
- f16->
+ f''16->
\stemNeutral
}
g4 e c2
synchronisiert. Vorsicht ist geboten, wenn nur in bestimmten Systemen
Verzierungen vorkommen:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Staff { e4 \bar ".|:" \grace c16 d2. }
- \new Staff { c4 \bar ".|:" d2. }
+ \new Staff \relative { e''4 \bar ".|:" \grace c16 d2. }
+ \new Staff \relative { c''4 \bar ".|:" d2. }
>>
@end lilypond
Auf einen Akkord kann eine Dauer-Angabe folgen, genauso wie bei
einfachen Noten.
-@lilypond[verbatim,quote,relative=2]
-<a c e>1 <a c e>2 <f a c e>4 <a c>8. <g c e>16
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1 <a c e>2 <f a c e>4 <a c>8. <g c e>16
+}
@end lilypond
Akkorde können auch von Artikulationen gefolgt werden, genau wie
auch einfache Noten.
-@lilypond[verbatim,quote,relative=2]
-<a c e>1\fermata <a c e>2-> <f a c e>4\prall <a c>8.^! <g c e>16-.
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1\fermata <a c e>2-> <f a c e>4\prall <a c>8.^! <g c e>16-.
+}
@end lilypond
Die Noten innerhalb der Akkorde konnen auch von Artikulationen oder
Ornamenten gefolgt werden.
-@lilypond[verbatim,quote,relative=2]
-<a c\prall e>1 <a-> c-^ e>2 <f-. a c-. e-.>4
-<a-+ c-->8. <g\fermata c e\turn>16
+@lilypond[verbatim,quote]
+\relative {
+ <a' c\prall e>1 <a-> c-^ e>2 <f-. a c-. e-.>4
+ <a-+ c-->8. <g\fermata c e\turn>16
+}
@end lilypond
Manche Notationselemente, wie etwa Dynamik, Crescendo-Klammern und
Legatobögen müssen an den gesamten Akkord gehängt werden und nicht
an einzelne Noten, damit sie ausgegeben werden.
-@lilypond[verbatim,quote,relative=2]
-<a\f c( e>1 <a c) e>\f <a\< c e>( <a\! c e>)
-<a c e>\< <a c e> <a c e>\!
+@lilypond[verbatim,quote]
+\relative {
+ <a'\f c( e>1 <a c) e>\f <a\< c e>( <a\! c e>)
+ <a c e>\< <a c e> <a c e>\!
+}
@end lilypond
Ein Akkord ist sozusagen ein Container für die Noten, ihre Artikulationen
komplexere Möglichkeiten, derartige Elemente zu kombinieren, siehe
@ref{Gleichzeitige Ausdrücke}.
-@lilypond[verbatim,quote,relative=2]
-\grace { g8( a b }
-<> ) \p \< -. -\markup \italic "sempre staccato"
-\repeat unfold 4 { c4 e } c1\f
+@lilypond[verbatim,quote]
+\relative {
+ \grace { g'8( a b }
+ <> ) \p \< -. -\markup \italic "sempre staccato"
+ \repeat unfold 4 { c4 e } c1\f
+}
@end lilypond
@cindex relative Tonhöhe, Akkorde
Akkord (wenn kein Akkord vorhergeht). Alle anderen Noten innerhalb
des Akkordes sind relativ zu der Note vorher innerhalb des selben Akkordes.
-@lilypond[verbatim,quote,relative=2]
-<a c e>1 <f a c> <a c e> <f' a c> <b, e b,>
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1 <f a c> <a c e> <f' a c> <b, e b,>
+}
@end lilypond
Mehr Information über Akkorden findet sich in @ref{Notation von Akkorden}.
Um Schreibarbeit zu ersparen, kann ein Zeichen benutzt werden, um den
vorhergehenden Akkord zu wiederholen. Das Symbol hierzu ist @code{q}:
-@lilypond[verbatim,quote,relative=2]
-<a c e>1 q <f a c>2 q
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1 q <f a c>2 q
+}
@end lilypond
Genauso wie normale Akkorde kann auch das Akkord-Wiederholungssymbol
Balken usw. benutzt werden, weil nur die Tonhöhen des vorangehenden
Akkordes wiederholgt werden.
-@lilypond[verbatim,quote,relative=2]
-<a c e>1\p^"text" q2\<( q8)[-! q8.]\! q16-1-2-3 q8\prall
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1\p^"text" q2\<( q8)[-! q8.]\! q16-1-2-3 q8\prall
+}
@end lilypond
Das Akkordwiederholungssymbol erinnert sich an das letzte Vorkommen
wenn in der Zwischenzeit nicht-Akkord-Noten oder -Pause auftetreten
sind.
-@lilypond[verbatim,quote,relative=2]
-<a c e>1 c'4 q2 r8 q8 |
-q2 c, |
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1 c'4 q2 r8 q8 |
+ q2 c, |
+}
@end lilypond
Das Akkord-Wiederholungssymbol behält keine Dynamikzeichen, Artikulationen
Das nächste Beispiel zeigt simultane Konstruktionen auf einem
System:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\new Voice { % explicit single voice
- << { a4 b g2 } { d4 g c,2 } >>
+ << \relative { a'4 b g2 }
+ \relative { d'4 g c,2 } >>
}
@end lilypond
-@lilypond[quote,verbatim,relative=2]
-% single first note
-a << { a4 b g } { d4 g c, } >>
+@lilypond[quote,verbatim]
+\relative {
+ % single first note
+ a' << \relative { a'4 b g }
+ \relative { d'4 g c, } >>
+}
@end lilypond
Dass kann benutzt werden, wenn die simultanen Abschnitte einen
in einer @emph{einzelnen} @samp{Voice} werden gesammelt und
in musikalischer Reihenfolge gesetzt:
-@lilypond[quote,verbatim,relative=2]
-<a c>4-. <>-. << c a >> << { c-. <c a> } { a s-. } >>
+@lilypond[quote,verbatim]
+\relative {
+ <a' c>4-. <>-. << c a >> << { c-. <c a> } { a s-. } >>
+}
@end lilypond
Mehrfache Hälse oder Balken oder unterschiedliche Notendauern
Das nächste Beispiel zeigt, wie ein simultaner Ausdruck implizit
mehrere Systeme erstellt:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
% no single first note
-<< { a4 b g2 } { d4 g2 c,4 } >>
+<< \relative { a'4 b g2 }
+ \relative { d'4 g2 c,4 } >>
@end lilypond
In diesem Fall stellt der unterschiedliche Rhythmus kein Problem dar,
indem die Funktion @code{\makeClusters} auf eine Reihe von Akkorden
angewendet wird:
-@lilypond[quote,relative=2,verbatim]
-\makeClusters { <g b>2 <c g'> }
+@lilypond[quote,verbatim]
+\relative \makeClusters { <g' b>2 <c g'> }
@end lilypond
Normale Noten und Cluster können zusammen im selben System notiert
unabhängige Stimmen in einem Notensystem zu setzen,
ist im Beispiel unten dargestellt:
-@lilypond[quote,relative=3,verbatim]
+@lilypond[quote,verbatim]
\new Staff <<
\new Voice = "first"
- { \voiceOne r8 r16 g e8. f16 g8[ c,] f e16 d }
+ \relative { \voiceOne r8 r16 g'' e8. f16 g8[ c,] f e16 d }
\new Voice= "second"
- { \voiceTwo d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
+ \relative { \voiceTwo d''16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
>>
@end lilypond
Damit lassen sich auch Gesangstexte einer durchgehenden Stimme
vor, während und nach dem polyphonen Abschnitt zuweisen:
-@lilypond[quote, verbatim, relative=2]
-<<
+@lilypond[quote,verbatim]
+\relative <<
\new Voice = "melody" {
- a4
+ a'4
<<
{
\voiceOne
Das erste Beispiel könnte also auch wie folgt notiert werden:
-@lilypond[quote,relative=3,verbatim]
+@lilypond[quote,verbatim]
<<
- { r8 r16 g e8. f16 g8[ c,] f e16 d }
+ \relative { r8 r16 g'' e8. f16 g8[ c,] f e16 d }
\\
- { d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
+ \relative { d''16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
>>
@end lilypond
zugewiesen bekommt. Unsichtbare Pause werden eingesetzt, damit
keine doppelten Pausen ausgegeben werden.
-@lilypond[quote,relative=3,verbatim]
+@lilypond[quote,verbatim]
<<
- { r8 g g g g f16 ees f8 d }
+ \relative { r8 g'' g g g f16 ees f8 d }
\\
- { ees,8 r ees r d r d r }
+ \relative { ees'8 r ees r d r d r }
\\
- { d'8 s c s bes s a s }
+ \relative { d''8 s c s bes s a s }
>>
@end lilypond
von spitzen Klammern innerhalb einer expliziten Stimme
umgeben werden:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
\new Voice <<
- { e4 f8 d e16 f g8 d4 }
- { c4 d8 b c16 d e8 b4 }
+ \relative { e''4 f8 d e16 f g8 d4 }
+ \relative { c''4 d8 b c16 d e8 b4 }
>>
@end lilypond
Stimmen können unterschiedliche Farben erhalten, um einfach
erkennbar zu sein:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- { \voiceOneStyle d4 c2 b4 }
+ \relative { \voiceOneStyle d''4 c2 b4 }
\\
- { \voiceTwoStyle e,2 e }
+ \relative { \voiceTwoStyle e'2 e }
\\
- { \voiceThreeStyle b2. c4 }
+ \relative { \voiceThreeStyle b2. c4 }
\\
- { \voiceFourStyle g'2 g }
+ \relative { \voiceFourStyle g'2 g }
>>
@end lilypond
Taktposition 1 und 3 in Takt 1 und Taktposition 1 in Takt 2, wo das
automatische Verschmelzen nicht funktioniert.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- {
- c8 d e d c d c4
+ \relative {
+ c''8 d e d c d c4
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
im Beispiel unten gezeigt. Hier werden die Notenköpfe auf Taktposition
1 im ersten Takt verschmolzen:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- {
+ \relative {
\mergeDifferentlyHeadedOn
- c8 d e d c d c4
+ c''8 d e d c d c4
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
Auch Köpfe mit unterschiedlichen Punktierungen wie auf Taktposition
3 im ersten Takt können verschmolzen werden:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- {
+ \relative {
\mergeDifferentlyHeadedOn
\mergeDifferentlyDottedOn
- c8 d e d c d c4
+ c''8 d e d c d c4
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
@code{\mergeDifferentlyHeadedOn} (verschmelze Noten mit unterschiedlichen
Köpfen) so wie es soll.
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- {
+ \relative {
\mergeDifferentlyHeadedOn
\mergeDifferentlyDottedOn
- c8 d e d c d c4
+ c''8 d e d c d c4
\shiftOn
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
führt dazu, dass Noten mit unterschiedlichen Köpfen in unterschiedlichen
Stimmen falsch verschmolzen werden.
-@lilypond[quote,relative=1,verbatim]
+@lilypond[quote,verbatim,fragment]
\mergeDifferentlyHeadedOn
-<< { c16 a' b a } \\ { c,2 } >>
+<< \relative { c'16 a' b a } \\ \relative { c'2 } >>
\override NoteColumn.ignore-collision = ##t
-<< { c16 a' b a } \\ { c,2 } >>
+<< \relative { c'16 a' b a } \\ \relative { c'2 } >>
@end lilypond
@ignore
Einen manuellen Zeilenumbruch fügt man mit dem Befehl @code{\break}
ein:
-@lilypond[quote,ragged-right,relative=2,verbatim]
-c4 c c c | \break
-c4 c c c |
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ c4 c c c | \break
+ c4 c c c |
+}
@end lilypond
Normalerweise wird ein @code{\break} in der Mitte eines Takes ignoriert
unsichtbare Taktlinie hinzufügen, die dann den Zeilenumbruch
erlaubt.
-@lilypond[quote,ragged-right,relative=2,verbatim]
-c4 c c
-\bar "" \break
-c |
-c4 c c c |
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ c4 c c
+ \bar "" \break
+ c |
+ c4 c c c |
+}
@end lilypond
Ein @code{\break} an einem Taktstrich wird auch ignoriert, wenn der letzte
über die Taktenden hinausragen. Dieses Verhalten kann verändert werden,
indem man @code{\override Beam.breakable = ##t} einstellt:
-@lilypond[quote,ragged-right,relative=2,verbatim]
-\override Beam.breakable = ##t
-c2. c8[ c | \break
-c8 c] c2. |
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ \override Beam.breakable = ##t
+ c2. c8[ c | \break
+ c8 c] c2. |
+}
@end lilypond
Mit dem Befehl @code{\noBreak} wird ein Zeilenumbruch an dem
geringeren Wert von @code{outside-staff-priority} näher an das
entsprechende Notensystem gesetzt.
-@lilypond[quote,ragged-right,relative=2,verbatim]
-c4_"Text"\pp
-r2.
-\once \override TextScript.outside-staff-priority = #1
-c4_"Text"\pp % this time the text will be closer to the staff
-r2.
-% by setting outside-staff-priority to a non-number,
-% we disable the automatic collision avoidance
-\once \override TextScript.outside-staff-priority = ##f
-\once \override DynamicLineSpanner.outside-staff-priority = ##f
-c4_"Text"\pp % now they will collide
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ c4_"Text"\pp
+ r2.
+ \once \override TextScript.outside-staff-priority = #1
+ c4_"Text"\pp % this time the text will be closer to the staff
+ r2.
+ % by setting outside-staff-priority to a non-number,
+ % we disable the automatic collision avoidance
+ \once \override TextScript.outside-staff-priority = ##f
+ \once \override DynamicLineSpanner.outside-staff-priority = ##f
+ c4_"Text"\pp % now they will collide
+}
@end lilypond
Der Platz, der zwischen einem Objekt außerhalb des Systems und
besser sieht:
@lilypond[quote,ragged-right]
-{
- c'4 e''4 e'4 b'4 |
- b'4 e''4 b'4 e''4 |
+\fixed c' {
+ c4 e'4 e4 b4 |
+ b4 e'4 b4 e'4 |
\override Staff.NoteSpacing.stem-spacing-correction = #1.5
\override Staff.StaffSpacing.stem-spacing-correction = #1.5
- c'4 e''4 e'4 b'4 |
- b'4 e''4 b'4 e''4 |
+ c4 e'4 e4 b4 |
+ b4 e'4 b4 e'4 |
}
@end lilypond
Der einfachste Notensystem-Kontext ist @code{Staff}:
-@lilypond[verbatim,quote,relative=2]
-\new Staff { c4 d e f }
+@lilypond[verbatim,quote]
+\new Staff \relative { c''4 d e f }
@end lilypond
@code{DrumStaff} (Perkussionsnotensystem) erstellt ein Notensystem
erhalten. Zu Einzelheiten, siehe
@ref{Melodierhythmus anzeigen}.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new RhythmicStaff { c4 d e f }
@end lilypond
Saiten in der üblichen Gitarrenstimmung. Zu Einzelheiten siehe
@ref{Standardtabulaturen}.
-@lilypond[verbatim,quote,relative=2]
-\new TabStaff { c4 d e f }
+@lilypond[verbatim,quote]
+\new TabStaff \relative { c''4 d e f }
@end lilypond
Es gibt zwei Notensysteme, die zur Notation von Alter Musik eingesetzt
Gregorianischen Chorals) erstellt ein Notensystem, um modernen
Gregorianischen Choral zu notieren. Es hat keine Notenlinien.
-@lilypond[verbatim,quote,relative=2]
-\new GregorianTranscriptionStaff { c4 d e f e d }
+@lilypond[verbatim,quote]
+\new GregorianTranscriptionStaff \relative { c''4 d e f e d }
@end lilypond
die Gruppe beginnt mit einer vertikalen Linie und die Taktlinien sind
nicht verbunden.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
<<
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { c''1 c }
>>
@end lilypond
Im @code{StaffGroup}-Kontext die Gruppe mit einer eckigen Klammer
begonnen und die Taktlinien durch alle Systeme gezogen.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new StaffGroup <<
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { c''1 c }
>>
@end lilypond
In einem @code{ChoirStaff} (Chorsystem) beginnt die Gruppe mit einer
eckigen Klammer, aber die Taktlinien sind nicht verbunden.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new ChoirStaff <<
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { c''1 c }
>>
@end lilypond
In einem @code{GrandStaff} (Akkolade) beginnt die Gruppe mit einer
geschweiften Klammer und die Taktlinien sind durchgezogen.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new GrandStaff <<
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { c''1 c }
>>
@end lilypond
die Angabe einer Instrumentbezeichnung. Zu Einzelheiten siehe
@ref{Instrumentenbezeichnungen}.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new PianoStaff <<
\set PianoStaff.instrumentName = #"Piano"
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { \clef bass c1 c }
>>
@end lilypond
Klammer außerhalb der Klammer der Systemgruppe, in der er sich
befindet.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new StaffGroup <<
- \new Staff { c2 c | c2 c }
+ \new Staff \relative { c''2 c | c2 c }
\new StaffGroup <<
- \new Staff { g2 g | g2 g }
+ \new Staff \relative { g'2 g | g2 g }
\new StaffGroup \with {
systemStartDelimiter = #'SystemStartSquare
}
<<
- \new Staff { e2 e | e2 e }
- \new Staff { c2 c | c2 c }
+ \new Staff \relative { e'2 e | e2 e }
+ \new Staff \relative { c'2 c | c2 c }
>>
>>
>>
benutzt werden, um ein Notensystem zu stoppen oder (wieder)
zu beginnen.
-@lilypond[verbatim,quote,relative=2]
-\stopStaff f4 d \startStaff g, e
-f'4 d \stopStaff g, e
-f'4 d \startStaff g, e
+@lilypond[verbatim,quote]
+\relative {
+ \stopStaff f''4 d \startStaff g, e
+ f'4 d \stopStaff g, e
+ f'4 d \startStaff g, e
+}
@end lilypond
@predefined
Die Anzahl der Notenlinien kann verändert werden:
-@lilypond[verbatim,quote,relative=2]
-f4 d \stopStaff
-\override Staff.StaffSymbol.line-count = #2
-\startStaff g, e |
+@lilypond[verbatim,quote]
+\relative {
+ f''4 d \stopStaff
+ \override Staff.StaffSymbol.line-count = #2
+ \startStaff g, e |
-f'4 d \stopStaff
-\revert Staff.StaffSymbol.line-count
-\startStaff g, e |
+ f'4 d \stopStaff
+ \revert Staff.StaffSymbol.line-count
+ \startStaff g, e |
+}
@end lilypond
die Anzahl der Linien sowie ihre Position im Notensystem mit
einem Befehl geändert werden können.
-@lilypond[verbatim,quote,relative=2]
-f4 d \stopStaff
-\override Staff.StaffSymbol.line-positions = #'(1 3 5 -1 -3)
-\startStaff g, e |
-f'4 d \stopStaff
-\override Staff.StaffSymbol.line-positions = #'(8 6.5 -6 -8 -0.5)
-\startStaff g, e
+@lilypond[verbatim,quote]
+\relative {
+ f''4 d \stopStaff
+ \override Staff.StaffSymbol.line-positions = #'(1 3 5 -1 -3)
+ \startStaff g, e |
+ f'4 d \stopStaff
+ \override Staff.StaffSymbol.line-positions = #'(8 6.5 -6 -8 -0.5)
+ \startStaff g, e |
+}
@end lilypond
die Position des Notenschlüssels und die Position von c' können geändert
der Hilfslinien und Notenhälse wird auch beeinflusst, weil sie
von der Notenliniendicke abhängen.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.thickness = #3
+} \relative {
+ f''4 d g, e
}
-{ f4 d g, e }
@end lilypond
Die Dicke der Hilfslinien (engl. ledger lines) kann allerdings auch unabhängig von der
Notenlinienabstand multipliziert werden. Die Addition beider
Werte ergibt die Dicke der Hilfslinien.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.thickness = #2
\override StaffSymbol.ledger-line-thickness = #'(0.5 . 0.4)
+} \relative {
+ f'''4 a, a,, f
}
-{ f'4 a, a,, f }
@end lilypond
Die vertikale Position der Hilfslinien kann verändert werden:
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.ledger-positions = #'(-3 -2 -1 2 5 6)
+} \relative {
+ f'''4 a, a,, f
}
-{ f'4 a, a,, f }
@end lilypond
Zusätzliche Hilfslinien können auch innerhalb des Systems gesetzt
Der Abstand zwischen Notenlinien kann verändert werden. Diese
Einstellung wirkt sich auch auf den Abstand der Hilfslinien aus.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.staff-space = #1.5
+} \relative {
+ f'''4 d, g, e,
}
-{ f'4 d, g, e, }
@end lilypond
@snippets
System eingesetzt, der Wert von @code{shortInstrumentName} für
alle weiteren Systeme.
-@lilypond[verbatim,quote,ragged-right,relative=1]
+@lilypond[verbatim,quote,ragged-right]
\new Staff \with {
instrumentName = #"Violin "
shortInstrumentName = #"Vln. "
+} \relative {
+ c'4.. g'16 c4.. g'16 \break | c1 |
}
-{ c4.. g'16 c4.. g'16 \break | c1 }
@end lilypond
@cindex Instrumentenbezeichnung, komplexe
Mit dem Textbeschriftungsmodus (@code{\markup}) können auch komplizierte
Instrumentenbezeichnungen erstellt werden:
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
instrumentName = \markup {
\column { "Clarinetti"
\line { "in B" \smaller \flat }
}
}
+} \relative {
+ c''4 c,16 d e f g2
}
-{ c4 c,16 d e f g2 }
@end lilypond
@cindex Instrumentenbezeichnung, zentriert
Zu Einzelheiten siehe @ref{paper-Variablen für Verschiebungen und Einrückungen,,@code{@bs{}paper}-Variablen für Verschiebungen und Einrückungen}.
@lilypond[verbatim,quote,ragged-right]
-\relative {
- <<
- \new Staff \with {
- instrumentName = #"Alto Flute in G"
- shortInstrumentName = #"Flt."
- }
- {
- f''2 g4 f \break
- g4 f g2
- }
- \new Staff \with {
- instrumentName = #"Clarinet"
- shortInstrumentName = #"Clar."
- }
- {
- c,4 b c2 \break
- c2 b4 c
- }
- >>
-}
+<<
+ \new Staff \with {
+ instrumentName = #"Alto Flute in G"
+ shortInstrumentName = #"Flt."
+ } \relative {
+ f''2 g4 f \break
+ g4 f g2
+ }
+ \new Staff \with {
+ instrumentName = #"Clarinet"
+ shortInstrumentName = #"Clar."
+ } \relative {
+ c''4 b c2 \break
+ c2 b4 c
+ }
+>>
\layout {
indent = 3.0\cm
Die einfachste Art, Stichnoten zu erstellen, ist es, einen
@code{CueVoice}-Kontext in der Stimme zu erstellen.
-@lilypond[verbatim,relative=1]
-R1
-<<
- { e2\rest r4. e8 }
- \new CueVoice {
- \stemUp d'8^"flute" c d e fis2
- }
->>
-d,4 r a r
+@lilypond[verbatim]
+\relative {
+ R1
+ <<
+ { e'2\rest r4. e8 }
+ \new CueVoice {
+ \stemUp d'8^"flute" c d e fis2
+ }
+ >>
+ d,4 r a r
+}
@end lilypond
Der Befehl @code{\cueClef} kann auch in einem expliziten
eingesetzt werden, um wieder zum ursprünglichen Schlüssel zurückzukehren,
wiederum in der richtigen Größe:
-@lilypond[verbatim,noragged-right,relative=1]
-\clef "bass"
-R1
-<<
- { e2\rest r4. \cueClefUnset e,8 }
- \new CueVoice {
- \cueClef "treble" \stemUp d''8^"flute" c d e fis2
- }
->>
-d,,4 r a r
+@lilypond[verbatim,noragged-right]
+\relative {
+ \clef "bass"
+ R1
+ <<
+ { e'2\rest r4. \cueClefUnset e,8 }
+ \new CueVoice {
+ \cueClef "treble" \stemUp d''8^"flute" c d e fis2
+ }
+ >>
+ d,,4 r a r
+}
@end lilypond
Die Befehle @code{\cueClef} und @code{\cueClefUnset} können auch ohne
eine @code{CueVoice}-Umgebung eingesetzt werden:
-@lilypond[verbatim,noragged-right,relative=1]
-\clef "bass"
-R1
-\cueClef "treble"
-d'8^"flute" c d e fis2
-\cueClefUnset
-d,,4 r a r
+@lilypond[verbatim,noragged-right]
+\relative {
+ \clef "bass"
+ R1
+ \cueClef "treble"
+ d''8^"flute" c d e fis2
+ \cueClefUnset
+ d,,4 r a r
+}
@end lilypond
Für kompliziertere Stichnotenbehandlung, etwa mit Transposition,
Notensystem platziert werden, die Syntax hierzu ist beschrieben
in @ref{Richtung und Platzierung}.
-@lilypond[quote,verbatim,relative=2]
-a8^"pizz." g f e a4-"scherz." f
+@lilypond[quote,verbatim]
+\relative { a'8^"pizz." g f e a4-"scherz." f }
@end lilypond
Diese Syntax ist eine Kurzform, komplexere Formatierungen
geschweiften Klammern einsetzt, wie beschrieben in
@ref{Text formatieren}.
-@lilypond[quote,verbatim,relative=2]
-a8^\markup { \italic pizz. } g f e
-a4_\markup { \tiny scherz. \bold molto } f
+@lilypond[quote,verbatim]
+\relative {
+ a'8^\markup { \italic pizz. } g f e
+ a4_\markup { \tiny scherz. \bold molto } f }
@end lilypond
Standardmäßig haben Textbeschriftungen keinen Einfluss auf die
dem Befehl @code{\textLengthOn} (Textlänge an) erreicht, rückgängig
kann es mit dem Befehl @code{\textLengthOff} gemacht werden.
-@lilypond[quote,verbatim,relative=2]
-a8^"pizz." g f e
-\textLengthOn
-a4_"scherzando" f
+@lilypond[quote,verbatim]
+\relative {
+ a'8^"pizz." g f e
+ \textLengthOn
+ a4_"scherzando" f
+}
@end lilypond
Neben Textbeschriftungen können auch Artikulationen an Noten angehängt
können von einer Note bis zu einer anderen mit folgender
Anweisung erstellt werden:
-@lilypond[verbatim,quote,relative=2]
-\override TextSpanner.bound-details.left.text = "rit."
-b1\startTextSpan
-e,\stopTextSpan
+@lilypond[verbatim,quote]
+\relative {
+ \override TextSpanner.bound-details.left.text = "rit."
+ b'1\startTextSpan
+ e,\stopTextSpan
+}
@end lilypond
@cindex Textstrecker, Formatierung
Formatierung kann erreicht werden, indem man @code{\markup}-Blöcke
einsetzt, wie beschrieben in @ref{Text formatieren}.
-@lilypond[quote,relative=2,verbatim]
-\override TextSpanner.bound-details.left.text =
- \markup { \upright "rit." }
-b1\startTextSpan c
-e,\stopTextSpan
+@lilypond[quote,verbatim]
+\relative {
+ \override TextSpanner.bound-details.left.text =
+ \markup { \upright "rit." }
+ b'1\startTextSpan c
+ e,\stopTextSpan
+}
@end lilypond
Auch der Stil der Linie kann ähnlich wie der Text mit den Objekteigenschaften
@c \mark needs to be placed on a separate line (it's not
@c attached to an object like \markup is). -vv
-@lilypond[verbatim,quote,relative=2]
-c4
-\mark "Allegro"
-c c c
+@lilypond[verbatim,quote]
+\relative {
+ c''4
+ \mark "Allegro"
+ c c c
+}
@end lilypond
Diese Syntax ermöglicht es, beliebigen Text über eine Taktlinie
@code{\markup}-Befehl gegeben, wie beschrieben in
@ref{Text formatieren}:
-@lilypond[quote,verbatim,relative=1]
-<c e>1
-\mark \markup { \italic { colla parte } }
-<d f>2 <e g>
-<c f aes>1
+@lilypond[quote,verbatim]
+\relative {
+ <c' e>1
+ \mark \markup { \italic { colla parte } }
+ <d f>2 <e g>
+ <c f aes>1
+}
@end lilypond
@noindent
beschrieben in
@ref{Musikalische Notation innerhalb einer Textbeschriftung}:
-@lilypond[quote,verbatim,relative=2]
-<bes f>2 <aes d>
-\mark \markup { \musicglyph #"scripts.ufermata" }
-<e g>1
+@lilypond[quote,verbatim]
+\relative {
+ <bes' f>2 <aes d>
+ \mark \markup { \musicglyph #"scripts.ufermata" }
+ <e g>1
+}
@end lilypond
@noindent
Backslash@tie{}(@code{\}). Derartige Befehle beziehen sich nur auf
den ersten der folgenden Ausdrücke.
-@lilypond[quote,verbatim,relative=2]
-a1-\markup intenso
-a2^\markup { poco \italic più forte }
-c e1
-d2_\markup { \italic "string. assai" }
-e
-b1^\markup { \bold { molto \italic agitato } }
-c
+@lilypond[quote,verbatim]
+\relative {
+ a'1-\markup intenso
+ a2^\markup { poco \italic più forte }
+ c e1
+ d2_\markup { \italic "string. assai" }
+ e
+ b1^\markup { \bold { molto \italic agitato } }
+ c
+}
@end lilypond
@cindex Sonderzeichen in Textbeschriftungen
können gesetzt werden, indem man ihnen einen Backslash voranstellt.
@c KEEP LY
-@lilypond[quote,verbatim,relative=2]
-a1^"\italic Text..."
-a_\markup { \italic "... setzt \"kursive\" Buchstaben!" }
-a a
+@lilypond[quote,verbatim]
+\relative {
+ a'1^"\italic Text..."
+ a_\markup { \italic "... setzt \"kursive\" Buchstaben!" }
+ a a
+}
@end lilypond
Damit eine Anzahl von Wörtern als ein einziger Ausdruck behandelt
werden. Im folgenden Beispiel verhält sich der zweite
@code{\markup}-Ausdruck genauso wie der erste:
-@lilypond[quote,verbatim,relative=2]
-c1^\markup { \center-column { a bbb c } }
-c1^\markup { \center-column { a { bbb c } } }
-c1^\markup { \center-column { a \line { bbb c } } }
-c1^\markup { \center-column { a "bbb c" } }
+@lilypond[quote,verbatim]
+\relative c'' {
+ c1^\markup { \center-column { a bbb c } }
+ c1^\markup { \center-column { a { bbb c } } }
+ c1^\markup { \center-column { a \line { bbb c } } }
+ c1^\markup { \center-column { a "bbb c" } }
+}
@end lilypond
Textbeschriftung kann auch durch Variablen definiert werden. Diese
Einfache Änderungen des Schriftartschnitts können im Textbeschriftungsmodus
vorgenommen werden:
-@lilypond[quote,verbatim,relative=2]
-d1^\markup {
- \bold { Più mosso }
- \italic { non troppo \underline Vivo }
+@lilypond[quote,verbatim]
+\relative {
+ d''1^\markup {
+ \bold { Più mosso }
+ \italic { non troppo \underline Vivo }
+ }
+ r2 r4 r8
+ d,_\markup { \italic quasi \smallCaps Tromba }
+ f1 d2 r
}
-r2 r4 r8
-d,_\markup { \italic quasi \smallCaps Tromba }
-f1 d2 r
@end lilypond
@cindex Schriftgröße
Sie kann auf eine vordefinierte Größe gesetzt werden:
-@lilypond[quote,verbatim,relative=2]
-b1_\markup { \huge Sinfonia }
-b1^\markup { \teeny da }
-b1-\markup { \normalsize camera }
+@lilypond[quote,verbatim]
+\relative b' {
+ b1_\markup { \huge Sinfonia }
+ b1^\markup { \teeny da }
+ b1-\markup { \normalsize camera }
+}
@end lilypond
Sie kann relativ zum vorherigen Wert gesetzt werden:
-@lilypond[quote,verbatim,relative=2]
-b1_\markup { \larger Sinfonia }
-b1^\markup { \smaller da }
-b1-\markup { \magnify #0.6 camera }
+@lilypond[quote,verbatim]
+\relative b' {
+ b1_\markup { \larger Sinfonia }
+ b1^\markup { \smaller da }
+ b1-\markup { \magnify #0.6 camera }
+}
@end lilypond
Sie kann vergrößert oder verkleinert werden relativ zum Wert, der
von der globalen Notensystemgröße vorgegeben wird:
-@lilypond[quote,verbatim,relative=2]
-b1_\markup { \fontsize #-2 Sinfonia }
-b1^\markup { \fontsize #1 da }
-b1-\markup { \fontsize #3 camera }
+@lilypond[quote,verbatim]
+\relative b' {
+ b1_\markup { \fontsize #-2 Sinfonia }
+ b1^\markup { \fontsize #1 da }
+ b1-\markup { \fontsize #3 camera }
+}
@end lilypond
Sie kann auch auf eine bestimmte Punktegröße festgelegt werden, unabhängig von
der globalen Notensystemgröße:
-@lilypond[quote,verbatim,relative=2]
-b1_\markup { \abs-fontsize #20 Sinfonia }
-b1^\markup { \abs-fontsize #8 da }
-b1-\markup { \abs-fontsize #14 camera }
+@lilypond[quote,verbatim]
+\relative b' {
+ b1_\markup { \abs-fontsize #20 Sinfonia }
+ b1^\markup { \abs-fontsize #8 da }
+ b1-\markup { \abs-fontsize #14 camera }
+}
@end lilypond
@cindex hochgestellt
ausgerichtet, darum wird das erste und zweite Objekt gleichermaßen
an der linken Ecke ausgerichtet.
-@lilypond[quote,verbatim,relative=2]
-d1-\markup { poco }
-f
-d-\markup { \left-align poco }
-f
-d-\markup { \center-align { poco } }
-f
-d-\markup { \right-align poco }
+@lilypond[quote,verbatim]
+\relative {
+ d''1-\markup { poco }
+ f
+ d-\markup { \left-align poco }
+ f
+ d-\markup { \center-align { poco } }
+ f
+ d-\markup { \right-align poco }
+}
@end lilypond
@funindex \halign
Die horizontale Ausrichtung kann mit einer Zahl auf einen exakten
Wert festgelegt werden:
-@lilypond[quote,verbatim,relative=2]
-a1-\markup { \halign #-1 poco }
-e'
-a,-\markup { \halign #0 poco }
-e'
-a,-\markup { \halign #0.5 poco }
-e'
-a,-\markup { \halign #2 poco }
+@lilypond[quote,verbatim]
+\relative {
+ a'1-\markup { \halign #-1 poco }
+ e'
+ a,-\markup { \halign #0 poco }
+ e'
+ a,-\markup { \halign #0.5 poco }
+ e'
+ a,-\markup { \halign #2 poco }
+}
@end lilypond
@noindent
unsichtbares Objekt sein kann (im Beispiel mit @code{\null} erstellt).
Der letzte Text im Beispiel hat keinen Anker und wird deshalb auch nicht verschoben.
-@lilypond[quote,verbatim,relative=1]
-d2^\markup {
- Acte I
- \raise #2 { Scène 1 }
-}
-a'
-g_\markup {
- \null
- \lower #4 \bold { Très modéré }
-}
-a
-d,^\markup {
- \raise #4 \italic { Une forêt. }
+@lilypond[quote,verbatim]
+\relative {
+ d'2^\markup {
+ Acte I
+ \raise #2 { Scène 1 }
+ }
+ a'
+ g_\markup {
+ \null
+ \lower #4 \bold { Très modéré }
+ }
+ a
+ d,^\markup {
+ \raise #4 \italic { Une forêt. }
+ }
+ a'4 a g2 a
}
-a'4 a g2 a
@end lilypond
@funindex \general-align
Ausrichtung von Textobjekten beeinflussen. Jedes Objekt, das auf
diese Weise verschoben wird, benötigt einen Anker:
-@lilypond[quote,verbatim,relative=1]
-d2^\markup {
- Acte I
- \translate #'(-1 . 2) "Scène 1"
-}
-a'
-g_\markup {
- \null
- \general-align #Y #3.2 \bold "Très modéré"
-}
-a
-d,^\markup {
- \null
- \translate-scaled #'(-1 . 2) \teeny "Une forêt."
+@lilypond[quote,verbatim]
+\relative {
+ d'2^\markup {
+ Acte I
+ \translate #'(-1 . 2) "Scène 1"
+ }
+ a'
+ g_\markup {
+ \null
+ \general-align #Y #3.2 \bold "Très modéré"
+ }
+ a
+ d,^\markup {
+ \null
+ \translate-scaled #'(-1 . 2) \teeny "Une forêt."
+ }
+ a'4 a g2 a
}
-a'4 a g2 a
@end lilypond
@cindex mehrzeiliger Text
PostScript-Code notiert. In diesem Fall kann es nötig sein, die
Größe der Zeichnung explizit anzugeben, wie im Beispiel unten gezeigt:
-@lilypond[quote,verbatim,relative=1]
-c1^\markup {
+@lilypond[quote,verbatim,fragment]
+c'1^\markup {
\combine
\epsfile #X #10 #"./context-example.eps"
\with-dimensions #'(0 . 6) #'(0 . 10)
closepath
stroke"
}
-c
+c'
@end lilypond
Eine ausführliche Liste der Graphik-Befehle findet sich in
Noten und Versetzungszeichen lassen sich mit @code{\markup} einfügen:
-@lilypond[quote,verbatim,relative=2]
-a2 a^\markup {
+@lilypond[quote,verbatim,fragment]
+a'2 a'^\markup {
\note #"4" #1
=
\note-by-number #1 #1 #1.5
}
-b1_\markup {
+b'1_\markup {
\natural \semiflat \flat
\sesquiflat \doubleflat
}
\glissando
-a1_\markup {
+a'1_\markup {
\natural \semisharp \sharp
\sesquisharp \doublesharp
}
-\glissando b
+\glissando b'
@end lilypond
Andere Notationsobjekte können auch eingefügt werden:
unten gezeigt. Eine vollständige Liste der verfügbaren Symbole findet
sich in @ref{Die Feta-Schriftart}.
-@lilypond[quote,verbatim,relative=2]
-c2
-c'^\markup { \musicglyph #"eight" }
-c,4
-c,8._\markup { \musicglyph #"clefs.G_change" }
-c16
-c2^\markup { \musicglyph #"timesig.neomensural94" }
+@lilypond[quote,verbatim]
+\relative {
+ c''2
+ c'^\markup { \musicglyph #"eight" }
+ c,4
+ c,8._\markup { \musicglyph #"clefs.G_change" }
+ c16
+ c2^\markup { \musicglyph #"timesig.neomensural94" }
+}
@end lilypond
@noindent
Der Textbeschriftungsmodus unterstützt auch Diagramme für bestimmte
Instrumente:
-@lilypond[quote,verbatim,relative=2]
-c1^\markup {
- \fret-diagram-terse #"x;x;o;2;3;2;"
-}
-c^\markup {
- \harp-pedal #"^-v|--ov^"
-}
-c
-c^\markup {
- \combine
- \musicglyph #"accordion.discant"
+@lilypond[quote,verbatim]
+\relative {
+ c''1^\markup {
+ \fret-diagram-terse #"x;x;o;2;3;2;"
+ }
+ c^\markup {
+ \harp-pedal #"^-v|--ov^"
+ }
+ c
+ c^\markup {
\combine
- \raise #0.5 \musicglyph #"accordion.dot"
- \raise #1.5 \musicglyph #"accordion.dot"
+ \musicglyph #"accordion.discant"
+ \combine
+ \raise #0.5 \musicglyph #"accordion.dot"
+ \raise #1.5 \musicglyph #"accordion.dot"
+ }
}
@end lilypond
werden. In diesem Fall muss die eingefügte @code{\score}-Umgebung
eine @code{\layout}-Umgebung haben, wie in diesem Beispiel:
-@lilypond[quote,verbatim,relative=1]
-c4 d^\markup {
- \score {
- \relative { c'4 d e f }
- \layout { }
+@lilypond[quote,verbatim]
+\relative {
+ c'4 d^\markup {
+ \score {
+ \relative { c'4 d e f }
+ \layout { }
+ }
}
+ e f |
+ c d e f
}
-e f |
-c d e f
@end lilypond
Eine vollständige Liste der Musiksymbol-Befehle findet sich in @ref{Music}.
@code{feta}-Schriftart zuzugreifen. Das ist die Standardschriftart
für Notationselemente in LilyPond.
-@lilypond[quote,verbatim,relative=2]
-a1^\markup {
+@lilypond[quote,verbatim,fragment]
+a'1^\markup {
\vcenter {
\override #'(font-encoding . fetaBraces)
\lookup #"brace120"
Der Wert, der @code{font-size} übergeben wird, entspricht der geforderten
Änderung in Bezug auf die Standardschriftgröße.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\override Score.RehearsalMark.font-family = #'typewriter
\mark \markup "Ouverture"
\override Voice.TextScript.font-shape = #'italic
\override Voice.TextScript.font-series = #'bold
-d2.^\markup "Allegro"
+d''2.^\markup "Allegro"
\override Voice.TextScript.font-size = #-3
-c4^smaller
+c''4^smaller
@end lilypond
@noindent
FontConfig erkannt wird, kann in einer Partitur eingefügt werden. Dazu
verwendet man folgende Syntax:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\override Staff.TimeSignature.font-name = #"Bitstream Charter"
\override Staff.TimeSignature.font-size = #2
\time 3/4
-a1_\markup {
+a'1_\markup {
\override #'(font-name . "Vera Bold")
{ Vera Bold }
}
Die Befehle @code{\upbow} und @code{\downbow} werden mit Legatobögen
in folgender Weise eingesetzt:
-@lilypond[verbatim,quote,relative=2]
-c4(\downbow d) e(\upbow f)
+@lilypond[verbatim,quote]
+\relative { c''4(\downbow d) e(\upbow f) }
@end lilypond
@noindent
ein Ton angezeigt werde, bei dem die Saite berührt wird, wo sie
sonst abgegriffen würde.
-@lilypond[verbatim,quote,relative=2]
-d4 e4.
-\harmonicsOn
-d8 e e
-d4 e4.
-\harmonicsOff
-d8 e e
+@lilypond[verbatim,quote]
+\relative d'' {
+ d4 e4.
+ \harmonicsOn
+ d8 e e
+ d4 e4.
+ \harmonicsOff
+ d8 e e
+}
@end lilypond
Alternativ kann auch eine normale Noten die Tonhöhe anzeigen, die
erklingen soll, wobei ein kleiner Kreis angibt, dass es sich um
einen Flageolett-Ton handelt:
-@lilypond[verbatim,quote,relative=2]
-d2^\flageolet d_\flageolet
+@lilypond[verbatim,quote,fragment]
+d''2^\flageolet d''_\flageolet
@end lilypond
Fingers angibt, während die andere in Rautenform die Position des
leicht aufgesetzten Fingers anzeigt.
-@lilypond[verbatim,quote,relative=1]
-<e a\harmonic>2. <c g'\harmonic>4
-\set harmonicDots = ##t
-<e a\harmonic>2. <c g'\harmonic>4
+@lilypond[verbatim,quote]
+\relative e' {
+ <e a\harmonic>2. <c g'\harmonic>4
+ \set harmonicDots = ##t
+ <e a\harmonic>2. <c g'\harmonic>4
+}
@end lilypond
@warning{@code{@bs{}harmonic} @strong{muss} innerhalb einer Akkordkonstruktion
Saite nach oben (und nicht seitlich) zieht, sodass sie beim Schwingen
das Griffbrett berührt.
-@lilypond[verbatim,quote,relative=1]
-c4\snappizzicato
-<c' e g>4\snappizzicato
-<c' e g>4^\snappizzicato
-<c, e g>4_\snappizzicato
+@lilypond[verbatim,quote]
+\relative {
+ c'4\snappizzicato
+ <c' e g>4\snappizzicato
+ <c' e g>4^\snappizzicato
+ <c, e g>4_\snappizzicato
+}
@end lilypond
@item
Melismen werden automatisch zu Noten erstellt, die übergebunden sind:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- f4 g2 ~ |
+ f''4 g2 ~ |
4 e2 ~ |
8
}
über den Noten eines Melismas notiert. Auf diese Weise wird Gesangstext
üblicherweise notiert:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- f4 g8 ( f e f )
+ f''4 g8 ( f e f )
e8 ( d e2 )
}
\new Lyrics \lyricsto "melody" {
versehen werden, vorausgesetzt, dass die automatische Bebalkung ausgeschaltet
ist. Siehe @ref{Einstellung von automatischen Balken}.
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
\autoBeamOff
- f4 g8[ f e f]
+ f''4 g8[ f e f]
e2.
}
\new Lyrics \lyricsto "melody" {
wenn sie zwischen @code{\melisma} und @code{\melismaEnd} eingeschlossen
sind:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- f4 g8
+ f''4 g8
\melisma
f e f
\melismaEnd
einzlene Unterstriche (@code{_}) für jede Note eingibt, die zum Melisma
hinzugefügt werden soll.
-@lilypond[verbatim, quote, relative=2]
+@lilypond[verbatim, quote]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- f4 g8 f e f
+ f''4 g8 f e f
e8 d e2
}
\new Lyrics \lyricsto "melody" {
benutzen, ohne dass sie Melismen bezeichnen, wenn
@code{melismaBusyProperties} aufgerufen wird:
-@lilypond[relative=1,verbatim,quote]
+@lilypond[verbatim,quote]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
\set melismaBusyProperties = #'()
- c4 d ( e )
+ c'4 d ( e )
g8 [ f ] f4 ~ 4
}
\new Lyrics \lyricsto "melody" {
einzelnen Unterstrich im Gesangstext für jede Note des Melismas
angegeben werden:
-@lilypond[relative=1,verbatim,quote]
+@lilypond[verbatim,quote]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
\set melismaBusyProperties = #'()
- c4 d ( e )
+ c'4 d ( e )
g8 [ f ] ~ 4 ~ f
}
\new Lyrics \lyricsto "melody" {
@code{minimum-distance}-Eigenschaft des
@code{LyricSpace}-Objekts gesetzt werden:
-@lilypond[relative=1,verbatim,quote,ragged-right]
-{
+@lilypond[verbatim,quote,ragged-right]
+\relative c' {
c c c c
\override Lyrics.LyricSpace.minimum-distance = #1.0
c c c c
Strophennummerierung kann hinzugefügt werden:
-@lilypond[quote,ragged-right,verbatim,relative=2]
-\new Voice {
- \time 3/4 g2 e4 a2 f4 g2.
+@lilypond[quote,ragged-right,verbatim]
+\new Voice \relative {
+ \time 3/4 g'2 e4 a2 f4 g2.
} \addlyrics {
\set stanza = #"1. "
Hi, my name is Bert.
werden mit der @code{vocalName}-Eigenschaft erstellt. Eine Kurzversion
kann mit @code{shortVocalName} definiert werden.
-@lilypond[ragged-right,quote,verbatim,relative=2]
-\new Voice {
- \time 3/4 g2 e4 a2 f4 g2.
+@lilypond[ragged-right,quote,verbatim]
+\new Voice \relative {
+ \time 3/4 g'2 e4 a2 f4 g2.
} \addlyrics {
\set vocalName = #"Bert "
Hi, my name is Bert.
Textbeschriftungen vornehmen. Oft wird eine bestimmte Schriftart
hierfür benutzt.
-@lilypond[quote,verbatim,relative=1]
-\clef "G_8"
-c4^\markup \fontsize #1 \smallCaps Kaspar
-c c c
-\clef "bass"
-a4^\markup \fontsize #1 \smallCaps Melchior
-a a a
-\clef "G_8"
-c4^\markup \fontsize #1 \smallCaps Kaspar
-c c c
+@lilypond[quote,verbatim]
+\relative c' {
+ \clef "G_8"
+ c4^\markup \fontsize #1 \smallCaps Kaspar
+ c c c
+ \clef "bass"
+ a4^\markup \fontsize #1 \smallCaps Melchior
+ a a a
+ \clef "G_8"
+ c4^\markup \fontsize #1 \smallCaps Kaspar
+ c c c
+}
@end lilypond
Wenn sehr viele Figurenwechsel vorkommen, kann es auch einfacher
meistens in kursiver Schrift, wobei der Beginn der Phrasen mit einem
musikalischen Moment verklammert ist.
-@lilypond[quote,verbatim,relative=2]
-a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
-a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
-a4 a a a
+@lilypond[quote,verbatim]
+\relative {
+ a'4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
+ a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
+ a4 a a a
+}
@end lilypond
Für längere Abschnitt kann es nötig sein, die Noten zu dehnen, damit
unsichtbare Taktstriche mit @code{\bar ""} eingefügt werden, wo
Zeilenumbrüche stattfinden sollen.
-@lilypond[verbatim,quote,relative=2]
-a4 b c2 |
-\cadenzaOn
-a4 b c2
-a4 b c2
-\bar ""
-a4 b c2
-a4 b c2
-\cadenzaOff
-a4 b c2 |
-a4 b c2 |
+@lilypond[verbatim,quote]
+\relative a' {
+ a4 b c2 |
+ \cadenzaOn
+ a4 b c2
+ a4 b c2
+ \bar ""
+ a4 b c2
+ a4 b c2
+ \cadenzaOff
+ a4 b c2 |
+ a4 b c2 |
+}
@end lilypond
Pausen können als modifizierte Taktlinien notiert werden:
-@lilypond[verbatim, quote,relative=2]
-a4
-\cadenzaOn
-b c2
-a4 b c2
-\bar "'"
-a4 b c2
-a4 b c2
-\bar ";"
-a4 b c2
-\bar "!"
-a4 b c2
-\bar "||"
+@lilypond[verbatim, quote]
+\relative a' {
+ a4
+ \cadenzaOn
+ b c2
+ a4 b c2
+ \bar "'"
+ a4 b c2
+ a4 b c2
+ \bar ";"
+ a4 b c2
+ \bar "!"
+ a4 b c2
+ \bar "||"
+}
@end lilypond
Alternativ werden die Pausenzeichen der Notation des Gregorianischen Chorals
@noindent
Holzbläserdiagramme werden als Beschriftung erstellt:
-@lilypond[verbatim,quote,relative=2]
-c1^\markup {
+@lilypond[verbatim,quote,fragment]
+c''1^\markup {
\woodwind-diagram #'piccolo #'((lh . (gis))
(cc . (one three))
(rh . (ees)))
Löcher können offen, halboffen, Ring oder geschlossen sein:
@c KEEP LY
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote,fragment]
\textLengthOn
-c1^\markup {
+c''1^\markup {
\center-column {
"Ein Viertel"
\woodwind-diagram #'flute #'((cc . (one1q))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"Eineinhalb"
\woodwind-diagram #'flute #'((cc . (one1h))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"Drei Viertel"
\woodwind-diagram #'flute #'((cc . (one3q))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"Ring"
\woodwind-diagram #'flute #'((cc . (oneR))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"ganz"
\woodwind-diagram #'flute #'((cc . (oneF two))
Triller werden als schattierte Löcher in den Diagrammen angezeigt:
-@lilypond[verbatim,quote,relative=2]
-c1^\markup {
+@lilypond[verbatim,quote,fragment]
+c''1^\markup {
\woodwind-diagram #'bass-clarinet
#'((cc . (threeT four))
(lh . ())
Eine Vielzahl von Trillern ist möglich:
@c KEEP LY
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote,fragment]
\textLengthOn
-c1^\markup {
+c''1^\markup {
\center-column {
"ein Viertel zu Ring"
\woodwind-diagram #'flute #'((cc . (one1qTR))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"Ring zu geschlossen"
\woodwind-diagram #'flute #'((cc . (oneTR))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"Ring zu geöffnet"
\woodwind-diagram #'flute #'((cc . (oneRT))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"geöffnet zu geschlossen"
\woodwind-diagram #'flute #'((cc . (oneT))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"ein Viertel zu drei Viertel"
\woodwind-diagram #'flute #'((cc . (one1qT3q))
rot macht, aber als Resultat hat man zwei Systeme, während die
Notenköpfe immernoch schwarz im unteren System erscheinen.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\override Staff.NoteHead.color = #red
-\new Staff { a }
+\new Staff { a' }
@end lilypond
Das liegt daran, dass kein @code{Staff}-Kontext existiert, wenn
noch ein zusätzliches System, wo die Noten gesetzt werden. Die
richtige Schreibweise wäre:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\new Staff {
\override Staff.NoteHead.color = #red
- a
+ a'
}
@end lilypond
musicales: combinando pequeños fragmentos de música dentro de otros
más grandes, se puede expresar una música más compleja. Por ejemplo:
-@lilypond[quote,verbatim,fragment,relative=1]
-f4
+@lilypond[quote,verbatim,fragment]
+f'4
@end lilypond
@noindent
Las propiedades pueden fijarse también a un procedimiento de Scheme,
-@lilypond[fragment,verbatim,quote,relative=2]
+@lilypond[fragment,verbatim,quote]
\override Stem.thickness = #(lambda (grob)
(if (= UP (ly:grob-property grob 'direction))
2.0
7.0))
-c b a g b a g b
+\relative { c'' b a g b a g b }
@end lilypond
@noindent
@ignore
Tutorial guidelines: (different from policy.txt!)
-- unless you have a really good reason, use either
+- unless you have a really good reason, use
@lilypond[verbatim,quote]
- or
- @lilypond[verbatim,quote,relative=2]
-
- Don't use any other relative=X commands.
- use "aes" and "ees" instead of "as" and "es". I know it's not
correct Dutch naming, but let's not confuse people with this
para la doble barra final. Para ver una lista completa de las
líneas divisorias, consulte @ruser{Barras de compás}.
-@lilypond[verbatim,quote,relative=2]
-g1 e1 \bar "||" c2. c'4 \bar "|."
+@lilypond[verbatim,quote]
+\relative { g'1 e1 \bar "||" c2. c'4 \bar "|." }
@end lilypond
@node Comprobaciones de compás
otros nombres para las @notation{alteraciones accidentales}, véase
@ruser{Nombres de las notas en otros idiomas}.
-@lilypond[verbatim,quote,relative=2]
-cis4 ees fisis, aeses
+@lilypond[verbatim,quote]
+\relative { cis''4 ees fisis, aeses }
@end lilypond
@cindex tonalidad, armadura de la, establecer
En el siguiente ejemplo:
-@lilypond[verbatim,quote,relative=2]
-\key d \major
-cis4 d e fis
+@lilypond[verbatim,quote]
+\relative {
+ \key d \major
+ cis''4 d e fis
+}
@end lilypond
@noindent
Si natural.} En la tonalidad de La bemol mayor, @emph{lleva} una
alteración accidental:
-@lilypond[verbatim,quote,relative=2]
-\key aes \major
-aes4 c b c
+@lilypond[verbatim,quote]
+\relative {
+ \key aes \major
+ aes'4 c b c
+}
@end lilypond
Si se encuentra confundido por lo anterior, piense en lo siguiente: si
Una @notation{ligadura de unión} se crea adjuntando un carácter de
tilde curva @code{~} a la primera nota ligada:
-@lilypond[verbatim,quote,relative=2]
-g4~ 4 c2~ | 4~ 8 a~ 2 |
+@lilypond[verbatim,quote]
+\relative { g'4~ 4 c2~ | 4~ 8 a~ 2 | }
@end lilypond
@node Ligaduras de expresión
abarcando varias notas. Las notas inicial y final se marcan mediante
@code{(} y @code{)} respectivamente.
-@lilypond[verbatim,quote,relative=2]
-d4( c16) cis( d e c cis d) e( d4)
+@lilypond[verbatim,quote]
+\relative { d''4( c16) cis( d e c cis d) e( d4) }
@end lilypond
@node Ligaduras de fraseo
no es posible tener legatos simultáneos o ligaduras de expresión
simultáneas.
-@lilypond[verbatim,quote,relative=2]
-g4\( g8( a) b( c) b4\)
+@lilypond[verbatim,quote]
+\relative { g'4\( g8( a) b( c) b4\) }
@end lilypond
@smallspace
sobre grupos mayores de notas. Las ligaduras de unión y de expresión
se pueden anidar unas dentro de otras.
-@lilypond[verbatim,quote,relative=2]
-c4~( c8 d~ 4 e)
+@lilypond[verbatim,quote]
+\relative { c''4(~ c8 d~ 4 e) }
@end lilypond
Las @notation{articulaciones} más corrientes se pueden añadir a las
notas utilizando un guión @code{-} seguido de un carácter único:
-@lilypond[verbatim,quote,relative=2]
-c4-^ c-+ c-- c-!
-c4-> c-. c2-_
+@lilypond[verbatim,quote]
+\relative {
+ c''4-^ c-+ c-- c-!
+ c4-> c-. c2-_
+}
@end lilypond
@node Indicaciones de digitación
De manera similar, las @notation{digitaciones} se pueden añadir a una
nota utilizando un guión (@code{-}) seguido del dígito deseado:
-@lilypond[verbatim,quote,relative=2]
-c4-3 e-5 b-2 a-1
+@lilypond[verbatim,quote]
+\relative { c''4-3 e-5 b-2 a-1 }
@end lilypond
Las articulaciones y digitaciones normalmente se colocan de forma
articulaciones sobre la misma nota. Sin embargo, casi siempre es
mejor dejar que LilyPond determine la dirección de las articulaciones.
-@lilypond[verbatim,quote,relative=2]
-c4_-^1 d^. f^4_2-> e^-_+
+@lilypond[verbatim,quote]
+\relative { c''4_-^1 d^. f^4_2-> e^-_+ }
@end lilypond
@node Matices dinámicos
Las expresiones de @notation{matiz} o signos dinámicos se hacen
añadiendo las marcas (con una barra invertida) a la nota:
-@lilypond[verbatim,quote,relative=2]
-c4\ff c\mf c\p c\pp
+@lilypond[verbatim,quote]
+\relative { c''4\ff c\mf c\p c\pp }
@end lilypond
Los @notation{crescendi} y @notation{decrescendi} comienzan con las
por ejemplo @code{\f}, dará por terminado el (de)crescendo, o bien se
puede usar la instrucción @code{\!}:
-@lilypond[verbatim,quote,relative=2]
-c4\< c\ff\> c c\!
+@lilypond[verbatim,quote]
+\relative { c''4\< c\ff\> c c\! }
@end lilypond
Es posible añadir texto a la partitura:
-@lilypond[verbatim,quote,relative=2]
-c2^"espr" a_"legato"
+@lilypond[verbatim,quote,fragment]
+c''2^"espr" a'_"legato"
@end lilypond
Se puede aplicar un formateo adicional mediante la instrucción
@code{\markup}:
-@lilypond[verbatim,quote,relative=2]
-c2^\markup { \bold espr }
-a2_\markup {
+@lilypond[verbatim,quote,fragment]
+c''2^\markup { \bold espr }
+a'2_\markup {
\dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
}
@end lilypond
Todas las @notation{barras} de las figuras se dibujan automáticamente:
-@lilypond[verbatim,quote,relative=2]
-a8 ais d ees r d c16 b a8
+@lilypond[verbatim,quote]
+\relative { a'8 ais d ees r d c16 b a8 }
@end lilypond
Si no le gustan las barras automáticas, pueden forzarse manualmente.
Marque la primera nota que comprende la barra con @code{[} y la última
con @code{]}.
-@lilypond[verbatim,quote,relative=2]
-a8[ ais] d[ ees r d] c16 b a8
+@lilypond[verbatim,quote]
+\relative { a'8[ ais] d[ ees r d] c16 b a8 }
@end lilypond
Si quiere desactivar completamente el barrado automático o para una
sección extensa de música, utilice la instrucción @code{\autoBeamOff}
para apagarlo y @code{\autoBeamOn} para activarlo de nuevo.
-@lilypond[verbatim,quote,relative=2]
-\autoBeamOff
-a8 c b4 d8. c16 b4 |
-\autoBeamOn
-a8 c b4 d8. c16 b4 |
+@lilypond[verbatim,quote]
+\relative {
+ \autoBeamOff
+ a'8 c b4 d8. c16 b4 |
+ \autoBeamOn
+ a8 c b4 d8. c16 b4 |
+}
@end lilypond
@code{\partial}. Va seguida de una duración: @code{\partial 4} es
una anacrusa de negra y @code{\partial 8} de corchea.
-@lilypond[verbatim,quote,relative=2]
-\partial 8 f8 |
-c2 d |
+@lilypond[verbatim,quote]
+\relative {
+ \partial 8 f''8 |
+ c2 d |
+}
@end lilypond
@node Grupos especiales
duración. Para los tresillos hay tres notas en el espacio de dos,
de manera que los @notation{tresillos} tienen una fracción de 3/2.
-@lilypond[verbatim,quote,relative=2]
-\tuplet 3/2 { f8 g a }
-\tuplet 3/2 { c8 r c }
-\tuplet 3/2 { f,8 g16[ a g a] }
-\tuplet 3/2 { d4 a8 }
+@lilypond[verbatim,quote]
+\relative {
+ \tuplet 3/2 { f''8 g a }
+ \tuplet 3/2 { c8 r c }
+ \tuplet 3/2 { f,8 g16[ a g a] }
+ \tuplet 3/2 { d4 a8 }
+}
@end lilypond
@node Notas de adorno
expresión musical por la palabra clave @code{\appoggiatura} o
@code{\acciaccatura}
-@lilypond[verbatim,quote,relative=2]
-c2 \grace { a32 b } c2 |
-c2 \appoggiatura b16 c2 |
-c2 \acciaccatura b16 c2 |
+@lilypond[verbatim,quote]
+\relative {
+ c''2 \grace { a32 b } c2 |
+ c2 \appoggiatura b16 c2 |
+ c2 \acciaccatura b16 c2 |
+}
@end lilypond
mediante @emph{expresiones musicales}. Una sola nota es una expresión
musical:
-@lilypond[verbatim,quote,relative=2]
-a4
+@lilypond[verbatim,quote,fragment]
+a'4
@end lilypond
Al encerrar un grupo de notas dentro de llaves creamos una
@emph{expresión musical compuesta}. Aquí hemos creado una expresión
musical compuesta con dos notas:
-@lilypond[verbatim,quote,relative=2]
-{ a4 g4 }
+@lilypond[verbatim,quote]
+\relative { a'4 g4 }
@end lilypond
Si colocamos un grupo de expresiones musicales (p.ej.: notas) dentro
cada una sigue a la anterior). El resultado es otra expresión
musical:
-@lilypond[verbatim,quote,relative=2]
-{ { a4 g } f4 g }
+@lilypond[verbatim,quote]
+\relative { { a'4 g } f4 g }
@end lilypond
@node Analogía expresiones matemáticas
simultánea:
@lilypond[verbatim,quote]
-\relative {
- <<
- { a'2 g }
- { f2 e }
- { d2 b }
- >>
-}
+<<
+ \relative { a'2 g }
+ \relative { f'2 e }
+ \relative { d'2 b }
+>>
@end lilypond
Tenga en cuenta que hemos sangrado cada nivel jerárquico de la entrada
con @code{<<} y @code{>>}:
@lilypond[verbatim,quote]
-\relative {
- <<
- \new Staff { \clef "treble" c''4 }
- \new Staff { \clef "bass" c,,4 }
- >>
-}
+<<
+ \new Staff { \clef "treble" c''4 }
+ \new Staff { \clef "bass" c4 }
+>>
@end lilypond
La instrucción @code{\new} inaugura un @q{contexto de notación}. Un
partituras polirrítmicas.
@lilypond[verbatim,quote]
-\relative {
- <<
- \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
- \new Staff { \clef "bass" c,,4 }
- >>
-}
+<<
+ \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
+ \new Staff { \clef "bass" c4 }
+>>
@end lilypond
He aquí un pequeño ejemplo:
@lilypond[verbatim,quote]
-\relative {
- \new PianoStaff <<
- \new Staff { \time 2/4 c''4 e | g g, | }
- \new Staff { \clef "bass" c,,4 c' | e c | }
- >>
-}
+\new PianoStaff <<
+ \new Staff \relative { \time 2/4 c''4 e | g g, | }
+ \new Staff \relative { \clef "bass" c4 c' | e c | }
+>>
@end lilypond
Otros grupos de pentagramas se declaran mediante @code{\new
tener la misma duración, y que la duración se escribe después del
ángulo de cierre.
-@lilypond[verbatim,quote,relative=2]
-r4 <c e g> <c f a>2
+@lilypond[verbatim,quote]
+\relative { r4 <c'' e g> <c f a>2 }
@end lilypond
Debemos pensar en los acordes como algo casi equivalente a las notas
con acordes. Tan sólo debe recordar que se escriben por fuera de los
ángulos.
-@lilypond[verbatim,quote,relative=2]
-r4 <c e g>~ <c f a>2 |
-<c e g>8[ <c f a> <c e g> <c f a>]
- <c e g>8\>[ <c f a> <c f a> <c e g>]\! |
-r4 <c e g>8.\p <c f a>16( <c e g>4-. <c f a>) |
+@lilypond[verbatim,quote]
+\relative {
+ r4 <c'' e g>~ <c f a>2 |
+ <c e g>8[ <c f a> <c e g> <c f a>]
+ <c e g>8\>[ <c f a> <c f a> <c e g>]\! |
+ r4 <c e g>8.\p <c f a>16( <c e g>4-. <c f a>) |
+}
@end lilypond
@seealso
antes de una barra insertada manualmente, y acabar antes de que acabe
la barra (algo que quizá no sea muy musical, pero es posible):
-@lilypond[quote,verbatim,ragged-right,relative=2]
-g8\( a b[ c b\) a] g4
+@lilypond[quote,verbatim,ragged-right]
+\relative { g'8\( a b[ c b\) a] g4 }
@end lilypond
En general, los distintos tipos de corchete, y los implicados en
unión que atraviesa dos grupos especiales, y una ligadura de fraseo
que sale del interior de un grupo especial (líneas 3 y 4).
-@lilypond[quote,verbatim,ragged-right,relative=1]
-r16[ g \tuplet 3/2 { r16 e'8] }
-g,16( a \tuplet 3/2 { b16 d) e }
-g,8[( a \tuplet 3/2 { b8 d) e~] } |
-\tuplet 5/4 { e32\( a, b d e } a4.\)
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ r16[ g' \tuplet 3/2 { r16 e'8] }
+ g,16( a \tuplet 3/2 { b16 d) e }
+ g,8[( a \tuplet 3/2 { b8 d) e~] } |
+ \tuplet 5/4 { e32\( a, b d e } a4.\)
+}
@end lilypond
supuesto; entonces ¿cuándo, exactamente, se necesitan varias voces?
En primer lugar observe este ejemplo de cuatro acordes:
-@lilypond[quote,verbatim,ragged-right,relative=1]
-\key g \major
-<d g>4 <d fis> <d a'> <d g>
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ <d' g>4 <d fis> <d a'> <d g>
+}
@end lilypond
Esto se puede expresar utilizando sólo símbolos de acorde con ángulos
He aquí cómo dividimos los acordes anteriores en dos voces y añadimos
la nota de paso y la ligadura:
-@lilypond[quote,verbatim,ragged-right,relative=2]
-\key g \major
-% Voice "1" Voice "2"
-<< { g4 fis8( g) a4 g } \\ { d4 d d d } >>
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ % Voice "1" Voice "2"
+ << { g'4 fis8( g) a4 g } \\ { d4 d d d } >>
+}
@end lilypond
Observe cómo las plicas de la segunda voz ahora se dirigen hacia
A continuación veamos otro ejemplo sencillo:
-@lilypond[quote,verbatim,ragged-right,relative=2]
-\key d \minor
-% Voice "1" Voice "2"
-<< { r4 g g4. a8 } \\ { d,2 d4 g } >> |
-<< { bes4 bes c bes } \\ { g4 g g8( a) g4 } >> |
-<< { a2. r4 } \\ { fis2. s4 } >> |
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key d \minor
+ % Voice "1" Voice "2"
+ << { r4 g' g4. a8 } \\ { d,2 d4 g } >> |
+ << { bes4 bes c bes } \\ { g4 g g8( a) g4 } >> |
+ << { a2. r4 } \\ { fis2. s4 } >> |
+}
@end lilypond
No es necesario usar una construcción @code{<< \\ >>} distinta para
hay muchas notas en cada compás podría ser mejor dividirlo en dos
voces separadas, de la siguiente manera:
-@lilypond[quote,verbatim,ragged-right,relative=2]
-\key d \minor
-<< {
- % Voice "1"
- r4 g g4. a8 |
- bes4 bes c bes |
- a2. r4 |
-} \\ {
- % Voice "2"
- d,2 d4 g |
- g4 g g8( a) g4 |
- fis2. s4 |
-} >>
+@lilypond[quote,verbatim,ragged-right]
+<<
+ \key d \minor
+ \relative { % Voice "1"
+ r4 g' g4. a8 |
+ bes4 bes c bes |
+ a2. r4 |
+ } \\
+ \relative { % Voice "2"
+ d'2 d4 g |
+ g4 g g8( a) g4 |
+ fis2. s4 |
+ }
+>>
@end lilypond
@cindex voces, nombrado de
el archivo de entrada. Por ejemplo, compare la entrada y la salida
del siguiente ejemplo:
-@lilypond[quote,verbatim,relative=2]
-cis4 cis2. | a4 a2. |
+@lilypond[quote,verbatim]
+\relative { cis''4 cis2. | a4 a2. | }
@end lilypond
La entrada es bastante escueta, pero en la salida se han añadido las
(entre otras cosas) varias veces. El cambio se toma a partir del
valor predeterminado, no el valor en curso.
-@lilypond[quote,verbatim,ragged-right,relative=1]
-c4 d
-% make note heads smaller
-\set fontSize = #-4
-e4 f |
-% make note heads larger
-\set fontSize = #2.5
-g4 a
-% return to default size
-\unset fontSize
-b4 c |
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ c'4 d
+ % make note heads smaller
+ \set fontSize = #-4
+ e4 f |
+ % make note heads larger
+ \set fontSize = #2.5
+ g4 a
+ % return to default size
+ \unset fontSize
+ b4 c |
+}
@end lilypond
Hemos podido ver cómo establecer los valores de diversos tipos de
@cindex color, propiedad, ejemplo
@cindex NoteHead, ejemplo de sobreescritura
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-c4 d
-\override NoteHead.color = #red
-e4 f |
-\override NoteHead.color = #green
-g4 a b c |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ c'4 d
+ \override NoteHead.color = #red
+ e4 f |
+ \override NoteHead.color = #green
+ g4 a b c |
+}
@end lilypond
@cindex color, propiedad, ejemplo
@cindex NoteHead, ejemplo de sobreescritura
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-c4 d
-\override NoteHead.color = #red
-e4 f |
-\override NoteHead.color = #green
-g4 a
-\revert NoteHead.color
-b4 c |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ c'4 d
+ \override NoteHead.color = #red
+ e4 f |
+ \override NoteHead.color = #green
+ g4 a
+ \revert NoteHead.color
+ b4 c |
+}
@end lilypond
@cindex color, propiedad, ejemplo
@cindex NoteHead, ejemplo de sobreescritura
-@lilypond[quote,verbatim,relative=1]
-c4 d
-\override NoteHead.color = #red
-e4 f |
-\once \override NoteHead.color = #green
-g4 a
-\revert NoteHead.color
-b c |
+@lilypond[quote,verbatim]
+\relative {
+ c'4 d
+ \override NoteHead.color = #red
+ e4 f |
+ \once \override NoteHead.color = #green
+ g4 a
+ \revert NoteHead.color
+ b c |
+}
@end lilypond
El prefijo @code{\once} también se puede usar delante de muchas
@cindex font-size, propiedad, ejemplo
@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>4
-<c e g>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ <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 font-size, propiedad, ejemplo
@cindex @code{\tweak}, ejemplo
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-<c e g>4
-<c \tweak font-size #-3 e g>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ <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 color, propiedad, ejemplo
@cindex @code{\tweak}, ejemplo
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-a4^"Black"
+@lilypond[quote,fragment,ragged-right,verbatim]
+a'4^"Black"
-\tweak color #red ^"Red"
-\tweak color #green _"Green"
@end lilypond
presentación, siempre y cuando LilyPond pueda rastrear su origen hasta
el evento original:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-<\tweak Accidental.color #red cis4
- \tweak Accidental.color #green es
- g>
+@lilypond[quote,fragment,ragged-right,verbatim]
+<\tweak Accidental.color #red cis''4
+ \tweak Accidental.color #green es''
+ g''>
@end lilypond
Esta forma extensa de la instrucción @code{\tweak} se puede describir
@cindex direction, propiedad, ejemplo
@cindex color, propiedad, ejemplo
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
-\tweak direction #up
-\tuplet 3/4 {
- \tweak color #red
- \tuplet 3/2 { c8[ c c] }
- \tuplet 3/2 { c8[ c c] }
- \tuplet 3/2 { c8[ c c] }
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ \tweak direction #up
+ \tuplet 3/4 {
+ \tweak color #red
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ }
}
@end lilypond
@cindex transparent, propiedad, ejemplo
@cindex TupletNumber, ejemplo de sobreescritura
-@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
-\tuplet 3/2 { c8[ c c] }
-\once \override TupletNumber.text = #tuplet-number::calc-fraction-text
-\tuplet 3/2 {
- c8[ c]
- c8[ c]
- \once \override TupletNumber.transparent = ##t
- \tuplet 3/2 { c8[ c c] }
- \tuplet 3/2 { c8[ c c] }
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \tuplet 3/2 { c'8[ c c] }
+ \once \override TupletNumber.text = #tuplet-number::calc-fraction-text
+ \tuplet 3/2 {
+ c8[ c]
+ c8[ c]
+ \once \override TupletNumber.transparent = ##t
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ }
}
@end lilypond
@c Mozart, dúo, núm. 7 de La Flauta Mágica
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8 bes[( g]) g |
+ \relative {
+ r4 bes'8 bes[( g]) g |
g8[( es]) es d[( f]) as |
as8 g
}
@cindex Slur, ejemplo de sobreescritura
@cindex thickness, propiedad, ejemplo
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
+ \relative {
% Increase thickness of all following slurs from 1.2 to 5.0
\override Slur.thickness = #5.0
- r4 bes8 bes[( g]) g |
+ r4 bes'8 bes[( g]) g |
g8[( es]) es d[( f]) as |
as8 g
}
@cindex Slur, ejemplo de sobreescritura
@cindex thickness, propiedad, ejemplo
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8
+ \relative {
+ r4 bes'8
% Increase thickness of immediately following slur only
\once \override Slur.thickness = #5.0
bes8[( g]) g |
@cindex Slur, ejemplo de sobreescritura
@cindex thickness, propiedad, ejemplo
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8
+ \relative {
+ r4 bes'8
% Increase thickness of immediately following slur only
\once \override Slur.thickness = #5.0
bes[( g]) g |
@cindex Slur, ejemplo de sobreescritura
@cindex thickness, propiedad, ejemplo
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8
+ \relative {
+ r4 bes'8
% Increase thickness of all following slurs from 1.2 to 5.0
\override Slur.thickness = #5.0
bes[( g]) g |
@cindex LyricText, ejemplo de sobreescritura
@cindex @code{\addlyrics}, ejemplo
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8 bes[( g]) g |
+ \relative {
+ r4 bes'8 bes[( g]) g |
g8[( es]) es d[( f]) as |
as8 g
}
@cindex BarLine, ejemplo de sobreescritura
@cindex stencil, propiedad, ejemplo
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override BarLine.stencil = ##f
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex BarLine, ejemplo de sobreescritura
@cindex stencil, propiedad, ejemplo
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.stencil = ##f
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@code{\omit} (omitir):
@funindex \omit
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\omit Staff.BarLine
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
caso, podemos en vez de ello utilizar la función @code{point-stencil},
que establece el sello a un objeto con tamaño nulo:
-@lilypond[quote,verbatim,relative=2]
-{
- c4 c
+@lilypond[quote,verbatim]
+\relative {
+ c''4 c
\once \override NoteHead.stencil = #point-stencil
c4 c
}
@cindex BarLine, ejemplo de sobreescritura
@cindex break-visibility, propiedad, ejemplo
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.break-visibility = ##(#f #f #f)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex TimeSignature, ejemplo de sobreescritura
@cindex transparent, propiedad, ejemplo
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.TimeSignature.transparent = ##t
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
abreviatura llamada @code{\hide} (ocultar):
@funindex \hide
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\hide Staff.TimeSignature
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex TimeSignature, ejemplo de sobreescritura
@cindex stencil, propiedad, ejemplo
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\omit Staff.TimeSignature
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex BarLine, ejemplo de sobreescritura
@cindex color, propiedad, ejemplo
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.color = #white
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex BarLine, ejemplo de sobreescritura
@cindex color, propiedad, ejemplo
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.color = #(x11-color 'white)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex BarLine, ejemplo de sobreescritura
@cindex color, propiedad, ejemplo
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.color = #(rgb-color 1 1 1)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex color property, ejemplo
@cindex x11-color, ejemplo de utilización
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.StaffSymbol.color = #(x11-color 'grey30)
\override Staff.TimeSignature.color = #(x11-color 'grey60)
\override Voice.NoteHead.color = #(x11-color 'grey85)
\override Voice.Stem.color = #(x11-color 'grey85)
\override Staff.BarLine.color = #(x11-color 'grey10)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex alignAboveContext, propiedad, ejemplo
@cindex @code{\with}, ejemplo
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex Clef, ejemplo de sobreescritura
@cindex TimeSignature, ejemplo de sobreescritura
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex Clef, ejemplo de sobreescritura
@cindex TimeSignature, ejemplo de sobreescritura
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@code{transparent} y borrar el @code{stencil}, lo que conduce al
resultado siguiente:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex TimeSignature, ejemplo de sobreescritura
@cindex fontSize, propiedad, ejemplo
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex staff-space, propiedad, ejemplo
@cindex stencil, propiedad, ejemplo
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex markup, ejemplo
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-c2^"Text1"
-c2^"Text2" |
-c2^"Text3"
-c2^"Text4" |
+@lilypond[quote,fragment,ragged-right,verbatim]
+c''2^"Text1"
+c''2^"Text2" |
+c''2^"Text3"
+c''2^"Text4" |
@end lilypond
Los pentagramas también se posicionan, de forma predeterminada, tan
@cindex Fingering, ejemplo de sobreescritura
@cindex direction, propiedad, ejemplo
-@lilypond[quote,verbatim,relative=2]
-c4-5 a-3 f-1 c'-5 |
-\override Fingering.direction = #DOWN
-c4-5 a-3 f-1 c'-5 |
-\override Fingering.direction = #UP
-c4-5 a-3 f-1 c'-5 |
+@lilypond[quote,verbatim]
+\relative {
+ c''4-5 a-3 f-1 c'-5 |
+ \override Fingering.direction = #DOWN
+ c4-5 a-3 f-1 c'-5 |
+ \override Fingering.direction = #UP
+ c4-5 a-3 f-1 c'-5 |
+}
@end lilypond
Sin embargo, la sobreescritura de la propiedad @code{direction} no es
@cindex fingering, ejemplo
@cindex digitación, ejemplo
-@lilypond[quote,verbatim,relative=2]
-c4-5 a-3 f-1 c'-5 |
-c4_5 a_3 f_1 c'_5 |
-c4^5 a^3 f^1 c'^5 |
+@lilypond[quote,verbatim]
+\relative {
+ c''4-5 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 fingering, ejemplo
@cindex digitación, ejemplo
-@lilypond[quote,verbatim,relative=2]
-<c-5 g-3>4
-<c-5 g-3 e-2>4
-<c-5 g-3 e-2 c-1>4
+@lilypond[quote,verbatim]
+\relative {
+ <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 fingering, ejemplo
@cindex digitación, ejemplo
-@lilypond[quote,verbatim,relative=2]
-<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
+@lilypond[quote,verbatim]
+\relative {
+ <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
@cindex @code{\set}, ejemplo de utilización
@cindex fingeringOrientations, propiedad, ejemplo
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-\set fingeringOrientations = #'(left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
-\set fingeringOrientations = #'(left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4 |
-\set fingeringOrientations = #'(up left down)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
-\set fingeringOrientations = #'(up left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4 |
-\set fingeringOrientations = #'(right)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \set fingeringOrientations = #'(left)
+ <f'-2>4
+ <c-1 e-2 g-3 b-5>4
+ \set fingeringOrientations = #'(left)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4 |
+ \set fingeringOrientations = #'(up left down)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4
+ \set fingeringOrientations = #'(up left)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4 |
+ \set fingeringOrientations = #'(right)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4
+}
@end lilypond
@noindent
objeto @code{Fingering} del RFI que es @w{@code{-5}}, así que probaremos
@w{@code{-7}}:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-\override Fingering.font-size = #-7
-\set fingeringOrientations = #'(left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
-\set fingeringOrientations = #'(left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4 |
-\set fingeringOrientations = #'(up left down)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
-\set fingeringOrientations = #'(up left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4 |
-\set fingeringOrientations = #'(right)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \override Fingering.font-size = #-7
+ \set fingeringOrientations = #'(left)
+ <f'-2>4
+ <c-1 e-2 g-3 b-5>4
+ \set fingeringOrientations = #'(left)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4 |
+ \set fingeringOrientations = #'(up left down)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4
+ \set fingeringOrientations = #'(up left)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4 |
+ \set fingeringOrientations = #'(right)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4
+}
@end lilypond
@cindex TextSpanner, ejemplo de sobreescritura
@cindex bound-details, propiedad, ejemplo
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
+@lilypond[quote,fragment,ragged-right,verbatim]
% Set details for later Text Spanner
\override TextSpanner.bound-details.left.text
= \markup { \small \bold Slower }
\dynamicUp
% Start Ottava Bracket
\ottava #1
-c'4 \startTextSpan
+c''4 \startTextSpan
% Add Dynamic Text and hairpin
-c4\pp\<
-c4
+c''4\pp\<
+c''4
% Add Text Script
-c4^Text |
-c4 c
+c''4^Text |
+c''4 c''
% Add Dynamic Text and terminate hairpin
-c4\ff c \stopTextSpan |
+c''4\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
@cindex TextSpanner, ejemplo de sobreescritura
@cindex bound-details, propiedad, ejemplo
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
+@lilypond[quote,fragment,ragged-right,verbatim]
% Set details for later Text Spanner
\override TextSpanner.bound-details.left.text
= \markup { \small \bold Slower }
\once \override Staff.OttavaBracket.outside-staff-priority = #340
% Start Ottava Bracket
\ottava #1
-c'4 \startTextSpan
+c''4 \startTextSpan
% Add Dynamic Text
-c4\pp
+c''4\pp
% Add Dynamic Line Spanner
-c4\<
+c''4\<
% Add Text Script
-c4^Text |
-c4 c
+c''4^Text |
+c''4 c''
% Add Dynamic Text
-c4\ff c \stopTextSpan |
+c''4\ff c'' \stopTextSpan |
% Stop Ottava Bracket
\ottava #0
-c,4 c c c |
+c'4 c' c' c' |
@end lilypond
Observe que algunos de estos objetos, concretamente los números de
fuera del pentagrama de acuerdo con este valor. He aquí un ejemplo
que muestra el efecto de los dos métodos:
-@lilypond[quote,verbatim,relative=2]
-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 |
-\once \override Slur.outside-staff-priority = #500
-c4( c^\markup { \tiny \sharp } d4.) c8 |
+@lilypond[quote,verbatim]
+\relative c'' {
+ 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 |
+ \once \override Slur.outside-staff-priority = #500
+ c4( c^\markup { \tiny \sharp } d4.) c8 |
+}
@end lilypond
Los cambios en @code{outside-staff-priority} también se pueden emplear
@cindex TextScript, ejemplo de sobreescritura
@cindex outside-staff-priority, propiedad, ejemplo
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-c2^"Text1"
-c2^"Text2" |
+@lilypond[quote,fragment,ragged-right,verbatim]
+c''2^"Text1"
+c''2^"Text2" |
\once \override TextScript.outside-staff-priority = #500
-c2^"Text3"
-c2^"Text4" |
+c''2^"Text3"
+c''2^"Text4" |
@end lilypond
Esto, ciertamente, eleva a @qq{Text3} por encima de @qq{Text4} pero
comportamiento, ocasionando que las notas resulten tan espaciadas como
sea necesario para acomodar el texto:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,verbatim]
\textLengthOn % Cause notes to space out to accommodate text
-c2^"Text1"
-c2^"Text2" |
-c2^"Text3"
-c2^"Text4" |
+c''2^"Text1"
+c''2^"Text2" |
+c''2^"Text3"
+c''2^"Text4" |
@end lilypond
La instrucción para volver al comportamiento predeterminado es
@cindex TextScript, ejemplo de sobreescritura
@cindex outside-staff-priority, propiedad, ejemplo
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-% This markup is short enough to fit without collision
-c2^"Tex" c'' |
-R1 |
-
-% This is too long to fit, so it is displaced upwards
-c,,2^"Text" c'' |
-R1 |
-
-% Turn off collision avoidance
-\once \override TextScript.outside-staff-priority = ##f
-c,,2^"Long Text " c'' |
-R1 |
-
-% Turn off collision avoidance
-\once \override TextScript.outside-staff-priority = ##f
-\textLengthOn % and turn on textLengthOn
-c,,2^"Long Text " % Spaces at end are honored
-c''2 |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ % This markup is short enough to fit without collision
+ c''2^"Tex" c'' |
+ R1 |
+
+ % This is too long to fit, so it is displaced upwards
+ c,,2^"Text" c'' |
+ R1 |
+
+ % Turn off collision avoidance
+ \once \override TextScript.outside-staff-priority = ##f
+ c,,2^"Long Text " c'' |
+ R1 |
+
+ % Turn off collision avoidance
+ \once \override TextScript.outside-staff-priority = ##f
+ \textLengthOn % and turn on textLengthOn
+ c,,2^"Long Text " % Spaces at end are honored
+ c''2 |
+}
@end lilypond
@node Posicionamiento de los matices dinámicos
y números de compás. Esto puede ofrecer resultados bastante
aceptables, como muestra este ejemplo:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-\clef "bass"
-\key aes \major
-\time 9/8
-\dynamicUp
-bes4.~\f\< \( bes4 bes8 des4\ff\> c16 bes\! |
-ees,2.~\)\mf ees4 r8 |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \clef "bass"
+ \key aes \major
+ \time 9/8
+ \dynamicUp
+ 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
el lugar óptimo, como muestra el siguiente ejemplo más bien
artificial:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim,fragment]
\dynamicUp
-a4\f b\mf a\mp b\p
+\relative { a'4\f b\mf a\mp b\p }
@end lilypond
@noindent
@cindex DynamicText, ejemplo de sobreescritura
@cindex extra-spacing-width, propiedad, ejemplo
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim,fragment]
\dynamicUp
% Extend width by 1 staff space
\override DynamicText.extra-spacing-width = #'(-0.5 . 0.5)
-a4\f b\mf a\mp b\p
+\relative { a'4\f b\mf a\mp b\p }
@end lilypond
@noindent
@cindex Script, ejemplo de sobreescritura
@cindex padding, propiedad, ejemplo
-@lilypond[quote,fragment,relative=1,verbatim]
-c2\fermata
+@lilypond[quote,fragment,verbatim]
+c'2\fermata
\override Script.padding = #3
b2\fermata
@end lilypond
@cindex MetronomeMark, ejemplo de sobreescritura
@cindex padding, propiedad, ejemplo
-@lilypond[quote,fragment,relative=1,verbatim]
+@lilypond[quote,fragment,verbatim]
% This will not work, see below
\override MetronomeMark.padding = #3
\tempo 4 = 120
-c1 |
+c'1 |
% This works
\override Score.MetronomeMark.padding = #3
\tempo 4 = 80
-d1 |
+d'1 |
@end lilypond
Observe en el segundo ejemplo la gran importancia que tiene saber qué
@cindex DynamicLineSpanner, ejemplo de sobreescritura
@cindex staff-padding, propiedad, ejemplo
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,verbatim]
\override DynamicLineSpanner.staff-padding = #3
-a4\f b\mf a\p b\mp
+\relative { a'4\f b\mf a\p b\mp }
@end lilypond
@cindex StringNumber, ejemplo de sobreescritura
@cindex self-alignment-X, propiedad, ejemplo
-@lilypond[quote,fragment,ragged-right,verbatim,relative=3]
+@lilypond[quote,fragment,ragged-right,verbatim]
\voiceOne
-<a\2>
+<a''\2>
\once \override StringNumber.self-alignment-X = #RIGHT
-<a\2>
+<a''\2>
@end lilypond
@node La propiedad staff-position (posición en el pentagrama)
hace solamente para notas y silencios que ocurren al mismo tiempo. He
aquí un ejemplo de colisión de este tipo:
-@lilypond[quote,verbatim,fragment,ragged-right, relative=1]
-<< { c4 c c c } \\ { R1 } >>
+@lilypond[quote,verbatim,ragged-right]
+<< \relative { c'4 c c c } \\ { R1 } >>
@end lilypond
La mejor solución aquí es mover el silencio multi-compás hacia abajo,
@cindex MultiMeasureRest, ejemplo de sobreescritura
@cindex staff-position, propiedad, ejemplo
-@lilypond[quote,verbatim,fragment,ragged-right, relative=1]
+@lilypond[quote,verbatim,ragged-right]
<<
- { c4 c c c }
+ \relative { c'4 c c c }
\\
\override MultiMeasureRest.staff-position = #-8
{ R1 }
He aquí un ejemplo en el que las ligaduras de fraseo y de expresión
chocan entre sí:
-@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
-a8 \( ( a'16 ) a \)
+@lilypond[quote,verbatim,ragged-right]
+\relative { a'8 \( ( a'16 ) a \) }
@end lilypond
@cindex PhrasingSlur, ejemplo de sobreescritura
ligadura de fraseo de entre las candidatas que ha encontrado con sus
extremos más cercanos a éstos:
-@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+@lilypond[quote,verbatim,fragment,ragged-right]
\once \override PhrasingSlur.positions = #'(2.5 . 4.5)
-a8 \( ( a'16 ) a \)
+a'8 \( ( a''16 ) a'' \)
@end lilypond
Esto supone una mejora, pero ¿por qué no bajar un poco el extremo
pueden conectar mediante ligaduras de unión dos notas que estén en la
misma voz. Usando dos voces, con las notas ligadas en una de ellas:
-@lilypond[quote,fragment,relative=2]
-<< { b8~ 8\noBeam } \\ { b8[ g] } >>
+@lilypond[quote]
+<< { b'8~ 8\noBeam } \\ { b'8[ g'] } >>
@end lilypond
@noindent
@tab
@code{mensural-f}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\clef "mensural-f"
\override NoteHead.style = #'mensural
- c1
+ c'1
@end lilypond
@item
@tab
@code{mensural-g}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\clef "mensural-g"
\override NoteHead.style = #'mensural
- c1
+ c'1
@end lilypond
@item
@code{blackmensural-c3}, @code{blackmensural-c4},@*
@code{blackmensural-c5}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\clef "blackmensural-c2"
\override NoteHead.style = #'mensural
- c1
+ c'1
@end lilypond
@item
@code{neomensural-c1}, @code{neomensural-c2},@*
@code{neomensural-c3}, @code{neomensural-c4}
@tab
-@lilypond[relative=1,notime]
- \clef "neomensural-c2" c1
+@lilypond[fragment,notime]
+ \clef "neomensural-c2" c'1
@end lilypond
@item
@code{petrucci-c3}, @code{petrucci-c4},@*
@code{petrucci-c5}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\clef "petrucci-c2"
\override NoteHead.style = #'mensural
- c1
+ c'1
@end lilypond
@item
@code{petrucci-f3}, @code{petrucci-f4},@*
@code{petrucci-f5}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\clef "petrucci-f3"
\override NoteHead.style = #'mensural
- c1
+ c'1
@end lilypond
@item
@tab
@code{petrucci-g}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\clef "petrucci-g"
\override NoteHead.style = #'mensural
- c1
+ c'1
@end lilypond
@end multitable
@code{neomensural}. Los ejemplos siguientes muestran las diferencias
que existen entre los estilos:
-@lilypond[ragged-right,relative=1,quote]
-{
+@lilypond[ragged-right,quote]
+\relative c' {
\textLengthOn
\time 2/2
Aparte del estilo de corchete por defecto @code{default}, sólo está
contemplado el estilo @code{mensural}
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-\override Flag.style = #'mensural
-\override Stem.thickness = #1.0
-\override NoteHead.style = #'mensural
-\autoBeamOff
-c8 d e f c16 d e f c32 d e f s8
-c'8 d e f c16 d e f c32 d e f
+@lilypond[quote,fragment,ragged-right,verbatim]
+\relative c' {
+ \override Flag.style = #'mensural
+ \override Stem.thickness = #1.0
+ \override NoteHead.style = #'mensural
+ \autoBeamOff
+ c8 d e f c16 d e f c32 d e f s8
+ c'8 d e f c16 d e f c32 d e f
+}
@end lilypond
Observe que la bandera más interna de cada uno de los corchetes
@funindex suggestAccidentals
-@lilypond[verbatim,relative=1]
-fis gis
-\set suggestAccidentals = ##t
-ais bis
+@lilypond[verbatim]
+\relative {
+ fis' gis
+ \set suggestAccidentals = ##t
+ ais bis
+}
@end lilypond
Esto hará que se traten @emph{todas} las alteraciones siguientes como
@code{vaticana-do1}, @code{vaticana-do2},@*
@code{vaticana-do3}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\override Staff.StaffSymbol.line-count = #4
\override Staff.StaffSymbol.color = #red
\override Staff.LedgerLineSpanner.color = #red
\hide Voice.Stem
\override NoteHead.style = #'vaticana.punctum
\clef "vaticana-do2"
- c
+ c'
@end lilypond
@item
@tab
@code{vaticana-fa1}, @code{vaticana-fa2}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\override Staff.StaffSymbol.line-count = #4
\override Staff.StaffSymbol.color = #red
\override Staff.LedgerLineSpanner.color = #red
\hide Voice.Stem
\override NoteHead.style = #'vaticana.punctum
\clef "vaticana-fa2"
- c
+ c'
@end lilypond
@item
@code{medicaea-do1}, @code{medicaea-do2},@*
@code{medicaea-do3}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\override Staff.StaffSymbol.line-count = #4
\override Staff.StaffSymbol.color = #red
\override Staff.LedgerLineSpanner.color = #red
\hide Voice.Stem
\override NoteHead.style = #'medicaea.punctum
\clef "medicaea-do2"
- c
+ c'
@end lilypond
@item
@tab
@code{medicaea-fa1}, @code{medicaea-fa2}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\override Staff.StaffSymbol.line-count = #4
\override Staff.StaffSymbol.color = #red
\override Staff.LedgerLineSpanner.color = #red
\hide Voice.Stem
\override NoteHead.style = #'medicaea.punctum
\clef "medicaea-fa2"
- c
+ c'
@end lilypond
@item
@code{hufnagel-do1}, @code{hufnagel-do2},@*
@code{hufnagel-do3}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\override Staff.StaffSymbol.line-count = #4
\override Staff.StaffSymbol.color = #red
\override Staff.LedgerLineSpanner.color = #red
\hide Voice.Stem
\override NoteHead.style = #'hufnagel.punctum
\clef "hufnagel-do2"
- c
+ c'
@end lilypond
@item
@tab
@code{hufnagel-fa1}, @code{hufnagel-fa2}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\override Staff.StaffSymbol.line-count = #4
\override Staff.StaffSymbol.color = #red
\override Staff.LedgerLineSpanner.color = #red
\hide Voice.Stem
\override NoteHead.style = #'hufnagel.punctum
\clef "hufnagel-fa2"
- c
+ c'
@end lilypond
@item
@tab
@code{hufnagel-do-fa}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\override Staff.StaffSymbol.color = #red
\override Staff.LedgerLineSpanner.color = #red
\hide Voice.Stem
\override NoteHead.style = #'hufnagel.punctum
\clef "hufnagel-do-fa"
- c
+ c'
@end lilypond
@end multitable
En la notación kievana solamente se utiliza una clave (la clave
Tse-fa-ut). Se utiliza para indicar la posición del Do:
-@lilypond[quote,relative=1,notime,verbatim]
+@lilypond[quote,fragment,notime,verbatim]
\clef "kievan-do"
\kievanOn
- c
+ c'
@end lilypond
@seealso
utiliza en la música sinodal pero puede aparecer en manuscritos más
antiguos. Se ha incluido principalmente a efectos de compatibilidad.
-@lilypond[quote,relative=1,notime,verbatim]
+@lilypond[quote,fragment,notime,verbatim]
\clef "kievan-do"
\override Accidental.glyph-name-alist =
#alteration-kievan-glyph-name-alist
-bes' dis,
+bes' dis'
@end lilypond
@seealso
notación kievana, que puede denominarse como «doble barra final del
canto kievano». Se puede invocar como @code{\bar "k"}.
-@lilypond[quote,relative=1,notime,verbatim]
+@lilypond[quote,fragment,notime,verbatim]
\kievanOn
\clef "kievan-do"
- c \bar "k"
+ c' \bar "k"
@end lilypond
@seealso
El prefijo @code{\new} sin ningún nombre se usa con frecuencia
para crear partituras con muchos pentagramas:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- \new Staff {
+ \new Staff \relative {
% leave the Voice context to be created implicitly
- c4 c
- }
- \new Staff {
- d4 d
+ c''4 c
}
+ \new Staff \relative {
+ d''4 d
+}
>>
@end lilypond
@noindent
y para introducir varias voces dentro de un solo pentagrama:
-@lilypond[quote,verbatim,relative=2]
-<<
- \new Staff <<
- \new Voice {
- \voiceOne
- c8 c c4 c c
- }
- \new Voice {
- \voiceTwo
- g4 g g g
- }
- >>
+@lilypond[quote,verbatim]
+\new Staff <<
+ \new Voice \relative {
+ \voiceOne
+ c''8 c c4 c c
+ }
+ \new Voice \relative {
+ \voiceTwo
+ g'4 g g g
+ }
>>
@end lilypond
@code{\new} con un nombre o sin él, siempre crea un contexto nuevo
y distinto, incluso si ya existe un contexto con el mismo nombre:
-@lilypond[quote,verbatim,relative=2]
-<<
- \new Staff <<
- \new Voice = "A" {
- \voiceOne
- c8 c c4 c c
- }
- \new Voice = "A" {
- \voiceTwo
- g4 g g g
- }
- >>
+@lilypond[quote,verbatim]
+\new Staff <<
+ \new Voice = "A" \relative {
+ \voiceOne
+ c''8 c c4 c c
+ }
+ \new Voice = "A" \relative {
+ \voiceTwo
+ g'4 g g g
+ }
>>
@end lilypond
@code{Time_signature_engraver} y @code{Clef_engraver} de un contexto
@code{Staff}:
-@lilypond[quote,relative=1,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Staff {
- f2 g
+ \new Staff \relative {
+ f'2 g
}
\new Staff \with {
\remove "Time_signature_engraver"
\remove "Clef_engraver"
- } {
- f2 g2
+ } \relative {
+ f'2 g2
}
>>
@end lilypond
pentagrama actual. Otros pentagramas mantienen su aspecto normal.
Aquí vemos la instrucción en pleno funcionamiento:
-@lilypond[quote,verbatim,relative=2]
-c4
+@lilypond[quote,fragment,verbatim]
+c''4
\override Staff.Stem.thickness = #4.0
-c4
-c4
-c4
+c''4
+c''4
+c''4
@end lilypond
La instrucción @code{\override} modifica la definición de la plica
@code{Voice}. Al añadir @code{\once} se aplica el cambio durante un
solo paso de tiempo.
-@lilypond[quote,verbatim,relative=2]
-c4
+@lilypond[quote,fragment,verbatim]
+c''4
\once \override Stem.thickness = #4.0
-c4
-c4
+c''4
+c''4
@end lilypond
El @code{\override} se debe hacer antes de que el objeto se inicia.
ligaduras o barras, la instrucción @code{\override} se debe ejecutar
en el momento en que se crea el objeto. En este ejemplo:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
\override Slur.thickness = #3.0
-c8[( c
+c''8[( c''
\override Beam.beam-thickness = #0.6
-c8 c])
+c''8 c''])
@end lilypond
@noindent
si el valor de la propiedad de contexto @code{skipBars} se establece a
@code{#t} (verdadero):
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
R1*2
\set Score.skipBars = ##t
R1*2
contexto actual de nivel más bajo (normalmente @code{ChordNames},
@code{Voice} o @code{Lyrics}). En este ejemplo:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
\set Score.autoBeaming = ##f
-<<
- {
- e8 e e e
- \set autoBeaming = ##t
- e8 e e e
- } \\ {
- c8 c c c c8 c c c
- }
->>
+\relative {
+ e''8 e e e
+ \set autoBeaming = ##t
+ e8 e e e
+} \\
+\relative {
+ c''8 c c c c8 c c c
+}
@end lilypond
El cambio se aplica @q{al vuelo}, mientras dura la música, de forma
nivel más bajo, que en este caso es @code{Voice}, no tendrá ningún
efecto, porque skipBars es una propiedad del contexto @code{Score}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
R1*2
\set skipBars = ##t
R1*2
@var{contexto}. Properties that have been set in enclosing contexts will
not be altered by an unset in an enclosed context:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
\set Score.autoBeaming = ##t
-<<
- {
- \unset autoBeaming
- e8 e e e
- \unset Score.autoBeaming
- e8 e e e
- } \\ {
- c8 c c c c8 c c c
- }
->>
+\relative {
+ \unset autoBeaming
+ e''8 e e e
+ \unset Score.autoBeaming
+ e8 e e e
+} \\
+\relative {
+ c''8 c c c c8 c c c
+}
@end lilypond
Como @code{\set}, el argumento @var{contexto} no se tiene que
Los ajustes que se aplican solamente a un único paso de tiempo se
pueden escribir con @code{\once}, por ejemplo en
-@lilypond[quote,verbatim,relative=2]
-c4
+@lilypond[quote,fragment,verbatim]
+c''4
\once \set fontSize = #4.7
-c4
-c4
+c''4
+c''4
@end lilypond
En el manual de Referencia de funcionamiento interno hay una
sobreescribiendo la propiedad @code{thickness} (grosor) del objeto
@code{Stem} (plica):
-@lilypond[quote,verbatim,relative=2]
-c4 c
+@lilypond[quote,fragment,verbatim]
+c''4 c''
\override Voice.Stem.thickness = #3.0
-c4 c
+c''4 c''
@end lilypond
Si no se ha especificado ningún contexto en la instrucción
@code{\override}, se utiliza el contexto del nivel inferior:
-@lilypond[quote,verbatim,relative=2]
-{ \override Staff.Stem.thickness = #3.0
- <<
- {
- e4 e
- \override Stem.thickness = #0.5
- e4 e
- } \\ {
- c4 c c c
- }
- >>
-}
+@lilypond[quote,fragment,verbatim]
+\override Staff.Stem.thickness = #3.0
+<<
+ \relative {
+ e''4 e
+ \override Stem.thickness = #0.5
+ e4 e
+ } \\
+ \relative {
+ c''4 c c c
+ }
+>>
@end lilypond
Algunas opciones susceptibles de trucaje, se llaman
Por ejemplo,
-@lilypond[quote,verbatim,relative=2]
-c4
-\override Voice.Stem.thickness = #3.0
-c4 c
-\revert Voice.Stem.thickness
-c4
+@lilypond[quote,verbatim]
+\relative {
+ c''4
+ \override Voice.Stem.thickness = #3.0
+ c4 c
+ \revert Voice.Stem.thickness
+ c4
+}
@end lilypond
Los efectos de @code{\override} y @code{\revert} se aplican a todos
los grobs del contexto afectado partiendo del momento actual y hacia
adelante:
-@lilypond[quote,verbatim,relative=2]
-{
- <<
- {
- e4
- \override Staff.Stem.thickness = #3.0
- e4 e e
- } \\ {
- c4 c c
- \revert Staff.Stem.thickness
- c4
- }
- >>
-}
+@lilypond[quote,verbatim]
+<<
+ \relative {
+ e''4
+ \override Staff.Stem.thickness = #3.0
+ e4 e e
+ } \\
+ \relative {
+ c''4 c c
+ \revert Staff.Stem.thickness
+ c4
+ }
+>>
@end lilypond
@funindex \once
Se puede usar @code{\once} con @code{\override} para afectar solamente
al instante de tiempo actual:
-@lilypond[quote,verbatim,relative=2]
-{
- <<
- {
- \override Stem.thickness = #3.0
- e4 e e e
- } \\ {
- c4
- \once \override Stem.thickness = #3.0
- c4 c c
- }
- >>
-}
+@lilypond[quote,verbatim]
+<<
+ \relative c {
+ \override Stem.thickness = #3.0
+ e''4 e e e
+ } \\
+ \relative {
+ c''4
+ \once \override Stem.thickness = #3.0
+ c4 c c
+ }
+>>
@end lilypond
elemento de código de la entrada, puede usar la función @code{\tweak},
por ejemplo
-@lilypond[relative=2,verbatim,quote]
-< c
- \tweak color #red
- d
- g
- \tweak duration-log #1
- a
-> 4
--\tweak padding #8
--^
+@lilypond[verbatim,quote]
+\relative {
+ < c''
+ \tweak color #red
+ d
+ g
+ \tweak duration-log #1
+ a
+ > 4
+ -\tweak padding #8
+ -^
+}
@end lilypond
Así, esto funciona:
-@lilypond[relative=2,verbatim,quote]
-<\tweak color #red c>4
+@lilypond[verbatim,fragment,quote]
+<\tweak color #red c''>4
@end lilypond
@noindent
pero esto no funciona:
-@lilypond[relative=2,verbatim,quote]
-\tweak color #red c4
+@lilypond[verbatim,fragment,quote]
+\tweak color #red c''4
@end lilypond
@end ignore
En este ejemplo se modifican el color de una cabeza y el tipo de otra,
dentro del mismo acorde:
-@lilypond[relative=2,verbatim,quote]
-< c
+@lilypond[verbatim,fragment,quote]
+< c''
\tweak color #red
- d
- g
+ d''
+ g''
\tweak duration-log #1
- a
+ a''
> 4
@end lilypond
@code{\tweak} se puede usar para modificar ligaduras de expresión:
-@lilypond[verbatim,quote,relative=1]
-c-\tweak thickness #5 ( d e f)
+@lilypond[verbatim,quote]
+\relative { c'-\tweak thickness #5 ( d e f) }
@end lilypond
como un contenedor, y todos los objetos de presentación se crean a
partir de eventos dentro del @code{EventChord}:
-@lilypond[relative=2,verbatim,quote]
-\tweak color #red c4
-\tweak color #red <c e>4
-<\tweak color #red c e>4
+@lilypond[verbatim,fragment,quote]
+\tweak color #red c''4
+\tweak color #red <c'' e''>4
+<\tweak color #red c'' e''>4
@end lilypond
La instrucción @code{\tweak} sencilla no se puede usar para modificar
usando la forma de la instrucción @code{\tweak} en que el nombre
del grob se especifica de forma explícita:
-@lilypond[relative=2,verbatim,quote]
+@lilypond[fragment,verbatim,quote]
\tweak Stem.color #red
-\tweak Beam.color #green c8 e
-<c e \tweak Accidental.font-size #-3 ges>4
+\tweak Beam.color #green c''8 e''
+<c'' e'' \tweak Accidental.font-size #-3 ges''>4
@end lilypond
No se puede usar @code{\tweak} para modificar las claves o las
Se pueden colocar varias instrucciones @code{\tweak} antes de un
elemento de notación; todos le afectan:
-@lilypond[verbatim,quote,relative=1]
-c
--\tweak style #'dashed-line
--\tweak dash-fraction #0.2
--\tweak thickness #3
--\tweak color #red
- \glissando
-f'
+@lilypond[verbatim,fragment,quote]
+c'
+ -\tweak style #'dashed-line
+ -\tweak dash-fraction #0.2
+ -\tweak thickness #3
+ -\tweak color #red
+ \glissando
+f''
@end lilypond
El flujo musical que se genera a partir de una sección de un archivo
Estas indicaciones afectan sólo a la nota siguiente.
-@lilypond[verbatim,quote,relative=2]
-c2( c)
-c2_( c)
-c2( c)
-c2^( c)
+@lilypond[verbatim,quote]
+\relative {
+ c''2( c)
+ c2_( c)
+ c2( c)
+ c2^( c)
+}
@end lilypond
@node La propiedad de dirección
Estas indicaciones afectan a todas las notas hasta que son canceladas.
-@lilypond[verbatim,quote,relative=2]
-c2( c)
-\slurDown
-c2( c)
-c2( c)
-\slurNeutral
-c2( c)
+@lilypond[verbatim,quote]
+\relative {
+ c''2( c)
+ \slurDown
+ c2( c)
+ c2( c)
+ \slurNeutral
+ c2( c)
+}
@end lilypond
En música polifónica, en general es mejor especificar una voz explícita
definido implícitamente por el número de elementos de la lista de
valores de @code{'line-positions}.}
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.line-positions = #'(7 3 0 -4 -6 -7)
}
-{ a4 e' f b | d1 }
+\relative { a4 e' f b | d1 }
@end lilypond
Se puede modificar la anchura de la pauta. Las unidades son espacios
de pentagrama. El espaciado de los objetos dentro del pentagrama no
resulta afectado por este ajuste.
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.width = #23
}
-{ a4 e' f b | d1 }
+\relative { a4 e' f b | d1 }
@end lilypond
Esta sobreescritura se puede usar también para aumentar la longitud de
las ligaduras de expresión y de fraseo:
-@lilypond[verbatim,quote,relative=2]
-a( g)
-a
--\tweak minimum-length #5
-( g)
+@lilypond[verbatim,quote]
+\relative {
+ a'( g)
+ a
+ -\tweak minimum-length #5
+ ( g)
-a\( g\)
-a
--\tweak minimum-length #5
-\( g\)
+ a\( g\)
+ a
+ -\tweak minimum-length #5
+ \( g\)
+}
@end lilypond
Para algunos objetos de presentación, la propiedad
de un glissando no tiene efecto a no ser que se establezca la
propiedad @code{springs-and-rods}:
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,fragment,quote]
% default
-e \glissando c'
+e' \glissando c''
% not effective alone
\once \override Glissando.minimum-length = #20
-e, \glissando c'
+e' \glissando c''
% effective only when both overrides are present
\once \override Glissando.minimum-length = #20
\once \override Glissando.springs-and-rods = #ly:spanner::set-spacing-rods
-e, \glissando c'
+e' \glissando c''
@end lilypond
Lo mismo se puede decir del objeto @code{Beam}:
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,fragment,quote]
% not effective alone
\once \override Beam.minimum-length = #20
-e8 e e e
+e'8 e' e' e'
% effective only when both overrides are present
\once \override Beam.minimum-length = #20
\once \override Beam.springs-and-rods = #ly:spanner::set-spacing-rods
-e8 e e e
+e'8 e' e' e'
@end lilypond
@subsubsubheading La propiedad @code{to-barline}
el extensor llegará más allá de la barra de compás y terminará
exactamente sobre la nota:
-@lilypond[verbatim,quote,relative=2]
-a \< a a a a \! a a a \break
-\override Hairpin.to-barline = ##f
-a \< a a a a \! a a a
+@lilypond[verbatim,quote]
+\relative {
+ a' \< a a a a \! a a a \break
+ \override Hairpin.to-barline = ##f
+ a \< a a a a \! a a a
+}
@end lilypond
Esta propiedad no es efectiva para todos los extensores. Por ejemplo,
jerarquía de propiedades, pero la sintaxis de la instrucción
@code{\override} es bastante sencilla:
-@lilypond[relative=2,quote,verbatim]
-e2 \glissando b
+@lilypond[quote,fragment,verbatim]
+e''2 \glissando b'
\once \override Glissando.bound-details.left.Y = #3
\once \override Glissando.bound-details.right.Y = #-2
-e2 \glissando b
+e''2 \glissando b'
@end lilypond
Las unidades para la propiedad @code{Y} son @code{staff-space}s,
especifican por las sub-listas @code{left-broken} y
@code{right-broken} de @code{bound-details}. Por ejemplo:
-@lilypond[relative=2,ragged-right,verbatim,quote]
+@lilypond[ragged-right,fragment,verbatim,quote]
\override Glissando.breakable = ##t
\override Glissando.bound-details.right-broken.Y = #-3
-c1 \glissando \break
-f1
+c''1 \glissando \break
+f''1
@end lilypond
Un número de propiedades adicionales de las sub-listas @code{left} y
usa para escribir @i{cresc.}, @i{tr} y otros textos sobre los objetos
de extensión horizontales.
-@lilypond[quote,ragged-right,relative=2,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\override TextSpanner.bound-details.left.text
= \markup { \small \bold Slower }
-c2\startTextSpan b c a\stopTextSpan
+\relative { c''2\startTextSpan b c a\stopTextSpan }
@end lilypond
@item stencil-align-dir-y (alineación del sello en y)
@code{stencil-align-dir-y} o @code{stencil-offset} se moverá el
símbolo del borde verticalmente con relación al extremo de la línea:
-@lilypond[relative=1,quote,verbatim]
+@lilypond[quote,fragment,verbatim]
\override TextSpanner.bound-details.left.stencil-align-dir-y = #-2
\override TextSpanner.bound-details.right.stencil-align-dir-y = #UP
\override TextSpanner.bound-details.left.text = #"ggg"
\override TextSpanner.bound-details.right.text = #"hhh"
-c4^\startTextSpan c c c \stopTextSpan
+
+\relative { c'4^\startTextSpan c c c \stopTextSpan }
@end lilypond
Observe que los valores negativos mueven el texto @emph{hacia arriba},
siguiente barra de compás si @code{to-barline} es verdadero y se
produce una divisoria antes de la siguiente nota.
-@lilypond[verbatim,quote,ragged-right,relative=2]
-\endSpanners
-c2 \startTextSpan c2 c2
-\endSpanners
-c2 \< c2 c2
+@lilypond[verbatim,quote,ragged-right]
+\relative c'' {
+ \endSpanners
+ c2 \startTextSpan c2 c2
+ \endSpanners
+ c2 \< c2 c2
+}
@end lilypond
Si se usa @code{\endSpanners} no es necesario cerrar \startTextSpan
se llama a ninguna función y el objeto no se dibuja. La acción
predeterminada se puede recuperar con @code{\revert}.
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,fragment,verbatim]
a1 a
\override Score.BarLine.stencil = ##f
a a
Esta operación, bastante común, tiene la forma abreviada @code{\omit}
como atajo:
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,fragment,verbatim]
a1 a
\omit Score.BarLine
a a
@code{#f}. Si se fija a @code{#t} el objeto aún ocupa espacio pero es
invisible.
-@lilypond[quote,verbatim,relative=2]
-a4 a
+@lilypond[quote,fragment,verbatim]
+a'4 a'
\once \override NoteHead.transparent = ##t
-a a
+a' a'
@end lilypond
Esta operación, bastante común, tiene la forma abreviada @code{\hide}
como atajo:
-@lilypond[quote,verbatim,relative=2]
-a4 a
+@lilypond[quote,fragment,verbatim]
+a'4 a'
\once \hide NoteHead
-a a
+a' a'
@end lilypond
dibujan estos objetos, lo que puede dejar una imagen fantasma del
objeto blanco, como puede verse aquí:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
\override Staff.Clef.color = #white
-a1
+a'1
@end lilypond
Se puede evitar esto cambiando el orden de impresión de los objetos.
@code{Clef} un valor de @code{layer} más bajo, digamos @w{@code{-1}},
para que se dibuje antes:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
\override Staff.Clef.color = #white
\override Staff.Clef.layer = #-1
-a1
+a'1
@end lilypond
El ejemplo de abajo muestra el uso de la forma de vector para
controlar la visibilidad de las líneas divisorias:
-@lilypond[quote,verbatim,relative=1,ragged-right]
-f4 g a b
-f4 g a b
-% Remove bar line at the end of the current line
-\once \override Score.BarLine.break-visibility = ##(#f #t #t)
-\break
-f4 g a b
-f4 g a b
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ f'4 g a b
+ f4 g a b
+ % Remove bar line at the end of the current line
+ \once \override Score.BarLine.break-visibility = ##(#f #t #t)
+ \break
+ f4 g a b
+ f4 g a b
+}
@end lilypond
Aunque los tres componentes del vector utilizado para sobreescribir
siguiente la armadura que sigue al cambio explícito de tonalidad a Si
bemol mayor es visible incluso con @code{all-invisible} establecido.
-@lilypond[quote,verbatim,relative=1,ragged-right]
-\key g \major
-f4 g a b
-% Try to remove all key signatures
-\override Staff.KeySignature.break-visibility = #all-invisible
-\key bes \major
-f4 g a b
-\break
-f4 g a b
-f4 g a b
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ f'4 g a b
+ % Try to remove all key signatures
+ \override Staff.KeySignature.break-visibility = #all-invisible
+ \key bes \major
+ f4 g a b
+ \break
+ f4 g a b
+ f4 g a b
+}
@end lilypond
La visibilidad de estos cambios explícitos de tonalidad y de clave se
se debe sobreescribir la propiedad @code{break-visibility} en el
objeto correspondiente.
-@lilypond[quote,verbatim,relative=1,ragged-right]
-\key g \major
-f4 g a b
-\set Staff.explicitKeySignatureVisibility = #all-invisible
-\override Staff.KeySignature.break-visibility = #all-invisible
-\key bes \major
-f4 g a b \break
-f4 g a b
-f4 g a b
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ f'4 g a b
+ \set Staff.explicitKeySignatureVisibility = #all-invisible
+ \override Staff.KeySignature.break-visibility = #all-invisible
+ \key bes \major
+ f4 g a b \break
+ f4 g a b
+ f4 g a b
+}
@end lilypond
@subsubsubheading Visibilidad de las alteraciones de precaución
cambio de tonalidad explícito, establezca la propiedad
@code{printKeyCancellation} del contexto Staff a @code{#f}:
-@lilypond[quote,verbatim,relative=1,ragged-right]
-\key g \major
-f4 g a b
-\set Staff.explicitKeySignatureVisibility = #all-invisible
-\set Staff.printKeyCancellation = ##f
-\override Staff.KeySignature.break-visibility = #all-invisible
-\key bes \major
-f4 g a b \break
-f4 g a b
-f4 g a b
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ f'4 g a b
+ \set Staff.explicitKeySignatureVisibility = #all-invisible
+ \set Staff.printKeyCancellation = ##f
+ \override Staff.KeySignature.break-visibility = #all-invisible
+ \key bes \major
+ f4 g a b \break
+ f4 g a b
+ f4 g a b
+}
@end lilypond
Con estas sobreescrituras solamente permanecen las alteraciones
establecimiento de @code{printKeyCancellation} al valor @code{#f}
no tiene ningún efecto:
-@lilypond[quote,verbatim,relative=1,ragged-right]
-\key g \major
-f4 g a b
-\set Staff.explicitKeySignatureVisibility = #all-invisible
-\set Staff.printKeyCancellation = ##f
-\key c \major
-f4 g a b \break
-f4 g a b
-f4 g a b
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ f'4 g a b
+ \set Staff.explicitKeySignatureVisibility = #all-invisible
+ \set Staff.printKeyCancellation = ##f
+ \key c \major
+ f4 g a b \break
+ f4 g a b
+ f4 g a b
+}
@end lilypond
En lugar de ello, para suprimir las alteraciones de cancelación
aún cuando la armadura cambia a Do@tie{}mayor o a La@tie{}menor,
sobreescriba la visibilidad del grob @code{KeyCancellation}:
-@lilypond[quote,verbatim,relative=1,ragged-right]
-\key g \major
-f4 g a b
-\set Staff.explicitKeySignatureVisibility = #all-invisible
-\override Staff.KeyCancellation.break-visibility = #all-invisible
-\key c \major
-f4 g a b \break
-f4 g a b
-f4 g a b
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ f'4 g a b
+ \set Staff.explicitKeySignatureVisibility = #all-invisible
+ \override Staff.KeyCancellation.break-visibility = #all-invisible
+ \key c \major
+ f4 g a b \break
+ f4 g a b
+ f4 g a b
+}
@end lilypond
@c TODO Add visibility of cautionary accidentals before notes
He aquí un ejemplo de los distintos estilos de línea disponibles, y
cómo aplicarles ajustes finos.
-@lilypond[relative=2,ragged-right,verbatim,quote]
-d2 \glissando d'2
-\once \override Glissando.style = #'dashed-line
-d,2 \glissando d'2
-\override Glissando.style = #'dotted-line
-d,2 \glissando d'2
-\override Glissando.style = #'zigzag
-d,2 \glissando d'2
-\override Glissando.style = #'trill
-d,2 \glissando d'2
+@lilypond[ragged-right,verbatim,quote]
+\relative {
+ d''2 \glissando d'2
+ \once \override Glissando.style = #'dashed-line
+ d,2 \glissando d'2
+ \override Glissando.style = #'dotted-line
+ d,2 \glissando d'2
+ \override Glissando.style = #'zigzag
+ d,2 \glissando d'2
+ \override Glissando.style = #'trill
+ d,2 \glissando d'2
+}
@end lilypond
Las posiciones de los puntos extremos del objeto de extensión se
posible sobreescribirlos:
@c TODO Complete
-@lilypond[relative=2,ragged-right,verbatim,quote]
-e2 \glissando f
-\once \override Glissando.bound-details.right.Y = #-2
-e2 \glissando f
+@lilypond[ragged-right,verbatim,quote]
+\relative {
+ e''2 \glissando f
+ \once \override Glissando.bound-details.right.Y = #-2
+ e2 \glissando f
+}
@end lilypond
El valor de @code{Y} está establecido a @w{@code{-2}} para el extremo
presentación; el ejemplo siguiente muestra una situación en que puede
serlo:
-@lilypond[quote,verbatim,relative=1]
-g4\< e' d' f\!
+@lilypond[quote,fragment,verbatim]
+g4\< e' d'' f''\!
\override Hairpin.rotation = #'(20 -1 0)
-g,,4\< e' d' f\!
+g4\< e' d'' f''\!
@end lilypond
@code{#f} para desactivar la evitación automática de colisiones, lo
que empuja al texto a una posición muy alta.
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,fragment,verbatim]
\override TextScript.outside-staff-priority = ##f
g4^\markup { \rotate #30 "a G" }
b^\markup { \rotate #30 "a B" }
-des^\markup { \rotate #30 "a D-Flat" }
-fis^\markup { \rotate #30 "an F-Sharp" }
+des'^\markup { \rotate #30 "a D-Flat" }
+fis'^\markup { \rotate #30 "an F-Sharp" }
@end lilypond
notas con una digitación en su posición predeterminada y con los
valores @code{X-offset} y @code{Y-offset} modificados.
-@lilypond[verbatim,quote,relative=2]
-a-3
-a
+@lilypond[verbatim,fragment,quote]
+a'-3
+a'
-\tweak X-offset #0
-\tweak Y-offset #0
-3
-a
+a'
-\tweak X-offset #-1
-\tweak Y-offset #1
-3
@code{\tweak} para alinear varias anotaciones por separado sobre una
sola nota:
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,verbatim,fragment]
a'
-\tweak self-alignment-X #-1
^"left-aligned"
El ejemplo siguiente muestra cómo ajustar una digitación de forma que
se acerque a la cabeza de la nota.
-@lilypond[quote,verbatim,relative=2]
-a
+@lilypond[quote,verbatim,fragment]
+a'
-\tweak self-alignment-X #0.5 % move horizontally left
-\tweak Y-offset #ly:self-alignment-interface::y-aligned-on-self
-\tweak self-alignment-Y #-1 % move vertically up
Cada tipo de objeto tiene su propio punto de referencia
predeterminado, con el que se alinean las marcas de ensayo:
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment]
% The rehearsal mark will be aligned to the right edge of the Clef
\override Score.RehearsalMark.break-align-symbols = #'(clef)
\key a \major
\clef treble
\mark "↓"
-e1
+e'1
% The rehearsal mark will be aligned to the left edge of the Time Signature
\override Score.RehearsalMark.break-align-symbols = #'(time-signature)
\key a \major
\clef treble
\time 3/4
\mark "↓"
-e2.
+e'2.
% The rehearsal mark will be centered above the Breath Mark
\override Score.RehearsalMark.break-align-symbols = #'(breathing-sign)
\key a \major
\clef treble
\time 4/4
-e1
+e'1
\breathe
\mark "↓"
@end lilypond
divisoria. Si la línea divisoria es invisible, el objeto se alinea
con el punto en el que se encontraría la línea divisoria.
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment]
% The rehearsal mark will be aligned to the right edge of the Key Signature
\override Score.RehearsalMark.break-align-symbols = #'(key-signature clef)
\key a \major
\clef treble
\mark "↓"
-e1
+e'1
% The rehearsal mark will be aligned to the right edge of the Clef
\set Staff.explicitKeySignatureVisibility = #all-invisible
\override Score.RehearsalMark.break-align-symbols = #'(key-signature clef)
\key a \major
\clef bass
\mark "↓"
-gis,,1
+gis,1
% The rehearsal mark will be centered above the Bar Line
\set Staff.explicitKeySignatureVisibility = #all-invisible
\set Staff.explicitClefVisibility = #all-invisible
\key a \major
\clef treble
\mark "↓"
-e''1
+e'1
@end lilypond
La alineación de la letra de ensayo con relación al objeto de notación
partitura con varios pentagramas, este ajuste se debe hacer para todos
los pentagramas.
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment]
% The RehearsalMark will be aligned with the right edge of the Key Signature
\override Score.RehearsalMark.break-align-symbols = #'(key-signature)
\key a \major
\clef treble
\time 4/4
\mark "↓"
-e1
+e'1
% The RehearsalMark will be centered above the Key Signature
\once \override Score.KeySignature.break-align-anchor-alignment = #CENTER
\mark "↓"
\key a \major
-e1
+e'1
% The RehearsalMark will be aligned with the left edge of the Key Signature
\once \override Score.KeySignature.break-align-anchor-alignment = #LEFT
\key a \major
\mark "↓"
-e1
+e'1
@end lilypond
La letra de ensayo también se puede desplazar al borde derecho o
izquierdo en una medida arbitraria. Las unidades son espacios de
pentagrama:
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment]
% The RehearsalMark will be aligned with the left edge of the Key Signature
% and then shifted right by 3.5 staff-spaces
\override Score.RehearsalMark.break-align-symbols = #'(key-signature)
\once \override Score.KeySignature.break-align-anchor = #3.5
\key a \major
\mark "↓"
-e1
+e'1
% The RehearsalMark will be aligned with the left edge of the Key Signature
% and then shifted left by 2 staff-spaces
\once \override Score.KeySignature.break-align-anchor = #-2
\key a \major
\mark "↓"
-e1
+e'1
@end lilypond
En este ejemplo, la colocación automática de la ligadura no
resulta óptima, y @code{\tieDown} no es la solución.
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote]
<<
- { e1~ 1 }
+ { e'1~ 1 }
\\
- { r4 <g c,> <g c,> <g c,> }
+ \relative { r4 <g' c,> <g c,> <g c,> }
>>
@end lilypond
siguiente tiene el efecto de elevar la ligadura de unión en la
mitad de un espacio de pentagrama:
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote]
<<
{
\shape #'((0 . 0.5) (0 . 0.5) (0 . 0.5) (0 . 0.5)) Tie
- e1~ 1
+ e'1~ 1
}
\\
- { r4 <g c,> <g c,> <g c,> }
+ \relative { r4 <g' c,> <g c,> <g c,> }
>>
@end lilypond
debería elevarse más en la parte central. El ejemplo siguiente
hace esto, esta vez usando la forma alternativa @code{\tweak}:
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote]
<<
{
- e1-\shape #'((0 . 0.5) (0 . 1) (0 . 1) (0 . 0.5)) ~ e
+ e'1-\shape #'((0 . 0.5) (0 . 1) (0 . 1) (0 . 0.5)) ~ e'
}
\\
- { r4 <g c,> <g c,> <g c,> }
+ \relative { r4 <g' c,> <g c,> <g c,> }
>>
@end lilypond
que dan comienzo en el mismo momento musical se pueden conformar
también:
-@lilypond[verbatim,quote,ragged-right,relative=2]
-c8(\( a) a'4 e c\)
-\shape #'((0.7 . -0.4) (0.5 . -0.4) (0.3 . -0.3) (0 . -0.2)) Slur
-\shape #'((0 . 0) (0 . 0.5) (0 . 0.5) (0 . 0)) PhrasingSlur
-c8(\( a) a'4 e c\)
+@lilypond[verbatim,quote,ragged-right]
+\relative {
+ c''8(\( a) a'4 e c\)
+ \shape #'((0.7 . -0.4) (0.5 . -0.4) (0.3 . -0.3) (0 . -0.2)) Slur
+ \shape #'((0 . 0) (0 . 0.5) (0 . 0.5) (0 . 0)) PhrasingSlur
+ c8(\( a) a'4 e c\)
+}
@end lilypond
La función @code{\shape} también puede desplazar los puntos de
contenedor. En este ejemplo, el salto de línea hace que la única
ligadura de expresión aparezca como si fueran dos:
-@lilypond[verbatim,quote,ragged-right,relative=1]
-c4( f g c
-\break
-d,4 c' f, c)
+@lilypond[verbatim,quote,ragged-right]
+\relative {
+ c'4( f g c
+ \break
+ d,4 c' f, c)
+}
@end lilypond
Los cambios en la forma de las dos mitades de la ligadura de
expresión deja más claro que la ligadura continúa más allá del
salto de línea:
-@lilypond[verbatim,quote,ragged-right,relative=1]
+@lilypond[verbatim,quote,ragged-right]
% () may be used as a shorthand for ((0 . 0) (0 . 0) (0 . 0) (0 . 0))
% if any of the segments does not need to be changed
-\shape #'(
- (( 0 . 0) (0 . 0) (0 . 0) (0 . 1))
- ((0.5 . 1.5) (1 . 0) (0 . 0) (0 . -1.5))
- ) Slur
-c4( f g c
-\break
-d,4 c' f, c)
+\relative c' {
+ \shape #'(
+ (( 0 . 0) (0 . 0) (0 . 0) (0 . 1))
+ ((0.5 . 1.5) (1 . 0) (0 . 0) (0 . -1.5))
+ ) Slur
+ c4( f g c
+ \break
+ d,4 c' f, c)
+}
@end lilypond
En una curva en forma de «S» siempre es necesario ajustar
manualmente los puntos de control: LilyPond nunca escoge tales
formas automáticamente.
-@lilypond[verbatim,quote,relative=2]
-c8( e b-> f d' a e-> g)
-\shape #'((0 . -1) (5.5 . -0.5) (-5.5 . -10.5) (0 . -5.5)) PhrasingSlur
-c8\( e b-> f d' a e-> g\)
+@lilypond[verbatim,quote]
+\relative c'' {
+ c8( e b-> f d' a e-> g)
+ \shape #'((0 . -1) (5.5 . -0.5) (-5.5 . -10.5) (0 . -5.5)) PhrasingSlur
+ c8\( e b-> f d' a e-> g\)
+}
@end lilypond
@subsubsubheading Especificar los puntos de control explícitamente
indicar una ligadura que se extiende hacia el interior de las
casillas de primera y segunda vez de una repetición.
-@lilypond[verbatim,quote,relative=2]
-c1
-\repeat volta 3 { c4 d( e f }
-\alternative {
- { g2) d }
- {
- g2
- % create a slur and move it to a new position
- % the <> is just an empty chord to carry the slur termination
- -\tweak control-points #'((-2 . 3.8) (-1 . 3.9) (0 . 4) (1 . 3.4)) ( <> )
- f,
- }
- {
- e'2
- % create a slur and move it to a new position
- -\tweak control-points #'((-2 . 3) (-1 . 3.1) (0 . 3.2) (1 . 2.4)) ( <> )
- f,
+@lilypond[verbatim,quote]
+\relative {
+ c''1
+ \repeat volta 3 { c4 d( e f }
+ \alternative {
+ { g2) d }
+ {
+ g2
+ % create a slur and move it to a new position
+ % the <> is just an empty chord to carry the slur termination
+ -\tweak control-points #'((-2 . 3.8) (-1 . 3.9) (0 . 4) (1 . 3.4)) ( <> )
+ f,
+ }
+ {
+ e'2
+ % create a slur and move it to a new position
+ -\tweak control-points #'((-2 . 3) (-1 . 3.1) (0 . 3.2) (1 . 2.4)) ( <> )
+ f,
+ }
}
}
@end lilypond
@code{thickness} (grosor) afecta a la ligadura a ambos lados del salto
de línea.
-@lilypond[verbatim,quote,ragged-right,relative=2]
-r2
-\once\override Slur.thickness = 10
-c8( d e f
-\break
-g8 f e d) r2
+@lilypond[verbatim,quote,ragged-right]
+\relative c'' {
+ r2
+ \once\override Slur.thickness = 10
+ c8( d e f
+ \break
+ g8 f e d) r2
+}
@end lilypond
Es posible modificar de forma independiente el aspecto de los
EL código siguiente aplica un @code{\override} independiente a cada
uno de los fragmentos de la ligadura del ejemplo anterior:
-@lilypond[verbatim,quote,ragged-right,relative=2]
-r2
-\alterBroken thickness #'(10 1) Slur
-c8( d e f
-\break
-g8 f e d) r2
+@lilypond[verbatim,quote,ragged-right]
+\relative c'' {
+ r2
+ \alterBroken thickness #'(10 1) Slur
+ c8( d e f
+ \break
+ g8 f e d) r2
+}
@end lilypond
La instrucción @code{\alterBroken} se puede usar con cualquier objeto
manera se puede hacer esto, en este caso usando la forma @code{\tweak}
de la instrucción:
-@lilypond[verbatim,quote,ragged-right,relative=2]
+@lilypond[verbatim,quote,ragged-right]
% The empty list is conveniently used below, because it is the
% default setting of dash-definition, resulting in a solid curve.
-c2-\alterBroken dash-definition #'(() ((0 1.0 0.4 0.75))) \(e
-\break
-g2 e\)
+\relative {
+ c''2-\alterBroken dash-definition #'(() ((0 1.0 0.4 0.75))) \(e
+ \break
+ g2 e\)
+}
@end lilypond
Es importante comprender que @code{\alterBroken} fija cada pieza del
Se pueden mezclar los modos de acorde y de nota en la música
secuencial:
-@lilypond[verbatim,quote,ragged-right,relative=1]
-<c e g>2 <g b d>
-\chordmode { c2 f }
-<c e g>2 <g' b d>
-\chordmode { f2 g }
+@lilypond[verbatim,quote,ragged-right]
+\relative {
+ <c' e g>2 <g b d>
+ \chordmode { c2 f }
+ <c e g>2 <g' b d>
+ \chordmode { f2 g }
+}
@end lilypond
@seealso
imprima el elemento de marcado @code{noChordSymbol} (símbolo de N.C.,
Sin Acorde).
-@lilypond[verbatim, quote, relative=1]
+@lilypond[verbatim,quote]
<<
\new ChordNames \chordmode {
c1
Las instrucciones de digitación se pueden introducir usando
@samp{@var{nota}-@var{dígito}}:
-@lilypond[verbatim,quote,relative=2]
-c4-1 d-2 f-4 e-3
+@lilypond[verbatim,quote]
+\relative { c''4-1 d-2 f-4 e-3 }
@end lilypond
Para los cambios de dedo se pueden usar elementos de marcado de texto o de cadenas de caracteres.
-@lilypond[verbatim,quote,relative=2]
-c4-1 d-2 f\finger \markup \tied-lyric #"4~3" c\finger "2 - 3"
+@lilypond[verbatim,quote]
+\relative {
+ c''4-1 d-2 f\finger \markup \tied-lyric #"4~3" c\finger "2 - 3"
+}
@end lilypond
@cindex thumb-script
Puede usar la articulación de pulgar para indicar que una nota se debe
tocar con el pulgar (p.ej. en música de violoncello).
-@lilypond[verbatim,quote,relative=2]
-<a_\thumb a'-3>2 <b_\thumb b'-3>
+@lilypond[verbatim,quote]
+\relative { <a'_\thumb a'-3>2 <b_\thumb b'-3> }
@end lilypond
@cindex digitación de acordes
Las digitaciones para los acordes también se pueden añadir a las notas
individuales escribiéndolas después de las alturas.
-@lilypond[verbatim,quote,relative=2]
-<c-1 e-2 g-3 b-5>2 <d-1 f-2 a-3 c-5>
+@lilypond[verbatim,quote]
+\relative {
+ <c''-1 e-2 g-3 b-5>2 <d-1 f-2 a-3 c-5>
+}
@end lilypond
Las indicaciones de digitación se pueden situar manualmente encima o
Las notas ocultas (o invisibles, o transparentes) pueden ser de
utilidad en la preparación de ejercicios de teoría o de composición.
-@lilypond[verbatim,quote,relative=2]
-c4 d
-\hideNotes
-e4 f
-\unHideNotes
-g a
-\hideNotes
-b
-\unHideNotes
-c
+@lilypond[verbatim,quote]
+\relative {
+ c''4 d
+ \hideNotes
+ e4 f
+ \unHideNotes
+ g a
+ \hideNotes
+ b
+ \unHideNotes
+ c
+}
@end lilypond
La cabeza, la plica y el corchete de las figuras, así como los
una nota oculta. Los objetos de notación que están anclados a notas
invisibles, son a pesar de ello visibles.
-@lilypond[verbatim,quote,relative=2]
-e8(\p f g a)--
-\hideNotes
-e8(\p f g a)--
+@lilypond[verbatim,quote]
+\relative c'' {
+ e8(\p f g a)--
+ \hideNotes
+ e8(\p f g a)--
+}
@end lilypond
@predefined
Se pueden asignar colores a los objetos individuales. Los nombres de
color válidos se encuentran relacionados en la @ref{Lista de colores}.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote,fragment]
\override NoteHead.color = #red
-c4 c
+c''4 c''
\override NoteHead.color = #(x11-color 'LimeGreen)
-d
+d''
\override Stem.color = #blue
-e
+e''
@end lilypond
Se puede acceder al espectro completo de colores definido para X11
Si @code{x11-color} no entiende el parámetro, el color predeterminado
que se devuelve es el negro.
-@lilypond[verbatim,quote,relative=2]
-\override Staff.StaffSymbol.color = #(x11-color 'SlateBlue2)
-\set Staff.instrumentName = \markup {
- \with-color #(x11-color 'navy) "Clarinet"
-}
+@lilypond[verbatim,quote]
+\relative c'' {
+ \override Staff.StaffSymbol.color = #(x11-color 'SlateBlue2)
+ \set Staff.instrumentName = \markup {
+ \with-color #(x11-color 'navy) "Clarinet"
+ }
-gis8 a
-\override Beam.color = #(x11-color "medium turquoise")
-gis a
-\override Accidental.color = #(x11-color 'DarkRed)
-gis a
-\override NoteHead.color = #(x11-color "LimeGreen")
-gis a
-% this is deliberate nonsense; note that the stems remain black
-\override Stem.color = #(x11-color 'Boggle)
-b2 cis
+ gis8 a
+ \override Beam.color = #(x11-color "medium turquoise")
+ gis a
+ \override Accidental.color = #(x11-color 'DarkRed)
+ gis a
+ \override NoteHead.color = #(x11-color "LimeGreen")
+ gis a
+ % this is deliberate nonsense; note that the stems remain black
+ \override Stem.color = #(x11-color 'Boggle)
+ b2 cis
+}
@end lilypond
@cindex rgb-color
Se pueden especificar colores RGB exactos utilizando la función de
Scheme @code{rgb-color}.
-@lilypond[verbatim,quote,relative=2]
-\override Staff.StaffSymbol.color = #(x11-color 'SlateBlue2)
-\set Staff.instrumentName = \markup {
- \with-color #(x11-color 'navy) "Clarinet"
-}
+@lilypond[verbatim,quote]
+\relative c'' {
+ \override Staff.StaffSymbol.color = #(x11-color 'SlateBlue2)
+ \set Staff.instrumentName = \markup {
+ \with-color #(x11-color 'navy) "Clarinet"
+ }
-\override Stem.color = #(rgb-color 0 0 0)
-gis8 a
-\override Stem.color = #(rgb-color 1 1 1)
-gis8 a
-\override Stem.color = #(rgb-color 0 0 0.5)
-gis4 a
+ \override Stem.color = #(rgb-color 0 0 0)
+ gis8 a
+ \override Stem.color = #(rgb-color 1 1 1)
+ gis8 a
+ \override Stem.color = #(rgb-color 0 0 0.5)
+ gis4 a
+}
@end lilypond
@seealso
encierra cada nota dentro de un par de paréntesis. También se pueden
poner entre paréntesis las notas individuales de un acorde.
-@lilypond[verbatim,quote,relative=2]
-c2 \parenthesize d
-c2 \parenthesize <c e g>
-c2 <c \parenthesize e g>
+@lilypond[verbatim,quote]
+\relative {
+ c''2 \parenthesize d
+ c2 \parenthesize <c e g>
+ c2 <c \parenthesize e g>
+}
@end lilypond
Los objetos que no son notas también se pueden poner entre paréntesis.
Para las articulaciones se necesita un guión antes de la instrucción
@code{\parenthesize}.
-@lilypond[verbatim,quote,relative=2]
-c2-\parenthesize -. d
-c2 \parenthesize r
+@lilypond[verbatim,quote]
+\relative {
+ c''2-\parenthesize -. d
+ c2 \parenthesize r
+}
@end lilypond
@seealso
esta funcionalidad es la explicación de la notación.
@c KEEP LY
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Voice \with { \consists "Balloon_engraver" }
-{
+\relative c'' {
\balloonGrobText #'Stem #'(3 . 4) \markup { "Soy una plica" }
a8
\balloonGrobText #'Rest #'(-4 . -4) \markup { "Soy un silencio" }
pero esto puede cambiarse:
@c KEEP LY
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Voice \with { \consists "Balloon_engraver" }
-{
+\relative c'' {
\balloonGrobText #'Stem #'(3 . 4) \markup { "Soy una plica" }
a8
\balloonGrobText #'Rest #'(-4 . -4) \markup { "Soy un silencio" }
La lista de los posibles valores de @code{@var{nombre}} está en
@ref{Lista de articulaciones}. Por ejemplo:
-@lilypond[verbatim,quote,relative=2]
-c4\staccato c\mordent b2\turn
-c1\fermata
+@lilypond[verbatim,quote]
+\relative {
+ c''4\staccato c\mordent b2\turn
+ c1\fermata
+}
@end lilypond
@cindex marcato
salida correspondiente a estas articulaciones aparece de la siguiente
manera:
-@lilypond[verbatim,quote,relative=2]
-c4-^ c-+ c-- c-!
-c4-> c-. c2-_
+@lilypond[verbatim,quote]
+\relative {
+ c''4-^ c-+ c-- c-!
+ c4-> c-. c2-_
+}
@end lilypond
Las reglas para la colocación predeterminada de las articulaciones se
multicompás (y sólo a un silencio multicompás). La instrucción
crea un objeto @code{MultiMeasureRestText}.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote,fragment]
\override Script.color = #red
\override MultiMeasureRestText.color = #blue
-a2\fermata r\fermata
+a'2\fermata r\fermata
R1\fermataMarkup
@end lilypond
pentagrama; para ver más detalles, consulte @ref{Dirección y
posición}.
-@lilypond[verbatim,quote,relative=2]
-c2\ppp c\mp
-c2\rfz c^\mf
-c2_\spp c^\ff
+@lilypond[verbatim,quote]
+\relative c'' {
+ c2\ppp c\mp
+ c2\rfz c^\mf
+ c2_\spp c^\ff
+}
@end lilypond
@cindex regulador
@code{\<} y @code{\>}. De forma predeterminada, se tipografían
reguladores en ángulo cuando se utiliza esta notación.
-@lilypond[verbatim,quote,relative=2]
-c2\< c\!
-d2\< d\f
-e2\< e\>
-f2\> f\!
-e2\> e\mp
-d2\> d\>
-c1\!
+@lilypond[verbatim,quote]
+\relative c'' {
+ c2\< c\!
+ d2\< d\f
+ e2\< e\>
+ f2\> f\!
+ e2\> e\mp
+ d2\> d\>
+ c1\!
+}
@end lilypond
Un regulador terminado mediante @code{\!} finaliza en el borde
izquierdo, como sería usual si hubiese terminado con @code{\!}
previamente.
-@lilypond[verbatim,quote,relative=2]
-c1\< | c4 a c\< a | c4 a c\! a\< | c4 a c a\!
+@lilypond[verbatim,quote]
+\relative {
+ c''1\< | c4 a c\< a | c4 a c\! a\< | c4 a c a\!
+}
@end lilypond
Los reguladores que terminan con indicaciones dinámicas absolutas
dinámica puede alterar el punto en que finaliza el regulador
anterior.
-@lilypond[verbatim,quote,relative=2]
-c1\< | c4 a c\mf a | c1\< | c4 a c\ffff a
+@lilypond[verbatim,quote]
+\relative {
+ c''1\< | c4 a c\mf a | c1\< | c4 a c\ffff a
+}
@end lilypond
@cindex varios matices sobre una nota
especialmente para añadir un @notation{crescendo} y un
@notation{decrescendo} a la misma nota:
-@lilypond[verbatim,quote,relative=2]
-c4\< c\! d\> e\!
-<< f1 { s4 s4\< s4\> s4\! } >>
+@lilypond[verbatim,quote]
+\relative {
+ c''4\< c\! d\> e\!
+ << f1 { s4 s4\< s4\> s4\! } >>
+}
@end lilypond
@cindex espressivo, articulación
advierta que esta indicación está implementada como una
articulación, no como una expresión dinámica.
-@lilypond[verbatim,quote,relative=2]
-c2 b4 a
-g1\espressivo
+@lilypond[verbatim,quote]
+\relative {
+ c''2 b4 a
+ g1\espressivo
+}
@end lilypond
@funindex \cresc
Los decrescendos textuales se inician con @code{\decresc} o con @code{\dim}.
Se trazan líneas extensoras cuando es necesario.
-@lilypond[verbatim,quote,relative=2]
-g8\cresc a b c b c d e\mf |
-f8\decresc e d c e\> d c b |
-a1\dim ~ |
-a2. r4\! |
+@lilypond[verbatim,quote]
+\relative {
+ g'8\cresc a b c b c d e\mf |
+ f8\decresc e d c e\> d c b |
+ a1\dim ~ |
+ a2. r4\! |
+}
@end lilypond
@funindex \crescTextCresc
También pueden sustituirse los reguladores gráficos
por cambios de dinámica textuales:
-@lilypond[verbatim,quote,relative=2]
-\crescTextCresc
-c4\< d e f\! |
-\dimTextDecresc
-g4\> e d c\! |
-\dimTextDecr
-e4\> d c b\! |
-\dimTextDim
-d4\> c b a\! |
-\crescHairpin
-\dimHairpin
-c4\< d\! e\> d\! |
+@lilypond[verbatim,quote]
+\relative c'' {
+ \crescTextCresc
+ c4\< d e f\! |
+ \dimTextDecresc
+ g4\> e d c\! |
+ \dimTextDecr
+ e4\> d c b\! |
+ \dimTextDim
+ d4\> c b a\! |
+ \crescHairpin
+ \dimHairpin
+ c4\< d\! e\> d\! |
+}
@end lilypond
@warning{En música polifónica, las ligaduras de expresión deben
terminar en la misma voz en la que empiezan.}
-@lilypond[verbatim,quote,relative=2]
-f4( g a) a8 b(
-a4 g2 f4)
-<c e>2( <b d>2)
+@lilypond[verbatim,quote]
+\relative {
+ f''4( g a) a8 b(
+ a4 g2 f4)
+ <c e>2( <b d>2)
+}
@end lilypond
@cindex ligaduras de expresión, posicionamiento manual
puntos. El estilo predeterminado de las ligaduras de expresión es el
continuo:
-@lilypond[verbatim,quote,relative=1]
-c4( e g2)
-\slurDashed
-g4( e c2)
-\slurDotted
-c4( e g2)
-\slurSolid
-g4( e c2)
+@lilypond[verbatim,quote]
+\relative {
+ c'4( e g2)
+ \slurDashed
+ g4( e c2)
+ \slurDotted
+ c4( e g2)
+ \slurSolid
+ g4( e c2)
+}
@end lilypond
@cindex ligadura de expresión, mitad continua y mitad discontinua
continua) o semi-continuas (la primera mitad continua y la segunda
discontinua):
-@lilypond[verbatim,quote,relative=1]
-c4( e g2)
-\slurHalfDashed
-g4( e c2)
-\slurHalfSolid
-c4( e g2)
-\slurSolid
-g4( e c2)
+@lilypond[verbatim,quote]
+\relative {
+ c'4( e g2)
+ \slurHalfDashed
+ g4( e c2)
+ \slurHalfSolid
+ c4( e g2)
+ \slurSolid
+ g4( e c2)
+}
@end lilypond
@cindex ligadura de expresión, definir patrones de discontinuidad
Se pueden definir patrones de discontinuidad para las ligaduras de
expresión:
-@lilypond[verbatim,quote,relative=1]
-c4( e g2)
-\slurDashPattern #0.7 #0.75
-g4( e c2)
-\slurDashPattern #0.5 #2.0
-c4( e g2)
-\slurSolid
-g4( e c2)
+@lilypond[verbatim,quote]
+\relative {
+ c'4( e g2)
+ \slurDashPattern #0.7 #0.75
+ g4( e c2)
+ \slurDashPattern #0.5 #2.0
+ c4( e g2)
+ \slurSolid
+ g4( e c2)
+}
@end lilypond
una frase musical se escriben usando las instrucciones @code{\(} y
@code{\)} respectivamente:
-@lilypond[verbatim,quote,relative=2]
-c4\( d( e) f(
-e2) d\)
+@lilypond[verbatim,quote]
+\relative {
+ c''4\( d( e) f(
+ e2) d\)
+}
@end lilypond
@funindex \phrasingSlurUp
Las ligaduras de fraseo pueden ser continuas, de puntos o de rayas.
El estilo predeterminado para las ligaduras de fraseo es el continuo:
-@lilypond[verbatim,quote,relative=1]
-c4\( e g2\)
-\phrasingSlurDashed
-g4\( e c2\)
-\phrasingSlurDotted
-c4\( e g2\)
-\phrasingSlurSolid
-g4\( e c2\)
+@lilypond[verbatim,quote]
+\relative {
+ c'4\( e g2\)
+ \phrasingSlurDashed
+ g4\( e c2\)
+ \phrasingSlurDotted
+ c4\( e g2\)
+ \phrasingSlurSolid
+ g4\( e c2\)
+}
@end lilypond
@cindex fraseo, ligadura de, mitad continua y mitad discontinua
continua) o semi-continuas (la primera mitad continua y la segunda
mitad discontinua):
-@lilypond[verbatim,quote,relative=1]
-c4\( e g2\)
-\phrasingSlurHalfDashed
-g4\( e c2\)
-\phrasingSlurHalfSolid
-c4\( e g2\)
-\phrasingSlurSolid
-g4\( e c2\)
+@lilypond[verbatim,quote]
+\relative {
+ c'4\( e g2\)
+ \phrasingSlurHalfDashed
+ g4\( e c2\)
+ \phrasingSlurHalfSolid
+ c4\( e g2\)
+ \phrasingSlurSolid
+ g4\( e c2\)
+}
@end lilypond
@cindex fraseo, ligadura de, definir patrones de discontinuidad
Se pueden definir patrones de discontinuidad para las ligaduras de
fraseo:
-@lilypond[verbatim,quote,relative=1]
-c4\( e g2\)
-\phrasingSlurDashPattern #0.7 #0.75
-g4\( e c2\)
-\phrasingSlurDashPattern #0.5 #2.0
-c4\( e g2\)
-\phrasingSlurSolid
-g4\( e c2\)
+@lilypond[verbatim,quote]
+\relative {
+ c'4\( e g2\)
+ \phrasingSlurDashPattern #0.7 #0.75
+ g4\( e c2\)
+ \phrasingSlurDashPattern #0.5 #2.0
+ c4\( e g2\)
+ \phrasingSlurSolid
+ g4\( e c2\)
+}
@end lilypond
Las definiciones de patrones de discontinuidad tienen la misma
Las respiraciones se introducen utilizando @code{\breathe}:
-@lilypond[verbatim,quote,relative=2]
-c2. \breathe d4
+@lilypond[verbatim,quote]
+{ c''2. \breathe d''4 }
@end lilypond
Las marcas de respiración dan por terminadas las barras automáticas;
para sobreescribir este comportamiento, consulte @ref{Barras manuales}.
-@lilypond[verbatim,quote,relative=2]
-c8 \breathe d e f g2
+@lilypond[verbatim,quote]
+\relative { c''8 \breathe d e f g2 }
@end lilypond
Están contemplados los indicadores musicales para las marcas de
de alturas sobre el que se extiende la caída o elevación
@emph{partiendo de} la nota principal.
-@lilypond[verbatim,quote,relative=2]
-c2\bendAfter #+4
-c2\bendAfter #-4
-c2\bendAfter #+6.5
-c2\bendAfter #-6.5
-c2\bendAfter #+8
-c2\bendAfter #-8
+@lilypond[verbatim,quote]
+\relative c'' {
+ c2\bendAfter #+4
+ c2\bendAfter #-4
+ c2\bendAfter #+6.5
+ c2\bendAfter #-6.5
+ c2\bendAfter #+8
+ c2\bendAfter #-8
+}
@end lilypond
@snippets
Se crea un @notation{glissando} añadiendo @code{\glissando} después de
la nota:
-@lilypond[verbatim,quote,relative=2]
-g2\glissando g'
-c2\glissando c,
-\afterGrace f,1\glissando f'16
+@lilypond[verbatim,quote]
+\relative {
+ g'2\glissando g'
+ c2\glissando c,
+ \afterGrace f,1\glissando f'16
+}
@end lilypond
Un glissando puede conectar notas de un pentagrama a otro:
numeradas, empezando en cero, en el orden en que aparecen en el código
de entrada del archivo @file{.ly}.
-@lilypond[verbatim,quote,relative=2]
-<c, e>1\glissando g' |
-<c, e>1\glissando |
-<g' b> |
-\break
-\set glissandoMap = #'((0 . 1) (1 . 0))
-<c, g'>1\glissando |
-<d a'> |
-\set glissandoMap = #'((0 . 0) (0 . 1) (0 . 2))
-c1\glissando |
-<d f a> |
-\set glissandoMap = #'((2 . 0) (1 . 0) (0 . 1))
-<f d a'>1\glissando |
-<c c'> |
+@lilypond[verbatim,quote]
+\relative {
+ <c' e>1\glissando g' |
+ <c, e>1\glissando |
+ <g' b> |
+ \break
+ \set glissandoMap = #'((0 . 1) (1 . 0))
+ <c, g'>1\glissando |
+ <d a'> |
+ \set glissandoMap = #'((0 . 0) (0 . 1) (0 . 2))
+ c1\glissando |
+ <d f a> |
+ \set glissandoMap = #'((2 . 0) (1 . 0) (0 . 1))
+ <f d a'>1\glissando |
+ <c c'> |
+}
@end lilypond
Se pueden crear distintos tipos de glissando. Para ver más detalles,
quebrado) sobre un acorde, se denota adjuntando @code{\arpeggio} al
acorde:
-@lilypond[verbatim,quote,relative=1]
-<c e g c>1\arpeggio
+@lilypond[verbatim,quote]
+\relative { <c' e g c>1\arpeggio }
@end lilypond
Se pueden escribir distintos tipos de acordes arpegiados.
@code{\arpeggioNormal} produce la vuelta al arpegio normal:
-@lilypond[verbatim,quote,relative=1]
-<c e g c>2\arpeggio
+@lilypond[verbatim,quote]
+\relative {
+ <c' e g c>2\arpeggio
-\arpeggioArrowUp
-<c e g c>2\arpeggio
+ \arpeggioArrowUp
+ <c e g c>2\arpeggio
-\arpeggioArrowDown
-<c e g c>2\arpeggio
+ \arpeggioArrowDown
+ <c e g c>2\arpeggio
-\arpeggioNormal
-<c e g c>2\arpeggio
+ \arpeggioNormal
+ <c e g c>2\arpeggio
+}
@end lilypond
@cindex arpegiado, acorde, símbolos especiales
Se pueden crear símbolos especiales de arpegio @emph{con corchete}:
-@lilypond[verbatim,quote,relative=1]
-<c e g c>2
+@lilypond[verbatim,quote]
+\relative {
+ <c' e g c>2
-\arpeggioBracket
-<c e g c>2\arpeggio
+ \arpeggioBracket
+ <c e g c>2\arpeggio
-\arpeggioParenthesis
-<c e g c>2\arpeggio
+ \arpeggioParenthesis
+ <c e g c>2\arpeggio
-\arpeggioParenthesisDashed
-<c e g c>2\arpeggio
+ \arpeggioParenthesisDashed
+ <c e g c>2\arpeggio
-\arpeggioNormal
-<c e g c>2\arpeggio
+ \arpeggioNormal
+ <c e g c>2\arpeggio
+}
@end lilypond
Las propiedades de discontinuidad del paréntesis del arpegio se
Los @notation{trinos} largos mantenidos, con línea de extensión, se
hacen con @code{\startTrillSpan} y @code{\stopTrillSpan}:
-@lilypond[verbatim,quote,relative=2]
-d1\startTrillSpan
-d1
-c2\stopTrillSpan
-r2
+@lilypond[verbatim,quote]
+\relative {
+ d''1\startTrillSpan
+ d1
+ c2\stopTrillSpan
+ r2
+}
@end lilypond
Un trino extendido que atraviesa un salto de línea
recomienza exactamente encima de la primera nota
de la nueva línea.
-@lilypond[ragged-right,verbatim,quote,relative=2]
-d1\startTrillSpan
-\break
-d1
-c2\stopTrillSpan
-r2
+@lilypond[ragged-right,verbatim,quote]
+\relative {
+ d''1\startTrillSpan
+ \break
+ d1
+ c2\stopTrillSpan
+ r2
+}
@end lilypond
Los trinos extendidos consecutivos funcionan sin necesidad de
instrucciones @code{\stopTrillSpan} explícitas, porque cada trino
se convertirá automáticamente en el borde derecho del trino anterior.
-@lilypond[verbatim,quote,relative=2]
-d1\startTrillSpan
-d1
-b1\startTrillSpan
-d2\stopTrillSpan
-r2
+@lilypond[verbatim,quote]
+\relative {
+ d''1\startTrillSpan
+ d1
+ b1\startTrillSpan
+ d2\stopTrillSpan
+ r2
+}
@end lilypond
También se pueden combinar los trinos con notas de adorno.
las notas de adorno con precisión están descritos en
@ref{Notas de adorno}.
-@lilypond[verbatim,quote,relative=2]
-d1~\afterGrace
-d1\startTrillSpan { c32[ d]\stopTrillSpan }
-c2 r2
+@lilypond[verbatim,quote]
+\relative {
+ d''1~\afterGrace
+ d1\startTrillSpan { c32[ d]\stopTrillSpan }
+ c2 r2
+}
@end lilypond
@cindex trinos de nota explícita
segundo es la nota @emph{trinada}, que se imprime como una cabeza de
nota, sin plica y entre paréntesis.
-@lilypond[verbatim,quote,relative=2]
-\pitchedTrill
-d2\startTrillSpan fis
-d2
-c2\stopTrillSpan
-r2
+@lilypond[verbatim,quote]
+\relative {
+ \pitchedTrill
+ d''2\startTrillSpan fis
+ d2
+ c2\stopTrillSpan
+ r2
+}
@end lilypond
@cindex trino con nota y alteración
la misma nota dentro del mismo compás. Sólo se imprime la
alteración del primer trino con nota, dentro de un compás.
-@lilypond[verbatim,quote,relative=2]
-\pitchedTrill
-eis4\startTrillSpan fis
-eis4\stopTrillSpan
-\pitchedTrill
-eis4\startTrillSpan cis
-eis4\stopTrillSpan
-\pitchedTrill
-eis4\startTrillSpan fis
-eis4\stopTrillSpan
-\pitchedTrill
-eis4\startTrillSpan fis!
-eis4\stopTrillSpan
+@lilypond[verbatim,quote]
+\relative {
+ \pitchedTrill
+ eis''4\startTrillSpan fis
+ eis4\stopTrillSpan
+ \pitchedTrill
+ eis4\startTrillSpan cis
+ eis4\stopTrillSpan
+ \pitchedTrill
+ eis4\startTrillSpan fis
+ eis4\stopTrillSpan
+ \pitchedTrill
+ eis4\startTrillSpan fis!
+ eis4\stopTrillSpan
+}
@end lilypond
Se puede indicar la cuerda en que se debe tocar una nota añadiendo
@code{\}@tie{}@var{número} a una nota.
-@lilypond[verbatim,quote,relative=0]
+@lilypond[verbatim,quote,fragment]
\clef "treble_8"
c4\5 e\4 g2\3
-<c,\5 e\4 g\3>1
+<c\5 e\4 g\3>1
@end lilypond
Cuando se usan al mismo tiempo digitaciones e indicaciones del número
individuales @emph{fuera} de acordes, las digitaciones se colocan
usando un mecanismo distinto.
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment]
\clef "treble_8"
g4\3-0
g-0\3
escribir al final un espacio seguido de un ángulo de cierre @code{>} o
similar.}
-@lilypond[quote,verbatim,relative=0]
+@lilypond[quote,verbatim,fragment]
\clef "treble_8"
c4\rightHandFinger #1
e\rightHandFinger #2
g\rightHandFinger #3
-c\rightHandFinger #4
-<c,\rightHandFinger #1 e\rightHandFinger #2
- g\rightHandFinger #3 c\rightHandFinger #4 >1
+c'\rightHandFinger #4
+<c\rightHandFinger #1 e\rightHandFinger #2
+ g\rightHandFinger #3 c'\rightHandFinger #4 >1
@end lilypond
Por brevedad, se puede escribir @code{\rightHandFinger} como algo más
Este ejemplo muestra cómo incluir indicaciones de posición y cejilla
de guitarra:
-@lilypond[quote,ragged-right,verbatim,relative=0]
-\clef "treble_8"
-b16 d g b e
-\textSpannerDown
-\override TextSpanner.bound-details.left.text = #"XII "
-g16\startTextSpan
-b16 e g e b g\stopTextSpan
-e16 b g d
+@lilypond[quote,ragged-right,verbatim,fragment]
+\relative {
+ \clef "treble_8"
+ b,16 d g b e
+ \textSpannerDown
+ \override TextSpanner.bound-details.left.text = #"XII "
+ g16\startTextSpan
+ b16 e g e b g\stopTextSpan
+ e16 b g d
+}
@end lilypond
@seealso
MIDI. Observe que pasa por alto todos los eventos, incluidos el tempo
y los cambios de instrumento. Está usted advertido.
-@lilypond[quote,relative=2,ragged-right,verbatim]
-c8 d
-\set Score.skipTypesetting = ##t
-e8 e e e e e e e
-\set Score.skipTypesetting = ##f
-c8 d b bes a g c2
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ c''8 d
+ \set Score.skipTypesetting = ##t
+ e8 e e e e e e e
+ \set Score.skipTypesetting = ##f
+ c8 d b bes a g c2
+}
@end lilypond
En música polifónica, @code{Score.skipTypesetting} afecta a todas las
Cuando una voz cambia a otro pentagrama, se puede imprimir
automáticamente una línea que conecte las notas:
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,verbatim]
\new PianoStaff <<
\new Staff = "one" {
\showStaffSwitch
- c1
+ c'1
\change Staff = "two"
b2 a
}
de mantenimiento como el pedal derecho del piano se encuentran también
en el vibráfono y en la celesta.
-@lilypond[quote,verbatim,relative=2]
-c4\sustainOn d e g
-<c, f a>1\sustainOff
-c4\sostenutoOn e g c,
-<bes d f>1\sostenutoOff
-c4\unaCorda d e g
-<d fis a>1\treCorde
+@lilypond[quote,verbatim]
+\relative {
+ c''4\sustainOn d e g
+ <c, f a>1\sustainOff
+ c4\sostenutoOn e g c,
+ <bes d f>1\sostenutoOff
+ c4\unaCorda d e g
+ <d fis a>1\treCorde
+}
@end lilypond
@cindex pedal, estilos de indicación
textual de forma predeterminada, mientras que el pedal sostenuto
utiliza el método mixto de forma predeterminada.
-@lilypond[quote,verbatim,relative=2]
-c4\sustainOn g c2\sustainOff
-\set Staff.pedalSustainStyle = #'mixed
-c4\sustainOn g c d
-d\sustainOff\sustainOn g, c2\sustainOff
-\set Staff.pedalSustainStyle = #'bracket
-c4\sustainOn g c d
-d\sustainOff\sustainOn g, c2
-\bar "|."
+@lilypond[quote,verbatim]
+\relative {
+ c''4\sustainOn g c2\sustainOff
+ \set Staff.pedalSustainStyle = #'mixed
+ c4\sustainOn g c d
+ d\sustainOff\sustainOn g, c2\sustainOff
+ \set Staff.pedalSustainStyle = #'bracket
+ c4\sustainOn g c d
+ d\sustainOff\sustainOn g, c2
+ \bar "|."
+}
@end lilypond
La colocación de las instrucciones de pedal se corresponden con el
derecha. La posición de los pedales se puede indicar con indicaciones
textuales:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\textLengthOn
-cis1_\markup \concat \vcenter {
+cis''1_\markup \concat \vcenter {
[D \flat C \sharp B|E \sharp F \sharp G A \flat] }
-c!1_\markup \concat \vcenter {
+c''!1_\markup \concat \vcenter {
[ C \natural ] }
@end lilypond
o mediante diagramas de pedal:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\textLengthOn
-cis1_\markup { \harp-pedal #"^v-|vv-^" }
-c!1_\markup { \harp-pedal #"^o--|vv-^" }
+cis''1_\markup { \harp-pedal #"^v-|vv-^" }
+c''!1_\markup { \harp-pedal #"^o--|vv-^" }
@end lilypond
La instrucción @code{\harp-pedal} acepta una cadena de caracteres en
los nombres de las notas en holandés. Para utilizar otros nombres
para las alteraciones, consulte @ref{Nombres de las notas en otros idiomas}.
-@lilypond[verbatim,quote,relative=2]
-ais1 aes aisis aeses
+@lilypond[verbatim,quote,fragment]
+\relative c'' { ais1 aes aisis aeses }
@end lilypond
Un becuadro cancelará el efecto de una alteración accidental o de la
sintaxis del nombre de la nota con un sufijo; una nota becuadro se
muestra como un simple nombre de nota natural:
-@lilypond[verbatim,quote,relative=2]
-a4 aes a2
+@lilypond[verbatim,quote,fragment]
+\relative c'' { a4 aes a2 }
@end lilypond
@cindex cuartos de tono
Se pueden escribir medios bemoles y los medios sostenidos; a
continuación presentamos una serie de DOs cada vez más agudos:
-@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
@cindex alteración recordatoria
del nombre de la nota. Estas alteraciones adicionales se pueden usar
también para producir notas con becuadro.
-@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 alteración en nota ligada
Las alteraciones sobre notas unidas por ligadura sólo se imprimen al
comienzo de un sistema:
-@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}. A veces se definen solamente
estos nombres contraídos en los archivos de idioma correspondientes.
-@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
@cindex microtonos
central. Estos nombres de clave pueden (aunque no necesariamente)
encerrarse entre comillas.
-@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
Otras claves son las siguientes:
@var{nombre_de_clave} se debe encerrar entre comillas si contiene
caracteres no alfabéticos:
-@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
Se puede obtener una indicación de octavación opcional encerrando
el argumento numérico entre paréntesis o corchetes rectos:
-@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
Las alturas se imprimen como si el argumento numérico no tuviera
(lidio), @code{\mixolydian} (mixolidio), @code{\aeolian} (eolio) y
@code{\locrian} (locrio).
-@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
Se pueden definir modos adicionales, escribiendo una lista con la
especifica una sola posición, las alteraciones se colocan dentro
de la octava que termina en dicha posición del pentagrama.
-@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
Los @notation{corchetes de Ottava} introducen un trasporte adicional
de una octava para el pentagrama.
-@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
Se puede modificar la apariencia de la cabeza de las notas:
-@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
Para ver todos los estilos de cabeza de las notas, consulte
tanto en el contexto de pentagrama normal como en el de tablatura, y
se pueden usar para representar cualquier significado musical:
-@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
La forma de función musical de esta instrucción predefinida se puede
aspa, tanto en el contexto de pentagrama normal como en el de
tablatura:
-@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
Como sinónimos de @code{\xNote}, @code{\xNotesOn} y @code{\xNotesOff},
También existe una abreviatura similar para las formas en rombo:
-@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
Funk (Harmonica Sacra), Walker y Aiken @q{(Christian
Harmony)}:
-@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
escribe en un tono menor, la nota de la escala se puede determinar a
partir del relativo mayor:
-@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
@predefined
de barra inclinada, donde el ejecutante puede elegir cualquier nota
pero con el ritmo especificado. Estas cabezas de nota se crean así:
-@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 ~
Una repetición simple sin finales alternativos:
-@lilypond[verbatim,quote,relative=2]
-\repeat volta 2 { c4 d e f }
-c2 d
-\repeat volta 2 { d4 e f g }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat volta 2 { c''4 d e f }
+ c2 d
+ \repeat volta 2 { d4 e f g }
+}
@end lilypond
Los filanes alternativos (casillas de primera y segunda vez)
Repetición única con primera y segunda vez:
-@lilypond[verbatim,quote,relative=2]
-\repeat volta 2 { c4 d e f | }
-\alternative {
- { c2 e | }
- { f2 g | }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat volta 2 { c''4 d e f | }
+ \alternative {
+ { c2 e | }
+ { f2 g | }
+ }
+ c1
}
-c1
@end lilypond
Varias repeticiones con primera y segunda vez:
-@lilypond[verbatim,quote,relative=2]
-\repeat volta 4 { c4 d e f | }
-\alternative {
- { c2 e | }
- { f2 g | }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat volta 4 { c''4 d e f | }
+ \alternative {
+ { c2 e | }
+ { f2 g | }
+ }
+ c1
}
-c1
@end lilypond
Más de una repetición con más de un final alternativo:
-@lilypond[verbatim,quote,relative=2]
-\repeat volta 3 { c4 d e f | }
-\alternative {
- { c2 e | }
- { f2 g | }
- { a2 g | }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat volta 3 { c''4 d e f | }
+ \alternative {
+ { c2 e | }
+ { f2 g | }
+ { a2 g | }
+ }
+ c1
}
-c1
@end lilypond
@warning{Si hay dos o más alternativas, no debe aparecer
instrucciones @code{\partial} o comprobaciones de compás en los
lugares en que se imprimen estos símbolos de repetición:
-@lilypond[verbatim,quote,relative=1]
-% no \partial here
-c4 e g % no bar check here
-% no \partial here
-\repeat volta 4 {
- e4 |
- c2 e |
+@lilypond[verbatim,quote]
+\relative { % no \partial here
+ c'4 e g % no bar check here
% no \partial here
- g4 g g % no bar check here
+ \repeat volta 4 {
+ e4 |
+ c2 e |
+ % no \partial here
+ g4 g g % no bar check here
+ }
+ % no \partial here
+ g4 |
+ a2 a |
+ g1 |
}
-% no \partial here
-g4 |
-a2 a |
-g1 |
@end lilypond
De forma similar, si una repetición compienza con el compás de
este caso se necesita la instrucción @code{\partial} al principio de
la partitura:
-@lilypond[verbatim,quote,relative=1]
-\partial 4 % required
-\repeat volta 4 {
- e4 |
- c2 e |
+@lilypond[verbatim,quote]
+\relative {
+ \partial 4 % required
+ \repeat volta 4 {
+ e'4 |
+ c2 e |
+ % no \partial here
+ g4 g g % no bar check here
+ }
% no \partial here
- g4 g g % no bar check here
+ g4 |
+ a2 a |
+ g1 |
}
-% no \partial here
-g4 |
-a2 a |
-g1 |
@end lilypond
Cuando se añaden primera y segunda vez a una repetición que comienza
Se pueden añadir ligaduras de unión al segundo final:
-@lilypond[verbatim,quote,relative=2]
-c1
-\repeat volta 2 { c4 d e f~ }
-\alternative {
- { f2 d }
- { f2\repeatTie f, }
+@lilypond[verbatim,quote]
+\relative {
+ c''1
+ \repeat volta 2 { c4 d e f~ }
+ \alternative {
+ { f2 d }
+ { f2\repeatTie f, }
+ }
}
@end lilypond
Salida de una repetición:
-@lilypond[verbatim,quote,relative=1]
-e1
-\inStaffSegno
-f2 g a b
-c1_"D.S." \bar "|."
+@lilypond[verbatim,quote]
+\relative {
+ e'1
+ \inStaffSegno
+ f2 g a b
+ c1_"D.S." \bar "|."
+}
@end lilypond
Al comienzo de una repetición:
-@lilypond[verbatim,quote,relative=1]
-e1
-\repeat volta 2 {
- \inStaffSegno % start repeat
- f2 g a b
+@lilypond[verbatim,quote]
+\relative {
+ e'1
+ \repeat volta 2 {
+ \inStaffSegno % start repeat
+ f2 g a b
+ }
+ c1_"D.S." \bar "|."
}
-c1_"D.S." \bar "|."
@end lilypond
Al final de una repetición:
-@lilypond[verbatim,quote,relative=1]
-e1
-\repeat volta 2 {
+@lilypond[verbatim,quote]
+\relative {
+ e'1
+ \repeat volta 2 {
+ f2 g a b
+ \inStaffSegno % end repeat
+ }
f2 g a b
- \inStaffSegno % end repeat
+ c1_"D.S." \bar "|."
}
-f2 g a b
-c1_"D.S." \bar "|."
@end lilypond
Entre dos repeticiones:
-@lilypond[verbatim,quote,relative=1]
-e1
-\repeat volta 2 {
- f2 g a b
-}
-\inStaffSegno % double repeat
-\repeat volta 2 {
- f2 g a b
+@lilypond[verbatim,quote]
+\relative {
+ e'1
+ \repeat volta 2 {
+ f2 g a b
+ }
+ \inStaffSegno % double repeat
+ \repeat volta 2 {
+ f2 g a b
+ }
+ c1_"D.S." \bar "|."
}
-c1_"D.S." \bar "|."
@end lilypond
Se pueden obtener símbolos de línea divisoria alternativos
definidos anteriormente con la instrucción @code{\defineBarLine}
(véase @ref{Barras de compás}).
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote]
\defineBarLine ":|.S[" #'(":|." "S[" "")
\defineBarLine "]" #'("]" "" "")
-e1
-\repeat volta 2 {
- f2 g a b
- \once \set Score.endRepeatSegnoType = ":|.S["
- \inStaffSegno
+\relative {
+ e'1
+ \repeat volta 2 {
+ f2 g a b
+ \once \set Score.endRepeatSegnoType = ":|.S["
+ \inStaffSegno
+ }
+ f2 g \bar "]" a b
+ c1_"D.S." \bar "|."
}
-f2 g \bar "]" a b
-c1_"D.S." \bar "|."
@end lilypond
@snippets
@item start-repeat
Imprimir una barra de compás @code{.|:}
-@lilypond[verbatim,quote,relative=2]
-c1
-\set Score.repeatCommands = #'(start-repeat)
-d4 e f g
-c1
+@lilypond[verbatim,quote]
+\relative {
+ c''1
+ \set Score.repeatCommands = #'(start-repeat)
+ d4 e f g
+ c1
+}
@end lilypond
En la práctica habitual del grabado no se imprimen signos de
@item @code{end-repeat}
Imprimir una barra de compás @code{:|.}
-@lilypond[verbatim,quote,relative=2]
-c1
-d4 e f g
-\set Score.repeatCommands = #'(end-repeat)
-c1
+@lilypond[verbatim,quote]
+\relative {
+ c''1
+ d4 e f g
+ \set Score.repeatCommands = #'(end-repeat)
+ c1
+}
@end lilypond
@item (volta @var{number}) @dots{} (volta #f)
El corchete de vez se debe terminar de forma explícita, pues en caso
contrario no se imprime.
-@lilypond[verbatim,quote,relative=2]
-f4 g a b
-\set Score.repeatCommands = #'((volta "2"))
-g4 a g a
-\set Score.repeatCommands = #'((volta #f))
-c1
+@lilypond[verbatim,quote]
+\relative {
+ f''4 g a b
+ \set Score.repeatCommands = #'((volta "2"))
+ g4 a g a
+ \set Score.repeatCommands = #'((volta #f))
+ c1
+}
@end lilypond
@end table
Se pueden producir varias instrucciones de repetición en el mismo
punto:
-@lilypond[verbatim,quote,relative=2]
-f4 g a b
-\set Score.repeatCommands = #'((volta "2, 5") end-repeat)
-g4 a g a
-c1
-\set Score.repeatCommands = #'((volta #f) (volta "95") end-repeat)
-b1
-\set Score.repeatCommands = #'((volta #f))
+@lilypond[verbatim,quote]
+\relative {
+ f''4 g a b
+ \set Score.repeatCommands = #'((volta "2, 5") end-repeat)
+ g4 a g a
+ c1
+ \set Score.repeatCommands = #'((volta #f) (volta "95") end-repeat)
+ b1
+ \set Score.repeatCommands = #'((volta #f))
+}
@end lilypond
@cindex corchete de casilla de repetición con texto
@code{@var{número_de_repeticiones}} es el número de veces que
@code{@var{expresión_musical}} se repite.
-@lilypond[verbatim,quote,relative=2]
-\repeat unfold 2 { c4 d e f }
-c1
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 2 { c''4 d e f }
+ c1
+}
@end lilypond
En ciertos casos, especialmente dentro de un contexto
Se pueden hacer repeticiones desplegadas con finales alternativos.
-@lilypond[verbatim,quote,relative=2]
-\repeat unfold 2 { c4 d e f }
-\alternative {
- { c2 g' }
- { c,2 b }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 2 { c''4 d e f }
+ \alternative {
+ { c2 g' }
+ { c,2 b }
+ }
+ c1
}
-c1
@end lilypond
Si hay más repeticiones que finales alternativos, el primer final
las alternativas restantes completan el número total
de repeticiones.
-@lilypond[verbatim,quote,relative=2]
-\repeat unfold 4 { c4 d e f }
-\alternative {
- { c2 g' }
- { c,2 b }
- { e2 d }
- }
-c1
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 4 { c''4 d e f }
+ \alternative {
+ { c2 g' }
+ { c,2 b }
+ { e2 d }
+ }
+ c1
+}
@end lilypond
Si existen más finales alternativos que repeticiones,
se aplican solo los primeros finales alternativos.
Las alternativas restantes se ignoran y no se imprimen.
-@lilypond[verbatim,quote,relative=2]
-\repeat unfold 2 { c4 d e f }
-\alternative {
- { c2 g' }
- { c,2 b }
- { e2 d }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 2 { c''4 d e f }
+ \alternative {
+ { c2 g' }
+ { c,2 b }
+ { e2 d }
+ }
+ c1
}
-c1
@end lilypond
Es posible también anidar varias funciones
@code{unfold} (con finales alternativos o sin ellos).
-@lilypond[verbatim,quote,relative=2]
-\repeat unfold 2 {
- \repeat unfold 2 { c4 d e f }
- \alternative {
- { c2 g' }
- { c,2 b }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 2 {
+ \repeat unfold 2 { c''4 d e f }
+ \alternative {
+ { c2 g' }
+ { c,2 b }
+ }
}
+ c1
}
-c1
@end lilypond
Las construcciones de acorde se pueden repetir mediante el
Los patrones más cortos que un compás se sustituyen por
barras inclinadas.
-@lilypond[verbatim,quote,relative=2]
-\repeat percent 4 { c128 d e f }
-\repeat percent 4 { c64 d e f }
-\repeat percent 5 { c32 d e f }
-\repeat percent 4 { c16 d e f }
-\repeat percent 4 { c8 d }
-\repeat percent 4 { c4 }
-\repeat percent 2 { c2 }
+@lilypond[verbatim,quote]
+\relative c'' {
+ \repeat percent 4 { c128 d e f }
+ \repeat percent 4 { c64 d e f }
+ \repeat percent 5 { c32 d e f }
+ \repeat percent 4 { c16 d e f }
+ \repeat percent 4 { c8 d }
+ \repeat percent 4 { c4 }
+ \repeat percent 2 { c2 }
+}
@end lilypond
Los patrones de repetición de uno o dos compases se sustituyen
por signos parecidos al símbolo de porcentaje.
-@lilypond[verbatim,quote,relative=2]
-\repeat percent 2 { c4 d e f }
-\repeat percent 2 { c2 d }
-\repeat percent 2 { c1 }
+@lilypond[verbatim,quote]
+\relative c'' {
+ \repeat percent 2 { c4 d e f }
+ \repeat percent 2 { c2 d }
+ \repeat percent 2 { c1 }
+}
@end lilypond
-@lilypond[verbatim,quote,relative=2]
-\repeat percent 3 { c4 d e f | c2 g' }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat percent 3 { c''4 d e f | c2 g' }
+}
@end lilypond
Los patrones más cortos que un compás pero que contienen
duraciones mezcladas utilizan un símbolo de porcentaje doble.
-@lilypond[verbatim,quote,relative=2]
-\repeat percent 4 { c8. <d f>16 }
-\repeat percent 2 { \tuplet 3/2 { r8 c d } e4 }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat percent 4 { c''8. <d f>16 }
+ \repeat percent 2 { \tuplet 3/2 { r8 c d } e4 }
+}
@end lilypond
@snippets
Para colocar marcas de trémolo entre las notas, use @code{\repeat} con
el estilo @code{tremolo} (trémolo):
-@lilypond[quote,verbatim,relative=2]
-\repeat tremolo 8 { c16 d }
-\repeat tremolo 6 { c16 d }
-\repeat tremolo 2 { c16 d }
+@lilypond[quote,verbatim]
+\relative c'' {
+ \repeat tremolo 8 { c16 d }
+ \repeat tremolo 6 { c16 d }
+ \repeat tremolo 2 { c16 d }
+}
@end lilypond
La sintaxis de @code{\repeat tremolo} espera que se escriban
Si @code{@var{N}} se omite, se utiliza el último valor (almacenado en
@code{tremoloFlags}):
-@lilypond[quote,verbatim,relative=2]
-c2:8 c:32
-c: c:
+@lilypond[quote,verbatim]
+\relative {
+ c''2:8 c:32
+ c: c:
+}
@end lilypond
@snippets
sólo como notas unidas por una barra.
@c Two 64th notes are needed to obtain beams
-@lilypond[quote,verbatim,relative=2]
-\time 8/1
-c\longa c\breve c1 c2
-c4 c8 c16 c32 c64 c128 c128
+@lilypond[quote,verbatim]
+\relative {
+ \time 8/1
+ c''\longa c\breve c1 c2
+ c4 c8 c16 c32 c64 c128 c128
+}
@end lilypond
Aquí se pueden ver las mismas duraciones con el barrado automático
@c not strictly "writing rhythms"; more of a "displaying" thing,
@c but it's ok here. -gp
-@lilypond[quote,verbatim,relative=2]
-\time 8/1
-\autoBeamOff
-c\longa c\breve c1 c2
-c4 c8 c16 c32 c64 c128 c128
+@lilypond[quote,verbatim]
+\relative {
+ \time 8/1
+ \autoBeamOff
+ c''\longa c\breve c1 c2
+ c4 c8 c16 c32 c64 c128 c128
+}
@end lilypond
Se puede escribir una nota con la duración de una cuádruple breve
anterior. Por omisión, el valor de la primera nota es el de una
negra.
-@lilypond[quote,verbatim,relative=2]
-a a a2 a a4 a a1 a
+@lilypond[quote,verbatim]
+\relative { a' a a2 a a4 a a1 a }
@end lilypond
@cindex notas, con puntillo
(@code{.}) después del número. Las notas con doble puntillo se
especifican escribiendo dos puntos, y así sucesivamente.
-@lilypond[quote,verbatim,relative=2]
-a4 b c4. b8 a4. b4.. c8.
+@lilypond[quote,verbatim]
+\relative { a'4 b c4. b8 a4. b4.. c8. }
@end lilypond
Ciertas duraciones no se pueden representar sólo con duraciones
la duración de un conjunto de grupos directamente antes de la
música para que así se agrupen automáticamente:
-@lilypond[quote,verbatim,relative=2]
-g2 r8 \tuplet 3/2 8 { cis16 d e e f g g f e }
+@lilypond[quote,verbatim]
+\relative {
+ g'2 r8 \tuplet 3/2 8 { cis16 d e e f g g f e }
+}
@end lilypond
@cindex grupos de valoración especial, colocación del corchete
Los grupos pueden anidarse unos dentro de otros:
-@lilypond[quote,verbatim,relative=2]
-\autoBeamOff
-c4 \tuplet 5/4 { f8 e f \tuplet 3/2 { e[ f g] } } f4
+@lilypond[quote,verbatim]
+\relative {
+ \autoBeamOff
+ c''4 \tuplet 5/4 { f8 e f \tuplet 3/2 { e[ f g] } } f4
+}
@end lilypond
La modificación de los grupos especiales anidados que comienzan en el
En el siguiente ejemplo las tres primeras notas duran exactamente dos
partes, pero no se imprime ningún corchete de tresillo.
-@lilypond[quote,relative=2,verbatim]
-\time 2/4
-% Alter durations to triplets
-a4*2/3 gis a
-% Normal durations
-a4 a
-% Double the duration of chord
-<a d>4*2
-% Duration of quarter, appears like sixteenth
-b16*4 c4
+@lilypond[quote,verbatim]
+\relative {
+ \time 2/4
+ % Alter durations to triplets
+ a'4*2/3 gis a
+ % Normal durations
+ a4 a
+ % Double the duration of chord
+ <a d>4*2
+ % Duration of quarter, appears like sixteenth
+ b16*4 c4
+}
@end lilypond
La duración de los silencios espaciadores también se puede modificar
He aquí un ejemplo que muestra cómo
se puede comprimir y expandir la música:
-@lilypond[quote,relative=2,verbatim]
-\time 2/4
-% Normal durations
-<c a>4 c8 a
-% Scale music by *2/3
-\scaleDurations 2/3 {
- <c a f>4. c8 a f
-}
-% Scale music by *2
-\scaleDurations 2/1 {
- <c' a>4 c8 b
+@lilypond[quote,verbatim]
+\relative {
+ \time 2/4
+ % Normal durations
+ <c'' a>4 c8 a
+ % Scale music by *2/3
+ \scaleDurations 2/3 {
+ <c a f>4. c8 a f
+ }
+ % Scale music by *2
+ \scaleDurations 2/1 {
+ <c' a>4 c8 b
+ }
}
@end lilypond
notas que se quieren unir. Esto indica que la nota se une a la
siguiente, que debe tener la misma altura.
-@lilypond[quote,verbatim,relative=2]
-a2~ 4~ 16 r r8
+@lilypond[quote,verbatim]
+{ a'2~ 4~ 16 r r8 }
@end lilypond
Se usan ligaduras de unión bien cuando la nota atraviesa la barra de
Cuando la segunda vez de una repetición comienza con una nota ligada,
es necesario especificar la ligadura repetida como sigue:
-@lilypond[quote,relative=2,verbatim]
-\repeat volta 2 { c g <c e>2~ }
-\alternative {
- % 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 } }
+@lilypond[quote,verbatim]
+\relative {
+ \repeat volta 2 { c'' g <c e>2~ }
+ \alternative {
+ % 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 }
+ }
+}
@end lilypond
@cindex laissez vibrer
la notación para piano, arpa y otros instrumentos de cuerda y
percusión. Se pueden introducir de la siguiente manera:
-@lilypond[quote,verbatim,relative=1]
-<c f g>1\laissezVibrer
+@lilypond[quote,verbatim,fragment]
+<c' f' g'>1\laissezVibrer
@end lilypond
@cindex ligaduras, colocación
Se puede hacer que las ligaduras de expresión sean discontinuas,
punteadas o una combinación de continuas y discontinuas.
-@lilypond[quote, verbatim, relative=1]
-\tieDotted
-c2~ 2
-\tieDashed
-c2~ 2
-\tieHalfDashed
-c2~ 2
-\tieHalfSolid
-c2~ 2
-\tieSolid
-c2~ 2
+@lilypond[quote, verbatim]
+\relative c' {
+ \tieDotted
+ c2~ 2
+ \tieDashed
+ c2~ 2
+ \tieHalfDashed
+ c2~ 2
+ \tieHalfSolid
+ c2~ 2
+ \tieSolid
+ c2~ 2
+}
@end lilypond
Se pueden especificar patrones de discontinuidad personalizados:
-@lilypond[quote, verbatim, relative=1]
-\tieDashPattern #0.3 #0.75
-c2~ 2
-\tieDashPattern #0.7 #1.5
-c2~ 2
-\tieSolid
-c2~ 2
+@lilypond[quote, verbatim]
+\relative c' {
+ \tieDashPattern #0.3 #0.75
+ c2~ 2
+ \tieDashPattern #0.7 #1.5
+ c2~ 2
+ \tieSolid
+ c2~ 2
+}
@end lilypond
Las definiciones de patrones de discontinuidad para las ligaduras de
@var{layer} para las ligaduras de unión que colisionen con otros
objetos del pentagrama.
-@lilypond[verbatim,quote,ragged-right,relative=2]
-\override Tie.layer = #-2
-\override Staff.TimeSignature.layer = #-1
-\override Staff.KeySignature.layer = #-1
-\override Staff.TimeSignature.whiteout-box = ##t
-\override Staff.KeySignature.whiteout-box = ##t
-b2 b~
-\time 3/4
-\key a \major
-b r4
+@lilypond[verbatim,quote,ragged-right]
+\relative {
+ \override Tie.layer = #-2
+ \override Staff.TimeSignature.layer = #-1
+ \override Staff.KeySignature.layer = #-1
+ \override Staff.TimeSignature.whiteout = ##t
+ \override Staff.KeySignature.whiteout = ##t
+ b'2 b~
+ \time 3/4
+ \key a \major
+ b r4
+}
@end lilypond
@predefined
@c \time 16/1 is used to avoid spurious bar lines
@c and long tracts of empty measures
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\new Staff {
% These two lines are just to prettify this example
\time 16/1
formateador automático de colisiones de silencios no mueve estos
silencios.
-@lilypond[quote,verbatim,relative=2]
-a4\rest d4\rest
+@lilypond[quote,verbatim]
+\relative { a'4\rest d4\rest }
@end lilypond
@snippets
desplazamiento) se puede introducir como una nota con el
nombre@tie{}@code{s}:
-@lilypond[verbatim,quote,relative=2]
-c4 c s c
-s2 c
+@lilypond[verbatim,quote]
+\relative c'' {
+ c4 c s c |
+ s2 c |
+}
@end lilypond
@cindex letra, desplazamiento de
letra toman sus duraciones de las notas de una melodía asociada, a
través de @code{\addlyrics} o de @code{\lyricsto}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
{
- a2 \skip2 a2 a2
+ a'2 \skip2 a'2 a'2
}
\new Lyrics {
\lyricmode {
Dado que @code{\skip} es una instrucción, no afecta a las duraciones
por omisión de las notas siguientes, a diferencia de@tie{}@code{s}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
{
- \repeat unfold 8 { a4 }
+ \repeat unfold 8 { a'4 }
}
{
- a4 \skip 2 a |
- s2 a
+ a'4 \skip 2 a' |
+ s2 a'
}
>>
@end lilypond
@code{Staff} y @code{Voice} si no existe ninguno, igual que las notas
y los silencios normales:
-@lilypond[quote,verbatim,relative=2]
-s1 s s
+@lilypond[quote,verbatim]
+{ s1 s s }
@end lilypond
@code{\skip} tan sólo desplaza un tiempo musical; no produce ninguna
salida, de ninguna clase.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
% This is valid input, but does nothing
-\skip 1 \skip1 \skip 1
+{ \skip 1 \skip1 \skip 1 }
@end lilypond
@seealso
redonda o de breve, centrado en el compás, según el tipo de compás
vigente.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\time 4/4
R1 |
\time 6/4
dirigidas hacia el objeto correcto, o se ignorarán. Véase el ejemplo
siguiente:}
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
% This fails, as the wrong object name is specified
\override TextScript.padding = #5
R1^"wrong"
La indicación de compás se establece como sigue:
-@lilypond[quote,verbatim,relative=2]
-\time 2/4 c2
-\time 3/4 c2.
+@lilypond[quote,verbatim,fragment]
+\time 2/4 c''2
+\time 3/4 c''2.
@end lilypond
@cindex compás, visibilidad de la indicación de
puede modificar este comportamiento predeterminado, véase
@ref{Visibilidad de los objetos}.
-@lilypond[quote,verbatim,relative=2]
-\time 2/4
-c2 c
-\break
-c c
-\break
-\time 4/4
-c c c c
+@lilypond[quote,verbatim]
+\relative c'' {
+ \time 2/4
+ c2 c
+ \break
+ c c
+ \break
+ \time 4/4
+ c c c c
+}
@end lilypond
@cindex compás, estilo de la indicación de
El símbolo de compás que se usa en 2/2 y 4/4 se puede cambiar a un
estilo numérico:
-@lilypond[quote,verbatim,relative=2]
-% Default style
-\time 4/4 c1
-\time 2/2 c1
-% Change to numeric style
-\numericTimeSignature
-\time 4/4 c1
-\time 2/2 c1
-% Revert to default style
-\defaultTimeSignature
-\time 4/4 c1
-\time 2/2 c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ % Default style
+ \time 4/4 c1
+ \time 2/2 c1
+ % Change to numeric style
+ \numericTimeSignature
+ \time 4/4 c1
+ \time 2/2 c1
+ % Revert to default style
+ \defaultTimeSignature
+ \time 4/4 c1
+ \time 2/2 c1
+}
@end lilypond
Las indicaciones de compás de la música mensural se tratan en
Es muy sencillo escribir una indicación metronómica básica:
-@lilypond[verbatim,quote,relative=1]
-\tempo 4 = 120
-c2 d
-e4. d8 c2
+@lilypond[verbatim,quote]
+\relative {
+ \tempo 4 = 120
+ c'2 d
+ e4. d8 c2
+}
@end lilypond
También se pueden imprimir indicaciones metronómicas
como un intervalo entre dos números:
-@lilypond[verbatim,quote,relative=1]
-\tempo 4 = 40 - 46
-c4. e8 a4 g
-b,2 d4 r
+@lilypond[verbatim,quote]
+\relative {
+ \tempo 4 = 40 - 46
+ c'4. e8 a4 g
+ b,2 d4 r
+}
@end lilypond
Se pueden usar indicaciones de tempo con texto:
-@lilypond[verbatim,quote,relative=2]
-\tempo "Allegretto"
-c4 e d c
-b4. a16 b c4 r4
+@lilypond[verbatim,quote]
+\relative {
+ \tempo "Allegretto"
+ c''4 e d c
+ b4. a16 b c4 r4
+}
@end lilypond
La combinación de una indicación metronómica y un texto hace que la
marca de metrónomo se encierre entre paréntesis automáticamente:
-@lilypond[verbatim,quote,relative=2]
-\tempo "Allegro" 4 = 160
-g4 c d e
-d4 b g2
+@lilypond[verbatim,quote]
+\relative {
+ \tempo "Allegro" 4 = 160
+ g'4 c d e
+ d4 b g2
+}
@end lilypond
En general, el texto puede ser cualquier objeto de marcado:
-@lilypond[verbatim,quote,relative=2]
-\tempo \markup { \italic Faster } 4 = 132
-a8-. r8 b-. r gis-. r a-. r
+@lilypond[verbatim,quote]
+\relative {
+ \tempo \markup { \italic Faster } 4 = 132
+ a'8-. r8 b-. r gis-. r a-. r
+}
@end lilypond
Se puede escribir una indicación metronómica entre paréntesis sin
ninguna indicación textual, escribiendo una cadena vacía en la
entrada:
-@lilypond[verbatim,quote,relative=2]
-\tempo "" 8 = 96
-d4 g e c
+@lilypond[verbatim,quote]
+\relative {
+ \tempo "" 8 = 96
+ d''4 g e c
+}
@end lilypond
@funindex \markLengthOn
La @var{duración} puede ser cualquier valor menor de un compás
completo:
-@lilypond[quote,verbatim,relative=1]
-\time 3/4
-\partial 4.
-r4 e8 | a4 c8 b c4 |
+@lilypond[quote,verbatim]
+\relative {
+ \time 3/4
+ \partial 4.
+ r4 e'8 | a4 c8 b c4 |
+}
@end lilypond
El @code{\partial @var{duración}} se puede también escribir como:
@code{\cadenzaOn}, para despúes @q{reactivarlo} en el lugar
adecuado usando @code{\cadenzaOff}.
-@lilypond[verbatim,relative=2,quote]
-c4 d e d
-\cadenzaOn
-c4 c d8[ d d] f4 g4.
-\cadenzaOff
-\bar "|"
-d4 e d c
+@lilypond[verbatim,quote]
+\relative c'' {
+ c4 d e d
+ \cadenzaOn
+ c4 c d8[ d d] f4 g4.
+ \cadenzaOff
+ \bar "|"
+ d4 e d c
+}
@end lilypond
La numeración de compases se continúa al final de la cadencia.
-@lilypond[verbatim,relative=2,quote]
-% Show all bar numbers
-\override Score.BarNumber.break-visibility = #all-visible
-c4 d e d
-\cadenzaOn
-c4 c d8[ d d] f4 g4.
-\cadenzaOff
-\bar "|"
-d4 e d c
+@lilypond[verbatim,quote]
+\relative c'' {
+ % Show all bar numbers
+ \override Score.BarNumber.break-visibility = #all-visible
+ c4 d e d
+ \cadenzaOn
+ c4 c d8[ d d] f4 g4.
+ \cadenzaOff
+ \bar "|"
+ d4 e d c
+}
@end lilypond
Al insertar una instrucción @code{\bar} dentro de una cadencia no
posteriores tendrán que insertarse manualmente alteraciones
forzadas o de cortesía, véase @ref{Alteraciones accidentales}.
-@lilypond[verbatim,relative=2,quote]
-c4 d e d
-\cadenzaOn
-cis4 d cis d
-\bar "|"
-% First cis is printed without alteration even if it's after a \bar
-cis4 d cis! d
-\cadenzaOff
-\bar "|"
+@lilypond[verbatim,quote]
+\relative c'' {
+ c4 d e d
+ \cadenzaOn
+ cis4 d cis d
+ \bar "|"
+ % First cis is printed without alteration even if it's after a \bar
+ cis4 d cis! d
+ \cadenzaOff
+ \bar "|"
+}
@end lilypond
El barrado automático se desactiva mediante @code{\cadenzaOn}.
cadencias se debe introducir manualmente.
Véase @ref{Barras manuales}.
-@lilypond[verbatim,relative=2,quote]
-\repeat unfold 8 { c8 }
-\cadenzaOn
-cis8 c c c c
-\bar"|"
-c8 c c
-\cadenzaOff
-\repeat unfold 8 { c8 }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 8 { c''8 }
+ \cadenzaOn
+ cis8 c c c c
+ \bar"|"
+ c8 c c
+ \cadenzaOff
+ \repeat unfold 8 { c8 }
+}
@end lilypond
Estas instrucciones predefinidas afectan a todas las
En el ejemplo siguiente, las notas y los silencios que atraviesan la barra
de compás se dividen, y además las notas se unen mediante una ligadura.
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,verbatim]
\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
\remove "Rest_engraver"
\consists "Completion_rest_engraver"
}
-
-{ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2 }
+\relative {
+ c'2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2
+}
@end lilypond
Estos grabadores dividen todas las notas y silencios largos en la
las notas se convierten en barras inclinadas, y el pentagrama tiene
una sola línea:
-@lilypond[quote,relative=1,verbatim]
+@lilypond[quote,verbatim]
<<
\new RhythmicStaff {
- \new Voice = "myRhythm" {
+ \new Voice = "myRhythm" \relative {
\time 4/4
- c4 e8 f g2
+ c'4 e8 f g2
r4 g g f
g1
}
@funindex \autoBeamOff
@funindex autoBeamOff
-@lilypond[quote,verbatim,relative=2]
-\time 2/4 c8 c c c
-\time 6/8 c8 c c c8. c16 c8
+@lilypond[quote,verbatim]
+\relative c'' {
+ \time 2/4 c8 c c c
+ \time 6/8 c8 c c c8. c16 c8
+}
@end lilypond
Cuando estas decisiones automáticas no son lo bastante buenas, se
Si no se necesita el barrado automático, se puede desactivar con
@code{\autoBeamOff} y activarse con @code{\autoBeamOn}:
-@lilypond[quote,relative=1,verbatim]
-c4 c8 c8. c16 c8. c16 c8
-\autoBeamOff
-c4 c8 c8. c16 c8.
-\autoBeamOn
-c16 c8
+@lilypond[quote,verbatim]
+\relative c' {
+ c4 c8 c8. c16 c8. c16 c8
+ \autoBeamOff
+ c4 c8 c8. c16 c8.
+ \autoBeamOn
+ c16 c8
+}
@end lilypond
@cindex melismas, barras en
el denominador del compás. De forma predeterminada también, cada
unidad de longitud @code{baseMoment} es un único pulso.
-@lilypond[quote,relative=2,verbatim]
-\time 5/16
-c16^"default" c c c c |
-% beamExceptions are unlikely to be defined for 5/16 time,
-% but let's disable them anyway to be sure
-\set Timing.beamExceptions = #'()
-\set Timing.beatStructure = #'(2 3)
-c16^"(2+3)" c c c c |
-\set Timing.beatStructure = #'(3 2)
-c16^"(3+2)" c c c c |
+@lilypond[quote,verbatim]
+\relative c'' {
+ \time 5/16
+ c16^"default" c c c c |
+ % beamExceptions are unlikely to be defined for 5/16 time,
+ % but let's disable them anyway to be sure
+ \set Timing.beamExceptions = #'()
+ \set Timing.beatStructure = #'(2 3)
+ c16^"(2+3)" c c c c |
+ \set Timing.beatStructure = #'(3 2)
+ c16^"(3+2)" c c c c |
+}
@end lilypond
-@lilypond[quote,relative=2,verbatim]
-\time 4/4
-a8^"default" a a a a a a a
-% Disable beamExceptions because they are definitely
-% defined for 4/4 time
-\set Timing.beamExceptions = #'()
-\set Timing.baseMoment = #(ly:make-moment 1/4)
-\set Timing.beatStructure = #'(1 1 1 1)
-a8^"changed" a a a a a a a
+@lilypond[quote,verbatim]
+\relative {
+ \time 4/4
+ a'8^"default" a a a a a a a
+ % Disable beamExceptions because they are definitely
+ % defined for 4/4 time
+ \set Timing.beamExceptions = #'()
+ \set Timing.baseMoment = #(ly:make-moment 1/4)
+ \set Timing.beatStructure = #'(1 1 1 1)
+ a8^"changed" a a a a a a a
+}
@end lilypond
Los cambios en los ajustes de barrado se pueden limitar a contextos
específicos. Si no se incluye ningún ajuste en un contexto de nivel
más bajo, se aplican los ajustes del contexto circundante.
-@lilypond[quote, verbatim,relative=1]
+@lilypond[quote, verbatim]
\new Staff {
\time 7/8
% No need to disable beamExceptions
@code{Staff} si queremos aplicar el barrado a todas las voces del
pentagrama:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\time 7/8
% rhythm 3-1-1-2
% Change applied to Voice by default -- does not work correctly
% Because of autogenerated voices, all beating will
% be at baseMoment (1 . 8)
\set beatStructure = #'(3 1 1 2)
-<< {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
+<< \relative {a'8 a a a16 a a a a8 a} \\ \relative {f'4. f8 f f f} >>
% Works correctly with context Staff specified
\set Staff.beatStructure = #'(3 1 1 2)
-<< {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
+<< \relative {a'8 a a a16 a a a a8 a} \\ \relative {f'4. f8 f f f} >>
@end lilypond
El valor de @code{baseMoment} se puede ajustar para cambiar el
de @code{beatStructure} se debe fijar de manera que sea compatible con
el nuevo valor de @code{baseMoment}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\time 5/8
% No need to disable beamExceptions
% as they are not defined for 5/8 time
\set Timing.baseMoment = #(ly:make-moment 1/16)
\set Timing.beatStructure = #'(7 3)
-\repeat unfold 10 { a16 }
+\repeat unfold 10 { a'16 }
@end lilypond
@code{baseMoment} es un @i{momento}, una unidad de duración musical.
resultado un reinicio de los ajustes de barrado automático para el
contexto @code{Timing} al comportamiento predeterminado.
-@lilypond[quote,verbatim,relative=2]
-\time 6/8
-\repeat unfold 6 { a8 }
-% group (4 + 2)
-\set Timing.beatStructure = #'(4 2)
-\repeat unfold 6 { a8 }
-% go back to default behavior
-\time 6/8
-\repeat unfold 6 { a8 }
+@lilypond[quote,verbatim]
+\relative a' {
+ \time 6/8
+ \repeat unfold 6 { a8 }
+ % group (4 + 2)
+ \set Timing.beatStructure = #'(4 2)
+ \repeat unfold 6 { a8 }
+ % go back to default behavior
+ \time 6/8
+ \repeat unfold 6 { a8 }
+}
@end lilypond
Los ajustes de barrado automático predeterminados para un tipo de
corcheas. La regla @code{beamExceptions} puede sobreescribir el
ajuste @code{beatStructure} si no se reinicia @code{beamExceptions}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\time 4/4
\set Timing.baseMoment = #(ly:make-moment 1/8)
\set Timing.beatStructure = #'(3 3 2)
% This won't beam (3 3 2) because of beamExceptions
-\repeat unfold 8 {c8} |
+\repeat unfold 8 {c''8} |
% This will beam (3 3 2) because we clear beamExceptions
\set Timing.beamExceptions = #'()
-\repeat unfold 8 {c8}
+\repeat unfold 8 {c''8}
@end lilypond
De forma similar, las corcheas en compás de 3/4 se unen mediante una
las corcheas en 3/4 mediante una barra en cada parte, reinicie
@code{beamExceptions}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\time 3/4
% by default we beam in (6) due to beamExceptions
-\repeat unfold 6 {a8} |
+\repeat unfold 6 {a'8} |
% This will beam (1 1 1) due to default baseMoment and beatStructure
\set Timing.beamExceptions = #'()
-\repeat unfold 6 {a8}
+\repeat unfold 6 {a'8}
@end lilypond
En la música tipografiada de los períodos clásico y romántico, con
@code{beamHalfMeasure}, que tiene efecto solamente sobre indicaciones
de compás que tienen la cifra 3 en el numerador:
-@lilypond[quote,verbatim,relative=2]
-\time 3/4
-r4. a8 a a |
-\set Timing.beamHalfMeasure = ##f
-r4. a8 a a |
+@lilypond[quote,verbatim]
+\relative a' {
+ \time 3/4
+ r4. a8 a a |
+ \set Timing.beamHalfMeasure = ##f
+ r4. a8 a a |
+}
@end lilypond
@subsubsubheading Cómo funciona el barrado automático
automático para una indicación de compás se describe en
@ref{Indicación de compás}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
\new Staff {
\overrideTimeSignatureSettings
#'(1 5) % beatStructure
#'() % beamExceptions
\time 3/4
- \repeat unfold 6 { a8 }
+ \repeat unfold 6 { a'8 }
}
\new Staff {
\time 3/4
- \repeat unfold 6 { a8 }
+ \repeat unfold 6 { a'8 }
}
>>
@end lilypond
especifican manualmente marcando los puntos de comienzo y final con
@code{[} y @code{]}
-@lilypond[quote,relative=1,verbatim]
-r4 r8[ g' a r] r g[ | a] r
+@lilypond[quote,verbatim]
+\relative { r4 r8[ g' a r] r g[ | a] r }
@end lilypond
@cindex barras manuales, abreviatura de dirección
La dirección de las barras se puede establecer manualmente utilizando
indicadores de dirección:
-@lilypond[quote,relative=2,verbatim]
-c8^[ d e] c,_[ d e f g]
+@lilypond[quote,verbatim]
+\relative { c''8^[ d e] c,_[ d e f g] }
@end lilypond
@funindex \noBeam
Se pueden marcar notas individuales con @code{\noBeam} para evitar que
resulten unidas por una barra:
-@lilypond[quote,verbatim,relative=2]
-\time 2/4
-c8 c\noBeam c c
+@lilypond[quote,verbatim]
+\relative {
+ \time 2/4
+ c''8 c\noBeam c c
+}
@end lilypond
Se pueden producir al mismo tiempo barras de notas de adorno y barras
normales. Las notas de adorno sin barra no se colocan dentro de las
barras de notas normales.
-@lilypond[quote,verbatim,relative=2]
-c4 d8[
-\grace { e32 d c d }
-e8] e[ e
-\grace { f16 }
-e8 e]
+@lilypond[quote,verbatim]
+\relative {
+ c''4 d8[
+ \grace { e32 d c d }
+ e8] e[ e
+ \grace { f16 }
+ e8 e]
+}
@end lilypond
@funindex stemLeftBeamCount
este ejemplo, el último Fa se imprime con sólo una barra en el lado
izquierdo, es decir, la barra de corchea del grupo como un todo.
-@lilypond[quote,relative=2,verbatim]
-a8[ r16 f g a]
-a8[ r16
-\set stemLeftBeamCount = #2
-\set stemRightBeamCount = #1
-f16
-\set stemLeftBeamCount = #1
-g16 a]
+@lilypond[quote,verbatim]
+\relative a' {
+ a8[ r16 f g a]
+ a8[ r16
+ \set stemLeftBeamCount = #2
+ \set stemRightBeamCount = #1
+ f16
+ \set stemLeftBeamCount = #1
+ g16 a]
+}
@end lilypond
@predefined
gradualmente. Las cuatro primeras fusas se aceleran gradualmente,
mientras que las últimas cuatro fusas están a un tempo constante.
-@lilypond[relative=1,verbatim,quote]
-\override Beam.grow-direction = #LEFT
-\featherDurations #(ly:make-moment 2/1)
-{ c16[ c c c c c c c] }
-\override Beam.grow-direction = #RIGHT
-\featherDurations #(ly:make-moment 2/3)
-{ c32[ d e f] }
-% revert to non-feathered beams
-\override Beam.grow-direction = #'()
-{ g32[ a b c] }
+@lilypond[verbatim,quote]
+\relative c' {
+ \override Beam.grow-direction = #LEFT
+ \featherDurations #(ly:make-moment 2/1)
+ { c16[ c c c c c c c] }
+ \override Beam.grow-direction = #RIGHT
+ \featherDurations #(ly:make-moment 2/3)
+ { c32[ d e f] }
+ % revert to non-feathered beams
+ \override Beam.grow-direction = #'()
+ { g32[ a b c] }
+}
@end lilypond
@noindent
cambiar por otros tipos con la instrucción @code{\bar}. Por ejemplo,
se suele poner una doble barra de cierre al final de la pieza:
-@lilypond[quote,relative=1,verbatim]
-e4 d c2 \bar "|."
+@lilypond[quote,verbatim]
+\relative { e'4 d c2 \bar "|." }
@end lilypond
No deja de ser válida la última nota de un compás si no termina sobre
Están disponibles para su inserción manual dos tipos de líneas
divisorias simples y cinco tipos de doble barra:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar "|"
-f1 \bar "."
-g1 \bar "||"
-a1 \bar ".|"
-b1 \bar ".."
-c1 \bar "|.|"
-d1 \bar "|."
-e1
+@lilypond[quote,verbatim]
+\relative {
+ f'1 \bar "|"
+ f1 \bar "."
+ g1 \bar "||"
+ a1 \bar ".|"
+ b1 \bar ".."
+ c1 \bar "|.|"
+ d1 \bar "|."
+ e1
+}
@end lilypond
@noindent
así como la barra de puntos y la discontinua:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar ";"
-g1 \bar "!"
-a1
+@lilypond[quote,verbatim]
+\relative {
+ f'1 \bar ";"
+ g1 \bar "!"
+ a1
+}
@end lilypond
@noindent
y nueve tipos de barra de repetición:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar ".|:"
-g1 \bar ":..:"
-a1 \bar ":|.|:"
-b1 \bar ":|.:"
-c1 \bar ":.|.:"
-d1 \bar "[|:"
-e1 \bar ":|][|:"
-f1 \bar ":|]"
-g1 \bar ":|."
-a1
+@lilypond[quote,verbatim]
+\relative {
+ f'1 \bar ".|:"
+ g1 \bar ":..:"
+ a1 \bar ":|.|:"
+ b1 \bar ":|.:"
+ c1 \bar ":.|.:"
+ d1 \bar "[|:"
+ e1 \bar ":|][|:"
+ f1 \bar ":|]"
+ g1 \bar ":|."
+ a1
+}
@end lilypond
Además se puede imprimir una línea divisoria como una marca corta:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar "'" g1
+@lilypond[quote,fragment,verbatim]
+f'1 \bar "'" g'1
@end lilypond
Sin embargo, dado que las mencionadas marcas se utilizan usualmente en
el canto gregoriano, es preferible en este caso utilizar
LilyPond contempla la notación del canto kievano y ofrece una
línea divisoria especial kievana:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar "k"
+@lilypond[quote,fragment,verbatim]
+f'1 \bar "k"
@end lilypond
Pueden verse más detalles de esta notación explicados en
@ref{Tipografiado del canto kievano en notación cuadrada}.
de barras de compás que se diferencian en su comportamiento
en los saltos de línea:
-@lilypond[quote,relative=2,verbatim]
-c4 c c c
-\bar "S"
-c4 c c c \break
-\bar "S"
-c4 c c c
-\bar "S-|"
-c4 c c c \break
-\bar "S-|"
-c4 c c c
-\bar "S-S"
-c4 c c c \break
-\bar "S-S"
-c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ c4 c c c
+ \bar "S"
+ c4 c c c \break
+ \bar "S"
+ c4 c c c
+ \bar "S-|"
+ c4 c c c \break
+ \bar "S-|"
+ c4 c c c
+ \bar "S-S"
+ c4 c c c \break
+ \bar "S-S"
+ c1
+}
@end lilypond
@cindex repeticiones
final de la línea y una repetición izquierda (de comienzo) al
principio de la línea siguiente.
-@lilypond[quote,relative=2,verbatim]
-c4 c c c
-\bar ".|:-||"
-c4 c c c \break
-\bar ".|:-||"
-c4 c c c
+@lilypond[quote,verbatim]
+\relative c'' {
+ c4 c c c
+ \bar ".|:-||"
+ c4 c c c \break
+ \bar ".|:-||"
+ c4 c c c
+}
@end lilypond
Para combinaciones de repeticiones con el símbolo de segno,
existen seis variantes diferentes:
-@lilypond[quote,relative=2,verbatim]
-c4 c c c
-\bar ":|.S"
-c4 c c c \break
-\bar ":|.S"
-c4 c c c
-\bar ":|.S-S"
-c4 c c c \break
-\bar ":|.S-S"
-c4 c c c
-\bar "S.|:-S"
-c4 c c c \break
-\bar "S.|:-S"
-c4 c c c
-\bar "S.|:"
-c4 c c c \break
-\bar "S.|:"
-c4 c c c
-\bar ":|.S.|:"
-c4 c c c \break
-\bar ":|.S.|:"
-c4 c c c
-\bar ":|.S.|:-S"
-c4 c c c \break
-\bar ":|.S.|:-S"
-c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ c4 c c c
+ \bar ":|.S"
+ c4 c c c \break
+ \bar ":|.S"
+ c4 c c c
+ \bar ":|.S-S"
+ c4 c c c \break
+ \bar ":|.S-S"
+ c4 c c c
+ \bar "S.|:-S"
+ c4 c c c \break
+ \bar "S.|:-S"
+ c4 c c c
+ \bar "S.|:"
+ c4 c c c \break
+ \bar "S.|:"
+ c4 c c c
+ \bar ":|.S.|:"
+ c4 c c c \break
+ \bar ":|.S.|:"
+ c4 c c c
+ \bar ":|.S.|:-S"
+ c4 c c c \break
+ \bar ":|.S.|:-S"
+ c1
+}
@end lilypond
Además, existe una instrucción @code{\inStaffSegno} que crea una
diferentes barras de extensión. La parque que sigue al signo
@code{"-"} no se usa para construir la barra de compás.
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
\defineBarLine "||-dashedSpan" #'("||" "" "!!")
\new StaffGroup <<
- \new Staff {
+ \new Staff \relative c'' {
c1 \bar "||"
c1 \bar "||-dashedSpan"
c1
}
- \new Staff {
+ \new Staff \relative c'' {
c1
c1
c1
contenedor para definir barras de extensión correctamente
alineadas a las barras principales:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
\defineBarLine ":|.-wrong" #'(":|." "" "|.")
\defineBarLine ":|.-right" #'(":|." "" " |.")
\new StaffGroup <<
- \new Staff {
+ \new Staff \relative c'' {
c1 \bar ":|.-wrong"
c1 \bar ":|.-right"
c1
}
- \new Staff {
+ \new Staff \relative c'' {
c1
c1
c1
líneas resultantes se conectan entre los distintos pentagramas de un
@code{StaffGroup}, @code{PianoStaff} o @code{GrandStaff}.
-@lilypond[quote,relative=1,verbatim]
+@lilypond[quote,verbatim]
<<
\new StaffGroup <<
- \new Staff {
- e4 d
+ \new Staff \relative {
+ e'4 d
\bar "||"
f4 e
}
- \new Staff { \clef bass c4 g e g }
+ \new Staff \relative { \clef bass c'4 g e g }
>>
- \new Staff { \clef bass c2 c2 }
+ \new Staff \relative { \clef bass c'2 c2 }
>>
@end lilypond
automáticamente para cada compás. También se puede establecer
manualmente:
-@lilypond[verbatim,quote,relative=1]
-c1 c c c
-\break
-\set Score.currentBarNumber = #50
-c1 c c c
+@lilypond[verbatim,quote]
+\relative c' {
+ c1 c c c
+ \break
+ \set Score.currentBarNumber = #50
+ c1 c c c
+}
@end lilypond
@cindex números de compás, espaciado regular
Para imprimir una letra de ensayo, utilice la orden @code{\mark}.
-@lilypond[quote,verbatim,relative=2]
-c1 \mark \default
-c1 \mark \default
-c1 \mark \default
-c1 \mark \default
+@lilypond[quote,verbatim]
+\relative c'' {
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark \default
+}
@end lilypond
@noindent
para establecer la indicación manualmente. El valor que se utilizará
se almacena dentro de la propiedad @code{rehearsalMark}.
-@lilypond[quote,verbatim,relative=2]
-c1 \mark \default
-c1 \mark \default
-c1 \mark #8
-c1 \mark \default
-c1 \mark \default
+@lilypond[quote,verbatim]
+\relative c'' {
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark #8
+ c1 \mark \default
+ c1 \mark \default
+}
@end lilypond
@noindent
\set Score.markFormatter = #format-mark-circle-alphabet
@end example
-@lilypond[quote,verbatim,relative=2]
-\set Score.markFormatter = #format-mark-box-alphabet
-c1 \mark \default
-c1 \mark \default
-c1 \mark #8
-c1 \mark \default
-c1 \mark \default
+@lilypond[quote,verbatim]
+\relative c'' {
+ \set Score.markFormatter = #format-mark-box-alphabet
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark #8
+ c1 \mark \default
+ c1 \mark \default
+}
@end lilypond
@cindex ensayo, letra de, formato
establece con el valor de una función que produce un número encerrado
en una caja.
-@lilypond[quote,verbatim,relative=2]
-\set Score.markFormatter = #format-mark-numbers
-c1 \mark \default
-c1 \mark \default
-\set Score.markFormatter = #format-mark-box-numbers
-c1 \mark \default
-\set Score.markFormatter = #format-mark-circle-numbers
-c1 \mark \default
-\set Score.markFormatter = #format-mark-circle-letters
-c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ \set Score.markFormatter = #format-mark-numbers
+ c1 \mark \default
+ c1 \mark \default
+ \set Score.markFormatter = #format-mark-box-numbers
+ c1 \mark \default
+ \set Score.markFormatter = #format-mark-circle-numbers
+ c1 \mark \default
+ \set Score.markFormatter = #format-mark-circle-letters
+ c1
+}
@end lilypond
El archivo @file{scm/translation-functions.scm} contiene las
Los glifos musicales (como el segno) se pueden imprimir dentro de un
elemento @code{\mark}
-@lilypond[quote,verbatim,relative=1]
-c1 \mark \markup { \musicglyph #"scripts.segno" }
-c1 \mark \markup { \musicglyph #"scripts.coda" }
-c1 \mark \markup { \musicglyph #"scripts.ufermata" }
-c1
+@lilypond[quote,verbatim]
+\relative c' {
+ c1 \mark \markup { \musicglyph #"scripts.segno" }
+ c1 \mark \markup { \musicglyph #"scripts.coda" }
+ c1 \mark \markup { \musicglyph #"scripts.ufermata" }
+ c1
+}
@end lilypond
@noindent
impresos en un tipo más pequeño y no ocupan ningún
tiempo lógico adicional en el compás.
-@lilypond[quote,relative=2,verbatim]
-c4 \grace b16 a4(
-\grace { b16 c16 } a2)
+@lilypond[quote,verbatim]
+\relative {
+ c''4 \grace b16 a4(
+ \grace { b16 c16 } a2)
+}
@end lilypond
Hay otros tres tipos posibles de notas de adorno; la
colocarla entre notas que están ligadas entre sí, utilizando la función
@code{\slashedGrace}.
-@lilypond[quote,relative=2,verbatim]
-\acciaccatura d8 c4
-\appoggiatura e8 d4
-\acciaccatura { g16 f } e2
-\slashedGrace a,8 g4
-\slashedGrace b16 a4(
-\slashedGrace b8 a2)
+@lilypond[quote,verbatim]
+\relative {
+ \acciaccatura d''8 c4
+ \appoggiatura e8 d4
+ \acciaccatura { g16 f } e2
+ \slashedGrace a,8 g4
+ \slashedGrace b16 a4(
+ \slashedGrace b8 a2)
+}
@end lilypond
La colocación de notas de adorno se sincroniza entre los distintos
pentagramas. En el siguiente ejemplo, hay dos semicorcheas de adorno
por cada corchea de adorno:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Staff { e2 \grace { c16 d e f } e2 }
- \new Staff { c2 \grace { g8 b } c2 }
+ \new Staff \relative { e''2 \grace { c16 d e f } e2 }
+ \new Staff \relative { c''2 \grace { g8 b } c2 }
>>
@end lilypond
@code{\afterGrace}. Toma dos argumentos: la nota principal, y las
notas de adorno que siguen a la nota principal.
-@lilypond[quote,verbatim,relative=2]
-c1 \afterGrace d1 { c16[ d] } c1
+@lilypond[quote,verbatim]
+\relative { c''1 \afterGrace d1 { c16[ d] } c1 }
@end lilypond
Esto pone las notas de adorno después de un espacio que dura 3/4 de la
siguiente muestra el resultado de establecer el espacio en su valor
predeterminado, en 15/16, y por último en 1/2 de la nota principal.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- \new Staff {
- c1 \afterGrace d1 { c16[ d] } c1
+ \new Staff \relative {
+ c''1 \afterGrace d1 { c16[ d] } c1
}
- \new Staff {
+ \new Staff \relative {
#(define afterGraceFraction (cons 15 16))
- c1 \afterGrace d1 { c16[ d] } c1
+ c''1 \afterGrace d1 { c16[ d] } c1
}
- \new Staff {
+ \new Staff \relative {
#(define afterGraceFraction (cons 1 2))
- c1 \afterGrace d1 { c16[ d] } c1
+ c''1 \afterGrace d1 { c16[ d] } c1
}
>>
@end lilypond
la nota de adorno después de un espacio que dura 7/8 de la
nota principal.
-@lilypond[quote,verbatim,relative=2]
-\new Voice {
+@lilypond[quote,verbatim]
+\new Voice \relative {
<<
- { d1^\trill_( }
+ { d''1^\trill_( }
{ s2 s4. \grace { c16 d } }
>>
c1)
adorno. Aquí, la dirección predeterminada de la plica de la nota de
adorno se sobreescribe y luego se revierte.
-@lilypond[quote,verbatim,relative=2]
-\new Voice {
+@lilypond[quote,verbatim]
+\new Voice \relative {
\acciaccatura {
\stemDown
- f16->
+ f''16->
\stemNeutral
}
g4 e c2
divisorias, etc., se sincronizan también. Ponga cuidado cuando mezcle
pentagramas con adornos y sin adornos, por ejemplo
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Staff { e4 \bar ".|:" \grace c16 d2. }
- \new Staff { c4 \bar ".|:" d2. }
+ \new Staff \relative { e''4 \bar ".|:" \grace c16 d2. }
+ \new Staff \relative { c''4 \bar ".|:" d2. }
>>
@end lilypond
duraciones correspondientes en los otros pentagramas. Para el ejemplo
anterior
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Staff { e4 \bar ".|:" \grace c16 d2. }
- \new Staff { c4 \bar ".|:" \grace s16 d2. }
+ \new Staff \relative { e''4 \bar ".|:" \grace c16 d2. }
+ \new Staff \relative { c''4 \bar ".|:" \grace s16 d2. }
>>
@end lilypond
@code{>}. Un acorde puede ir seguido de una duración,
como si fueran simples notas.
-@lilypond[verbatim,quote,relative=2]
-<a c e>1 <a c e>2 <f a c e>4 <a c>8. <g c e>16
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1 <a c e>2 <f a c e>4 <a c>8. <g c e>16
+}
@end lilypond
Los acordes también pueden ir seguidos de articulaciones, de nuevo como
si fueran simples notas.
-@lilypond[verbatim,quote,relative=2]
-<a c e>1\fermata <a c e>2-> <f a c e>4\prall <a c>8.^! <g c e>16-.
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1\fermata <a c e>2-> <f a c e>4\prall <a c>8.^! <g c e>16-.
+}
@end lilypond
Las notas dentro del propio acorde también pueden ir seguidas
de articulaciones y ornamentos.
-@lilypond[verbatim,quote,relative=2]
-<a c\prall e>1 <a-> c-^ e>2 <f-. a c-. e-.>4
-<a-+ c-->8. <g\fermata c e\turn>16
+@lilypond[verbatim,quote]
+\relative {
+ <a' c\prall e>1 <a-> c-^ e>2 <f-. a c-. e-.>4
+ <a-+ c-->8. <g\fermata c e\turn>16
+}
@end lilypond
Sin embargo, algunos elementos de notación tales como las
de expresión, se deben unir al acorde y no a las notas que
integran el mismo, pues en caso contrario no se imprimirán.
-@lilypond[verbatim,quote,relative=2]
-<a\f c( e>1 <a c) e>\f <a\< c e>( <a\! c e>)
-<a c e>\< <a c e> <a c e>\!
+@lilypond[verbatim,quote]
+\relative {
+ <a'\f c( e>1 <a c) e>\f <a\< c e>( <a\! c e>)
+ <a c e>\< <a c e> <a c e>\!
+}
@end lilypond
@cindex acordes vacíos
combinaciones de estos elementos, consulte
@ref{Expresiones simultáneas}):
-@lilypond[verbatim,quote,relative=2]
-\grace { g8( a b }
-<> ) \p \< -. -\markup \italic "sempre staccato"
-\repeat unfold 4 { c4 e } c1\f
+@lilypond[verbatim,quote]
+\relative {
+ \grace { g'8( a b }
+ <> ) \p \< -. -\markup \italic "sempre staccato"
+ \repeat unfold 4 { c4 e } c1\f
+}
@end lilypond
@cindex relativo, acordes en altura
El resto de las notas del acorde son relativas a la nota anterior
@emph{dentro del mismo acorde}.
-@lilypond[verbatim,quote,relative=2]
-<a c e>1 <f a c> <a c e> <f' a c> <b, e b,>
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1 <f a c> <a c e> <f' a c> <b, e b,>
+}
@end lilypond
Para ver más información sobre los acordes, consulte @ref{Notación de acordes}.
Para reducir el tecleo, se puede usar una abreviatura de repetición
del acorde anterior. El símbolo de repetición de acordes es @code{q}:
-@lilypond[verbatim,quote,relative=2]
-<a c e>1 q <f a c>2 q
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1 q <f a c>2 q
+}
@end lilypond
Como en los acordes normales, el símbolo de repetición de acordes
puede usarse con duraciones, articulaciones, elementos de marcado, ligaduras
de expresión, barras, etc., pues sólo se duplican las notas del acorde precedente.
-@lilypond[verbatim,quote,relative=2]
-<a c e>1\p^"text" q2\<( q8)[-! q8.]\! q16-1-2-3 q8\prall
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1\p^"text" q2\<( q8)[-! q8.]\! q16-1-2-3 q8\prall
+}
@end lilypond
El símbolo de repetición de acordes
por lo que es posible repetir el acorde más reciente
incluso si se han escrito en medio otras notas que no están en un acorde, o silencios.
-@lilypond[verbatim,quote,relative=2]
-<a c e>1 c'4 q2 r8 q8 |
-q2 c, |
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1 c'4 q2 r8 q8 |
+ q2 c, |
+}
@end lilypond
Sin embargo, el símbolo de repetición de acordes no retiene los
Los ejemplos siguientes muestran expresiones simultáneas sobre un solo
pentagrama:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\new Voice { % explicit single voice
- << { a4 b g2 } { d4 g c,2 } >>
+ << \relative { a'4 b g2 }
+ \relative { d'4 g c,2 } >>
}
@end lilypond
-@lilypond[quote,verbatim,relative=2]
-% single first note
-a << { a4 b g } { d4 g c, } >>
+@lilypond[quote,verbatim]
+\relative {
+ % single first note
+ a' << \relative { a'4 b g }
+ \relative { d'4 g c, } >>
+}
@end lilypond
Esto puede ser de utilidad si las secciones simultáneas tienen
solo} contexto @samp{Voice} se recolectan y se representan en el orden
musical:
-@lilypond[quote,verbatim,relative=2]
-<a c>4-. <>-. << c a >> << { c-. <c a> } { a s-. } >>
+@lilypond[quote,verbatim]
+\relative {
+ <a' c>4-. <>-. << c a >> << { c-. <c a> } { a s-. } >>
+}
@end lilypond
Tratar de poner más de una plica o barra de corchea, o distintas
El ejemplo siguiente muestra cómo las expresiones simultáneas pueden
generar varios pentagramas de forma implícita:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
% no single first note
-<< { a4 b g2 } { d4 g2 c,4 } >>
+<< \relative { a'4 b g2 }
+ \relative { d'4 g2 c,4 } >>
@end lilypond
Aquí no hay problema en tener distintas duraciones porque se
conjunto de notas consecutivas. Se escriben aplicando la función
@code{\makeClusters} a una secuencia de acordes, p.ej.:
-@lilypond[quote,relative=2,verbatim]
-\makeClusters { <g b>2 <c g'> }
+@lilypond[quote,verbatim]
+\relative \makeClusters { <g' b>2 <c g'> }
@end lilypond
Se pueden mezclar en el mismo pentagrama notas normales y clusters,
independientes en un mismo pentagrama se ilustra en el ejemplo
siguiente:
-@lilypond[quote,relative=3,verbatim]
+@lilypond[quote,verbatim]
\new Staff <<
\new Voice = "first"
- { \voiceOne r8 r16 g e8. f16 g8[ c,] f e16 d }
+ \relative { \voiceOne r8 r16 g'' e8. f16 g8[ c,] f e16 d }
\new Voice= "second"
- { \voiceTwo d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
+ \relative { \voiceTwo d''16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
>>
@end lilypond
asignar la letra de forma continua a una voz antes, durante y después
de la sección polifónica:
-@lilypond[quote, verbatim, relative=2]
-<<
+@lilypond[quote,verbatim]
+\relative <<
\new Voice = "melody" {
- a4
+ a'4
<<
{
\voiceOne
El primer ejemplo podría haberse tipografiado de la manera siguiente:
-@lilypond[quote,relative=3,verbatim]
+@lilypond[quote,verbatim]
<<
- { r8 r16 g e8. f16 g8[ c,] f e16 d }
+ \relative { r8 r16 g'' e8. f16 g8[ c,] f e16 d }
\\
- { d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
+ \relative { d''16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
>>
@end lilypond
queremos. Se usan silencios de separación para evitar la aparición de
silencios duplicados.
-@lilypond[quote,relative=3,verbatim]
+@lilypond[quote,verbatim]
<<
- { r8 g g g g f16 ees f8 d }
+ \relative { r8 g'' g g g f16 ees f8 d }
\\
- { ees,8 r ees r d r d r }
+ \relative { ees'8 r ees r d r d r }
\\
- { d'8 s c s bes s a s }
+ \relative { d''8 s c s bes s a s }
>>
@end lilypond
conseguirlo, las incorporamos dentro de una construcción de música
simultánea, dentro de una voz creada explícitamente:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
\new Voice <<
- { e4 f8 d e16 f g8 d4 }
- { c4 d8 b c16 d e8 b4 }
+ \relative { e''4 f8 d e16 f g8 d4 }
+ \relative { c''4 d8 b c16 d e8 b4 }
>>
@end lilypond
Se pueden aplicar colores y formas distintos a las voces para permitir
identificarlas fácilmente:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- { \voiceOneStyle d4 c2 b4 }
+ \relative { \voiceOneStyle d''4 c2 b4 }
\\
- { \voiceTwoStyle e,2 e }
+ \relative { \voiceTwoStyle e'2 e }
\\
- { \voiceThreeStyle b2. c4 }
+ \relative { \voiceThreeStyle b2. c4 }
\\
- { \voiceFourStyle g'2 g }
+ \relative { \voiceFourStyle g'2 g }
>>
@end lilypond
distintas, sobre los pulsos 1 y 3 en el primer compás y sobre el pulso
1 del segundo compás, donde la combinación automática falla.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- {
- c8 d e d c d c4
+ \relative {
+ c''8 d e d c d c4
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
más abajo. En este ejemplo las cabezas del pulso 1 del primer
compás sí se combinan:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- {
+ \relative {
\mergeDifferentlyHeadedOn
- c8 d e d c d c4
+ c''8 d e d c d c4
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
También se pueden combinar cabezas con puntillos diferentes, como se
muestra en el tercer pulso del primer compás:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- {
+ \relative {
\mergeDifferentlyHeadedOn
\mergeDifferentlyDottedOn
- c8 d e d c d c4
+ c''8 d e d c d c4
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
para mover el sol agudo fuera de la columna, y entonces
@code{\mergeDifferentlyHeadedOn} hace su trabajo correctamente.
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- {
+ \relative {
\mergeDifferentlyHeadedOn
\mergeDifferentlyDottedOn
- c8 d e d c d c4
+ c''8 d e d c d c4
\shiftOn
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
que las notas con distinta cabeza en voces diferentes se mezclen
incorrectamente.
-@lilypond[quote,relative=1,verbatim]
+@lilypond[quote,verbatim,fragment]
\mergeDifferentlyHeadedOn
-<< { c16 a' b a } \\ { c,2 } >>
+<< \relative { c'16 a' b a } \\ \relative { c'2 } >>
\override NoteColumn.ignore-collision = ##t
-<< { c16 a' b a } \\ { c,2 } >>
+<< \relative { c'16 a' b a } \\ \relative { c'2 } >>
@end lilypond
@ignore
Para forzar manualmente un salto de línea sobre la línea divisoria,
utilice la instrucción @code{\break}:
-@lilypond[quote,ragged-right,relative=2,verbatim]
-c4 c c c | \break
-c4 c c c |
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ c4 c c c | \break
+ c4 c c c |
+}
@end lilypond
De forma predeterminada se ignora cualquier @code{\break} en la mitad
línea en medio de un compás, añada una barra de compás invisible con
@w{@samp{\bar ""}}:
-@lilypond[quote,ragged-right,relative=2,verbatim]
-c4 c c
-\bar "" \break
-c |
-c4 c c c |
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ c4 c c
+ \bar "" \break
+ c |
+ c4 c c c |
+}
@end lilypond
También se ignora un @code{\break} que se produce en la línea
puede cambiar este comportamiento fijando
@code{\override Beam.breakable = ##t}:
-@lilypond[quote,ragged-right,relative=2,verbatim]
-\override Beam.breakable = ##t
-c2. c8[ c | \break
-c8 c] c2. |
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ \override Beam.breakable = ##t
+ c2. c8[ c | \break
+ c8 c] c2. |
+}
@end lilypond
La instrucción @code{\noBreak}, prohíbe un salto de línea en
@code{outside-staff-priority} más baja se colocará más próximo al
pentagrama.
-@lilypond[quote,ragged-right,relative=2,verbatim]
-c4_"Text"\pp
-r2.
-\once \override TextScript.outside-staff-priority = #1
-c4_"Text"\pp % this time the text will be closer to the staff
-r2.
-% by setting outside-staff-priority to a non-number,
-% we disable the automatic collision avoidance
-\once \override TextScript.outside-staff-priority = ##f
-\once \override DynamicLineSpanner.outside-staff-priority = ##f
-c4_"Text"\pp % now they will collide
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ c4_"Text"\pp
+ r2.
+ \once \override TextScript.outside-staff-priority = #1
+ c4_"Text"\pp % this time the text will be closer to the staff
+ r2.
+ % by setting outside-staff-priority to a non-number,
+ % we disable the automatic collision avoidance
+ \once \override TextScript.outside-staff-priority = ##f
+ \once \override DynamicLineSpanner.outside-staff-priority = ##f
+ c4_"Text"\pp % now they will collide
+}
@end lilypond
El relleno vertical que rodea a los objetos fuera del pentagrama
se puede controlar con @code{outside-staff-padding}.
-@lilypond[quote,ragged-right,relative=2,verbatim,staffsize=18]
-\once \override TextScript.outside-staff-padding = #0
-a4-"outside-staff-padding = #0"
-\once \override TextScript.outside-staff-padding = #3
-d-"outside-staff-padding = #3"
-c-"default outside-staff-padding"
-b-"default outside-staff-padding"
-R1
+@lilypond[quote,ragged-right,verbatim,staffsize=18]
+\relative {
+ \once \override TextScript.outside-staff-padding = #0
+ a'4-"outside-staff-padding = #0"
+ \once \override TextScript.outside-staff-padding = #3
+ d-"outside-staff-padding = #3"
+ c-"default outside-staff-padding"
+ b-"default outside-staff-padding"
+ R1
+}
@end lilypond
De forma predeterminada, los objetos fuera del pentagrama se
el texto hacia arriba para evitar que quede demasiado cerca de las
líneas adicionales.
-@lilypond[quote,ragged-right,relative=2,verbatim]
-c4^"Word" c c''2
-R1
-\once \override TextScript.outside-staff-horizontal-padding = #1
-c,,4^"Word" c c''2
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ c''4^"Word" c c''2
+ R1
+ \once \override TextScript.outside-staff-horizontal-padding = #1
+ c,,4^"Word" c c''2
+}
@end lilypond
@seealso
corcheas; la corchea va seguida de un ancho de cabeza de blanca (ACB).
La negra va seguida de 2 ACB, la blanca por 3 ACB, etc.
-@lilypond[quote,verbatim,relative=1]
-c2 c4. c8
-c4. c8 c4. c8
-c8 c c4 c c
+@lilypond[quote,verbatim]
+\relative c' {
+ c2 c4. c8
+ c4. c8 c4. c8
+ c8 c c4 c c
+}
@end lilypond
Normalmente, el valor de @code{spacing-increment} está establecido en
con los valores predeterminados y otra con correcciones exageradas:
@lilypond[quote,ragged-right]
-{
- c'4 e''4 e'4 b'4 |
- b'4 e''4 b'4 e''4 |
+\fixed c' {
+ c4 e'4 e4 b4 |
+ b4 e'4 b4 e'4 |
\override Staff.NoteSpacing.stem-spacing-correction = #1.5
\override Staff.StaffSpacing.stem-spacing-correction = #1.5
- c'4 e''4 e'4 b'4 |
- b'4 e''4 b'4 e''4 |
+ c4 e'4 e4 b4 |
+ b4 e'4 b4 e'4 |
}
@end lilypond
nueva, y por ello las semicorcheas se separan automáticamente
de manera ligeramente más amplia.
-@lilypond[relative=1,verbatim,quote]
-\time 2/4
-c4 c8 c
-c8 c c4 c16[ c c8] c4
-\newSpacingSection
-\time 4/16
-c16[ c c8]
+@lilypond[verbatim,quote]
+\relative c' {
+ \time 2/4
+ c4 c8 c
+ c8 c c4 c16[ c c8] c4
+ \newSpacingSection
+ \time 4/16
+ c16[ c c8]
+}
@end lilypond
La instrucción @code{\newSpacingSection} crea un nuevo objeto
toda la música que venga a continuación hasta que las propiedades
se cambien en una nueva sección de espaciado, por ejemplo:
-@lilypond[relative=1,verbatim,quote]
-\time 4/16
-c16[ c c8]
-\newSpacingSection
-\override Score.SpacingSpanner.spacing-increment = #2
-c16[ c c8]
-\newSpacingSection
-\revert Score.SpacingSpanner.spacing-increment
-c16[ c c8]
+@lilypond[verbatim,quote]
+\relative c' {
+ \time 4/16
+ c16[ c c8]
+ \newSpacingSection
+ \override Score.SpacingSpanner.spacing-increment = #2
+ c16[ c c8]
+ \newSpacingSection
+ \revert Score.SpacingSpanner.spacing-increment
+ c16[ c c8]
+}
@end lilypond
Cuando se establece @code{strict-note-spacing}, las notas se separan
sin tener en cuenta las claves, líneas divisorias ni notas de adorno:
-@lilypond[quote,ragged-right,relative=2,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\override Score.SpacingSpanner.strict-note-spacing = ##t
-\new Staff { c8[ c \clef alto c \grace { c16 c } c8 c c] c32[ c] }
+\new Staff \relative {
+ c''8[ c \clef alto c \grace { c16 c } c8 c c] c32[ c] }
@end lilypond
@seealso
dinámicas que se @q{salen} de un sistema se pueden acercar al
pentagrama:
-@lilypond[verbatim,quote,relative=1]
-e4 c g\f c
-e4 c g-\tweak X-offset #-2.7 \f c
+@lilypond[verbatim,quote]
+\relative e' {
+ e4 c g\f c
+ e4 c g-\tweak X-offset #-2.7 \f c
+}
@end lilypond
@item
El contexto básico de pentagrama es @code{Staff}:
-@lilypond[verbatim,quote,relative=2]
-\new Staff { c4 d e f }
+@lilypond[verbatim,quote]
+\new Staff \relative { c''4 d e f }
@end lilypond
El contexto @code{DrumStaff} crea una pauta de cinco líneas preparada
las duraciones de la entrada. Se preservan las duraciones reales.
Para ver más detalles, consulte @ref{Mostrar los ritmos de la melodía}.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new RhythmicStaff { c4 d e f }
@end lilypond
@code{TabStaff} crea una tablatura con seis cuerdas en la afinación
estándar de guitarra. Para ver más detalles, consulte @ref{Tablaturas predeterminadas}.
-@lilypond[verbatim,quote,relative=2]
-\new TabStaff { c4 d e f }
+@lilypond[verbatim,quote]
+\new TabStaff \relative { c''4 d e f }
@end lilypond
Existen dos contextos de pauta específicos para la notación de música
@code{GregorianTranscriptionStaff} crea una pauta para la notación
moderna de canto gregoriano. No muestra líneas divisorias.
-@lilypond[verbatim,quote,relative=2]
-\new GregorianTranscriptionStaff { c4 d e f e d }
+@lilypond[verbatim,quote]
+\new GregorianTranscriptionStaff \relative { c''4 d e f e d }
@end lilypond
Se pueden definir contextos nuevos de pentagrama único. Para ver más
predeterminadas: el grupo comienza con una línea vertical y las barras
de compás no están conectadas.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
<<
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { c''1 c }
>>
@end lilypond
En el contexto @code{StaffGroup}, el grupo se inicia con un corchete y
las barras de compás se dibujan atravesando todos los pentagramas.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new StaffGroup <<
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { c''1 c }
>>
@end lilypond
En un @code{ChoirStaff} (sistema de coro), el grupo se inicia con un
corchete, pero las barras de compás no están conectadas.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new ChoirStaff <<
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { c''1 c }
>>
@end lilypond
En un @code{GrandStaff} (sistema de piano), el grupo se inicia con una
llave y las barras de compás se conectan entre los pentagramas.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new GrandStaff <<
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { c''1 c }
>>
@end lilypond
nombre del instrumento. Para ver más detalles, consulte
@ref{Nombres de instrumentos}.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new PianoStaff <<
\set PianoStaff.instrumentName = #"Piano"
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { \clef bass c1 c }
>>
@end lilypond
profundidad arbitraria. En este caso, cada contexto descendiente crea
un corchete nuevo adyacente al corchete de su grupo padre.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new StaffGroup <<
- \new Staff { c2 c | c2 c }
+ \new Staff \relative { c''2 c | c2 c }
\new StaffGroup <<
- \new Staff { g2 g | g2 g }
+ \new Staff \relative { g'2 g | g2 g }
\new StaffGroup \with {
systemStartDelimiter = #'SystemStartSquare
}
<<
- \new Staff { e2 e | e2 e }
- \new Staff { c2 c | c2 c }
+ \new Staff \relative { e'2 e | e2 e }
+ \new Staff \relative { c'2 c | c2 c }
>>
>>
>>
impresión de las líneas de la pauta en cualquier punto de la
partitura.
-@lilypond[verbatim,quote,relative=2]
-\stopStaff f4 d \startStaff g, e
-f'4 d \stopStaff g, e
-f'4 d \startStaff g, e
+@lilypond[verbatim,quote]
+\relative {
+ \stopStaff f''4 d \startStaff g, e
+ f'4 d \stopStaff g, e
+ f'4 d \startStaff g, e
+}
@end lilypond
@predefined
Se puede cambiar el número de líneas de la pauta:
-@lilypond[verbatim,quote,relative=2]
-f4 d \stopStaff
-\override Staff.StaffSymbol.line-count = #2
-\startStaff g, e |
+@lilypond[verbatim,quote]
+\relative {
+ f''4 d \stopStaff
+ \override Staff.StaffSymbol.line-count = #2
+ \startStaff g, e |
-f'4 d \stopStaff
-\revert Staff.StaffSymbol.line-count
-\startStaff g, e |
+ f'4 d \stopStaff
+ \revert Staff.StaffSymbol.line-count
+ \startStaff g, e |
+}
@end lilypond
La posición de cada una de las líneas de la pauta también puede
número de líneas así como su posición en la pauta pueden cambiarse
con una sola operación de sobreescritura.
-@lilypond[verbatim,quote,relative=2]
-f4 d \stopStaff
-\override Staff.StaffSymbol.line-positions = #'(1 3 5 -1 -3)
-\startStaff g, e |
-f'4 d \stopStaff
-\override Staff.StaffSymbol.line-positions = #'(8 6.5 -6 -8 -0.5)
-\startStaff g, e
+@lilypond[verbatim,quote]
+\relative {
+ f''4 d \stopStaff
+ \override Staff.StaffSymbol.line-positions = #'(1 3 5 -1 -3)
+ \startStaff g, e |
+ f'4 d \stopStaff
+ \override Staff.StaffSymbol.line-positions = #'(8 6.5 -6 -8 -0.5)
+ \startStaff g, e |
+}
@end lilypond
Para preservar las direcciones típicas de las plicas (hacia arriba
afectadas, de forma predeterminada, las líneas adicionales y no la
plica de las figuras.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.thickness = #3
+} \relative {
+ f''4 d g, e
}
-{ f4 d g, e }
@end lilypond
También es posible fijar el grosor de las líneas adicionales de
forma independiente del de las líneas de la pauta.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.thickness = #2
\override StaffSymbol.ledger-line-thickness = #'(0.5 . 0.4)
+} \relative {
+ f'''4 a, a,, f
}
-{ f'4 a, a,, f }
@end lilypond
@noindent
Se pueden alterar las posiciones de las líneas adicionales:
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.ledger-positions = #'(-3 -2 -1 2 5 6)
+} \relative {
+ f'''4 a, a,, f
}
-{ f'4 a, a,, f }
@end lilypond
Puede hacerse que las líneas adicionales añadidas aparezcan por encima
actual relativa a otras cabezas de figura que tienen asimismo sus
propias líneas adicionales.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.ledger-extra = #4
+} \relative {
+ f'''4 a, d, f,
}
-{ f'4 a, d, f, }
@end lilypond
También puede hacerse que las líneas adicionales aparezcan dentro del
@code{\override} para todo el @code{StaffSymbol} (el símbolo de
pauta).
-@lilypond[verbatim,quote,relative=1]
-\override Staff.StaffSymbol.line-positions = #'(-8 0 2 4)
-d4 e f g
-\stopStaff
-\startStaff
-\override Staff.StaffSymbol.ledger-positions = #'(-8 -6 (-4 -2) 0)
-d4 e f g
+@lilypond[verbatim,quote]
+\relative d' {
+ \override Staff.StaffSymbol.line-positions = #'(-8 0 2 4)
+ d4 e f g
+ \stopStaff
+ \startStaff
+ \override Staff.StaffSymbol.ledger-positions = #'(-8 -6 (-4 -2) 0)
+ d4 e f g
+}
@end lilypond
Puede alterarse la distancia entre líneas de la pauta. Esto afecta
también al espaciado de las líneas adicionales.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.staff-space = #1.5
+} \relative {
+ f'''4 d, g, e,
}
-{ f'4 d, g, e, }
@end lilypond
@snippets
primer pentagrama, y el valor de @code{shortInstrumentName} se usa
para todos los pentagramas siguientes.
-@lilypond[verbatim,quote,ragged-right,relative=1]
+@lilypond[verbatim,quote,ragged-right]
\new Staff \with {
instrumentName = #"Violin "
shortInstrumentName = #"Vln. "
+} \relative {
+ c'4.. g'16 c4.. g'16 \break | c1 |
}
-{ c4.. g'16 c4.. g'16 \break | c1 }
@end lilypond
@cindex instrumentos, nombres complejos de
También podemos usar @code{\markup} para construir nombres de
instrumento más complicados:
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
instrumentName = \markup {
\column { "Clarinetti"
\line { "in B" \smaller \flat }
}
}
+} \relative {
+ c''4 c,16 d e f g2
}
-{ c4 c,16 d e f g2 }
@end lilypond
@cindex instrument names, centering
consulte @ref{Variables de paper para desplazamientos y sangrados,,Variables de @code{@bs{}paper} para desplazamientos y sangrados}.
@lilypond[verbatim,quote,ragged-right]
-\relative {
- <<
- \new Staff \with {
- instrumentName = #"Alto Flute in G"
- shortInstrumentName = #"Flt."
- }
- {
- f''2 g4 f \break
- g4 f g2
- }
- \new Staff \with {
- instrumentName = #"Clarinet"
- shortInstrumentName = #"Clar."
- }
- {
- c,4 b c2 \break
- c2 b4 c
- }
- >>
-}
+<<
+ \new Staff \with {
+ instrumentName = #"Alto Flute in G"
+ shortInstrumentName = #"Flt."
+ } \relative {
+ f''2 g4 f \break
+ g4 f g2
+ }
+ \new Staff \with {
+ instrumentName = #"Clarinet"
+ shortInstrumentName = #"Clar."
+ } \relative {
+ c''4 b c2 \break
+ c2 b4 c
+ }
+>>
\layout {
indent = 3.0\cm
La manera más sencilla de dar formato a las notas guía es crear
explícitamente un contexto @code{CueVoice} dentro de la parte.
-@lilypond[verbatim,relative=1]
-R1
-<<
- { e2\rest r4. e8 }
- \new CueVoice {
- \stemUp d'8^"flute" c d e fis2
- }
->>
-d,4 r a r
+@lilypond[verbatim]
+\relative {
+ R1
+ <<
+ { e'2\rest r4. e8 }
+ \new CueVoice {
+ \stemUp d'8^"flute" c d e fis2
+ }
+ >>
+ d,4 r a r
+}
@end lilypond
La instrucción @code{\cueClef} puede usarse también con un contexto
utilizarse la instrucción @code{\cueClefUnset} para volver a la clave
original, de nuevo con un signo de clave del tamaño adecuado.
-@lilypond[verbatim,noragged-right,relative=1]
-\clef "bass"
-R1
-<<
- { e2\rest r4. \cueClefUnset e,8 }
- \new CueVoice {
- \cueClef "treble" \stemUp d''8^"flute" c d e fis2
- }
->>
-d,,4 r a r
+@lilypond[verbatim,noragged-right]
+\relative {
+ \clef "bass"
+ R1
+ <<
+ { e'2\rest r4. \cueClefUnset e,8 }
+ \new CueVoice {
+ \cueClef "treble" \stemUp d''8^"flute" c d e fis2
+ }
+ >>
+ d,,4 r a r
+}
@end lilypond
Las instrucciones @code{\cueClef} y @code{\cueClefUnset} se pueden
usar también sin un @code{CueVoice} si es necesario.
-@lilypond[verbatim,noragged-right,relative=1]
-\clef "bass"
-R1
-\cueClef "treble"
-d'8^"flute" c d e fis2
-\cueClefUnset
-d,,4 r a r
+@lilypond[verbatim,noragged-right]
+\relative {
+ \clef "bass"
+ R1
+ \cueClef "treble"
+ d''8^"flute" c d e fis2
+ \cueClefUnset
+ d,,4 r a r
+}
@end lilypond
En casos de colocación más compleja de notas guía, por ejemplo con
del pentagrama, utilizando la sintaxis que se describe en
@ref{Dirección y posición}.
-@lilypond[quote,verbatim,relative=2]
-a8^"pizz." g f e a4-"scherz." f
+@lilypond[quote,verbatim]
+\relative { a'8^"pizz." g f e a4-"scherz." f }
@end lilypond
Esta sintaxis es en realidad una abreviatura; se puede añadir
utilizando un bloque @code{\markup}, como se describe bajo
@ref{Formatear el texto}.
-@lilypond[quote,verbatim,relative=2]
-a8^\markup { \italic pizz. } g f e
-a4_\markup { \tiny scherz. \bold molto } f
+@lilypond[quote,verbatim]
+\relative {
+ a'8^\markup { \italic pizz. } g f e
+ a4_\markup { \tiny scherz. \bold molto } f }
@end lilypond
De forma predeterminada, las indicaciones de texto no afectan al
cuenta: en el siguiente ejemplo, la primera cadena de texto no afecta
al espaciado, pero la segunda sí afecta.
-@lilypond[quote,verbatim,relative=2]
-a8^"pizz." g f e
-\textLengthOn
-a4_"scherzando" f
+@lilypond[quote,verbatim]
+\relative {
+ a'8^"pizz." g f e
+ \textLengthOn
+ a4_"scherzando" f
+}
@end lilypond
Se pueden adjuntar articulaciones a las notas, además de inscripciones
nombre de @q{spanners} u objetos de extensión, se pueden crear desde
una nota hasta otra usando la siguiente sintaxis:
-@lilypond[verbatim,quote,relative=2]
-\override TextSpanner.bound-details.left.text = "rit."
-b1\startTextSpan
-e,\stopTextSpan
+@lilypond[verbatim,quote]
+\relative {
+ \override TextSpanner.bound-details.left.text = "rit."
+ b'1\startTextSpan
+ e,\stopTextSpan
+}
@end lilypond
@cindex texto, formateado de los elementos de extensión
se pueden conseguir distintos efectos de formato utilizando bloques
@code{\markup}, como se describe en @ref{Formatear el texto}.
-@lilypond[quote,relative=2,verbatim]
-\override TextSpanner.bound-details.left.text =
- \markup { \upright "rit." }
-b1\startTextSpan c
-e,\stopTextSpan
+@lilypond[quote,verbatim]
+\relative {
+ \override TextSpanner.bound-details.left.text =
+ \markup { \upright "rit." }
+ b'1\startTextSpan c
+ e,\stopTextSpan
+}
@end lilypond
El estilo de la línea, así como la cadena de texto, se pueden definir
@c \mark needs to be placed on a separate line (it's not
@c attached to an object like \markup is). -vv
-@lilypond[verbatim,quote,relative=2]
-c4
-\mark "Allegro"
-c c c
+@lilypond[verbatim,quote]
+\relative {
+ c''4
+ \mark "Allegro"
+ c c c
+}
@end lilypond
Esta sintaxis posibilita colocar cualquier texto sobre la línea
usando un bloque @code{\markup}, como está explicado en
@ref{Formatear el texto}:
-@lilypond[quote,verbatim,relative=1]
-<c e>1
-\mark \markup { \italic { colla parte } }
-<d f>2 <e g>
-<c f aes>1
+@lilypond[quote,verbatim]
+\relative {
+ <c' e>1
+ \mark \markup { \italic { colla parte } }
+ <d f>2 <e g>
+ <c f aes>1
+}
@end lilypond
@noindent
correspondiente como se explica en
@ref{Notación musical dentro de elementos de marcado}:
-@lilypond[quote,verbatim,relative=2]
-<bes f>2 <aes d>
-\mark \markup { \musicglyph #"scripts.ufermata" }
-<e g>1
+@lilypond[quote,verbatim]
+\relative {
+ <bes' f>2 <aes d>
+ \mark \markup { \musicglyph #"scripts.ufermata" }
+ <e g>1
+}
@end lilypond
@noindent
notas. Si se especifican en un salto de línea, las llamadas se
imprimen al principio de la línea siguiente.
-@lilypond[quote,verbatim,relative=2,ragged-right]
-\mark "Allegro"
-c1 c
-\mark "assai" \break
-c c
+@lilypond[quote,verbatim,ragged-right]
+\relative c'' {
+ \mark "Allegro"
+ c1 c
+ \mark "assai" \break
+ c c
+}
@end lilypond
@funindex \markLengthOn
barra invertida @code{\} . Estas instrucciones sólo afectan a la
expresión que sigue inmediatamente.
-@lilypond[quote,verbatim,relative=2]
-a1-\markup intenso
-a2^\markup { poco \italic più forte }
-c e1
-d2_\markup { \italic "string. assai" }
-e
-b1^\markup { \bold { molto \italic agitato } }
-c
+@lilypond[quote,verbatim]
+\relative {
+ a'1-\markup intenso
+ a2^\markup { poco \italic più forte }
+ c e1
+ d2_\markup { \italic "string. assai" }
+ e
+ b1^\markup { \bold { molto \italic agitato } }
+ c
+}
@end lilypond
@cindex caracteres especiales en modo de marcado
del texto. Se puede hacer que se impriman las propias comillas si se
les antepone una barra invertida.
-@lilypond[quote,verbatim,relative=2]
-a1^"\italic markup..."
-a_\markup { \italic "... prints \"italic\" letters!" }
-a a
+@lilypond[quote,verbatim]
+\relative {
+ a'1^"\italic markup..."
+ a_\markup { \italic "... prints \"italic\" letters!" }
+ a a
+}
@end lilypond
Para que se traten como una expresión distinta, es necesario que las
expresiones; en el ejemplo siguiente, la segunda expresión
@code{\markup} se trata igual que la primera:
-@lilypond[quote,verbatim,relative=2]
-c1^\markup { \center-column { a bbb c } }
-c1^\markup { \center-column { a { bbb c } } }
-c1^\markup { \center-column { a \line { bbb c } } }
-c1^\markup { \center-column { a "bbb c" } }
+@lilypond[quote,verbatim]
+\relative c'' {
+ c1^\markup { \center-column { a bbb c } }
+ c1^\markup { \center-column { a { bbb c } } }
+ c1^\markup { \center-column { a \line { bbb c } } }
+ c1^\markup { \center-column { a "bbb c" } }
+}
@end lilypond
Los marcados se pueden almacenar dentro de variables. Estas variables
Está contemplado de forma básica el cambio de la fuente tipográfica en
el modo de marcado:
-@lilypond[quote,verbatim,relative=2]
-d1^\markup {
- \bold { Più mosso }
- \italic { non troppo \underline Vivo }
+@lilypond[quote,verbatim]
+\relative {
+ d''1^\markup {
+ \bold { Più mosso }
+ \italic { non troppo \underline Vivo }
+ }
+ r2 r4 r8
+ d,_\markup { \italic quasi \smallCaps Tromba }
+ f1 d2 r
}
-r2 r4 r8
-d,_\markup { \italic quasi \smallCaps Tromba }
-f1 d2 r
@end lilypond
@cindex fuente tipográfica, tamaño de
Se puede fijar a un tamaño predefinido,
-@lilypond[quote,verbatim,relative=2]
-b1_\markup { \huge Sinfonia }
-b1^\markup { \teeny da }
-b1-\markup { \normalsize camera }
+@lilypond[quote,verbatim]
+\relative b' {
+ b1_\markup { \huge Sinfonia }
+ b1^\markup { \teeny da }
+ b1-\markup { \normalsize camera }
+}
@end lilypond
Se puede establecer a un tamaño relativo al valor anterior,
-@lilypond[quote,verbatim,relative=2]
-b1_\markup { \larger Sinfonia }
-b1^\markup { \smaller da }
-b1-\markup { \magnify #0.6 camera }
+@lilypond[quote,verbatim]
+\relative b' {
+ b1_\markup { \larger Sinfonia }
+ b1^\markup { \smaller da }
+ b1-\markup { \magnify #0.6 camera }
+}
@end lilypond
Se puede aumentar o disminuir de forma relativa al valor fijado por el
tamaño global del pentagrama,
-@lilypond[quote,verbatim,relative=2]
-b1_\markup { \fontsize #-2 Sinfonia }
-b1^\markup { \fontsize #1 da }
-b1-\markup { \fontsize #3 camera }
+@lilypond[quote,verbatim]
+\relative b' {
+ b1_\markup { \fontsize #-2 Sinfonia }
+ b1^\markup { \fontsize #1 da }
+ b1-\markup { \fontsize #3 camera }
+}
@end lilypond
También se puede establecer a un tamaño de puntos fijo,
independientemente del tamaño global del pentagrama,
-@lilypond[quote,verbatim,relative=2]
-b1_\markup { \abs-fontsize #20 Sinfonia }
-b1^\markup { \abs-fontsize #8 da }
-b1-\markup { \abs-fontsize #14 camera }
+@lilypond[quote,verbatim]
+\relative b' {
+ b1_\markup { \abs-fontsize #20 Sinfonia }
+ b1^\markup { \abs-fontsize #8 da }
+ b1-\markup { \abs-fontsize #14 camera }
+}
@end lilypond
@cindex subíndice
izquierdo: en el ejemplo siguiente, no existe diferencia entre los
marcados primero y segundo.
-@lilypond[quote,verbatim,relative=2]
-d1-\markup { poco }
-f
-d-\markup { \left-align poco }
-f
-d-\markup { \center-align { poco } }
-f
-d-\markup { \right-align poco }
+@lilypond[quote,verbatim]
+\relative {
+ d''1-\markup { poco }
+ f
+ d-\markup { \left-align poco }
+ f
+ d-\markup { \center-align { poco } }
+ f
+ d-\markup { \right-align poco }
+}
@end lilypond
@funindex \halign
Se puede realizar un ajuste fino de la alineación horizontal usando un
valor numérico:
-@lilypond[quote,verbatim,relative=2]
-a1-\markup { \halign #-1 poco }
-e'
-a,-\markup { \halign #0 poco }
-e'
-a,-\markup { \halign #0.5 poco }
-e'
-a,-\markup { \halign #2 poco }
+@lilypond[quote,verbatim]
+\relative {
+ a'1-\markup { \halign #-1 poco }
+ e'
+ a,-\markup { \halign #0 poco }
+ e'
+ a,-\markup { \halign #0.5 poco }
+ e'
+ a,-\markup { \halign #2 poco }
+}
@end lilypond
@noindent
posibilidades; el último marcado en este ejemplo no tiene punto de
anclaje y por ello no resulta movido.
-@lilypond[quote,verbatim,relative=1]
-d2^\markup {
- Acte I
- \raise #2 { Scène 1 }
-}
-a'
-g_\markup {
- \null
- \lower #4 \bold { Très modéré }
-}
-a
-d,^\markup {
- \raise #4 \italic { Une forêt. }
+@lilypond[quote,verbatim]
+\relative {
+ d'2^\markup {
+ Acte I
+ \raise #2 { Scène 1 }
+ }
+ a'
+ g_\markup {
+ \null
+ \lower #4 \bold { Très modéré }
+ }
+ a
+ d,^\markup {
+ \raise #4 \italic { Une forêt. }
+ }
+ a'4 a g2 a
}
-a'4 a g2 a
@end lilypond
@funindex \general-align
Cualquier objeto afectado por estas instrucciones se deben preceder de
un punto de anclaje:
-@lilypond[quote,verbatim,relative=1]
-d2^\markup {
- Acte I
- \translate #'(-1 . 2) "Scène 1"
-}
-a'
-g_\markup {
- \null
- \general-align #Y #3.2 \bold "Très modéré"
-}
-a
-d,^\markup {
- \null
- \translate-scaled #'(-1 . 2) \teeny "Une forêt."
+@lilypond[quote,verbatim]
+\relative {
+ d'2^\markup {
+ Acte I
+ \translate #'(-1 . 2) "Scène 1"
+ }
+ a'
+ g_\markup {
+ \null
+ \general-align #Y #3.2 \bold "Très modéré"
+ }
+ a
+ d,^\markup {
+ \null
+ \translate-scaled #'(-1 . 2) \teeny "Une forêt."
+ }
+ a'4 a g2 a
}
-a'4 a g2 a
@end lilypond
@cindex varias líneas, marcado
nativo. En tal caso puede ser de utilidad la especificación explícita
del tamaño del dibujo, como se ejemplifica a continuación:
-@lilypond[quote,verbatim,relative=1]
-c1^\markup {
+@lilypond[quote,verbatim,fragment]
+c'1^\markup {
\combine
\epsfile #X #10 #"./context-example.eps"
\with-dimensions #'(0 . 6) #'(0 . 10)
closepath
stroke"
}
-c
+c'
@end lilypond
Hay una lista exhaustiva de instrucciones específicas de gráficos en
Las notas y las alteraciones se pueden escribir utilizando
instrucciones de marcado:
-@lilypond[quote,verbatim,relative=2]
-a2 a^\markup {
+@lilypond[quote,verbatim,fragment]
+a'2 a'^\markup {
\note #"4" #1
=
\note-by-number #1 #1 #1.5
}
-b1_\markup {
+b'1_\markup {
\natural \semiflat \flat
\sesquiflat \doubleflat
}
\glissando
-a1_\markup {
+a'1_\markup {
\natural \semisharp \sharp
\sesquisharp \doublesharp
}
-\glissando b
+\glissando b'
@end lilypond
Otros objetos de notación se pueden también imprimir en el modo de
marcado:
-@lilypond[quote,verbatim,relative=1]
-g1 bes
-ees\finger \markup \tied-lyric #"4~1"
-fis_\markup { \dynamic rf }
-bes^\markup {
- \beam #8 #0.1 #0.5
-}
-cis
-d-\markup {
- \markalphabet #8
- \markletter #8
+@lilypond[quote,verbatim]
+\relative {
+ g1 bes
+ ees\finger \markup \tied-lyric #"4~1"
+ fis_\markup { \dynamic rf }
+ bes^\markup {
+ \beam #8 #0.1 #0.5
+ }
+ cis
+ d-\markup {
+ \markalphabet #8
+ \markletter #8
+ }
}
@end lilypond
ejemplifica a continuación; hay una lista exhaustiva de estos símbolos
y sus nombres en @ref{La tipografía Feta}.
-@lilypond[quote,verbatim,relative=2]
-c2
-c'^\markup { \musicglyph #"eight" }
-c,4
-c,8._\markup { \musicglyph #"clefs.G_change" }
-c16
-c2^\markup { \musicglyph #"timesig.neomensural94" }
+@lilypond[quote,verbatim]
+\relative {
+ c''2
+ c'^\markup { \musicglyph #"eight" }
+ c,4
+ c,8._\markup { \musicglyph #"clefs.G_change" }
+ c16
+ c2^\markup { \musicglyph #"timesig.neomensural94" }
+}
@end lilypond
Otra forma de imprimir glifos que no son de texto se encuentra
El modo de marcado también contempla diagramas para instrumentos
específicos:
-@lilypond[quote,verbatim,relative=2]
-c1^\markup {
- \fret-diagram-terse #"x;x;o;2;3;2;"
-}
-c^\markup {
- \harp-pedal #"^-v|--ov^"
-}
-c
-c^\markup {
- \combine
- \musicglyph #"accordion.discant"
+@lilypond[quote,verbatim]
+\relative {
+ c''1^\markup {
+ \fret-diagram-terse #"x;x;o;2;3;2;"
+ }
+ c^\markup {
+ \harp-pedal #"^-v|--ov^"
+ }
+ c
+ c^\markup {
\combine
- \raise #0.5 \musicglyph #"accordion.dot"
- \raise #1.5 \musicglyph #"accordion.dot"
+ \musicglyph #"accordion.discant"
+ \combine
+ \raise #0.5 \musicglyph #"accordion.dot"
+ \raise #1.5 \musicglyph #"accordion.dot"
+ }
}
@end lilypond
marcado. En tal caso, el bloque anidado @code{\score} debe contener
un bloque @code{\layout}, como se muestra aquí:
-@lilypond[quote,verbatim,relative=1]
-c4 d^\markup {
- \score {
- \relative { c'4 d e f }
- \layout { }
+@lilypond[quote,verbatim]
+\relative {
+ c'4 d^\markup {
+ \score {
+ \relative { c'4 d e f }
+ \layout { }
+ }
}
+ e f |
+ c d e f
}
-e f |
-c d e f
@end lilypond
Hay una lista exhaustiva de instrucciones relacionadas con la notación
@code{feta} de LilyPond distintas a las de texto en el modo de
marcado:
-@lilypond[quote,verbatim,relative=2]
-a1^\markup {
+@lilypond[quote,verbatim,fragment]
+a'1^\markup {
\vcenter {
\override #'(font-encoding . fetaBraces)
\lookup #"brace120"
series y tamaños alternativos. El valor que se da a @code{font-size}
es el cambio requerido a partir del tamaño predeterminado.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\override Score.RehearsalMark.font-family = #'typewriter
\mark \markup "Ouverture"
\override Voice.TextScript.font-shape = #'italic
\override Voice.TextScript.font-series = #'bold
-d2.^\markup "Allegro"
+d''2.^\markup "Allegro"
\override Voice.TextScript.font-size = #-3
-c4^smaller
+c''4^smaller
@end lilypond
@noindent
instalada en el sistema operativo y reconocida por parte de
FontConfig, usando la siguiente sintaxis:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\override Staff.TimeSignature.font-name = #"Bitstream Charter"
\override Staff.TimeSignature.font-size = #2
\time 3/4
-a1_\markup {
+a'1_\markup {
\override #'(font-name . "Vera Bold")
{ Vera Bold }
}
@code{\downbow} (arco abajo) se usan con ligaduras de expresión de la
siguiente manera:
-@lilypond[verbatim,quote,relative=2]
-c4(\downbow d) e(\upbow f)
+@lilypond[verbatim,quote]
+\relative { c''4(\downbow d) e(\upbow f) }
@end lilypond
@noindent
significa tocar (sin apretar) la cuerda en el lugar donde se pisaría
la nota si no fuese un rombo.
-@lilypond[verbatim,quote,relative=2]
-d4 e4.
-\harmonicsOn
-d8 e e
-d4 e4.
-\harmonicsOff
-d8 e e
+@lilypond[verbatim,quote]
+\relative d'' {
+ d4 e4.
+ \harmonicsOn
+ d8 e e
+ d4 e4.
+ \harmonicsOff
+ d8 e e
+}
@end lilypond
Como posibilidad alternativa está la de mostrar una cabeza normal de
nota en la altura de la nota que debe sonar, con un pequeño círculo
que indica que se debe tocar como armónico:
-@lilypond[verbatim,quote,relative=2]
-d2^\flageolet d_\flageolet
+@lilypond[verbatim,quote,fragment]
+d''2^\flageolet d''_\flageolet
@end lilypond
Se puede hacer un círculo de menor tamaño, véase la lista de
los puntillos. La propiedad de contexto @code{harmonicDots} se debe
activar si se necesitan los puntillos.
-@lilypond[verbatim,quote,relative=1]
-<e a\harmonic>2. <c g'\harmonic>4
-\set harmonicDots = ##t
-<e a\harmonic>2. <c g'\harmonic>4
+@lilypond[verbatim,quote]
+\relative e' {
+ <e a\harmonic>2. <c g'\harmonic>4
+ \set harmonicDots = ##t
+ <e a\harmonic>2. <c g'\harmonic>4
+}
@end lilypond
@warning{@code{@bs{}harmonic} @strong{se debe} colocar dentro de una
tipo de pizzicato en el que la cuerda se pulsa hacia arriba (y no lateralmente)
de forma deliberada, de forma que golpea la madera del diapasón.
-@lilypond[verbatim,quote,relative=1]
-c4\snappizzicato
-<c' e g>4\snappizzicato
-<c' e g>4^\snappizzicato
-<c, e g>4_\snappizzicato
+@lilypond[verbatim,quote]
+\relative {
+ c'4\snappizzicato
+ <c' e g>4\snappizzicato
+ <c' e g>4^\snappizzicato
+ <c, e g>4_\snappizzicato
+}
@end lilypond
notas de una melodía especificando por su nombre el contexto de voz
que contiene la melodía, con @code{\lyricsto}:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
- a1 a4. a8 a2
+ \new Voice = "melody" \relative {
+ a'1 a4. a8 a2
}
\new Lyrics \lyricsto "melody" {
These are the words
el símbolo de tilde curva (@code{~}) para obtener una ligadura de
texto.
-@lilypond[quote,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
{
- { \autoBeamOff
- r8 b c fis, fis c' b e,
+ \relative {
+ \autoBeamOff
+ r8 b' c fis, fis c' b e,
}
\addlyrics
{
Se crean melismas automáticamente sobre las notas unidas mediante
ligadura de unión:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- f4 g2 ~ |
+ f''4 g2 ~ |
4 e2 ~ |
8
}
escribiendo ligaduras de expresión sobre las notas de cada melisma.
Ésta es la forma usual de escribir la letra:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- f4 g8 ( f e f )
+ f''4 g8 ( f e f )
e8 ( d e2 )
}
\new Lyrics \lyricsto "melody" {
esté desactivado. Véase @ref{Establecer el comportamiento de las
barras automáticas}.
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
\autoBeamOff
- f4 g8[ f e f]
+ f''4 g8[ f e f]
e2.
}
\new Lyrics \lyricsto "melody" {
Un grupo de notas sin ligadura de expresión se trata como un melisma
si están comprendidas entre @code{\melisma} y @code{\melismaEnd}.
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- f4 g8
+ f''4 g8
\melisma
f e f
\melismaEnd
un carácter de barra baja suelto, @code{_}, por cada nota adicional
que se quiere añadir al melisma.
-@lilypond[verbatim, quote, relative=2]
+@lilypond[verbatim, quote]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- f4 g8 f e f
+ f''4 g8 f e f
e8 d e2
}
\new Lyrics \lyricsto "melody" {
en la melodía sin que indiquen melisma. Para hacerlo, ajuste el valor
de @code{melismaBusyProperties}:
-@lilypond[relative=1,verbatim,quote]
+@lilypond[verbatim,quote]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
\set melismaBusyProperties = #'()
- c4 d ( e )
+ c'4 d ( e )
g8 [ f ] f4 ~ 4
}
\new Lyrics \lyricsto "melody" {
una sola barra baja en la letra por cada nota que se debe incluir
dentro del melisma:
-@lilypond[relative=1,verbatim,quote]
+@lilypond[verbatim,quote]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
\set melismaBusyProperties = #'()
- c4 d ( e )
+ c'4 d ( e )
g8 [ f ] ~ 4 ~ f
}
\new Lyrics \lyricsto "melody" {
Para aumentar la separación entre las líneas de texto, establezca la
propiedad @code{minimum-distance} de @code{LyricSpace}.
-@lilypond[relative=1,verbatim,quote,ragged-right]
-{
+@lilypond[verbatim,quote,ragged-right]
+\relative c' {
c c c c
\override Lyrics.LyricSpace.minimum-distance = #1.0
c c c c
Los números de los versos se pueden añadir estableciendo
@code{stanza}, p.ej.,
-@lilypond[quote,ragged-right,verbatim,relative=2]
-\new Voice {
- \time 3/4 g2 e4 a2 f4 g2.
+@lilypond[quote,ragged-right,verbatim]
+\new Voice \relative {
+ \time 3/4 g'2 e4 a2 f4 g2.
} \addlyrics {
\set stanza = #"1. "
Hi, my name is Bert.
estableciendo un valor para @code{vocalName}. Se puede definir una
versión abreviada como @code{shortVocalName}.
-@lilypond[ragged-right,quote,verbatim,relative=2]
-\new Voice {
- \time 3/4 g2 e4 a2 f4 g2.
+@lilypond[ragged-right,quote,verbatim]
+\new Voice \relative {
+ \time 3/4 g'2 e4 a2 f4 g2.
} \addlyrics {
\set vocalName = #"Bert "
Hi, my name is Bert.
elementos de marcado. Con frecuencia se usa un tipo de letra especial
para este propósito.
-@lilypond[quote,verbatim,relative=1]
-\clef "G_8"
-c4^\markup \fontsize #1 \smallCaps Kaspar
-c c c
-\clef "bass"
-a4^\markup \fontsize #1 \smallCaps Melchior
-a a a
-\clef "G_8"
-c4^\markup \fontsize #1 \smallCaps Kaspar
-c c c
+@lilypond[quote,verbatim]
+\relative c' {
+ \clef "G_8"
+ c4^\markup \fontsize #1 \smallCaps Kaspar
+ c c c
+ \clef "bass"
+ a4^\markup \fontsize #1 \smallCaps Melchior
+ a a a
+ \clef "G_8"
+ c4^\markup \fontsize #1 \smallCaps Kaspar
+ c c c
+}
@end lilypond
Como alternativa, si hay muchos cambios de personajes, puede ser más
Para interjecciones cortas, basta un simple elemento de marcado.
-@lilypond[quote,verbatim,relative=2]
-a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
-a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
-a4 a a a
+@lilypond[quote,verbatim]
+\relative {
+ a'4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
+ a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
+ a4 a a a
+}
@end lilypond
Para frases más largas puede ser necesario expandir la música de forma
necesitar insertar líneas divisorias @qq{mudas} con @code{\bar ""}
para indicar dónde se debe producir el salto de línea.
-@lilypond[verbatim,quote,relative=2]
-a4 b c2 |
-\cadenzaOn
-a4 b c2
-a4 b c2
-\bar ""
-a4 b c2
-a4 b c2
-\cadenzaOff
-a4 b c2 |
-a4 b c2 |
+@lilypond[verbatim,quote]
+\relative a' {
+ a4 b c2 |
+ \cadenzaOn
+ a4 b c2
+ a4 b c2
+ \bar ""
+ a4 b c2
+ a4 b c2
+ \cadenzaOff
+ a4 b c2 |
+ a4 b c2 |
+}
@end lilypond
Los silencios o pausas en los cánticos pueden indicarse mediante
barras de compás modificadas.
-@lilypond[verbatim, quote,relative=2]
-a4
-\cadenzaOn
-b c2
-a4 b c2
-\bar "'"
-a4 b c2
-a4 b c2
-\bar ";"
-a4 b c2
-\bar "!"
-a4 b c2
-\bar "||"
+@lilypond[verbatim, quote]
+\relative a' {
+ a4
+ \cadenzaOn
+ b c2
+ a4 b c2
+ \bar "'"
+ a4 b c2
+ a4 b c2
+ \bar ";"
+ a4 b c2
+ \bar "!"
+ a4 b c2
+ \bar "||"
+}
@end lilypond
Como alternativa, se usa a veces la notación del canto gregoriano para
Las llaves pueden estar abiertas, parcialmente cubiertas, con el
anillo pulsado o totalmente apretadas:
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote,fragment]
\textLengthOn
-c1^\markup {
+c''1^\markup {
\center-column {
"one quarter"
\woodwind-diagram #'flute #'((cc . (one1q))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"one half"
\woodwind-diagram #'flute #'((cc . (one1h))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"three quarter"
\woodwind-diagram #'flute #'((cc . (one3q))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"ring"
\woodwind-diagram #'flute #'((cc . (oneR))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"full"
\woodwind-diagram #'flute #'((cc . (oneF two))
Los trinos se indican mediante llaves sombreadas:
-@lilypond[verbatim,quote,relative=2]
-c1^\markup {
+@lilypond[verbatim,quote,fragment]
+c''1^\markup {
\woodwind-diagram #'bass-clarinet
#'((cc . (threeT four))
(lh . ())
Es posible imprimir una amplia variedad de trinos:
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote,fragment]
\textLengthOn
-c1^\markup {
+c''1^\markup {
\center-column {
"one quarter to ring"
\woodwind-diagram #'flute #'((cc . (one1qTR))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"ring to shut"
\woodwind-diagram #'flute #'((cc . (oneTR))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"ring to open"
\woodwind-diagram #'flute #'((cc . (oneRT))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"open to shut"
\woodwind-diagram #'flute #'((cc . (oneT))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"one quarter to three quarters"
\woodwind-diagram #'flute #'((cc . (one1qT3q))
permaneciendo el de abajo con las notas en el color negro
predeterminado.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\override Staff.NoteHead.color = #red
-\new Staff { a }
+\new Staff { a' }
@end lilypond
Esto es así porque no existe ningún contexto @code{Staff} cuando se
el que se colocan las notas. El código correcto para colorear todas
las notas de rojo es
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\new Staff {
\override Staff.NoteHead.color = #red
- a
+ a'
}
@end lilypond
musicales : c'est en combinant de petits fragments qu'une musique
plus complexe peut être représentée. Par exemple :
-@lilypond[quote,verbatim,fragment,relative=1]
-f4
+@lilypond[quote,verbatim,fragment]
+f'4
@end lilypond
@noindent
Une procédure Scheme peut aussi se charger de modifier des propriétés :
-@lilypond[fragment,verbatim,quote,relative=2]
+@lilypond[fragment,verbatim,quote]
\override Stem.thickness = #(lambda (grob)
(if (= UP (ly:grob-property grob 'direction))
2.0
7.0))
-c b a g b a g b
+\relative { c'' b a g b a g b }
@end lilypond
@noindent
@ignore
Tutorial guidelines: (different from policy.txt!)
-- unless you have a really good reason, use either
+- unless you have a really good reason, use
@lilypond[verbatim,quote]
- or
- @lilypond[verbatim,quote,relative=2]
-
- Don't use any other relative=X commands.
- use "aes" and "ees" instead of "as" and "es". I know it's not
correct Dutch naming, but let's not confuse people with this
différents styles de barre de mesure, voir
@ruser{Barres de mesure}.
-@lilypond[verbatim,quote,relative=2]
-g1 e1 \bar "||" c2. c'4 \bar "|."
+@lilypond[verbatim,quote]
+\relative { g'1 e1 \bar "||" c2. c'4 \bar "|." }
@end lilypond
@example
Avertissement : échec du contrôle de mesure (barcheck) à 1/2
- g1 | e1 | c2. c'
- | g4 c g e | c4 r r2 |
+ g'1 | e1 | c2. c'
+ | g4 c g e | c4 r r2 |
@end example
Si la durée manquante est évitente au vu du rendu musical de cet exemple
@ruser{Nom des notes dans d'autres langues}.
@c END DIV
-@lilypond[verbatim,quote,relative=2]
-cis1 ees fisis, aeses
+@lilypond[verbatim,quote]
+\relative { cis''1 ees fisis, aeses }
@end lilypond
L'armure est déterminée par la commande @code{\key}, suivie d'une
hauteur puis de @code{\major} (majeur) ou @code{\minor} (mineur).
-@lilypond[verbatim,quote,relative=1]
-\key d \major
-d4 fis a c |
-\bar "||" \key c \minor
-c,4 ees g b |
+@lilypond[verbatim,quote]
+\relative {
+ \key d \major
+ d'4 fis a c |
+ \bar "||" \key c \minor
+ c,4 ees g b |
+}
@end lilypond
@smallspace
Dans cet exemple,
-@lilypond[verbatim,quote,relative=2]
-\key d \major
-cis4 d e fis
+@lilypond[verbatim,quote]
+\relative {
+ \key d \major
+ cis''4 d e fis
+}
@end lilypond
@noindent
de la bémol majeur, ce @code{si} est flanqué d'un bécarre
accidentel :
-@lilypond[verbatim,quote,relative=2]
-\key aes \major
-aes4 c b c
+@lilypond[verbatim,quote]
+\relative {
+ \key aes \major
+ aes'4 c b c
+}
@end lilypond
Prenons un autre exemple : imaginez-vous devant un piano ; dès
liaison de tenue --, on ajoute un tilde @code{~} à la première note
liée.
-@lilypond[verbatim,quote,relative=2]
-g4~ g c2~ | c4~ c8 a~ a2 |
+@lilypond[verbatim,quote]
+\relative { g'4~ g c2~ | c4~ c8 a~ a2 | }
@end lilypond
@cindex isolée, durée
liaisons de tenue, les hauteurs suivantes peuvent être omises auquel cas
seules les durées successives seront mentionnées :
-@lilypond[verbatim,quote,relative=2]
-g4~ 4 c2~ | 4 ~ 8 a8 ~ 2 |
+@lilypond[verbatim,quote]
+\relative { g'4~ 4 c2~ | 4~ 8 a~ 2 | }
@end lilypond
Ce raccourci se révèle fort utile lors d'une succession de rythmes
plusieurs notes. Les notes de départ et d'arrivée sont suivies
respectivement d'un signe @code{(} et @code{)}.
-@lilypond[verbatim,quote,relative=2]
-d4( c16) cis( d e c cis d) e( d4)
+@lilypond[verbatim,quote]
+\relative { d''4( c16) cis( d e c cis d) e( d4) }
@end lilypond
phrasés, mais pas plusieurs liaisons de phrasé ou de @emph{legato} à la
fois.
-@lilypond[verbatim,quote,relative=2]
-g4\( g8( a) b( c) b4\)
+@lilypond[verbatim,quote]
+\relative { g'4\( g8( a) b( c) b4\) }
@end lilypond
@c @ smallspace
éventuellement en grand nombre. Les liaisons de tenue peuvent être
enchâssées dans un @emph{legato} ou un phrasé.
-@lilypond[verbatim,quote,relative=2]
-c4~( c8 d~ 4 e)
+@lilypond[verbatim,quote]
+\relative { c''4(~ c8 d~ 4 e) }
@end lilypond
@seealso
Des @notation{articulations} peuvent être ajoutées à une note, au moyen
d'un tiret @code{-} suivi d'un caractère :
-@lilypond[verbatim,quote,relative=2]
-c4-^ c-+ c-- c-!
-c4-> c-. c2-_
+@lilypond[verbatim,quote]
+\relative {
+ c''4-^ c-+ c-- c-!
+ c4-> c-. c2-_
+}
@end lilypond
De même, des indications de doigté peuvent être ajoutées à une note en
utilisant un tiret (@samp{-}) et le chiffre à écrire :
-@lilypond[verbatim,quote,relative=2]
-c4-3 e-5 b-2 a-1
+@lilypond[verbatim,quote]
+\relative { c''4-3 e-5 b-2 a-1 }
@end lilypond
Articulations et doigtés sont habituellement placés automatiquement,
il est bon de laisser LilyPond déterminer l'emplacement de
l'articulation.
-@lilypond[verbatim,quote,relative=2]
-c4_-^1 d^. f^4_2-> e^-_+
+@lilypond[verbatim,quote]
+\relative { c''4_-^1 d^. f^4_2-> e^-_+ }
@end lilypond
On obtient un signe de @notation{nuance} en ajoutant à la note les
lettres du signe, précédées d'un anti-slash @code{\} :
-@lilypond[verbatim,quote,relative=2]
-c4\ff c\mf c\p c\pp
+@lilypond[verbatim,quote]
+\relative { c''4\ff c\mf c\p c\pp }
@end lilypond
@cindex nuances
nuance d'arrivée, par exemple @code{\f}, soit par la commande
@code{\!} :
-@lilypond[verbatim,quote,relative=2]
-c4\< c\ff\> c c\!
+@lilypond[verbatim,quote]
+\relative { c''4\< c\ff\> c c\! }
@end lilypond
@seealso
On peut ajouter du texte à une partition :
-@lilypond[verbatim,quote,relative=2]
-c2^"espr" a_"legato"
+@lilypond[verbatim,quote,fragment]
+c''2^"espr" a'_"legato"
@end lilypond
Pour mettre en forme du texte, on utilise la commande @code{\markup} :
-@lilypond[verbatim,quote,relative=2]
-c2^\markup{ \bold espr}
-a2_\markup{
+@lilypond[verbatim,quote,fragment]
+c''2^\markup { \bold espr }
+a'2_\markup {
\dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
}
@end lilypond
Toutes les barres de ligature sont dessinées automatiquement :
-@lilypond[verbatim,quote,relative=2]
-a8 ais d ees r d c16 b a8
+@lilypond[verbatim,quote]
+\relative { a'8 ais d ees r d c16 b a8 }
@end lilypond
@noindent
première note à attacher d'un crochet ouvrant @code{[} et la dernière
d'un crochet fermant @code{]}.
-@lilypond[verbatim,quote,relative=2]
-a8[ ais] d[ ees r d] c16 b a8
+@lilypond[verbatim,quote]
+\relative { a'8[ ais] d[ ees r d] c16 b a8 }
@end lilypond
Pour désactiver les barres de ligature automatiques pour des passages
entiers, utilisez la commande @code{\autoBeamOff}, et utilisez
@code{\autoBeamOn} pour les réactiver.
-@lilypond[verbatim,quote,relative=2]
-\autoBeamOff
-a8 c b4 d8. c16 b4 |
-\autoBeamOn
-a8 c b4 d8. c16 b4 |
+@lilypond[verbatim,quote]
+\relative {
+ \autoBeamOff
+ a'8 c b4 d8. c16 b4 |
+ \autoBeamOn
+ a8 c b4 d8. c16 b4 |
+}
@end lilypond
@seealso
suivie d'une durée : @code{\partial 4} produit une levée d'une
noire et @code{\partial 8} d'une croche.
-@lilypond[verbatim,quote,relative=2]
-\partial 8 f8 |
-c2 d |
+@lilypond[verbatim,quote]
+\relative {
+ \partial 8 f''8 |
+ c2 d |
+}
@end lilypond
le cas de triolets, par exemple, trois notes recouvrent la même durée
que deux ; un @notation{triolet} portera donc une fraction de 3/2.
-@lilypond[verbatim,quote,relative=2]
-\tuplet 3/2 { f8 g a }
-\tuplet 3/2 { c8 r c }
-\tuplet 3/2 { f,8 g16[ a g a] }
-\tuplet 3/2 { d4 a8 }
+@lilypond[verbatim,quote]
+\relative {
+ \tuplet 3/2 { f''8 g a }
+ \tuplet 3/2 { c8 r c }
+ \tuplet 3/2 { f,8 g16[ a g a] }
+ \tuplet 3/2 { d4 a8 }
+}
@end lilypond
@code{\grace}, @code{\appoggiatura} ou @code{\acciaccatura} à une
expression musicale :
-@lilypond[verbatim,quote,relative=2]
-c2 \grace { a32 b } c2 |
-c2 \appoggiatura b16 c2 |
-c2 \acciaccatura b16 c2 |
+@lilypond[verbatim,quote]
+\relative {
+ c''2 \grace { a32 b } c2 |
+ c2 \appoggiatura b16 c2 |
+ c2 \acciaccatura b16 c2 |
+}
@end lilypond
@seealso
qu'on appelle des @emph{expressions musicales}. En soi, une seule note
peut constituer une expression musicale :
-@lilypond[verbatim,quote,relative=2]
-a4
+@lilypond[verbatim,quote,fragment]
+a'4
@end lilypond
Mettre un groupe de notes entre accolades crée une nouvelle expression
musicale, appelée @emph{expression musicale composée}. En voici un
exemple avec deux notes :
-@lilypond[verbatim,quote,relative=2]
-{ a4 g4 }
+@lilypond[verbatim,quote]
+\relative { a'4 g4 }
@end lilypond
La mise entre accolades d'une séquence d'expressions musicales -- des
d'autres expressions. Ici, l'expression de l'exemple précédent est
combinée à deux notes :
-@lilypond[verbatim,quote,relative=2]
-{ { a4 g } f g }
+@lilypond[verbatim,quote]
+\relative { { a'4 g } f g }
@end lilypond
chacune deux notes distinctes) sont combinées simultanément.
@lilypond[verbatim,quote]
-\relative {
- <<
- { a'2 g }
- { f2 e }
- { d2 b }
- >>
-}
+<<
+ \relative { a'2 g }
+ \relative { f'2 e }
+ \relative { d'2 b }
+>>
@end lilypond
Notez que nous avons ici indenté chaque niveau du fichier d'entrée
@code{>>}, comme ci-dessous.
@lilypond[verbatim,quote]
-\relative {
- <<
- \new Staff { \clef "treble" c''4 }
- \new Staff { \clef "bass" c,,4 }
- >>
-}
+<<
+ \new Staff { \clef "treble" c''4 }
+ \new Staff { \clef "bass" c4 }
+>>
@end lilypond
La commande @code{\new} introduit un @qq{contexte de notation}. Un
fréquente que la musique polyrythmique.
@lilypond[verbatim,quote]
-\relative {
- <<
- \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
- \new Staff { \clef "bass" c,,4 }
- >>
-}
+<<
+ \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
+ \new Staff { \clef "bass" c4 }
+>>
@end lilypond
Voici un bref exemple :
@lilypond[verbatim,quote]
-\relative {
- \new PianoStaff <<
- \new Staff { \time 2/4 c''4 e | g g, | }
- \new Staff { \clef "bass" c,,4 c' | e c | }
- >>
-}
+\new PianoStaff <<
+ \new Staff \relative { \time 2/4 c''4 e | g g, | }
+ \new Staff \relative { \clef "bass" c4 c' | e c | }
+>>
@end lilypond
Vous pouvez générer d'autres formes de regroupement, avec
de même durée, on encadre les hauteurs de notes par des chevrons simples
@code{<} et @code{>}, et on écrit la durée juste après.
-@lilypond[verbatim,quote,relative=2]
-r4 <c e g> <c f a>2
+@lilypond[verbatim,quote]
+\relative { r4 <c'' e g> <c f a>2 }
@end lilypond
Beaucoup d'éléments de notation que l'on peut attacher à une note
accord : il faut ajouter ces indications après les hauteurs et la
durée, donc @emph{à l'extérieur} des chevrons.
-@lilypond[verbatim,quote,relative=2]
-r4 <c e g>~ <c f a>2 |
-<c e g>8[ <c f a> <c e g> <c f a>]
- <c e g>\>[ <c f a> <c f a> <c e g>]\! |
-r4 <c e g>8.\p <c f a>16( <c e g>4-. <c f a>) |
+@lilypond[verbatim,quote]
+\relative {
+ r4 <c'' e g>~ <c f a>2 |
+ <c e g>8[ <c f a> <c e g> <c f a>]
+ <c e g>8\>[ <c f a> <c f a> <c e g>]\! |
+ r4 <c e g>8.\p <c f a>16( <c e g>4-. <c f a>) |
+}
@end lilypond
@seealso
peut débuter avant l'insertion d'une ligature manuelle et s'arrêter
avant la fin de la ligature :
-@lilypond[quote,verbatim,ragged-right,relative=2]
-g8\( a b[ c b\) a] g4
+@lilypond[quote,verbatim,ragged-right]
+\relative { g'8\( a b[ c b\) a] g4 }
@end lilypond
De manière générale, différents types de crochets, notamment s'ils
qui s'étendent sur un triolet, lui-même lié à un quintolet agrémenté
d'une liaison de phrasé se poursuivant (lignes 3 et 4).
-@lilypond[quote,verbatim,ragged-right,relative=1]
-r16[ g \tuplet 3/2 { r16 e'8] }
-g,16( a \tuplet 3/2 { b16 d) e }
-g,8[( a \tuplet 3/2 { b8 d) e~] } |
-\tuplet 5/4 { e32\( a, b d e } a4.\)
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ r16[ g' \tuplet 3/2 { r16 e'8] }
+ g,16( a \tuplet 3/2 { b16 d) e }
+ g,8[( a \tuplet 3/2 { b8 d) e~] } |
+ \tuplet 5/4 { e32\( a, b d e } a4.\)
+}
@end lilypond
accord, à partir de quand aurons-nous vraiment besoin de plusieurs
voix ? Considérons déjà ces quatre accords :
-@lilypond[quote,verbatim,ragged-right,relative=1]
-\key g \major
-<d g>4 <d fis> <d a'> <d g>
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ <d' g>4 <d fis> <d a'> <d g>
+}
@end lilypond
Nous exprimons ici chacun des accords par l'utilisation de
Voici comment éclater les accords en deux voix, avec la note de passage
et la liaison :
-@lilypond[quote,verbatim,ragged-right,relative=2]
-\key g \major
-% Voice "1" Voice "2"
-<< { g4 fis8( g) a4 g } \\ { d4 d d d } >>
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ % Voice "1" Voice "2"
+ << { g'4 fis8( g) a4 g } \\ { d4 d d d } >>
+}
@end lilypond
Notez que les hampes de la seconde voix sont dirigées vers le bas.
mesure ne contient que quelques notes, il est plus judicieux de
carrément séparer chaque voix :
-@lilypond[quote,verbatim,ragged-right,relative=2]
-\key d \minor
-<< {
- % Voice "1"
- r4 g g4. a8 |
- bes4 bes c bes |
- a2. r4 |
-} \\ {
- % Voice "2"
- d,2 d4 g |
- g4 g g8( a) g4 |
- fis2. s4 |
-} >>
+@lilypond[quote,verbatim,ragged-right]
+<<
+ \key d \minor
+ \relative { % Voice "1"
+ r4 g' g4. a8 |
+ bes4 bes c bes |
+ a2. r4 |
+ } \\
+ \relative { % Voice "2"
+ d'2 d4 g |
+ g4 g g8( a) g4 |
+ fis2. s4 |
+ }
+>>
@end lilypond
@cindex voix, nommage
notation. Par exemple, voici un fragment de partition, précédé du code
qui l'engendre :
-@lilypond[quote,verbatim,relative=2]
-cis4 cis2. | a4 a2. |
+@lilypond[quote,verbatim]
+\relative { cis''4 cis2. | a4 a2. | }
@end lilypond
Si le code est assez austère, dans la partition ont été ajoutés un
rapport à la valeur par défaut, non par rapport à la dernière valeur
définie.
-@lilypond[quote,verbatim,ragged-right,relative=1]
-c4 d
-% make note heads smaller
-\set fontSize = #-4
-e4 f |
-% make note heads larger
-\set fontSize = #2.5
-g4 a
-% return to default size
-\unset fontSize
-b4 c |
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ c'4 d
+ % make note heads smaller
+ \set fontSize = #-4
+ e4 f |
+ % make note heads larger
+ \set fontSize = #2.5
+ g4 a
+ % return to default size
+ \unset fontSize
+ b4 c |
+}
@end lilypond
Nous venons de voir comment déterminer la valeur de différents types de
@cindex couleur,exemple d'utilisation de la propriété
@cindex NoteHead, exemple de dérogation
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-c4 d
-\override NoteHead.color = #red
-e4 f |
-\override NoteHead.color = #green
-g4 a b c |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ c'4 d
+ \override NoteHead.color = #red
+ e4 f |
+ \override NoteHead.color = #green
+ g4 a b c |
+}
@end lilypond
commandes prédéfinies pour en limiter les effets à un seul instant
musical :
-@lilypond[quote,verbatim,relative=1]
-c4( d)
-\once \slurDashed
-e4( f) |
-g4( a)
-\once \hideNotes
-b( c) |
+@lilypond[quote,verbatim]
+\relative {
+ c'4( d)
+ \once \slurDashed
+ e4( f) |
+ g4( a)
+ \once \hideNotes
+ b( c) |
+}
@end lilypond
Les commandes prédéfinies de la forme @code{\@dots{}Neutral},
@cindex font-size, exemple d'utilisation de la propriété
@cindex NoteHead, exemple de dérogation
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-<c e g>4
-\once \override NoteHead.font-size = #-3
-<c e g>4
-<c e g>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ <c' e g>4
+ \once \override NoteHead.font-size = #-3
+ <c e g>4
+ <c e g>4
+}
@end lilypond
Nous voyons que @code{\override} modifie @strong{toutes} les têtes
@cindex font-size, exemple d'utilisation de la propriété
@cindex @code{\tweak}, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-<c e g>4
-<c \tweak font-size #-3 e g>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ <c' e g>4
+ <c \tweak font-size #-3 e g>4
+}
@end lilypond
Vous noterez que la syntaxe de @code{\tweak} est différente de
@cindex couleur, exemple d'utilisation de la propriété
@cindex @code{\tweak}, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-a4^"Black"
+@lilypond[quote,fragment,ragged-right,verbatim]
+a'4^"Black"
-\tweak color #red ^"Red"
-\tweak color #green _"Green"
@end lilypond
@cindex direction, exemple d'utilisation de la propriété
@cindex couleur, exemple d'utilisation de la propriété
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
-\tweak direction #up
-\tuplet 3/4 {
- \tweak color #red
- \tuplet 3/2 { c8[ c c] }
- \tuplet 3/2 { c8[ c c] }
- \tuplet 3/2 { c8[ c c] }
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ \tweak direction #up
+ \tuplet 3/4 {
+ \tweak color #red
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ }
}
@end lilypond
@cindex transparence, exemple d'utilisation de la propriété
@cindex TupletNumber, exemple de dérogation
-@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
-\tuplet 3/2 { c8[ c c] }
-\once \override TupletNumber.text = #tuplet-number::calc-fraction-text
-\tuplet 3/2 {
- c8[ c]
- c8[ c]
- \once \override TupletNumber.transparent = ##t
- \tuplet 3/2 { c8[ c c] }
- \tuplet 3/2 { c8[ c c] }
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \tuplet 3/2 { c'8[ c c] }
+ \once \override TupletNumber.text = #tuplet-number::calc-fraction-text
+ \tuplet 3/2 {
+ c8[ c]
+ c8[ c]
+ \once \override TupletNumber.transparent = ##t
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ }
}
@end lilypond
@c Mozart, Die Zauberflöte Nr.7 Duett
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8 bes[( g]) g |
+ \relative {
+ r4 bes'8 bes[( g]) g |
g8[( es]) es d[( f]) as |
as8 g
}
@cindex Slur, exemple de dérogation
@cindex thickness, exemple d'utilisation de la propriété
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
+ \relative {
% Increase thickness of all following slurs from 1.2 to 5.0
\override Slur.thickness = #5.0
- r4 bes8 bes[( g]) g |
+ r4 bes'8 bes[( g]) g |
g8[( es]) es d[( f]) as |
as8 g
}
@cindex Liaison, exemple de dérogation
@cindex Épaisseur, exemple d'utilisation de la propriété
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8
+ \relative {
+ r4 bes'8
% Increase thickness of immediately following slur only
\once \override Slur.thickness = #5.0
bes8[( g]) g |
@cindex thickness, exemple d'utilisation de la propriété
@cindex épaisseur, exemple d'utilisation
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8
+ \relative {
+ r4 bes'8
% Increase thickness of immediately following slur only
\once \override Slur.thickness = #5.0
bes[( g]) g |
@cindex liaison, exemple de dérogation
@cindex épaisseur, exemple d'utilisation
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8
+ \relative {
+ r4 bes'8
% Increase thickness of all following slurs from 1.2 to 5.0
\override Slur.thickness = #5.0
bes[( g]) g |
@cindex LyricText, exemple de dérogation
@cindex @code{\addlyrics}, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8 bes[( g]) g |
+ \relative {
+ r4 bes'8 bes[( g]) g |
g8[( es]) es d[( f]) as |
as8 g
}
@cindex BarLine, exemple de dérogation
@cindex stencil, exemple d'utilisation de la propriété
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override BarLine.stencil = ##f
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex BarLine, exemple de dérogation
@cindex stencil, exemple d'utilisation de la propriété
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.stencil = ##f
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@funindex \omit
@funindex omit
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\omit Staff.BarLine
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@code{point-stencil} qui, quant à elle, attribue à l'objet une taille à
zéro :
-@lilypond[quote,verbatim,relative=2]
-{
- c4 c
+@lilypond[quote,verbatim]
+\relative {
+ c''4 c
\once \override NoteHead.stencil = #point-stencil
c4 c
}
@cindex TimeSignature, exemple de dérogation
@cindex transparent, exemple d'utilisation de la propriété
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.TimeSignature.transparent = ##t
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@funindex \hide
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\hide Staff.TimeSignature
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex BarLine, exemple de dérogation
@cindex color, exemple d'utilisation de la propriété
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.color = #white
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex BarLine, exemple de dérogation
@cindex color, exemple d'utilisation de la propriété
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.color = #(x11-color 'white)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex BarLine, exemple de dérogation
@cindex color, exemple d'utilisation de la propriété
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.color = #(rgb-color 1 1 1)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex color, exemple d'utilisation de la propriété
@cindex x11-color, exemple d'utilisation
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.StaffSymbol.color = #(x11-color 'grey30)
\override Staff.TimeSignature.color = #(x11-color 'grey60)
\override Voice.NoteHead.color = #(x11-color 'grey85)
\override Voice.Stem.color = #(x11-color 'grey85)
\override Staff.BarLine.color = #(x11-color 'grey10)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex alignAboveContext, exemple d'utilisation de la propriété
@cindex @code{\with}, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex TimeSignature, exemple de dérogation
@funindex \omit
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex Clef, exemple de dérogation
@cindex TimeSignature, exemple de dérogation
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@code{transparent} et désactiver le @code{stencil}, ce qui
donnerait :
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex TimeSignature, exemple de dérogation
@cindex fontSize, exemple d'utilisation de la propriété
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex staff-space, exemple d'utilisation de la propriété
@cindex stencil, exemple d'utilisation de la propriété
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex markup, exemple
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-c2^"Text1"
-c2^"Text2" |
-c2^"Text3"
-c2^"Text4" |
+@lilypond[quote,fragment,ragged-right,verbatim]
+c''2^"Text1"
+c''2^"Text2" |
+c''2^"Text3"
+c''2^"Text4" |
@end lilypond
Les portées aussi sont positionnées, par défaut, le plus près possible
@cindex Slur, exemple de dérogation
@cindex direction, exemple d'utilisation de la propriété
-@lilypond[quote,verbatim,relative=2]
-a4( g) c( a) |
+@lilypond[quote,fragment,verbatim]
+a'4( g') c''( a') |
\override Slur.direction = #DOWN
-a4( g) c( a) |
+a'4( g') c''( a') |
\override Slur.direction = #UP
-a4( g) c( a) |
+a'4( g') c''( a') |
\revert Slur.direction
-a4( g) c( a) |
+a'4( g') c''( a') |
@end lilypond
Nous utilisons ici les directions @code{DOWN} et @code{UP}. Elles
Dans le cas où un seul objet de rendu doit déroger à la règle, LilyPond
dispose des indicateurs de positionnement @code{^} et @code{_} :
-@lilypond[quote,verbatim,relative=2]
-a4( g) c( a) |
-a4^( g) c_( a) |
+@lilypond[quote,fragment,verbatim]
+a'4( g') c''( a') |
+a'4^( g') c''_( a') |
@end lilypond
@cindex doigtés, exemple de dérogation
@cindex direction, exemple d'utilisation de la propriété
-@lilypond[quote,verbatim,relative=2]
-c4-5 a-3 f-1 c'-5 |
-\override Fingering.direction = #DOWN
-c4-5 a-3 f-1 c'-5 |
-\override Fingering.direction = #UP
-c4-5 a-3 f-1 c'-5 |
+@lilypond[quote,verbatim]
+\relative {
+ c''4-5 a-3 f-1 c'-5 |
+ \override Fingering.direction = #DOWN
+ c4-5 a-3 f-1 c'-5 |
+ \override Fingering.direction = #UP
+ c4-5 a-3 f-1 c'-5 |
+}
@end lilypond
Le fait d'intervenir sur la propriété @code{direction} n'est sûrement
@cindex doigtés, exemple
-@lilypond[quote,verbatim,relative=2]
-c4-5 a-3 f-1 c'-5 |
-c4_5 a_3 f_1 c'_5 |
-c4^5 a^3 f^1 c'^5 |
+@lilypond[quote,verbatim]
+\relative {
+ c''4-5 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 propriété @code{direction} ne fonctionne pas pour les accords alors
@cindex doigtés, exemple
-@lilypond[quote,verbatim,relative=2]
-<c-5 g-3>4
-<c-5 g-3 e-2>4
-<c-5 g-3 e-2 c-1>4
+@lilypond[quote,verbatim]
+\relative {
+ <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 doigtés, exemple
-@lilypond[quote,verbatim,relative=2]
-<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
+@lilypond[quote,verbatim]
+\relative {
+ <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
On peut aller encore plus loin dans le positionnement des doigtés pour
@cindex @code{\set}, exemple d'utilisation
@cindex fingeringOrientations, exemple d'utilisation de la propriété
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-\set fingeringOrientations = #'(left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
-\set fingeringOrientations = #'(left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4 |
-\set fingeringOrientations = #'(up left down)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
-\set fingeringOrientations = #'(up left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4 |
-\set fingeringOrientations = #'(right)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \set fingeringOrientations = #'(left)
+ <f'-2>4
+ <c-1 e-2 g-3 b-5>4
+ \set fingeringOrientations = #'(left)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4 |
+ \set fingeringOrientations = #'(up left down)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4
+ \set fingeringOrientations = #'(up left)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4 |
+ \set fingeringOrientations = #'(right)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4
+}
@end lilypond
@noindent
par défaut donnée dans la RPI à la page de l'objet
@code{Fingering} étant @code{-5}, essayons @w{@code{-7}} :
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-\override Fingering.font-size = #-7
-\set fingeringOrientations = #'(left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
-\set fingeringOrientations = #'(left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4 |
-\set fingeringOrientations = #'(up left down)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
-\set fingeringOrientations = #'(up left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4 |
-\set fingeringOrientations = #'(right)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \override Fingering.font-size = #-7
+ \set fingeringOrientations = #'(left)
+ <f'-2>4
+ <c-1 e-2 g-3 b-5>4
+ \set fingeringOrientations = #'(left)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4 |
+ \set fingeringOrientations = #'(up left down)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4
+ \set fingeringOrientations = #'(up left)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4 |
+ \set fingeringOrientations = #'(right)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4
+}
@end lilypond
@cindex TextSpanner, exemple de dérogation
@cindex bound-details, exemple d'utilisation de la propriété
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
+@lilypond[quote,fragment,ragged-right,verbatim]
% Set details for later Text Spanner
\override TextSpanner.bound-details.left.text
= \markup { \small \bold Slower }
\dynamicUp
% Start Ottava Bracket
\ottava #1
-c'4 \startTextSpan
+c''4 \startTextSpan
% Add Dynamic Text and hairpin
-c4\pp\<
-c4
+c''4\pp\<
+c''4
% Add Text Script
-c4^Text |
-c4 c
+c''4^Text |
+c''4 c''
% Add Dynamic Text and terminate hairpin
-c4\ff c \stopTextSpan |
+c''4\ff c'' \stopTextSpan |
% Stop Ottava Bracket
\ottava #0
-c,4 c c c |
+c'4 c' c' c' |
@end lilypond
Cet exemple montre comment créer des extensions de texte (@emph{Text
@cindex TextSpanner, exemple de dérogation
@cindex bound-details, exemple d'utilisation de la propriété
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
+@lilypond[quote,fragment,ragged-right,verbatim]
% Set details for later Text Spanner
\override TextSpanner.bound-details.left.text
= \markup { \small \bold Slower }
\once \override Staff.OttavaBracket.outside-staff-priority = #340
% Start Ottava Bracket
\ottava #1
-c'4 \startTextSpan
+c''4 \startTextSpan
% Add Dynamic Text
-c4\pp
+c''4\pp
% Add Dynamic Line Spanner
-c4\<
+c''4\<
% Add Text Script
-c4^Text |
-c4 c
+c''4^Text |
+c''4 c''
% Add Dynamic Text
-c4\ff c \stopTextSpan |
+c''4\ff c'' \stopTextSpan |
% Stop Ottava Bracket
\ottava #0
-c,4 c c c |
+c'4 c' c' c' |
@end lilypond
N'oublions pas que certains objets, tels les numéros de mesure,
liaison dans le but de regrouper la liaison avec les objets externes.
L'exemple suivant illustre ces deux différentes méthodes.
-@lilypond[quote,verbatim,relative=2]
-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 |
-\once \override Slur.outside-staff-priority = #500
-c4( c^\markup { \tiny \sharp } d4.) c8 |
+@lilypond[quote,verbatim]
+\relative c'' {
+ 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 |
+ \once \override Slur.outside-staff-priority = #500
+ c4( c^\markup { \tiny \sharp } d4.) c8 |
+}
@end lilypond
Le fait de changer la @code{outside-staff-priority} peut aussi servir à
@cindex TextScript, exemple de dérogation
@cindex outside-staff-priority, exemple d'utilisation de la propriété
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-c2^"Text1"
-c2^"Text2" |
+@lilypond[quote,fragment,ragged-right,verbatim]
+c''2^"Text1"
+c''2^"Text2" |
\once \override TextScript.outside-staff-priority = #500
-c2^"Text3"
-c2^"Text4" |
+c''2^"Text3"
+c''2^"Text4" |
@end lilypond
S'il est vrai que cela place « Text3 » au-dessus de « Text4 », ça le
@code{\textLengthOn} inverse ce comportement, faisant en sorte que les
notes soient espacées autant qu'il le faut pour s'adapter au texte :
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,verbatim]
\textLengthOn % Cause notes to space out to accommodate text
-c2^"Text1"
-c2^"Text2" |
-c2^"Text3"
-c2^"Text4" |
+c''2^"Text1"
+c''2^"Text2" |
+c''2^"Text3"
+c''2^"Text4" |
@end lilypond
La commande qui permet de revenir au comportement par défaut est
@cindex TextScript, exemple de dérogation
@cindex outside-staff-priority, exemple d'utilisation de la propriété
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-% This markup is short enough to fit without collision
-c2^"Tex" c'' |
-R1 |
-
-% This is too long to fit, so it is displaced upwards
-c,,2^"Text" c'' |
-R1 |
-
-% Turn off collision avoidance
-\once \override TextScript.outside-staff-priority = ##f
-c,,2^"Long Text " c'' |
-R1 |
-
-% Turn off collision avoidance
-\once \override TextScript.outside-staff-priority = ##f
-\textLengthOn % and turn on textLengthOn
-c,,2^"Long Text " % Spaces at end are honored
-c''2 |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ % This markup is short enough to fit without collision
+ c''2^"Tex" c'' |
+ R1 |
+
+ % This is too long to fit, so it is displaced upwards
+ c,,2^"Text" c'' |
+ R1 |
+
+ % Turn off collision avoidance
+ \once \override TextScript.outside-staff-priority = ##f
+ c,,2^"Long Text " c'' |
+ R1 |
+
+ % Turn off collision avoidance
+ \once \override TextScript.outside-staff-priority = ##f
+ \textLengthOn % and turn on textLengthOn
+ c,,2^"Long Text " % Spaces at end are honored
+ c''2 |
+}
@end lilypond
la portée comme les liaisons de phrasé ou les numéros de mesure. Cela
peut donner d'assez bons résultats, comme le montre cet exemple :
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-\clef "bass"
-\key aes \major
-\time 9/8
-\dynamicUp
-bes4.~\f\< \( bes4 bes8 des4\ff\> c16 bes\! |
-ees,2.~\)\mf ees4 r8 |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \clef "bass"
+ \key aes \major
+ \time 9/8
+ \dynamicUp
+ bes4.~\f\< \( bes4 bes8 des4\ff\> c16 bes\! |
+ ees,2.~\)\mf ees4 r8 |
+}
@end lilypond
De toute façon, si les notes et les nuances qui leur sont liées sont
déplaçant davantage les nuances suivantes, mais le résultat peut ne
pas être très satisfaisant, comme le montre cet exemple artificiel :
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim,fragment]
\dynamicUp
-a4\f b\mf a\mp b\p
+\relative { a'4\f b\mf a\mp b\p }
@end lilypond
@noindent
@cindex DynamicText, exemple de dérogation
@cindex extra-spacing-width, exemple d'utilisation de la propriété
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim,fragment]
\dynamicUp
% Extend width by 1 staff space
\override DynamicText.extra-spacing-width = #'(-0.5 . 0.5)
-a4\f b\mf a\mp b\p
+\relative { a'4\f b\mf a\mp b\p }
@end lilypond
@noindent
@cindex Script, exemple de dérogation
@cindex padding, exemple d'utilisation de la propriété
-@lilypond[quote,fragment,relative=1,verbatim]
-c2\fermata
+@lilypond[quote,fragment,verbatim]
+c'2\fermata
\override Script.padding = #3
b2\fermata
@end lilypond
@cindex DynamicLineSpanner, exemple de dérogation
@cindex staff-padding, exemple d'utilisation de la propriété
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,verbatim]
\override DynamicLineSpanner.staff-padding = #3
-a4\f b\mf a\p b\mp
+\relative { a'4\f b\mf a\p b\mp }
@end lilypond
@cindex StringNumber, exemple de dérogation
@cindex self-alignment-X, exemple d'utilisation de la propriété
-@lilypond[quote,fragment,ragged-right,verbatim,relative=3]
+@lilypond[quote,fragment,ragged-right,verbatim]
\voiceOne
-<a\2>
+<a''\2>
\once \override StringNumber.self-alignment-X = #RIGHT
-<a\2>
+<a''\2>
@end lilypond
des notes et silences simultanés. Voici un exemple de collision de ce
type :
-@lilypond[quote,verbatim,fragment,ragged-right, relative=1]
-<< { c4 c c c } \\ { R1 } >>
+@lilypond[quote,verbatim,ragged-right]
+<< \relative { c'4 c c c } \\ { R1 } >>
@end lilypond
Ici, la meilleure solution consiste à déplacer le symbole de pause vers
@cindex MultiMeasureRest, exemple de dérogation
@cindex staff-position, exemple d'utilisation de la propriété
-@lilypond[quote,verbatim,fragment,ragged-right, relative=1]
+@lilypond[quote,verbatim,ragged-right]
<<
- { c4 c c c }
+ \relative { c'4 c c c }
\\
\override MultiMeasureRest.staff-position = #-8
{ R1 }
@cindex Fingering, exemple de dérogation
@cindex extra-offset, exemple d'utilisation de la propriété
-@lilypond[quote,relative=1,verbatim]
-f4-5
+@lilypond[quote,fragment,verbatim]
+f'4-5
\once \override Fingering.extra-offset = #'(-0.3 . -1.8)
-f4-5
+f'4-5
@end lilypond
Voici un exemple où la liaison de phrasé recouvre la liaison
d'articulation :
-@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
-a8 \( ( a'16 ) a \)
+@lilypond[quote,verbatim,ragged-right]
+\relative { a'8 \( ( a'16 ) a \) }
@end lilypond
@cindex PhrasingSlur, exemple de dérogation
la droite à 4,5 ; LilyPond choisira la courbe dont les extrémités
seront les plus approchantes de celle déterminées :
-@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+@lilypond[quote,verbatim,fragment,ragged-right]
\once \override PhrasingSlur.positions = #'(2.5 . 4.5)
-a8 \( ( a'16 ) a \)
+a'8 \( ( a''16 ) a'' \)
@end lilypond
C'est déjà mieux, mais ne pourrait-on pas maintenant abaisser un
Voici un autre exemple. Comme nous pouvons le constater, les barres de
ligature chevauchent les liaisons de tenue :
-@lilypond[quote,verbatim,fragment,ragged-right,relative=1]
+@lilypond[quote,verbatim,ragged-right]
{
\time 4/2
<<
- { c1~ 2. e8 f }
+ \relative { c'1~ 2. e8 f }
\\
- {
- e'8 e e e
+ \relative {
+ e''8 e e e
e e e e
f2 g
}
>>
<<
- { c,,1~ 2. e8 f }
+ \relative { c'1~ 2. e8 f }
\\
- {
- e'8 e e e
+ \relative {
+ e''8 e e e
e e e e
f2 g
}
peuvent être ainsi liées. La solution consiste à utiliser deux voix,
dont l'une avec les notes liées
-@lilypond[quote,fragment,relative=2]
-<< { b8~ 8\noBeam } \\ { b8[ g] } >>
+@lilypond[quote]
+<< { b'8~ 8\noBeam } \\ { b'8[ g'] } >>
@end lilypond
@noindent
@code{mensural-c3}, @code{mensural-c4},@*
@code{mensural-c5}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\clef "mensural-c2"
\override NoteHead.style = #'mensural
- c1
+ c'1
@end lilypond
@item
@tab
@code{mensural-f}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\clef "mensural-f"
\override NoteHead.style = #'mensural
- c1
+ c'1
@end lilypond
@item
@tab
@code{mensural-g}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\clef "mensural-g"
\override NoteHead.style = #'mensural
- c1
+ c'1
@end lilypond
@item
@code{blackmensural-c3}, @code{blackmensural-c4},@*
@code{blackmensural-c5}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\clef "blackmensural-c2"
\override NoteHead.style = #'mensural
- c1
+ c'1
@end lilypond
@item
@code{neomensural-c1}, @code{neomensural-c2},@*
@code{neomensural-c3}, @code{neomensural-c4}
@tab
-@lilypond[relative=1,notime]
- \clef "neomensural-c2" c1
+@lilypond[fragment,notime]
+ \clef "neomensural-c2" c'1
@end lilypond
@item
@code{petrucci-c3}, @code{petrucci-c4},@*
@code{petrucci-c5}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\clef "petrucci-c2"
\override NoteHead.style = #'mensural
- c1
+ c'1
@end lilypond
@item
@code{petrucci-f3}, @code{petrucci-f4},@*
@code{petrucci-f5}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\clef "petrucci-f3"
\override NoteHead.style = #'mensural
- c1
+ c'1
@end lilypond
@item
@tab
@code{petrucci-g}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\clef "petrucci-g"
\override NoteHead.style = #'mensural
- c1
+ c'1
@end lilypond
@end multitable
Voici les différences entre les styles :
-@lilypond[ragged-right,relative=1,quote]
-{
+@lilypond[ragged-right,quote]
+\relative c' {
\textLengthOn
\time 2/2
styles actuellement pris en charge sont @code{default} et
@code{mensural}.
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-\override Flag.style = #'mensural
-\override Stem.thickness = #1.0
-\override NoteHead.style = #'mensural
-\autoBeamOff
-c8 d e f c16 d e f c32 d e f s8
-c'8 d e f c16 d e f c32 d e f
+@lilypond[quote,fragment,ragged-right,verbatim]
+\relative c' {
+ \override Flag.style = #'mensural
+ \override Stem.thickness = #1.0
+ \override NoteHead.style = #'mensural
+ \autoBeamOff
+ c8 d e f c16 d e f c32 d e f s8
+ c'8 d e f c16 d e f c32 d e f
+}
@end lilypond
Notez que, pour chaque crochet mensural, l'extrémité la plus proche de
@funindex suggestAccidentals
-@lilypond[verbatim,relative=1]
-fis gis
-\set suggestAccidentals = ##t
-ais bis
+@lilypond[verbatim]
+\relative {
+ fis' gis
+ \set suggestAccidentals = ##t
+ ais bis
+}
@end lilypond
Cette fonction considérera @strong{toute} altération comme étant de la
@code{vaticana-do1}, @code{vaticana-do2},@*
@code{vaticana-do3}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\override Staff.StaffSymbol.line-count = #4
\override Staff.StaffSymbol.color = #red
\override Staff.LedgerLineSpanner.color = #red
\hide Voice.Stem
\override NoteHead.style = #'vaticana.punctum
\clef "vaticana-do2"
- c
+ c'
@end lilypond
@item
@tab
@code{vaticana-fa1}, @code{vaticana-fa2}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\override Staff.StaffSymbol.line-count = #4
\override Staff.StaffSymbol.color = #red
\override Staff.LedgerLineSpanner.color = #red
\hide Voice.Stem
\override NoteHead.style = #'vaticana.punctum
\clef "vaticana-fa2"
- c
+ c'
@end lilypond
@item
@code{medicaea-do1}, @code{medicaea-do2},@*
@code{medicaea-do3}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\override Staff.StaffSymbol.line-count = #4
\override Staff.StaffSymbol.color = #red
\override Staff.LedgerLineSpanner.color = #red
\hide Voice.Stem
\override NoteHead.style = #'medicaea.punctum
\clef "medicaea-do2"
- c
+ c'
@end lilypond
@item
@tab
@code{medicaea-fa1}, @code{medicaea-fa2}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\override Staff.StaffSymbol.line-count = #4
\override Staff.StaffSymbol.color = #red
\override Staff.LedgerLineSpanner.color = #red
\hide Voice.Stem
\override NoteHead.style = #'medicaea.punctum
\clef "medicaea-fa2"
- c
+ c'
@end lilypond
@item
@code{hufnagel-do1}, @code{hufnagel-do2},@*
@code{hufnagel-do3}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\override Staff.StaffSymbol.line-count = #4
\override Staff.StaffSymbol.color = #red
\override Staff.LedgerLineSpanner.color = #red
\hide Voice.Stem
\override NoteHead.style = #'hufnagel.punctum
\clef "hufnagel-do2"
- c
+ c'
@end lilypond
@item
@tab
@code{hufnagel-fa1}, @code{hufnagel-fa2}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\override Staff.StaffSymbol.line-count = #4
\override Staff.StaffSymbol.color = #red
\override Staff.LedgerLineSpanner.color = #red
\hide Voice.Stem
\override NoteHead.style = #'hufnagel.punctum
\clef "hufnagel-fa2"
- c
+ c'
@end lilypond
@item
@tab
@code{hufnagel-do-fa}
@tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,notime]
\override Staff.StaffSymbol.color = #red
\override Staff.LedgerLineSpanner.color = #red
\hide Voice.Stem
\override NoteHead.style = #'hufnagel.punctum
\clef "hufnagel-do-fa"
- c
+ c'
@end lilypond
@end multitable
La notation kiévienne n'utilise qu'une seule clef -- la clef
« Tse-fa-ut » -- qui indique la position du do :
-@lilypond[quote,relative=1,notime,verbatim]
+@lilypond[quote,fragment,notime,verbatim]
\clef "kievan-do"
\kievanOn
- c
+ c'
@end lilypond
@seealso
notation synodale, on peut le trouver dans certains manuscrits plus
anciens.
-@lilypond[quote,relative=1,notime,verbatim]
+@lilypond[quote,fragment,notime,verbatim]
\clef "kievan-do"
\override Accidental.glyph-name-alist =
#alteration-kievan-glyph-name-alist
-bes' dis,
+bes' dis'
@end lilypond
@seealso
décoration qui fait office de barre finale. Elle s'obtient à l'aide
d'un @code{\bar "k"}.
-@lilypond[quote,relative=1,notime,verbatim]
+@lilypond[quote,fragment,notime,verbatim]
\kievanOn
\clef "kievan-do"
- c \bar "k"
+ c' \bar "k"
@end lilypond
@seealso
Le préfixe @code{\new} non suivi d'un nom s'utilise principalement pour
créer une partition avec plusieurs portées :
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- \new Staff {
+ \new Staff \relative {
% leave the Voice context to be created implicitly
- c4 c
- }
- \new Staff {
- d4 d
+ c''4 c
}
+ \new Staff \relative {
+ d''4 d
+}
>>
@end lilypond
@noindent
et pour regrouper des voix sur une même portée :
-@lilypond[quote,verbatim,relative=2]
-<<
- \new Staff <<
- \new Voice {
- \voiceOne
- c8 c c4 c c
- }
- \new Voice {
- \voiceTwo
- g4 g g g
- }
- >>
+@lilypond[quote,verbatim]
+\new Staff <<
+ \new Voice \relative {
+ \voiceOne
+ c''8 c c4 c c
+ }
+ \new Voice \relative {
+ \voiceTwo
+ g'4 g g g
+ }
>>
@end lilypond
La commande @code{\new}, suivie ou non d'un nom, crée un tout
nouveau contexte même s'il en existe déjà un portant le même nom :
-@lilypond[quote,verbatim,relative=2]
-<<
- \new Staff <<
- \new Voice = "A" {
- \voiceOne
- c8 c c4 c c
- }
- \new Voice = "A" {
- \voiceTwo
- g4 g g g
- }
- >>
+@lilypond[quote,verbatim]
+\new Staff <<
+ \new Voice = "A" \relative {
+ \voiceOne
+ c''8 c c4 c c
+ }
+ \new Voice = "A" \relative {
+ \voiceTwo
+ g'4 g g g
+ }
>>
@end lilypond
@code{Staff}, la métrique (graveur @code{Time_signature_engraver})
et la clef (graveur @code{Clef_engraver}).
-@lilypond[quote,relative=1,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Staff {
- f2 g
+ \new Staff \relative {
+ f'2 g
}
\new Staff \with {
\remove "Time_signature_engraver"
\remove "Clef_engraver"
- } {
- f2 g2
+ } \relative {
+ f'2 g2
}
>>
@end lilypond
Comment, par exemple, déplacer le doigté dans le fragment suivant ?
-@lilypond[quote,relative=2,verbatim]
-c-2
+@lilypond[quote,fragment,verbatim]
+c''-2
@end lilypond
Sur la page de la documentation relative aux doigtés, c'est-à-dire
Nous voulions changer la position du chiffre @b{2} dans le fragment
suivant :
-@lilypond[quote,relative=2,verbatim]
-c-2
+@lilypond[quote,fragment,verbatim]
+c''-2
@end lilypond
Dans la mesure où le @b{2} est placé, verticalement, à proximité de la
objet Scheme, auquel on attribue la valeur booléenne @qq{vrai},
c'est-à-dire la lettre @code{#t} pour @qq{True} en anglais :
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
R1*2
\set Score.skipBars = ##t
R1*2
employée : le plus souvent @code{ChordNames}, @code{Voice} ou
@code{Lyrics}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
\set Score.autoBeaming = ##f
-<<
- {
- e8 e e e
- \set autoBeaming = ##t
- e8 e e e
- } \\ {
- c8 c c c c8 c c c
- }
->>
+\relative {
+ e''8 e e e
+ \set autoBeaming = ##t
+ e8 e e e
+} \\
+\relative {
+ c''8 c c c c8 c c c
+}
@end lilypond
Ce changement étant appliqué @qq{à la volée}, il n'affecte que le second
@code{Voice}, mais du contexte @code{Score} -- le code suivant ne
fonctionnera pas.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
R1*2
\set skipBars = ##t
R1*2
doit impérativement affecter le même contexte que la commande
@code{\set} d'origine, même en cas d'imbrication.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
\set Score.autoBeaming = ##t
-<<
- {
- \unset autoBeaming
- e8 e e e
- \unset Score.autoBeaming
- e8 e e e
- } \\ {
- c8 c c c c8 c c c
- }
->>
+\relative {
+ \unset autoBeaming
+ e''8 e e e
+ \unset Score.autoBeaming
+ e8 e e e
+} \\
+\relative {
+ c''8 c c c c8 c c c
+}
@end lilypond
Si l'on se trouve dans le contexte le plus restreint, il n'est pas
s'applique qu'une seule fois, il convient d'adjoindre l'instruction
@code{\once} à la commande @code{\set} :
-@lilypond[quote,verbatim,relative=2]
-c4
+@lilypond[quote,fragment,verbatim]
+c''4
\once \set fontSize = #4.7
-c4
-c4
+c''4
+c''4
@end lilypond
Ici le changement de taille est annulé aussitôt après la note concernée.
Nous pouvons donc par exemple accroître l'épaisseur des hampes en jouant
sur la propriété @code{thickness} de l'objet @code{stem} :
-@lilypond[quote,verbatim,relative=2]
-c4 c
+@lilypond[quote,fragment,verbatim]
+c''4 c''
\override Voice.Stem.thickness = #3.0
-c4 c
+c''4 c''
@end lilypond
Lorsqu'aucun contexte n'est spécifié dans une clause @code{\override},
celle-ci s'appliquera au contexte le plus bas :
-@lilypond[quote,verbatim,relative=2]
-{ \override Staff.Stem.thickness = #3.0
- <<
- {
- e4 e
- \override Stem.thickness = #0.5
- e4 e
- } \\ {
- c4 c c c
- }
- >>
-}
+@lilypond[quote,fragment,verbatim]
+\override Staff.Stem.thickness = #3.0
+<<
+ \relative {
+ e''4 e
+ \override Stem.thickness = #0.5
+ e4 e
+ } \\
+ \relative {
+ c''4 c c c
+ }
+>>
@end lilypond
Certaines @qq{sous-propriétés} sont parfois contenues dans une
Par exemple :
-@lilypond[quote,verbatim,relative=2]
-c4
-\override Voice.Stem.thickness = #3.0
-c4 c
-\revert Voice.Stem.thickness
-c4
+@lilypond[quote,verbatim]
+\relative {
+ c''4
+ \override Voice.Stem.thickness = #3.0
+ c4 c
+ \revert Voice.Stem.thickness
+ c4
+}
@end lilypond
Les effets d'un @code{\override} ou d'un @code{\revert} s'appliquent dès
l'endroit où ils apparaissent, et à tous les objets dans le contexte
mentionné :
-@lilypond[quote,verbatim,relative=2]
-{
- <<
- {
- e4
- \override Staff.Stem.thickness = #3.0
- e4 e e
- } \\ {
- c4 c c
- \revert Staff.Stem.thickness
- c4
- }
- >>
-}
+@lilypond[quote,verbatim]
+<<
+ \relative {
+ e''4
+ \override Staff.Stem.thickness = #3.0
+ e4 e e
+ } \\
+ \relative {
+ c''4 c c
+ \revert Staff.Stem.thickness
+ c4
+ }
+>>
@end lilypond
@cindex override ponctuel
lors que les effets de l'accommodement ne concernent que l'événement qui
la suit directement :
-@lilypond[quote,verbatim,relative=2]
-{
- <<
- {
- \override Stem.thickness = #3.0
- e4 e e e
- } \\ {
- c4
- \once \override Stem.thickness = #3.0
- c4 c c
- }
- >>
-}
+@lilypond[quote,verbatim]
+<<
+ \relative c {
+ \override Stem.thickness = #3.0
+ e''4 e e e
+ } \\
+ \relative {
+ c''4
+ \once \override Stem.thickness = #3.0
+ c4 c c
+ }
+>>
@end lilypond
@ignore
Dans l'exemple suivant, l'une des têtes de note de l'accord est
colorisée, et l'aspect d'une autre est changé.
-@lilypond[relative=2,verbatim,quote]
-< c
+@lilypond[verbatim,fragment,quote]
+< c''
\tweak color #red
- d
- g
+ d''
+ g''
\tweak duration-log #1
- a
+ a''
> 4
@end lilypond
L'instruction @code{\tweak} permet aussi de modifier l'aspect d'une
liaison :
-@lilypond[verbatim,quote,relative=1]
-c-\tweak thickness #5 ( d e f)
+@lilypond[verbatim,quote]
+\relative { c'-\tweak thickness #5 ( d e f) }
@end lilypond
La commande @code{\tweak} ne sera pleinement fonctionnelle que si elle
forme développée de la commande @code{\tweak}, autrement dit
lorsque l'objet est explicitement mentionné :
-@lilypond[relative=2,verbatim,quote]
+@lilypond[fragment,verbatim,quote]
\tweak Stem.color #red
-\tweak Beam.color #green c8 e
-<c e \tweak Accidental.font-size #-3 ges>4
+\tweak Beam.color #green c''8 e''
+<c'' e'' \tweak Accidental.font-size #-3 ges''>4
@end lilypond
La commande @code{\tweak} ne peut non plus servir à modifier clefs ou
Plusieurs commandes @code{\tweak} en enfilade permettent d'affecter un
même élément de notation :
-@lilypond[verbatim,quote,relative=1]
-c
--\tweak style #'dashed-line
--\tweak dash-fraction #0.2
--\tweak thickness #3
--\tweak color #red
- \glissando
-f'
+@lilypond[verbatim,fragment,quote]
+c'
+ -\tweak style #'dashed-line
+ -\tweak dash-fraction #0.2
+ -\tweak thickness #3
+ -\tweak color #red
+ \glissando
+f''
@end lilypond
Vous pouvez examiner le flux musical généré par une portion d'un
Les indicateurs de positionnement n'affectent que la note qui suit :
-@lilypond[verbatim,quote,relative=2]
-c2( c)
-c2_( c)
-c2( c)
-c2^( c)
+@lilypond[verbatim,quote]
+\relative {
+ c''2( c)
+ c2_( c)
+ c2( c)
+ c2^( c)
+}
@end lilypond
Notez que ces commandes resteront effectives jusqu'à ce qu'elles soient
annulées.
-@lilypond[verbatim,quote,relative=2]
-c2( c)
-\slurDown
-c2( c)
-c2( c)
-\slurNeutral
-c2( c)
+@lilypond[verbatim,quote]
+\relative {
+ c''2( c)
+ \slurDown
+ c2( c)
+ c2( c)
+ \slurNeutral
+ c2( c)
+}
@end lilypond
En matière de musique polyphonique, il est souvent plus judicieux
défini par le nombre d'éléments dans la liste des valeurs de
@code{'line-positions}.}
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.line-positions = #'(7 3 0 -4 -6 -7)
}
-{ a4 e' f b | d1 }
+\relative { a4 e' f b | d1 }
@end lilypond
La largeur d'une portée, exprimée en espace de portée, peut être figée.
L'espacement des objets inclus dans cette portée ne sera en rien affecté
par ce réglage.
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.width = #23
}
-{ a4 e' f b | d1 }
+\relative { a4 e' f b | d1 }
@end lilypond
@end ignore
-@lilypond[verbatim,quote,relative=2]
-a~ a
-a
+@lilypond[verbatim,quote,fragment]
+a'~ a'
+a'
% increase the length of the tie
-\tweak minimum-length #5
-~ a
+~ a'
@end lilypond
-@lilypond[verbatim,quote,relative=2]
-a1
-\compressMMRests {
+@lilypond[verbatim,quote]
+\relative \compressMMRests {
+ a'1
R1*23
% increase the length of the rest bar
\once \override MultiMeasureRest.minimum-length = #20
}
@end lilypond
-@lilypond[verbatim,quote,relative=2]
-a \< a a a \!
-% increase the length of the hairpin
-\override Hairpin.minimum-length = #20
-a \< a a a \!
+@lilypond[verbatim,quote]
+\relative {
+ a' \< a a a \!
+ % increase the length of the hairpin
+ \override Hairpin.minimum-length = #20
+ a \< a a a \!
+}
@end lilypond
Cette propriété permet aussi de jouer sur l'envergure d'une liaison
d'articulation ou de phrasé.
-@lilypond[verbatim,quote,relative=2]
-a( g)
-a
--\tweak minimum-length #5
-( g)
+@lilypond[verbatim,quote]
+\relative {
+ a'( g)
+ a
+ -\tweak minimum-length #5
+ ( g)
-a\( g\)
-a
--\tweak minimum-length #5
-\( g\)
+ a\( g\)
+ a
+ -\tweak minimum-length #5
+ \( g\)
+}
@end lilypond
Certains objets requièrent un appel explicite à la procédure
longueur minimale d'un glissando ne pourra être forcée tant que la
propriété @code{springs-and-rods} n'est pas définie :
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,fragment,quote]
% default
-e \glissando c'
+e' \glissando c''
% not effective alone
\once \override Glissando.minimum-length = #20
-e, \glissando c'
+e' \glissando c''
% effective only when both overrides are present
\once \override Glissando.minimum-length = #20
\once \override Glissando.springs-and-rods = #ly:spanner::set-spacing-rods
-e, \glissando c'
+e' \glissando c''
@end lilypond
Il en va de même pour l'objet @code{Beam} (ligature) :
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,fragment,quote]
% not effective alone
\once \override Beam.minimum-length = #20
-e8 e e e
+e'8 e' e' e'
% effective only when both overrides are present
\once \override Beam.minimum-length = #20
\once \override Beam.springs-and-rods = #ly:spanner::set-spacing-rods
-e8 e e e
+e'8 e' e' e'
@end lilypond
@strong{@i{La propriété @code{to-barline}}}
effet de prolonger l'extenseur au delà de la barre de mesure et jusqu'à
la note qui le borne :
-@lilypond[verbatim,quote,relative=2]
-a \< a a a a \! a a a \break
-\override Hairpin.to-barline = ##f
-a \< a a a a \! a a a
+@lilypond[verbatim,quote]
+\relative {
+ a' \< a a a a \! a a a \break
+ \override Hairpin.to-barline = ##f
+ a \< a a a a \! a a a
+}
@end lilypond
Cette propriété n'est pas opérationnelle pour tous les extenseurs. Il
hiérarchie, mais la syntaxe de la commande @code{\override} nécessaire
demeure relativement simple :
-@lilypond[relative=2,quote,verbatim]
-e2 \glissando b
+@lilypond[quote,fragment,verbatim]
+e''2 \glissando b'
\once \override Glissando.bound-details.left.Y = #3
\once \override Glissando.bound-details.right.Y = #-2
-e2 \glissando b
+e''2 \glissando b'
@end lilypond
La propriété @code{Y} est valorisée en unités de @code{staff-space}, la
@code{left-broken} et @code{right-broken} de @code{bound-details}, comme
ci-dessous :
-@lilypond[relative=2,ragged-right,verbatim,quote]
+@lilypond[ragged-right,fragment,verbatim,quote]
\override Glissando.breakable = ##t
\override Glissando.bound-details.right-broken.Y = #-3
-c1 \glissando \break
-f1
+c''1 \glissando \break
+f''1
@end lilypond
Les sous-propriétés @code{left} et @code{right} du @code{bound-details}
sous-propriété utilisée pour ajouter @i{cresc.}, @i{tr} ou autre texte à
un extenseur horizontal.
-@lilypond[quote,ragged-right,relative=2,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\override TextSpanner.bound-details.left.text
= \markup { \small \bold Slower }
-c2\startTextSpan b c a\stopTextSpan
+\relative { c''2\startTextSpan b c a\stopTextSpan }
@end lilypond
@item stencil-align-dir-y
@code{stencil-align-dir-y} ou @code{stencil-offset} permettra d'aligner
le symbole verticalement par rapport au coin de la ligne :
-@lilypond[relative=1,quote,verbatim]
+@lilypond[quote,fragment,verbatim]
\override TextSpanner.bound-details.left.stencil-align-dir-y = #-2
\override TextSpanner.bound-details.right.stencil-align-dir-y = #UP
\override TextSpanner.bound-details.left.text = #"ggg"
\override TextSpanner.bound-details.right.text = #"hhh"
-c4^\startTextSpan c c c \stopTextSpan
+
+\relative { c'4^\startTextSpan c c c \stopTextSpan }
@end lilypond
Vous n'aurez pas manqué de constater qu'une valeur négative place le
seule note, ou jusqu'à la prochaine barre de mesure si @code{to-barline}
a été activé et que survient une barre avant la note suivante.
-@lilypond[verbatim,quote,ragged-right,relative=2]
-\endSpanners
-c2 \startTextSpan c2 c2
-\endSpanners
-c2 \< c2 c2
+@lilypond[verbatim,quote,ragged-right]
+\relative c'' {
+ \endSpanners
+ c2 \startTextSpan c2 c2
+ \endSpanners
+ c2 \< c2 c2
+}
@end lilypond
L'utilisation de @code{\endSpanners} permet de s'affranchir d'insérer un
l'objet ne sera donc pas dessiné. Le retour au comportement par défaut
s'opère à l'aide d'un @code{\revert}.
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,fragment,verbatim]
a1 a
\override Score.BarLine.stencil = ##f
a a
Cette opération relativement courante fait l'objet du racourci
@code{\omit} :
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,fragment,verbatim]
a1 a
\omit Score.BarLine
a a
défaut définie à @code{#f}. Le fait de l'activer rendra l'objet
transparent tout en préservant la place qu'il occupe.
-@lilypond[quote,verbatim,relative=2]
-a4 a
+@lilypond[quote,fragment,verbatim]
+a'4 a'
\once \override NoteHead.transparent = ##t
-a a
+a' a'
@end lilypond
Cette opération relativement courante fait l'objet du racourci
@code{\hide} :
-@lilypond[quote,verbatim,relative=2]
-a4 a
+@lilypond[quote,fragment,verbatim]
+a'4 a'
\once \hide NoteHead
-a a
+a' a'
@end lilypond
l'ordre dans lequel ils sont dessinés, ce qui peut laisser apparaître
un fantôme de l'objet blanchi comme ci-dessous :
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
\override Staff.Clef.color = #white
-a1
+a'1
@end lilypond
Cet inconvénient peut être évité en modifiant l'ordre dans lequel les
avoir un @code{layer} de valeur inférieure, disons @w{@code{-1}}, pour
pouvoir être dessiné avant.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
\override Staff.Clef.color = #white
\override Staff.Clef.layer = #-1
-a1
+a'1
@end lilypond
le passage en si bémol majeur malgré l'activation de
@code{all-invisible} (@emph{tous invisibles}).
-@lilypond[quote,verbatim,relative=1,ragged-right]
-\key g \major
-f4 g a b
-% Try to remove all key signatures
-\override Staff.KeySignature.break-visibility = #all-invisible
-\key bes \major
-f4 g a b
-\break
-f4 g a b
-f4 g a b
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ f'4 g a b
+ % Try to remove all key signatures
+ \override Staff.KeySignature.break-visibility = #all-invisible
+ \key bes \major
+ f4 g a b
+ \break
+ f4 g a b
+ f4 g a b
+}
@end lilypond
La visibilité lors de ces changements explicites d'armure ou de clef est
explicite, et en dehors d'un début de ligne ; il faudra en pareil
cas forcer la @code{break-visibility} de ces objets pour les supprimer.
-@lilypond[quote,verbatim,relative=1,ragged-right]
-\key g \major
-f4 g a b
-\set Staff.explicitKeySignatureVisibility = #all-invisible
-\override Staff.KeySignature.break-visibility = #all-invisible
-\key bes \major
-f4 g a b \break
-f4 g a b
-f4 g a b
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ f'4 g a b
+ \set Staff.explicitKeySignatureVisibility = #all-invisible
+ \override Staff.KeySignature.break-visibility = #all-invisible
+ \key bes \major
+ f4 g a b \break
+ f4 g a b
+ f4 g a b
+}
@end lilypond
@subsubsubheading Visibilité des altérations de précaution
explicite de tonalité sera annulée dès lors que vous aurez désactivé la
propriété @code{printKeyCancellation} du contexte @code{Staff} :
-@lilypond[quote,verbatim,relative=1,ragged-right]
-\key g \major
-f4 g a b
-\set Staff.explicitKeySignatureVisibility = #all-invisible
-\set Staff.printKeyCancellation = ##f
-\override Staff.KeySignature.break-visibility = #all-invisible
-\key bes \major
-f4 g a b \break
-f4 g a b
-f4 g a b
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ f'4 g a b
+ \set Staff.explicitKeySignatureVisibility = #all-invisible
+ \set Staff.printKeyCancellation = ##f
+ \override Staff.KeySignature.break-visibility = #all-invisible
+ \key bes \major
+ f4 g a b \break
+ f4 g a b
+ f4 g a b
+}
@end lilypond
Avec de tels réglages particuliers, seules les altérations accidentelles
L'exemple ci-dessous indique les différents styles de ligne disponibles,
ainsi que la manière de les spécifier.
-@lilypond[relative=2,ragged-right,verbatim,quote]
-d2 \glissando d'2
-\once \override Glissando.style = #'dashed-line
-d,2 \glissando d'2
-\override Glissando.style = #'dotted-line
-d,2 \glissando d'2
-\override Glissando.style = #'zigzag
-d,2 \glissando d'2
-\override Glissando.style = #'trill
-d,2 \glissando d'2
+@lilypond[ragged-right,verbatim,quote]
+\relative {
+ d''2 \glissando d'2
+ \once \override Glissando.style = #'dashed-line
+ d,2 \glissando d'2
+ \override Glissando.style = #'dotted-line
+ d,2 \glissando d'2
+ \override Glissando.style = #'zigzag
+ d,2 \glissando d'2
+ \override Glissando.style = #'trill
+ d,2 \glissando d'2
+}
@end lilypond
Les points d'ancrage de l'extension sont calculés à la volée pour chaque
objet graphique, mais rien ne vous empêche de les forcer :
@c TODO Complete
-@lilypond[relative=2,ragged-right,verbatim,quote]
-e2 \glissando f
-\once \override Glissando.bound-details.right.Y = #-2
-e2 \glissando f
+@lilypond[ragged-right,verbatim,quote]
+\relative {
+ e''2 \glissando f
+ \once \override Glissando.bound-details.right.Y = #-2
+ e2 \glissando f
+}
@end lilypond
La valeur de @code{Y} est ainsi fixée à @w{@code{-2}} en ce qui concerne
Il existe assez peu de situation où faire pivoter un objet de mise en
forme soit réellement opportun ; en voici une :
-@lilypond[quote,verbatim,relative=1]
-g4\< e' d' f\!
+@lilypond[quote,fragment,verbatim]
+g4\< e' d'' f''\!
\override Hairpin.rotation = #'(20 -1 0)
-g,,4\< e' d' f\!
+g4\< e' d'' f''\!
@end lilypond
textes trop haut.
@c KEEP LY
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,fragment,verbatim]
\override TextScript.outside-staff-priority = ##f
g4^\markup { \rotate #30 "un sol" }
b^\markup { \rotate #30 "un si" }
-des^\markup { \rotate #30 "un ré bémol" }
-fis^\markup { \rotate #30 "un fa dièse" }
+des'^\markup { \rotate #30 "un ré bémol" }
+fis'^\markup { \rotate #30 "un fa dièse" }
@end lilypond
défaut, puis repositionnement par modification successive du
@code{X-offset} et du @code{Y-offset}.
-@lilypond[verbatim,quote,relative=2]
-a-3
-a
+@lilypond[verbatim,fragment,quote]
+a'-3
+a'
-\tweak X-offset #0
-\tweak Y-offset #0
-3
-a
+a'
-\tweak X-offset #-1
-\tweak Y-offset #1
-3
@code{\tweak} permet de traiter séparément plusieurs annotations
affectées à une même note :
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,verbatim,fragment]
a'
-\tweak self-alignment-X #-1
^"left-aligned"
Dans l'exemple ci-dessous, nous ajustons l'indication de doigté de telle
sorte qu'elle se place au plus près de la tête de note.
-@lilypond[quote,verbatim,relative=2]
-a
+@lilypond[quote,verbatim,fragment]
+a'
-\tweak self-alignment-X #0.5 % move horizontally left
-\tweak Y-offset #ly:self-alignment-interface::y-aligned-on-self
-\tweak self-alignment-Y #-1 % move vertically up
Chaque objet possède son propre point de référence par défaut, sur
lequel viendra s'aligner les indications de repère :
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment]
% The rehearsal mark will be aligned to the right edge of the Clef
\override Score.RehearsalMark.break-align-symbols = #'(clef)
\key a \major
\clef treble
\mark "↓"
-e1
+e'1
% The rehearsal mark will be aligned to the left edge of the Time Signature
\override Score.RehearsalMark.break-align-symbols = #'(time-signature)
\key a \major
\clef treble
\time 3/4
\mark "↓"
-e2.
+e'2.
% The rehearsal mark will be centered above the Breath Mark
\override Score.RehearsalMark.break-align-symbols = #'(breathing-sign)
\key a \major
\clef treble
\time 4/4
-e1
+e'1
\breathe
\mark "↓"
@end lilypond
l'alignement se fera sur la barre de mesure ou, dans le cas où la barre
de mesure est invisible, à l'endroit même où la barre prendrait place.
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment]
% The rehearsal mark will be aligned to the right edge of the Key Signature
\override Score.RehearsalMark.break-align-symbols = #'(key-signature clef)
\key a \major
\clef treble
\mark "↓"
-e1
+e'1
% The rehearsal mark will be aligned to the right edge of the Clef
\set Staff.explicitKeySignatureVisibility = #all-invisible
\override Score.RehearsalMark.break-align-symbols = #'(key-signature clef)
\key a \major
\clef bass
\mark "↓"
-gis,,1
+gis,1
% The rehearsal mark will be centered above the Bar Line
\set Staff.explicitKeySignatureVisibility = #all-invisible
\set Staff.explicitClefVisibility = #all-invisible
\key a \major
\clef treble
\mark "↓"
-e''1
+e'1
@end lilypond
L'alignement d'un repère sur un objet de notation peut se modifier,
comme l'illustre l'exemple suivant. Toutefois, si la partition comporte
plusieurs portées, ce réglage devra apparaître dans chacune des portées.
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment]
% The RehearsalMark will be aligned with the right edge of the Key Signature
\override Score.RehearsalMark.break-align-symbols = #'(key-signature)
\key a \major
\clef treble
\time 4/4
\mark "↓"
-e1
+e'1
% The RehearsalMark will be centered above the Key Signature
\once \override Score.KeySignature.break-align-anchor-alignment = #CENTER
\mark "↓"
\key a \major
-e1
+e'1
% The RehearsalMark will be aligned with the left edge of the Key Signature
\once \override Score.KeySignature.break-align-anchor-alignment = #LEFT
\key a \major
\mark "↓"
-e1
+e'1
@end lilypond
Le bord gauche d'un repère peut se décaler arbitrairement sur la gauche
ou la droite. La valeur est exprimée en espaces de portée.
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment]
% The RehearsalMark will be aligned with the left edge of the Key Signature
% and then shifted right by 3.5 staff-spaces
\override Score.RehearsalMark.break-align-symbols = #'(key-signature)
\once \override Score.KeySignature.break-align-anchor = #3.5
\key a \major
\mark "↓"
-e1
+e'1
% The RehearsalMark will be aligned with the left edge of the Key Signature
% and then shifted left by 2 staff-spaces
\once \override Score.KeySignature.break-align-anchor = #-2
\key a \major
\mark "↓"
-e1
+e'1
@end lilypond
@cindex galbe des liaisons
@funindex \shape
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote]
<<
- { e1~ 1 }
+ { e'1~ 1 }
\\
- { r4 <g c,> <g c,> <g c,> }
+ \relative { r4 <g' c,> <g c,> <g c,> }
>>
@end lilypond
@code{\shape}, nous pouvons remonter la liaison d'un demi espace
de portée :
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote]
<<
{
\shape #'((0 . 0.5) (0 . 0.5) (0 . 0.5) (0 . 0.5)) Tie
- e1~ 1
+ e'1~ 1
}
\\
- { r4 <g c,> <g c,> <g c,> }
+ \relative { r4 <g' c,> <g c,> <g c,> }
>>
@end lilypond
ci-dessous, cette fois en utilisant la formulation d'affinage
-- la forme @code{\tweak} :
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote]
<<
{
- e1-\shape #'((0 . 0.5) (0 . 1) (0 . 1) (0 . 0.5)) ~ e
+ e'1-\shape #'((0 . 0.5) (0 . 1) (0 . 1) (0 . 0.5)) ~ e'
}
\\
- { r4 <g c,> <g c,> <g c,> }
+ \relative { r4 <g' c,> <g c,> <g c,> }
>>
@end lilypond
se réalise de la même manière, ce qui permet de gérer le galbe de
deux courbes débutant au même instant musical :
-@lilypond[verbatim,quote,ragged-right,relative=2]
-c8(\( a) a'4 e c\)
-\shape #'((0.7 . -0.4) (0.5 . -0.4) (0.3 . -0.3) (0 . -0.2)) Slur
-\shape #'((0 . 0) (0 . 0.5) (0 . 0.5) (0 . 0)) PhrasingSlur
-c8(\( a) a'4 e c\)
+@lilypond[verbatim,quote,ragged-right]
+\relative {
+ c''8(\( a) a'4 e c\)
+ \shape #'((0.7 . -0.4) (0.5 . -0.4) (0.3 . -0.3) (0 . -0.2)) Slur
+ \shape #'((0 . 0) (0 . 0.5) (0 . 0.5) (0 . 0)) PhrasingSlur
+ c8(\( a) a'4 e c\)
+}
@end lilypond
La fonction @code{\shape} permet aussi d'adapter les points de
suivant, le saut de ligne laisse à croire qu'il y a non pas une
seule mais deux liaisons :
-@lilypond[verbatim,quote,ragged-right,relative=1]
-c4( f g c
-\break
-d,4 c' f, c)
+@lilypond[verbatim,quote,ragged-right]
+\relative {
+ c'4( f g c
+ \break
+ d,4 c' f, c)
+}
@end lilypond
Regalber les deux moitiés de la liaison rend plus évident le fait
qu'elle d'étend par delà le saut de ligne :
-@lilypond[verbatim,quote,ragged-right,relative=1]
+@lilypond[verbatim,quote,ragged-right]
% () may be used as a shorthand for ((0 . 0) (0 . 0) (0 . 0) (0 . 0))
% if any of the segments does not need to be changed
-\shape #'(
- (( 0 . 0) (0 . 0) (0 . 0) (0 . 1))
- ((0.5 . 1.5) (1 . 0) (0 . 0) (0 . -1.5))
- ) Slur
-c4( f g c
-\break
-d,4 c' f, c)
+\relative c' {
+ \shape #'(
+ (( 0 . 0) (0 . 0) (0 . 0) (0 . 1))
+ ((0.5 . 1.5) (1 . 0) (0 . 0) (0 . -1.5))
+ ) Slur
+ c4( f g c
+ \break
+ d,4 c' f, c)
+}
@end lilypond
La présence d'une courbe en S requiert obligatoirement d'ajuster
manuellement les points de contrôle -- LilyPond n'optera jamais
automatiquement pour un tel galbe.
-@lilypond[verbatim,quote,relative=2]
-c8( e b-> f d' a e-> g)
-\shape #'((0 . -1) (5.5 . -0.5) (-5.5 . -10.5) (0 . -5.5)) PhrasingSlur
-c8\( e b-> f d' a e-> g\)
+@lilypond[verbatim,quote]
+\relative c'' {
+ c8( e b-> f d' a e-> g)
+ \shape #'((0 . -1) (5.5 . -0.5) (-5.5 . -10.5) (0 . -5.5)) PhrasingSlur
+ c8\( e b-> f d' a e-> g\)
+}
@end lilypond
@subsubsubheading Déclaration explicite des points de contrôle
l'un des moyens d'indiquer une liaison qui se prolonge sur les
alternatives d'une répétition.
-@lilypond[verbatim,quote,relative=2]
-c1
-\repeat volta 3 { c4 d( e f }
-\alternative {
- { g2) d }
- {
- g2
- % create a slur and move it to a new position
- % the <> is just an empty chord to carry the slur termination
- -\tweak control-points #'((-2 . 3.8) (-1 . 3.9) (0 . 4) (1 . 3.4)) ( <> )
- f,
- }
- {
- e'2
- % create a slur and move it to a new position
- -\tweak control-points #'((-2 . 3) (-1 . 3.1) (0 . 3.2) (1 . 2.4)) ( <> )
- f,
+@lilypond[verbatim,quote]
+\relative {
+ c''1
+ \repeat volta 3 { c4 d( e f }
+ \alternative {
+ { g2) d }
+ {
+ g2
+ % create a slur and move it to a new position
+ % the <> is just an empty chord to carry the slur termination
+ -\tweak control-points #'((-2 . 3.8) (-1 . 3.9) (0 . 4) (1 . 3.4)) ( <> )
+ f,
+ }
+ {
+ e'2
+ % create a slur and move it to a new position
+ -\tweak control-points #'((-2 . 3) (-1 . 3.1) (0 . 3.2) (1 . 2.4)) ( <> )
+ f,
+ }
}
}
@end lilypond
l'exemple ci-dessous, la modification apportée à @code{thickness}
s'applique aussi bien avant qu'après le saut de ligne.
-@lilypond[verbatim,quote,ragged-right,relative=2]
-r2
-\once\override Slur.thickness = 10
-c8( d e f
-\break
-g8 f e d) r2
+@lilypond[verbatim,quote,ragged-right]
+\relative c'' {
+ r2
+ \once\override Slur.thickness = 10
+ c8( d e f
+ \break
+ g8 f e d) r2
+}
@end lilypond
La commande @code{\alterBroken} permet de modifier indépendamment
Le code ci-dessous applique un @code{\override} indépendant à chacun
des segments du phrasé de l'exemple précédent :
-@lilypond[verbatim,quote,ragged-right,relative=2]
-r2
-\alterBroken thickness #'(10 1) Slur
-c8( d e f
-\break
-g8 f e d) r2
+@lilypond[verbatim,quote,ragged-right]
+\relative c'' {
+ r2
+ \alterBroken thickness #'(10 1) Slur
+ c8( d e f
+ \break
+ g8 f e d) r2
+}
@end lilypond
La commande @code{\alterBroken} peut s'utiliser avec tout objet étendu,
seul segment ajouté. L'exemple ci-dessous illustre la manière de
procéder, ici avec la variante @code{\tweak} de la commande :
-@lilypond[verbatim,quote,ragged-right,relative=2]
+@lilypond[verbatim,quote,ragged-right]
% The empty list is conveniently used below, because it is the
% default setting of dash-definition, resulting in a solid curve.
-c2-\alterBroken dash-definition #'(() ((0 1.0 0.4 0.75))) \(e
-\break
-g2 e\)
+\relative {
+ c''2-\alterBroken dash-definition #'(() ((0 1.0 0.4 0.75))) \(e
+ \break
+ g2 e\)
+}
@end lilypond
Il est important de considérer que @code{\alterBroken} affectera à
Mode notes et mode accords peuvent tout à fait cohabiter dans une
séquence musicale :
-@lilypond[verbatim,quote,ragged-right,relative=1]
-<c e g>2 <g b d>
-\chordmode { c2 f }
-<c e g>2 <g' b d>
-\chordmode { f2 g }
+@lilypond[verbatim,quote,ragged-right]
+\relative {
+ <c' e g>2 <g b d>
+ \chordmode { c2 f }
+ <c e g>2 <g' b d>
+ \chordmode { f2 g }
+}
@end lilypond
@seealso
L'apparition de silences dans un contexte @code{ChordNames} déclenchera
l'impression d'un @emph{markup} @code{noChordSymbol}.
-@lilypond[verbatim, quote, relative=1]
+@lilypond[verbatim,quote]
<<
\new ChordNames \chordmode {
c1
@code{\tweak} ou @code{\override} permet de retailler un objet de rendu
particulier :
-@lilypond[quote,verbatim,relative=1]
-% resize a note head
-<f \tweak font-size -4 b e>-5
-% resize a fingering
-bes-\tweak font-size 0 -3
-% resize an accidental
-\once \override Accidental.font-size = -4 bes!-^
-% resize an articulation
-\once \override Script.font-size = 4 bes!-^
+@lilypond[quote,verbatim]
+\relative {
+ % resize a note head
+ <f' \tweak font-size -4 b e>-5
+ % resize a fingering
+ bes-\tweak font-size 0 -3
+ % resize an accidental
+ \once \override Accidental.font-size = -4 bes!-^
+ % resize an articulation
+ \once \override Script.font-size = 4 bes!-^
+}
@end lilypond
@lilypond[verbatim,quote,relative=2]
taille proportionnelle de tout élément de notation basé sur un
glyphe dans ce contexte :
-@lilypond[verbatim,quote,relative=2]
-\time 3/4
-d4---5 c8( b a g) |
-\set fontSize = -6
-e'4-- c!8-4( b a g) |
-\set fontSize = 0
-fis4---3 e8( d) fis4 |
-g2.
+@lilypond[verbatim,quote]
+\relative {
+ \time 3/4
+ d''4---5 c8( b a g) |
+ \set fontSize = -6
+ e'4-- c!8-4( b a g) |
+ \set fontSize = 0
+ fis4---3 e8( d) fis4 |
+ g2.
+}
@end lilypond
La valeur de @code{fontSize} est un nombre indiquant la taille
@code{font-size} individuelles sont réglées alors que
@code{fontSize} est déjà fixé :
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote,fragment]
% the default font-size for NoteHead is 0
% the default font-size for Fingering is -5
-c4-3
+c''4-3
\set fontSize = -3
% the effective font size for NoteHead is now -3
% the effective font size for Fingering is now -8
-c4-3
+c''4-3
\override Fingering.font-size = 0
% the effective font size for Fingering is now -3
-c4-3
+c''4-3
@end lilypond
LilyPond dispose d'un certain nombre de raccourcis :
@item @code{\huge} @tab @code{\set fontSize = 2} @tab 126 %
@end multitable
-@lilypond[verbatim,quote,relative=2]
-\teeny
-c4.-> d8---3
-\tiny
-c4.-> d8---3
-\small
-c4.-> d8---3
-\normalsize
-c4.-> d8---3
-\large
-c4.-> d8---3
-\huge
-c4.-> d8---3
+@lilypond[verbatim,quote]
+\relative c'' {
+ \teeny
+ c4.-> d8---3
+ \tiny
+ c4.-> d8---3
+ \small
+ c4.-> d8---3
+ \normalsize
+ c4.-> d8---3
+ \large
+ c4.-> d8---3
+ \huge
+ c4.-> d8---3
+}
@end lilypond
@cindex standard, taille des notes
Les doigtés peuvent être indiqués comme suit :
@var{note}-@var{chiffre_du_doigt}
-@lilypond[verbatim,quote,relative=2]
-c4-1 d-2 f-4 e-3
+@lilypond[verbatim,quote]
+\relative { c''4-1 d-2 f-4 e-3 }
@end lilypond
Pour les substitutions de doigts, on a recours à une indication
textuelle (commande @code{\markup}) de doigté
(commande @code{\finger}).
-@lilypond[verbatim,quote,relative=2]
-c4-1 d-2 f\finger \markup \tied-lyric #"4~3" c\finger "2 - 3"
+@lilypond[verbatim,quote]
+\relative {
+ c''4-1 d-2 f\finger \markup \tied-lyric #"4~3" c\finger "2 - 3"
+}
@end lilypond
@cindex pouce, doigté
dans une partition de violoncelle, si une note doit être jouée avec le
pouce (@emph{thumb} en anglais).
-@lilypond[verbatim,quote,relative=2]
-<a_\thumb a'-3>2 <b_\thumb b'-3>
+@lilypond[verbatim,quote]
+\relative { <a'_\thumb a'-3>2 <b_\thumb b'-3> }
@end lilypond
@cindex doigtés des accords
Les doigtés des accords peuvent être saisis note par note,
en les indiquant après chaque hauteur de note.
-@lilypond[verbatim,quote,relative=2]
-<c-1 e-2 g-3 b-5>2 <d-1 f-2 a-3 c-5>
+@lilypond[verbatim,quote]
+\relative {
+ <c''-1 e-2 g-3 b-5>2 <d-1 f-2 a-3 c-5>
+}
@end lilypond
Les indications de doigtés peuvent se placer au-dessus ou en dessous de
Les notes masquées -- ou invisibles ou encore transparentes -- sont
utiles dans le cadre d'exercices de théorie ou de composition.
-@lilypond[verbatim,quote,relative=2]
-c4 d
-\hideNotes
-e4 f
-\unHideNotes
-g a
-\hideNotes
-b
-\unHideNotes
-c
+@lilypond[verbatim,quote]
+\relative {
+ c''4 d
+ \hideNotes
+ e4 f
+ \unHideNotes
+ g a
+ \hideNotes
+ b
+ \unHideNotes
+ c
+}
@end lilypond
Têtes de note, hampes, crochets et silences sont invisibles. Une
Les objets de notation attachés à une note invisible ne seront pas
masqués pour autant.
-@lilypond[verbatim,quote,relative=2]
-e8(\p f g a)--
-\hideNotes
-e8(\p f g a)--
+@lilypond[verbatim,quote]
+\relative c'' {
+ e8(\p f g a)--
+ \hideNotes
+ e8(\p f g a)--
+}
@end lilypond
@predefined
noms des couleurs disponibles se trouvent à l'annexe
@ref{Liste des couleurs}.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote,fragment]
\override NoteHead.color = #red
-c4 c
+c''4 c''
\override NoteHead.color = #(x11-color 'LimeGreen)
-d
+d''
\override Stem.color = #blue
-e
+e''
@end lilypond
L'intégralité de la palette des couleurs définies pour X11 est
elle revient à la couleur par défaut, le noir. Le problème ressort de
façon évidente au vu de la partition finale.
-@lilypond[verbatim,quote,relative=2]
-\override Staff.StaffSymbol.color = #(x11-color 'SlateBlue2)
-\set Staff.instrumentName = \markup {
- \with-color #(x11-color 'navy) "Clarinet"
-}
+@lilypond[verbatim,quote]
+\relative c'' {
+ \override Staff.StaffSymbol.color = #(x11-color 'SlateBlue2)
+ \set Staff.instrumentName = \markup {
+ \with-color #(x11-color 'navy) "Clarinet"
+ }
-gis8 a
-\override Beam.color = #(x11-color "medium turquoise")
-gis a
-\override Accidental.color = #(x11-color 'DarkRed)
-gis a
-\override NoteHead.color = #(x11-color "LimeGreen")
-gis a
-% this is deliberate nonsense; note that the stems remain black
-\override Stem.color = #(x11-color 'Boggle)
-b2 cis
+ gis8 a
+ \override Beam.color = #(x11-color "medium turquoise")
+ gis a
+ \override Accidental.color = #(x11-color 'DarkRed)
+ gis a
+ \override NoteHead.color = #(x11-color "LimeGreen")
+ gis a
+ % this is deliberate nonsense; note that the stems remain black
+ \override Stem.color = #(x11-color 'Boggle)
+ b2 cis
+}
@end lilypond
@cindex rgb-color
(@emph{RGB}) -- chacune étant exprimée en en fraction de 256 (le 0.5 de
l'exemple suivant correspond à 128).
-@lilypond[verbatim,quote,relative=2]
-\override Staff.StaffSymbol.color = #(x11-color 'SlateBlue2)
-\set Staff.instrumentName = \markup {
- \with-color #(x11-color 'navy) "Clarinet"
-}
+@lilypond[verbatim,quote]
+\relative c'' {
+ \override Staff.StaffSymbol.color = #(x11-color 'SlateBlue2)
+ \set Staff.instrumentName = \markup {
+ \with-color #(x11-color 'navy) "Clarinet"
+ }
-\override Stem.color = #(rgb-color 0 0 0)
-gis8 a
-\override Stem.color = #(rgb-color 1 1 1)
-gis8 a
-\override Stem.color = #(rgb-color 0 0 0.5)
-gis4 a
+ \override Stem.color = #(rgb-color 0 0 0)
+ gis8 a
+ \override Stem.color = #(rgb-color 1 1 1)
+ gis8 a
+ \override Stem.color = #(rgb-color 0 0 0.5)
+ gis4 a
+}
@end lilypond
@seealso
parenthèses. Vous pouvez aussi mettre individuellement entre
parenthèses les notes d'un accord.
-@lilypond[verbatim,quote,relative=2]
-c2 \parenthesize d
-c2 \parenthesize <c e g>
-c2 <c \parenthesize e g>
+@lilypond[verbatim,quote]
+\relative {
+ c''2 \parenthesize d
+ c2 \parenthesize <c e g>
+ c2 <c \parenthesize e g>
+}
@end lilypond
Les objets autres que des notes peuvent aussi être entre parenthèses.
En ce qui concerne les articulations, l'instruction @code{\parenthesize}
doit cependant être précédée d'un tiret.
-@lilypond[verbatim,quote,relative=2]
-c2-\parenthesize -. d
-c2 \parenthesize r
+@lilypond[verbatim,quote]
+\relative {
+ c''2-\parenthesize -. d
+ c2 \parenthesize r
+}
@end lilypond
@seealso
En voici un exemple :
@c KEEP LY
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Voice \with { \consists "Balloon_engraver" }
-{
+\relative c'' {
\balloonGrobText #'Stem #'(3 . 4) \markup { "Je suis une hampe" }
a8
\balloonGrobText #'Rest #'(-4 . -4) \markup { "Je suis un silence" }
peut toutefois le gérer ainsi :
@c KEEP LY
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Voice \with { \consists "Balloon_engraver" }
-{
+\relative c'' {
\balloonGrobText #'Stem #'(3 . 4) \markup { "Je suis une hampe" }
a8
\balloonGrobText #'Rest #'(-4 . -4) \markup { "Je suis un silence" }
Les valeurs de @var{nom} sont répertoriées dans l'annexe
@ref{Liste des signes d'articulation}. En voici un exemple :
-@lilypond[verbatim,quote,relative=2]
-c4\staccato c\mordent b2\turn
-c1\fermata
+@lilypond[verbatim,quote]
+\relative {
+ c''4\staccato c\mordent b2\turn
+ c1\fermata
+}
@end lilypond
@cindex marcato
objet @code{MultiMeasureRestText} rattaché à ce @qq{silence
multimesures}.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote,fragment]
\override Script.color = #red
\override MultiMeasureRestText.color = #blue
-a2\fermata r\fermata
+a'2\fermata r\fermata
R1\fermataMarkup
@end lilypond
placent aussi bien en dessous qu'au-dessus de la portée ; pour plus
d'information, consultez @ref{Direction et positionnement}.
-@lilypond[verbatim,quote,relative=2]
-c2\ppp c\mp
-c2\rfz c^\mf
-c2_\spp c^\ff
+@lilypond[verbatim,quote]
+\relative c'' {
+ c2\ppp c\mp
+ c2\rfz c^\mf
+ c2_\spp c^\ff
+}
@end lilypond
@cindex soufflet
auquel cas LilyPond n'imprimera pas de soufflet (@emph{hairpin} en
anglais).
-@lilypond[verbatim,quote,relative=2]
-c2\< c\!
-d2\< d\f
-e2\< e\>
-f2\> f\!
-e2\> e\mp
-d2\> d\>
-c1\!
+@lilypond[verbatim,quote]
+\relative c'' {
+ c2\< c\!
+ d2\< d\f
+ e2\< e\>
+ f2\> f\!
+ e2\> e\mp
+ d2\> d\>
+ c1\!
+}
@end lilypond
Un soufflet terminé par un simple @code{\!} prendra fin sur la droite de
@code{\>}, et le nouveau soufflet débutera à l'extrémité droite de cette
même tête de note.
-@lilypond[verbatim,quote,relative=2]
-c1\< | c4 a c\< a | c4 a c\! a\< | c4 a c a\!
+@lilypond[verbatim,quote]
+\relative {
+ c''1\< | c4 a c\< a | c4 a c\! a\< | c4 a c a\!
+}
@end lilypond
Il en va de même lorsqu'un soufflet est interrompu par une nuance
explicite. Notez bien que la largeur occupée par cette nuance explicite
influe sur la terminaison du soufflet :
-@lilypond[verbatim,quote,relative=2]
-c1\< | c4 a c\mf a | c1\< | c4 a c\ffff a
+@lilypond[verbatim,quote]
+\relative {
+ c''1\< | c4 a c\mf a | c1\< | c4 a c\ffff a
+}
@end lilypond
@cindex nuances successives sur une note tenue
l'on veut faire se succéder plusieurs nuances pendant une note tenue, il
faudra avoir recours à des silences invisibles :
-@lilypond[verbatim,quote,relative=2]
-c4\< c\! d\> e\!
-<< f1 { s4 s4\< s4\> s4\! } >>
+@lilypond[verbatim,quote]
+\relative {
+ c''4\< c\! d\> e\!
+ << f1 { s4 s4\< s4\> s4\! } >>
+}
@end lilypond
@cindex espressivo
crescendo suivi d'un decrescendo sur une même note. Gardez à l'esprit
qu'il s'agit d'une articulation, et en aucun cas d'une nuance.
-@lilypond[verbatim,quote,relative=2]
-c2 b4 a
-g1\espressivo
+@lilypond[verbatim,quote]
+\relative {
+ c''2 b4 a
+ g1\espressivo
+}
@end lilypond
@funindex \cresc
crescendo. @code{\decresc} ou @code{\dim} marquent le début d'un
decrescendo. Les lignes d'extension sont gérées automatiquement.
-@lilypond[verbatim,quote,relative=2]
-g8\cresc a b c b c d e\mf |
-f8\decresc e d c e\> d c b |
-a1\dim ~ |
-a2. r4\! |
+@lilypond[verbatim,quote]
+\relative {
+ g'8\cresc a b c b c d e\mf |
+ f8\decresc e d c e\> d c b |
+ a1\dim ~ |
+ a2. r4\! |
+}
@end lilypond
@funindex \crescTextCresc
Une indication textuelle peut indiquer, au lieu d'un soufflet, un
changement de nuance :
-@lilypond[verbatim,quote,relative=2]
-\crescTextCresc
-c4\< d e f\! |
-\dimTextDecresc
-g4\> e d c\! |
-\dimTextDecr
-e4\> d c b\! |
-\dimTextDim
-d4\> c b a\! |
-\crescHairpin
-\dimHairpin
-c4\< d\! e\> d\! |
+@lilypond[verbatim,quote]
+\relative c'' {
+ \crescTextCresc
+ c4\< d e f\! |
+ \dimTextDecresc
+ g4\> e d c\! |
+ \dimTextDecr
+ e4\> d c b\! |
+ \dimTextDim
+ d4\> c b a\! |
+ \crescHairpin
+ \dimHairpin
+ c4\< d\! e\> d\! |
+}
@end lilypond
Pour créer des indications de nuance qui restent alignées
@warning{Lorsque la musique est polyphonique, la liaison doit se
terminer dans la voix où elle a été entamée.}
-@lilypond[verbatim,quote,relative=2]
-f4( g a) a8 b(
-a4 g2 f4)
-<c e>2( <b d>2)
+@lilypond[verbatim,quote]
+\relative {
+ f''4( g a) a8 b(
+ a4 g2 f4)
+ <c e>2( <b d>2)
+}
@end lilypond
@cindex liaison, orientation manuelle
Une liaison est par défaut dessinée d'un trait plein. Il est aussi
possible de l'imprimer sous la forme de tirets ou en pointillé :
-@lilypond[verbatim,quote,relative=1]
-c4( e g2)
-\slurDashed
-g4( e c2)
-\slurDotted
-c4( e g2)
-\slurSolid
-g4( e c2)
+@lilypond[verbatim,quote]
+\relative {
+ c'4( e g2)
+ \slurDashed
+ g4( e c2)
+ \slurDotted
+ c4( e g2)
+ \slurSolid
+ g4( e c2)
+}
@end lilypond
@funindex \slurHalfDashed
aura un trait discontinu et continu pour la seconde. L'inverse
s'obtient avec @code{\slurHalfSolid}.
-@lilypond[verbatim,quote,relative=1]
-c4( e g2)
-\slurHalfDashed
-g4( e c2)
-\slurHalfSolid
-c4( e g2)
-\slurSolid
-g4( e c2)
+@lilypond[verbatim,quote]
+\relative {
+ c'4( e g2)
+ \slurHalfDashed
+ g4( e c2)
+ \slurHalfSolid
+ c4( e g2)
+ \slurSolid
+ g4( e c2)
+}
@end lilypond
@funindex \slurDashPattern
Vous pouvez même personnaliser la densité des tirets d'une
liaison :
-@lilypond[verbatim,quote,relative=1]
-c4( e g2)
-\slurDashPattern #0.7 #0.75
-g4( e c2)
-\slurDashPattern #0.5 #2.0
-c4( e g2)
-\slurSolid
-g4( e c2)
+@lilypond[verbatim,quote]
+\relative {
+ c'4( e g2)
+ \slurDashPattern #0.7 #0.75
+ g4( e c2)
+ \slurDashPattern #0.5 #2.0
+ c4( e g2)
+ \slurSolid
+ g4( e c2)
+}
@end lilypond
@funindex \slurUp
musicale. On indique les points de départ et d'arrivée avec @code{\(}
et @code{\)} respectivement.
-@lilypond[verbatim,quote,relative=2]
-c4\( d( e) f(
-e2) d\)
+@lilypond[verbatim,quote]
+\relative {
+ c''4\( d( e) f(
+ e2) d\)
+}
@end lilypond
@funindex \phrasingSlurUp
Une liaison est par défaut dessinée d'un trait plein. Il est aussi
possible de l'imprimer sous la forme de tirets ou en pointillé :
-@lilypond[verbatim,quote,relative=1]
-c4\( e g2\)
-\phrasingSlurDashed
-g4\( e c2\)
-\phrasingSlurDotted
-c4\( e g2\)
-\phrasingSlurSolid
-g4\( e c2\)
+@lilypond[verbatim,quote]
+\relative {
+ c'4\( e g2\)
+ \phrasingSlurDashed
+ g4\( e c2\)
+ \phrasingSlurDotted
+ c4\( e g2\)
+ \phrasingSlurSolid
+ g4\( e c2\)
+}
@end lilypond
@cindex liaison, tirets et trait continu
liaison aura un trait discontinu et continu pour la seconde. L'inverse
s'obtient avec @code{\phrasingslurHalfSolid}.
-@lilypond[verbatim,quote,relative=1]
-c4\( e g2\)
-\phrasingSlurHalfDashed
-g4\( e c2\)
-\phrasingSlurHalfSolid
-c4\( e g2\)
-\phrasingSlurSolid
-g4\( e c2\)
+@lilypond[verbatim,quote]
+\relative {
+ c'4\( e g2\)
+ \phrasingSlurHalfDashed
+ g4\( e c2\)
+ \phrasingSlurHalfSolid
+ c4\( e g2\)
+ \phrasingSlurSolid
+ g4\( e c2\)
+}
@end lilypond
@funindex \phrasingSlurDashPattern
Vous pouvez même personnaliser la densité des tirets d'une liaison :
-@lilypond[verbatim,quote,relative=1]
-c4\( e g2\)
-\phrasingSlurDashPattern #0.7 #0.75
-g4\( e c2\)
-\phrasingSlurDashPattern #0.5 #2.0
-c4\( e g2\)
-\phrasingSlurSolid
-g4\( e c2\)
+@lilypond[verbatim,quote]
+\relative {
+ c'4\( e g2\)
+ \phrasingSlurDashPattern #0.7 #0.75
+ g4\( e c2\)
+ \phrasingSlurDashPattern #0.5 #2.0
+ c4\( e g2\)
+ \phrasingSlurSolid
+ g4\( e c2\)
+}
@end lilypond
La personnalisation des lignes discontinues est identique pour les
Les indications de respiration sont indiquées par la commande
@code{\breathe}.
-@lilypond[verbatim,quote,relative=2]
-c2. \breathe d4
+@lilypond[verbatim,quote]
+{ c''2. \breathe d''4 }
@end lilypond
Contrairement aux autres signes d'interprétation, une respiration n'est
automatiques. Pour passer outre ce fonctionnement, voir
@ref{Barres de ligature manuelles}.
-@lilypond[verbatim,quote,relative=2]
-c8 \breathe d e f g2
+@lilypond[verbatim,quote]
+\relative { c''8 \breathe d e f g2 }
@end lilypond
LilyPond gère les @emph{divisiones}, signes utilisés en notation
signes plus (vers le haut) ou moins (vers le bas). Le chiffre indique
l'intervalle avec la note de départ.
-@lilypond[verbatim,quote,relative=2]
-c2\bendAfter #+4
-c2\bendAfter #-4
-c2\bendAfter #+6.5
-c2\bendAfter #-6.5
-c2\bendAfter #+8
-c2\bendAfter #-8
+@lilypond[verbatim,quote]
+\relative c'' {
+ c2\bendAfter #+4
+ c2\bendAfter #-4
+ c2\bendAfter #+6.5
+ c2\bendAfter #-6.5
+ c2\bendAfter #+8
+ c2\bendAfter #-8
+}
@end lilypond
@snippets
intermédiaire. On l'obtient en accolant la commande @code{\glissando} à
la première note.
-@lilypond[verbatim,quote,relative=2]
-g2\glissando g'
-c2\glissando c,
-\afterGrace f,1\glissando f'16
+@lilypond[verbatim,quote]
+\relative {
+ g'2\glissando g'
+ c2\glissando c,
+ \afterGrace f,1\glissando f'16
+}
@end lilypond
Un glissando peut intervenir au moment d'un changement de portée :
les notes d'un accord sont numérotées à partir de zéro et dans leur
ordre d'apparition dans le fichier @file{.ly}.
-@lilypond[verbatim,quote,relative=2]
-<c, e>1\glissando g' |
-<c, e>1\glissando |
-<g' b> |
-\break
-\set glissandoMap = #'((0 . 1) (1 . 0))
-<c, g'>1\glissando |
-<d a'> |
-\set glissandoMap = #'((0 . 0) (0 . 1) (0 . 2))
-c1\glissando |
-<d f a> |
-\set glissandoMap = #'((2 . 0) (1 . 0) (0 . 1))
-<f d a'>1\glissando |
-<c c'> |
+@lilypond[verbatim,quote]
+\relative {
+ <c' e>1\glissando g' |
+ <c, e>1\glissando |
+ <g' b> |
+ \break
+ \set glissandoMap = #'((0 . 1) (1 . 0))
+ <c, g'>1\glissando |
+ <d a'> |
+ \set glissandoMap = #'((0 . 0) (0 . 1) (0 . 2))
+ c1\glissando |
+ <d f a> |
+ \set glissandoMap = #'((2 . 0) (1 . 0) (0 . 1))
+ <f d a'>1\glissando |
+ <c c'> |
+}
@end lilypond
Un glissando est indiqué graphiquement, par une ligne ou des
On peut indiquer qu'un accord doit être arpégé en lui accolant la
commande @code{\arpeggio} :
-@lilypond[verbatim,quote,relative=1]
-<c e g c>1\arpeggio
+@lilypond[verbatim,quote]
+\relative { <c' e g c>1\arpeggio }
@end lilypond
LilyPond dispose de différents graphismes pour indiquer un arpège ;
@code{\arpeggioNormal} reviendra au style par défaut.
-@lilypond[verbatim,quote,relative=1]
-<c e g c>2\arpeggio
+@lilypond[verbatim,quote]
+\relative {
+ <c' e g c>2\arpeggio
-\arpeggioArrowUp
-<c e g c>2\arpeggio
+ \arpeggioArrowUp
+ <c e g c>2\arpeggio
-\arpeggioArrowDown
-<c e g c>2\arpeggio
+ \arpeggioArrowDown
+ <c e g c>2\arpeggio
-\arpeggioNormal
-<c e g c>2\arpeggio
+ \arpeggioNormal
+ <c e g c>2\arpeggio
+}
@end lilypond
@cindex arpège, symboles spéciaux
Des crochets indiquent que l'accord devra être plaqué et non
arpégé :
-@lilypond[verbatim,quote,relative=1]
-<c e g c>2
+@lilypond[verbatim,quote]
+\relative {
+ <c' e g c>2
-\arpeggioBracket
-<c e g c>2\arpeggio
+ \arpeggioBracket
+ <c e g c>2\arpeggio
-\arpeggioParenthesis
-<c e g c>2\arpeggio
+ \arpeggioParenthesis
+ <c e g c>2\arpeggio
-\arpeggioParenthesisDashed
-<c e g c>2\arpeggio
+ \arpeggioParenthesisDashed
+ <c e g c>2\arpeggio
-\arpeggioNormal
-<c e g c>2\arpeggio
+ \arpeggioNormal
+ <c e g c>2\arpeggio
+}
@end lilypond
Les indications d'arpeggio peuvent se présenter sous la forme de ligne
ambiguïté, il suffit de forcer l'impression de l'altération en
ajoutant un @code{!} à la note considérée.
-@lilypond[verbatim,quote,relative=2]
-\pitchedTrill
-eis4\startTrillSpan fis
-eis4\stopTrillSpan
-\pitchedTrill
-eis4\startTrillSpan cis
-eis4\stopTrillSpan
-\pitchedTrill
-eis4\startTrillSpan fis
-eis4\stopTrillSpan
-\pitchedTrill
-eis4\startTrillSpan fis!
-eis4\stopTrillSpan
+@lilypond[verbatim,quote]
+\relative {
+ \pitchedTrill
+ eis''4\startTrillSpan fis
+ eis4\stopTrillSpan
+ \pitchedTrill
+ eis4\startTrillSpan cis
+ eis4\stopTrillSpan
+ \pitchedTrill
+ eis4\startTrillSpan fis
+ eis4\stopTrillSpan
+ \pitchedTrill
+ eis4\startTrillSpan fis!
+ eis4\stopTrillSpan
+}
@end lilypond
@predefined
@warning{Les numéros de corde @strong{doivent} être définis dans une
construction de type accord même s'il n'y a qu'une seule note.}
-@lilypond[verbatim,quote,relative=0]
+@lilypond[verbatim,quote,fragment]
\clef "treble_8"
c4\5 e\4 g2\3
-<c,\5 e\4 g\3>1
+<c\5 e\4 g\3>1
@end lilypond
Quand les indications de doigté et de numéro de corde sont attachées à
cordes non frettées, s'imprimer en chiffres romains placés sous la
portée plutôt qu'en surplomb.
-@lilypond[verbatim,quote,relative=2]
-c2\2
+@lilypond[verbatim,quote,fragment]
+\clef "treble_8"
+c'2\2
a\3
\romanStringNumbers
-c\2
+c'\2
\set stringNumberOrientations = #'(down)
a\3
\arabicStringNumbers
dans un accord, une espace @strong{doit} précéder la fermeture de la
construction par un @code{>}.}
-@lilypond[quote,verbatim,relative=0]
+@lilypond[quote,verbatim,fragment]
\clef "treble_8"
c4\rightHandFinger #1
e\rightHandFinger #2
g\rightHandFinger #3
-c\rightHandFinger #4
-<c,\rightHandFinger #1 e\rightHandFinger #2
- g\rightHandFinger #3 c\rightHandFinger #4 >1
+c'\rightHandFinger #4
+<c\rightHandFinger #1 e\rightHandFinger #2
+ g\rightHandFinger #3 c'\rightHandFinger #4 >1
@end lilypond
Pour plus de clarté, vous pouvez traduire ou abréger la commande
Cet exemple montre comment indiquer les positions et les barrés :
-@lilypond[quote,ragged-right,verbatim,relative=0]
-\clef "treble_8"
-b16 d g b e
-\textSpannerDown
-\override TextSpanner.bound-details.left.text = #"XII "
-g16\startTextSpan
-b16 e g e b g\stopTextSpan
-e16 b g d
+@lilypond[quote,ragged-right,verbatim,fragment]
+\relative {
+ \clef "treble_8"
+ b,16 d g b e
+ \textSpannerDown
+ \override TextSpanner.bound-details.left.text = #"XII "
+ g16\startTextSpan
+ b16 e g e b g\stopTextSpan
+ e16 b g d
+}
@end lilypond
@seealso
événements seront escamotés, y compris les changements de tempo ou
d'instrument -- vous voilà prévenu !
-@lilypond[quote,relative=2,ragged-right,verbatim]
-c8 d
-\set Score.skipTypesetting = ##t
-e8 e e e e e e e
-\set Score.skipTypesetting = ##f
-c8 d b bes a g c2
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ c''8 d
+ \set Score.skipTypesetting = ##t
+ e8 e e e e e e e
+ \set Score.skipTypesetting = ##f
+ c8 d b bes a g c2
+}
@end lilypond
Dans le cadre de musique polyphonique, @code{Score.skipTypesetting}
automatiquement une ligne reliant les notes, en faisant appel à la
commande @code{\showStaffSwitch} :
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,verbatim]
\new PianoStaff <<
\new Staff = "one" {
\showStaffSwitch
- c1
+ c'1
\change Staff = "two"
b2 a
}
pédale @notation{tonale} (@emph{sostenuto} ou @emph{sos.}). La pédale
@emph{sustain} se rencontre aussi sur les vibraphones et celestas.
-@lilypond[quote,verbatim,relative=2]
-c4\sustainOn d e g
-<c, f a>1\sustainOff
-c4\sostenutoOn e g c,
-<bes d f>1\sostenutoOff
-c4\unaCorda d e g
-<d fis a>1\treCorde
+@lilypond[quote,verbatim]
+\relative {
+ c''4\sustainOn d e g
+ <c, f a>1\sustainOff
+ c4\sostenutoOn e g c,
+ <bes d f>1\sostenutoOff
+ c4\unaCorda d e g
+ <d fis a>1\treCorde
+}
@end lilypond
@cindex pédale, styles d'indications de
de tenue ou de sourdine --- le traditionnel @qq{*Ped.}. La pédale
tonale, en revanche, utilise @code{mixed} par défaut.
-@lilypond[quote,verbatim,relative=2]
-c4\sustainOn g c2\sustainOff
-\set Staff.pedalSustainStyle = #'mixed
-c4\sustainOn g c d
-d\sustainOff\sustainOn g, c2\sustainOff
-\set Staff.pedalSustainStyle = #'bracket
-c4\sustainOn g c d
-d\sustainOff\sustainOn g, c2
-\bar "|."
+@lilypond[quote,verbatim]
+\relative {
+ c''4\sustainOn g c2\sustainOff
+ \set Staff.pedalSustainStyle = #'mixed
+ c4\sustainOn g c d
+ d\sustainOff\sustainOn g, c2\sustainOff
+ \set Staff.pedalSustainStyle = #'bracket
+ c4\sustainOn g c d
+ d\sustainOff\sustainOn g, c2
+ \bar "|."
+}
@end lilypond
Le placement des commandes de pédale correspond au mouvement de la
ou bien sous forme de diagramme :
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\textLengthOn
-cis1_\markup { \harp-pedal #"^v-|vv-^" }
-c!1_\markup { \harp-pedal #"^o--|vv-^" }
+cis''1_\markup { \harp-pedal #"^v-|vv-^" }
+c''!1_\markup { \harp-pedal #"^o--|vv-^" }
@end lilypond
Bémol si la pédale est relâchée (ou en haut), bécarre si elle est
nom de note. Ce sont les noms de note hollandais. Pour les autres
langues, consultez @ref{Nom des notes dans d'autres langues}.
-@lilypond[verbatim,quote,relative=2]
-ais1 aes aisis aeses
+@lilypond[verbatim,quote,fragment]
+\relative c'' { ais1 aes aisis aeses }
@end lilypond
Une hauteur naturelle se saisit comme un simple nom de note, sans
annuler les effets d'un précédente altération accidentelle ou pour
déroger à l'armure.
-@lilypond[verbatim,quote,relative=2]
-a4 aes a2
+@lilypond[verbatim,quote,fragment]
+\relative c'' { a4 aes a2 }
@end lilypond
@cindex quarts de ton
@code{eh} et @code{ih}. Voici une série de dos altérés en hauteurs
croissantes :
-@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
Les micro-intervalles sont aussi exportés dans le fichier MIDI.
entre parenthèses peut être obtenue en ajoutant un point
d'interrogation @code{?} après la hauteur de note.
-@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 altération et liaison de tenue
(ou plus communément @code{asas}). Dans certains fichiers
linguistiques, seules ces formes abrégées ont été définies.
-@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
@cindex microtonalités
hauteurs. En l'absence de commande explicite, LilyPond utilise
par défaut la clef de sol.
-@lilypond[verbatim,quote,relative=1,ragged-right]
-c2 c
+@lilypond[verbatim,quote,fragment,ragged-right]
+c'2 c'
@end lilypond
La clef se modifie à l'aide de la commande @code{\clef} suivie d'un nom
approprié. Pour chacun des exemples suivants est indiquée la position
du do médium.
-@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
Les différents noms possibles sont répertoriés à l'annexe
@var{clefname} doit être mis entre guillemets lorsqu'il contient des
caractères supplémentaires. Par exemple,
-@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
Une indication d'octaviation optionnelle s'obtient en entourant
l'argument numérique par des parenthèses ou des crochets :
-@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
Les hauteurs seront affichées comme si l'argument numérique
début de la suivante. Vous pouvez toujours supprimer cette « clef de
précaution ».
-@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
Lorsqu'une clef a déjà été imprimée et qu'aucune autre clef n'a depuis
@code{\clef}. Forcer la réimpression de la clef s'obtient à l'aide de
la commande @code{\set Staff.forceClef = ##t}.
-@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
Le symbole imprimé lors d'un changement de clef est plus petit que la
clef initiale. La taille peut toutefois être ajustée.
-@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
@code{\ionian}, @code{\locrian}, @code{\aeolian}, @code{\mixolydian},
@code{\lydian}, @code{\phrygian} et @code{\dorian}.
-@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
Rien n'empèche de définir d'autres modes, en listant l'altération
altérations seront placées à l'intérieur de l'octave finissant à
cette position sur la portée.
-@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
transposition spécifique d'une octave pour la portée en cours. C'est
la fonction @code{ottava} qui s'en charge.
-@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
L'apparence des têtes de note peut évoluer au cours de la partition :
-@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
Pour une liste exhaustive des styles de tête de note, consultez
fins spécifiques -- des croix (style @code{cross}) pour le
@emph{parlato} des chanteurs ou les notes étouffées des guitares :
-@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
Cette commande opère aussi bien sur des notes isolées qu'au sein d'un
accord, dans une portée traditionnelle ou dans un contexte de
tablature :
-@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
Vous pouvez utiliser, en lieu et place de @code{\xNote},
Il existe un raccourci pour les notes en losange :
-@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
était très en vogue dans les recueils de chansons américains du XIXe
siècle. Voici comment procéder :
-@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
Les profils sont déterminés par la hauteur dans la gamme, le premier
veut, en respectant toutefois le rythme affiché. Ces têtes de notes sont
créées ainsi :
-@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 ~
Les reprises courantes, sans alternative, s'indiquent comme ceci :
-@lilypond[verbatim,quote,relative=2]
-\repeat volta 2 { c4 d e f }
-c2 d
-\repeat volta 2 { d4 e f g }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat volta 2 { c''4 d e f }
+ c2 d
+ \repeat volta 2 { d4 e f g }
+}
@end lilypond
Aucun « début » de reprise n'est indiqué par défaut pour la première
mesure d'un morceau. Vous pouvez cependant ajouter une barre de reprise
avec un @code{\bar ".|:"} avant la première note.
-@lilypond[verbatim,fragment,quote,relative=2]
-\repeat volta 2 { \bar ".|:" c4 d e f }
-c2 d
-\repeat volta 2 { d4 e f g }
+@lilypond[verbatim,fragment,quote]
+\relative {
+ \repeat volta 2 { \bar ".|:" c''4 d e f }
+ c2 d
+ \repeat volta 2 { d4 e f g }
+}
@end lilypond
On peut ajouter une fin alternative à l'aide de la commande
Voici une simple reprise avec une fin alternative :
-@lilypond[verbatim,quote,relative=2]
-\repeat volta 2 { c4 d e f | }
-\alternative {
- { c2 e | }
- { f2 g | }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat volta 2 { c''4 d e f | }
+ \alternative {
+ { c2 e | }
+ { f2 g | }
+ }
+ c1
}
-c1
@end lilypond
Et une répétition avec plusieurs alternatives :
-@lilypond[verbatim,quote,relative=2]
-\repeat volta 3 { c4 d e f | }
-\alternative {
- { c2 e | }
- { f2 g | }
- { a2 g | }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat volta 3 { c''4 d e f | }
+ \alternative {
+ { c2 e | }
+ { f2 g | }
+ { a2 g | }
+ }
+ c1
}
-c1
@end lilypond
@warning{Lorsqu'il y a plus d'une alternative, prenez garde à ce
n'est donc pas nécessaire de faire appel à la commande @code{\partial}
ou à des contrôles d'intégrité de mesure.
-@lilypond[verbatim,quote,relative=1]
-% no \partial here
-c4 e g % no bar check here
-% no \partial here
-\repeat volta 4 {
- e4 |
- c2 e |
+@lilypond[verbatim,quote]
+\relative { % no \partial here
+ c'4 e g % no bar check here
+ % no \partial here
+ \repeat volta 4 {
+ e4 |
+ c2 e |
+ % no \partial here
+ g4 g g % no bar check here
+ }
% no \partial here
- g4 g g % no bar check here
+ g4 |
+ a2 a |
+ g1 |
}
-% no \partial here
-g4 |
-a2 a |
-g1 |
@end lilypond
Il est possible de créer des reprises en début de morceau avec une
l'utilisation d'un @code{\partial} est ici nécessaire pour respecter
cette entame.
-@lilypond[verbatim,quote,relative=1]
-\partial 4 % required
-\repeat volta 4 {
- e4 |
- c2 e |
+@lilypond[verbatim,quote]
+\relative {
+ \partial 4 % required
+ \repeat volta 4 {
+ e'4 |
+ c2 e |
+ % no \partial here
+ g4 g g % no bar check here
+ }
% no \partial here
- g4 g g % no bar check here
+ g4 |
+ a2 a |
+ g1 |
}
-% no \partial here
-g4 |
-a2 a |
-g1 |
@end lilypond
@cindex reprise et liaison de prolongation
En dehors de toute reprise :
-@lilypond[verbatim,quote,relative=1]
-e1
-\inStaffSegno
-f2 g a b
-c1_"D.S." \bar "|."
+@lilypond[verbatim,quote]
+\relative {
+ e'1
+ \inStaffSegno
+ f2 g a b
+ c1_"D.S." \bar "|."
+}
@end lilypond
Au début d'une reprise :
-@lilypond[verbatim,quote,relative=1]
-e1
-\repeat volta 2 {
- \inStaffSegno % start repeat
- f2 g a b
+@lilypond[verbatim,quote]
+\relative {
+ e'1
+ \repeat volta 2 {
+ \inStaffSegno % start repeat
+ f2 g a b
+ }
+ c1_"D.S." \bar "|."
}
-c1_"D.S." \bar "|."
@end lilypond
En fin de reprise :
-@lilypond[verbatim,quote,relative=1]
-e1
-\repeat volta 2 {
+@lilypond[verbatim,quote]
+\relative {
+ e'1
+ \repeat volta 2 {
+ f2 g a b
+ \inStaffSegno % end repeat
+ }
f2 g a b
- \inStaffSegno % end repeat
+ c1_"D.S." \bar "|."
}
-f2 g a b
-c1_"D.S." \bar "|."
@end lilypond
Entre deux reprises :
-@lilypond[verbatim,quote,relative=1]
-e1
-\repeat volta 2 {
- f2 g a b
-}
-\inStaffSegno % double repeat
-\repeat volta 2 {
- f2 g a b
+@lilypond[verbatim,quote]
+\relative {
+ e'1
+ \repeat volta 2 {
+ f2 g a b
+ }
+ \inStaffSegno % double repeat
+ \repeat volta 2 {
+ f2 g a b
+ }
+ c1_"D.S." \bar "|."
}
-c1_"D.S." \bar "|."
@end lilypond
Des symboles alternatifs de barre de mesure sont aussi accessibles, dans
préalablement créés à l'aide d'une commande @code{\defineBarLine} --
voir @ref{Barres de mesure}.
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote]
\defineBarLine ":|.S[" #'(":|." "S[" "")
\defineBarLine "]" #'("]" "" "")
-e1
-\repeat volta 2 {
- f2 g a b
- \once \set Score.endRepeatSegnoType = ":|.S["
- \inStaffSegno
+\relative {
+ e'1
+ \repeat volta 2 {
+ f2 g a b
+ \once \set Score.endRepeatSegnoType = ":|.S["
+ \inStaffSegno
+ }
+ f2 g \bar "]" a b
+ c1_"D.S." \bar "|."
}
-f2 g \bar "]" a b
-c1_"D.S." \bar "|."
@end lilypond
@snippets
@item start-repeat
Pour imprimer une barre de reprise @code{.|:}
-@lilypond[verbatim,quote,relative=2]
-c1
-\set Score.repeatCommands = #'(start-repeat)
-d4 e f g
-c1
+@lilypond[verbatim,quote]
+\relative {
+ c''1
+ \set Score.repeatCommands = #'(start-repeat)
+ d4 e f g
+ c1
+}
@end lilypond
Traditionnellement, on n'imprime pas de signe de reprise en début de
@item end-repeat
Pour imprimer une barre de reprise @code{:|.}
-@lilypond[verbatim,quote,relative=2]
-c1
-d4 e f g
-\set Score.repeatCommands = #'(end-repeat)
-c1
+@lilypond[verbatim,quote]
+\relative {
+ c''1
+ d4 e f g
+ \set Score.repeatCommands = #'(end-repeat)
+ c1
+}
@end lilypond
@item (volta @var{nombre}) @dots{} (volta #f)
le crochet s'imprime effectivement, il faut spécifier explicitement
l'endroit où il doit se terminer.
-@lilypond[verbatim,quote,relative=2]
-f4 g a b
-\set Score.repeatCommands = #'((volta "2"))
-g4 a g a
-\set Score.repeatCommands = #'((volta #f))
-c1
+@lilypond[verbatim,quote]
+\relative {
+ f''4 g a b
+ \set Score.repeatCommands = #'((volta "2"))
+ g4 a g a
+ \set Score.repeatCommands = #'((volta #f))
+ c1
+}
@end lilypond
@end table
Plusieurs commandes de reprise peuvent intervenir au même moment :
-@lilypond[verbatim,quote,relative=2]
-f4 g a b
-\set Score.repeatCommands = #'((volta "2, 5") end-repeat)
-g4 a g a
-c1
-\set Score.repeatCommands = #'((volta #f) (volta "95") end-repeat)
-b1
-\set Score.repeatCommands = #'((volta #f))
+@lilypond[verbatim,quote]
+\relative {
+ f''4 g a b
+ \set Score.repeatCommands = #'((volta "2, 5") end-repeat)
+ g4 a g a
+ c1
+ \set Score.repeatCommands = #'((volta #f) (volta "95") end-repeat)
+ b1
+ \set Score.repeatCommands = #'((volta #f))
+}
@end lilypond
@cindex alternative et texte
Le contenu de @var{expression_musicale} sera donc expansé autant de fois
que stipulé par @var{nombre_de_fois}.
-@lilypond[verbatim,quote,relative=2]
-\repeat unfold 2 { c4 d e f }
-c1
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 2 { c''4 d e f }
+ c1
+}
@end lilypond
Dans certains cas, et tout particulièrement dans un contexte
passage doit être rejoué, la première alternative sera jouée plusieurs
fois.
-@lilypond[verbatim,quote,relative=2]
-\repeat unfold 4 { c4 d e f }
-\alternative {
- { c2 g' }
- { c,2 b }
- { e2 d }
- }
-c1
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 4 { c''4 d e f }
+ \alternative {
+ { c2 g' }
+ { c,2 b }
+ { e2 d }
+ }
+ c1
+}
@end lilypond
S'il y a par contre plus d'alternatives que de répétitions, les
alternatives superflues seront tout simplement ignorées et ne seront pas
imprimées.
-@lilypond[verbatim,quote,relative=2]
-\repeat unfold 2 { c4 d e f }
-\alternative {
- { c2 g' }
- { c,2 b }
- { e2 d }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 2 { c''4 d e f }
+ \alternative {
+ { c2 g' }
+ { c,2 b }
+ { e2 d }
+ }
+ c1
}
-c1
@end lilypond
Vous pouvez imbriquer plusieurs fonctions @code{unfold}, qu'elles
comportent ou non des fins alternatives :
-@lilypond[verbatim,quote,relative=2]
-\repeat unfold 2 {
- \repeat unfold 2 { c4 d e f }
- \alternative {
- { c2 g' }
- { c,2 b }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 2 {
+ \repeat unfold 2 { c''4 d e f }
+ \alternative {
+ { c2 g' }
+ { c,2 b }
+ }
}
+ c1
}
-c1
@end lilypond
Une construction en accord peut se répéter à l'aide du symbole @code{q}
Les séquences inférieures à une mesure sont remplacées par une barre
oblique.
-@lilypond[verbatim,quote,relative=2]
-\repeat percent 4 { c128 d e f }
-\repeat percent 4 { c64 d e f }
-\repeat percent 5 { c32 d e f }
-\repeat percent 4 { c16 d e f }
-\repeat percent 4 { c8 d }
-\repeat percent 4 { c4 }
-\repeat percent 2 { c2 }
+@lilypond[verbatim,quote]
+\relative c'' {
+ \repeat percent 4 { c128 d e f }
+ \repeat percent 4 { c64 d e f }
+ \repeat percent 5 { c32 d e f }
+ \repeat percent 4 { c16 d e f }
+ \repeat percent 4 { c8 d }
+ \repeat percent 4 { c4 }
+ \repeat percent 2 { c2 }
+}
@end lilypond
Les séquences d'une ou deux mesures sont remplacées par un
symbole qui ressemble au symbole de pourcentage.
-@lilypond[verbatim,quote,relative=2]
-\repeat percent 2 { c4 d e f }
-\repeat percent 2 { c2 d }
-\repeat percent 2 { c1 }
+@lilypond[verbatim,quote]
+\relative c'' {
+ \repeat percent 2 { c4 d e f }
+ \repeat percent 2 { c2 d }
+ \repeat percent 2 { c1 }
+}
@end lilypond
-@lilypond[verbatim,quote,relative=2]
-\repeat percent 3 { c4 d e f | c2 g' }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat percent 3 { c''4 d e f | c2 g' }
+}
@end lilypond
Les séquences inférieures à la mesure et qui contiennent des durées
différentes sont remplacées par un double symbole de pourcentage.
-@lilypond[verbatim,quote,relative=2]
-\repeat percent 4 { c8. <d f>16 }
-\repeat percent 2 { \tuplet 3/2 { r8 c d } e4 }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat percent 4 { c''8. <d f>16 }
+ \repeat percent 2 { \tuplet 3/2 { r8 c d } e4 }
+}
@end lilypond
@snippets
On peut placer une notation de trémolo entre deux notes, avec la
commande @code{\repeat} suivie du style trémolo :
-@lilypond[quote,verbatim,relative=2]
-\repeat tremolo 8 { c16 d }
-\repeat tremolo 6 { c16 d }
-\repeat tremolo 2 { c16 d }
+@lilypond[quote,verbatim]
+\relative c'' {
+ \repeat tremolo 8 { c16 d }
+ \repeat tremolo 6 { c16 d }
+ \repeat tremolo 2 { c16 d }
+}
@end lilypond
La syntaxe de @code{\repeat tremolo} requiert expressément deux notes
seul trait de ligature. Si ce nombre est omis, la dernière valeur sera
utilisée.
-@lilypond[quote,verbatim,relative=2]
-c2:8 c:32
-c: c:
+@lilypond[quote,verbatim]
+\relative {
+ c''2:8 c:32
+ c: c:
+}
@end lilypond
@snippets
sont possibles, à condition de les ligaturer.
@c Two 64th notes are needed to obtain beams
-@lilypond[quote,verbatim,relative=2]
-\time 8/1
-c\longa c\breve c1 c2
-c4 c8 c16 c32 c64 c128 c128
+@lilypond[quote,verbatim]
+\relative {
+ \time 8/1
+ c''\longa c\breve c1 c2
+ c4 c8 c16 c32 c64 c128 c128
+}
@end lilypond
Voici ces mêmes durées sans la fonction de ligature automatique.
@c not strictly "writing rhythms"; more of a "displaying" thing,
@c but it's ok here. -gp
-@lilypond[quote,verbatim,relative=2]
-\time 8/1
-\autoBeamOff
-c\longa c\breve c1 c2
-c4 c8 c16 c32 c64 c128 c128
+@lilypond[quote,verbatim]
+\relative {
+ \time 8/1
+ \autoBeamOff
+ c''\longa c\breve c1 c2
+ c4 c8 c16 c32 c64 c128 c128
+}
@end lilypond
Une note dont la durée est de quatre brèves s'obtient par la commande
durée de la note précédente. La valeur par défaut pour la première note
est la noire (@code{4}).
-@lilypond[quote,verbatim,relative=2]
-a a a2 a a4 a a1 a
+@lilypond[quote,verbatim]
+\relative { a' a a2 a a4 a a1 a }
@end lilypond
Lorsque une note ou un accord est suivi d'une succession de durées
individuelles, celles-ci adopteront la ou les dernières hauteurs
mentionnées.
-@lilypond[quote,verbatim,relative=2]
-\time 8/1
-c \longa \breve 1 2
-4 8 16 32 64 128 128
+@lilypond[quote,verbatim]
+\relative {
+ \time 8/1
+ c'' \longa \breve 1 2
+ 4 8 16 32 64 128 128
+}
@end lilypond
@cindex notes pointées
(@code{.}) au chiffre. Les notes doublement pointées sont créées de
la même façon.
-@lilypond[quote,verbatim,relative=2]
-a4 b c4. b8 a4. b4.. c8.
+@lilypond[quote,verbatim]
+\relative { a'4 b c4. b8 a4. b4.. c8. }
@end lilypond
Certaines durées ne peuvent s'obtenir à partir de chiffres et de points,
notes, parfois avec un crochet. Le n-olet le plus courant est le
triolet, dans lequel trois notes occupent la durée de deux.
-@lilypond[quote,verbatim,relative=2]
-a2 \tuplet 3/2 { b4 4 4 }
-c4 c \tuplet 3/2 { b4 a g }
+@lilypond[quote,verbatim]
+\relative {
+ a'2 \tuplet 3/2 { b4 4 4 }
+ c4 c \tuplet 3/2 { b4 a g }
+}
@end lilypond
@cindex regroupement de n-olets
avant l'expression musicale, de telle sorte que les n-olets seront
formés automatiquement :
-@lilypond[quote,verbatim,relative=2]
-g2 r8 \tuplet 3/2 8 { cis16 d e e f g g f e }
+@lilypond[quote,verbatim]
+\relative {
+ g'2 r8 \tuplet 3/2 8 { cis16 d e e f g g f e }
+}
@end lilypond
@cindex crochet de n-olet, positionnement
Des commandes prédéfinies permettent de déroger au positionnement
automatique du crochet en surplomb ou au-dessous des notes :
-@lilypond[quote,verbatim,relative=2]
-\tupletUp \tuplet 3/2 { c8 d e }
-\tupletNeutral \tuplet 3/2 { c8 d e }
-\tupletDown \tuplet 3/2 { f,8 g a }
-\tupletNeutral \tuplet 3/2 { f8 g a }
+@lilypond[quote,verbatim]
+\relative {
+ \tupletUp \tuplet 3/2 { c''8 d e }
+ \tupletNeutral \tuplet 3/2 { c8 d e }
+ \tupletDown \tuplet 3/2 { f,8 g a }
+ \tupletNeutral \tuplet 3/2 { f8 g a }
+}
@end lilypond
Les n-olets peuvent être imbriqués ; par exemple,
Dans l'exemple suivant, les trois premières notes prennent exactement
deux temps, mais aucun triolet n'est imprimé.
-@lilypond[quote,relative=2,verbatim]
-\time 2/4
-% Alter durations to triplets
-a4*2/3 gis a
-% Normal durations
-a4 a
-% Double the duration of chord
-<a d>4*2
-% Duration of quarter, appears like sixteenth
-b16*4 c4
+@lilypond[quote,verbatim]
+\relative {
+ \time 2/4
+ % Alter durations to triplets
+ a'4*2/3 gis a
+ % Normal durations
+ a4 a
+ % Double the duration of chord
+ <a d>4*2
+ % Duration of quarter, appears like sixteenth
+ b16*4 c4
+}
@end lilypond
La durée d'un silence invisible ou saut de notes (@emph{skip}) peut
@emph{numérateur}/@emph{dénominateur}. Voici un exemple illustrant la
manière de comprimer ou étirer de la musique :
-@lilypond[quote,relative=2,verbatim]
-\time 2/4
-% Normal durations
-<c a>4 c8 a
-% Scale music by *2/3
-\scaleDurations 2/3 {
- <c a f>4. c8 a f
-}
-% Scale music by *2
-\scaleDurations 2/1 {
- <c' a>4 c8 b
+@lilypond[quote,verbatim]
+\relative {
+ \time 2/4
+ % Normal durations
+ <c'' a>4 c8 a
+ % Scale music by *2/3
+ \scaleDurations 2/3 {
+ <c a f>4. c8 a f
+ }
+ % Scale music by *2
+ \scaleDurations 2/1 {
+ <c' a>4 c8 b
+ }
}
@end lilypond
notes à lier. Ceci indique que la note en question sera liée à la
suivante, qui doit être de la même hauteur.
-@lilypond[quote,verbatim,relative=2]
-a2~ 4~ 16 r r8
+@lilypond[quote,verbatim]
+{ a'2~ 4~ 16 r r8 }
@end lilypond
Les liaisons de tenue peuvent interpréter la « dernière hauteur
explicite » d'une succession de durées :
-@lilypond[quote,verbatim,relative=2]
-a2~ 4~ 16 r r8
+@lilypond[quote,verbatim]
+{ a'2~ 4~ 16 r r8 }
@end lilypond
Les liaisons de tenue sont utilisées soit lorsque la note dépasse de la
Lorsqu'une mesure @qq{de seconde fois} après une reprise commence sur
une note liée, la liaison doit être répétée, comme ici :
-@lilypond[quote,relative=2,verbatim]
-\repeat volta 2 { c g <c e>2~ }
-\alternative {
- % 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 } }
+@lilypond[quote,verbatim]
+\relative {
+ \repeat volta 2 { c'' g <c e>2~ }
+ \alternative {
+ % 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 }
+ }
+}
@end lilypond
@cindex laissez vibrer
Les liaisons de prolongation peuvent s'imprimer sous la forme de ligne
continue, discontinue ou pointillée.
-@lilypond[quote, verbatim, relative=1]
-\tieDotted
-c2~ 2
-\tieDashed
-c2~ 2
-\tieHalfDashed
-c2~ 2
-\tieHalfSolid
-c2~ 2
-\tieSolid
-c2~ 2
+@lilypond[quote, verbatim]
+\relative c' {
+ \tieDotted
+ c2~ 2
+ \tieDashed
+ c2~ 2
+ \tieHalfDashed
+ c2~ 2
+ \tieHalfSolid
+ c2~ 2
+ \tieSolid
+ c2~ 2
+}
@end lilypond
Il est même possible d'en personnaliser l'allure :
-@lilypond[quote, verbatim, relative=1]
-\tieDashPattern #0.3 #0.75
-c2~ 2
-\tieDashPattern #0.7 #1.5
-c2~ 2
-\tieSolid
-c2~ 2
+@lilypond[quote, verbatim]
+\relative c' {
+ \tieDashPattern #0.3 #0.75
+ c2~ 2
+ \tieDashPattern #0.7 #1.5
+ c2~ 2
+ \tieSolid
+ c2~ 2
+}
@end lilypond
Que ce soit pour une tenue ou un phrasé, le motif d'une ligne
portée, une adaptation des propriétés @var{whiteout-box} et @var{layer}
permet d'obtenir une meilleure lisibilité.
-@lilypond[verbatim,quote,ragged-right,relative=2]
-\override Tie.layer = #-2
-\override Staff.TimeSignature.layer = #-1
-\override Staff.KeySignature.layer = #-1
-\override Staff.TimeSignature.whiteout-box = ##t
-\override Staff.KeySignature.whiteout-box = ##t
-b2 b~
-\time 3/4
-\key a \major
-b r4
+@lilypond[verbatim,quote,ragged-right]
+\relative {
+ \override Tie.layer = #-2
+ \override Staff.TimeSignature.layer = #-1
+ \override Staff.KeySignature.layer = #-1
+ \override Staff.TimeSignature.whiteout = ##t
+ \override Staff.KeySignature.whiteout = ##t
+ b'2 b~
+ \time 3/4
+ \key a \major
+ b r4
+}
@end lilypond
@predefined
@c \time 16/1 is used to avoid spurious bar lines
@c and long tracts of empty measures
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\new Staff {
% These two lines are just to prettify this example
\time 16/1
en place de musique polyphonique, puisque le formateur automatique de
collision des silences laissera ces silences tranquilles.
-@lilypond[quote,verbatim,relative=2]
-a4\rest d4\rest
+@lilypond[quote,verbatim]
+\relative { a'4\rest d4\rest }
@end lilypond
@snippets
peut être entré comme une note avec le nom de note @code{s} ou avec
@code{\skip @var{durée}} :
-@lilypond[verbatim,quote,relative=2]
-c4 c s c
-s2 c
+@lilypond[verbatim,quote]
+\relative c'' {
+ c4 c s c |
+ s2 c |
+}
@end lilypond
@cindex paroles, blanc
mélodie à laquelle vous les aurez associées à l'aide des commandes
@code{\addlyrics} ou @code{\lyricsto}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
{
- a2 \skip2 a2 a2
+ a'2 \skip2 a'2 a'2
}
\new Lyrics {
\lyricmode {
de saut @code{s} crée tout de même les contextes @code{Staff} et
@code{Voice} lorsque nécessaire, à l'instar des notes ou des silences :
-@lilypond[quote,verbatim,relative=2]
-s1 s s
+@lilypond[quote,verbatim]
+{ s1 s s }
@end lilypond
Un @code{\skip} ne fait que sauter du temps musical ; il ne produit
rien du tout, pas même un symbole transparent.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
% This is valid input, but does nothing
-\skip 1 \skip1 \skip 1
+{ \skip 1 \skip1 \skip 1 }
@end lilypond
@seealso
Un silence valant une ou plusieurs mesures entières s'entre avec un
@code{R} majuscule.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
% Rest measures contracted to single measure
\compressMMRests {
R1*4
R1*24
R1*4
- b2^"Tutti" b4 a4
+ b'2^"Tutti" b'4 a'4
}
@end lilypond
la métrique. C'est la raison pour laquelle on utilisera aussi des
points d'augmentation ou des fractions :
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\compressMMRests {
\time 2/4
R1 | R2 |
une pause, tantôt comme une brève -- ou @qq{bâton de pause} -- qui
sera centrée sur la mesure quelle qu'en soit la métrique :
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\time 4/4
R1 |
\time 6/4
que nécessaire. Il peut aussi n'être imprimé qu'une seule fois,
surplombé du nombre de mesures vides -- ou @qq{à compter} :
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
% Default behavior
\time 3/4 r2. | R2.*2 |
\time 2/4 R2 |
@ref{Mise en forme du texte}). La variable @code{\fermataMarkup} quant
à elle permet d'ajouter un point d'orgue :
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\compressMMRests {
\time 3/4
R2.*10^\markup { \italic "ad lib." }
dans l'exemple suivant.}
@c KEEP LY
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
% Ceci échouera : il y a erreur quant à l'objet spécifié
\override TextScript.padding = #5
R1^"pas bon !"
régulière de temps forts et de temps faibles. Il est indiqué par une
fraction au début de la portée :
-@lilypond[quote,verbatim,relative=2]
-\time 2/4 c2
-\time 3/4 c2.
+@lilypond[quote,verbatim,fragment]
+\time 2/4 c''2
+\time 3/4 c''2.
@end lilypond
Les changements de métrique en cours de mesure sont abordés dans
la ligne suivante. Ce comportement par défaut peut être modifié, comme
indiqué au chapitre @ref{Visibilité des objets}.
-@lilypond[quote,verbatim,relative=2]
-\time 2/4
-c2 c
-\break
-c c
-\break
-\time 4/4
-c c c c
+@lilypond[quote,verbatim]
+\relative c'' {
+ \time 2/4
+ c2 c
+ \break
+ c c
+ \break
+ \time 4/4
+ c c c c
+}
@end lilypond
@cindex métrique, styles
Le symbole de métrique utilisé pour les mesures à 2/2 et 4/4 peut être
changé pour un style numérique :
-@lilypond[quote,verbatim,relative=2]
-% Default style
-\time 4/4 c1
-\time 2/2 c1
-% Change to numeric style
-\numericTimeSignature
-\time 4/4 c1
-\time 2/2 c1
-% Revert to default style
-\defaultTimeSignature
-\time 4/4 c1
-\time 2/2 c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ % Default style
+ \time 4/4 c1
+ \time 2/2 c1
+ % Change to numeric style
+ \numericTimeSignature
+ \time 4/4 c1
+ \time 2/2 c1
+ % Revert to default style
+ \defaultTimeSignature
+ \time 4/4 c1
+ \time 2/2 c1
+}
@end lilypond
Les métriques anciennes font l'objet d'un
Une indication métronomique s'insère tout simplement comme ceci :
-@lilypond[verbatim,quote,relative=1]
-\tempo 4 = 120
-c2 d
-e4. d8 c2
+@lilypond[verbatim,quote]
+\relative {
+ \tempo 4 = 120
+ c'2 d
+ e4. d8 c2
+}
@end lilypond
Lorsque le réglage précis du métronome est laissé à l'appréciation de
l'exécutant, vous pouvez cependant lui fournir une plage :
-@lilypond[verbatim,quote,relative=1]
-\tempo 4 = 40 - 46
-c4. e8 a4 g
-b,2 d4 r
+@lilypond[verbatim,quote]
+\relative {
+ \tempo 4 = 40 - 46
+ c'4. e8 a4 g
+ b,2 d4 r
+}
@end lilypond
Vous pouvez préférer une indication textuelle :
-@lilypond[verbatim,quote,relative=2]
-\tempo "Allegretto"
-c4 e d c
-b4. a16 b c4 r4
+@lilypond[verbatim,quote]
+\relative {
+ \tempo "Allegretto"
+ c''4 e d c
+ b4. a16 b c4 r4
+}
@end lilypond
Lorsque vous combinez des indications métronomiques sous forme textuelle
et numérique, l'indication numérique sera placée entre parenthèses :
-@lilypond[verbatim,quote,relative=2]
-\tempo "Allegro" 4 = 160
-g4 c d e
-d4 b g2
+@lilypond[verbatim,quote]
+\relative {
+ \tempo "Allegro" 4 = 160
+ g'4 c d e
+ d4 b g2
+}
@end lilypond
En matière d'indication textuelle, vous pouvez utiliser n'importe quel
objet de type @emph{markup}, comme ici :
-@lilypond[verbatim,quote,relative=2]
-\tempo \markup { \italic Faster } 4 = 132
-a8-. r8 b-. r gis-. r a-. r
+@lilypond[verbatim,quote]
+\relative {
+ \tempo \markup { \italic Faster } 4 = 132
+ a'8-. r8 b-. r gis-. r a-. r
+}
@end lilypond
Mentionner une indication textuelle vide vous permet de mettre entre
parenthèses l'indication numérique :
-@lilypond[verbatim,quote,relative=2]
-\tempo "" 8 = 96
-d4 g e c
+@lilypond[verbatim,quote]
+\relative {
+ \tempo "" 8 = 96
+ d''4 g e c
+}
@end lilypond
@funindex \markLengthOn
ignore les indications de tempo dans les calculs d'espacement
horizontal.
-@lilypond[verbatim,quote,relative=0]
+@lilypond[verbatim,quote]
\compressMMRests {
\markLengthOn
\tempo "Molto vivace"
@code{@var{durée}} égale la valeur rythmique précédant la première
mesure.
-@lilypond[quote,verbatim,relative=1]
-\time 3/4
-\partial 4.
-r4 e8 | a4 c8 b c4 |
+@lilypond[quote,verbatim]
+\relative {
+ \time 3/4
+ \partial 4.
+ r4 e'8 | a4 c8 b c4 |
+}
@end lilypond
Lorsque @code{\partial} est utilisé après le début du morceau,
@code{@var{durée}} égale la valeur rythmique @strong{restant} dans la
mesure en cours. Ceci ne crée pas de nouveau numéro de mesure.
-@lilypond[quote,verbatim,relative=1]
-\set Score.barNumberVisibility = #all-bar-numbers-visible
-\override Score.BarNumber.break-visibility =
- #end-of-line-invisible
-\time 9/8
-d'4.~ 4 d8 d( c) b | c4.~ 4. \bar "||"
-\time 12/8
-\partial 4.
-c8( d) e | f2.~ 4 f8 a,( c) f |
+@lilypond[quote,verbatim]
+\relative {
+ \set Score.barNumberVisibility = #all-bar-numbers-visible
+ \override Score.BarNumber.break-visibility =
+ #end-of-line-invisible
+ \time 9/8
+ d''4.~ 4 d8 d( c) b | c4.~ 4. \bar "||"
+ \time 12/8
+ \partial 4.
+ c8( d) e | f2.~ 4 f8 a,( c) f |
+}
@end lilypond
La commande @code{\partial} est @b{obligatoire} lorsque la métrique
change en cours de mesure, mais peut aussi s'utiliser isolément.
-@lilypond[quote,verbatim,relative=1]
-\set Score.barNumberVisibility = #all-bar-numbers-visible
-\override Score.BarNumber.break-visibility =
- #end-of-line-invisible
-\time 6/8
-\partial 8
-e8 | a4 c8 b[ c b] |
-\partial 4
-r8 e,8 | a4 \bar "||"
-\partial 4
-r8 e8 | a4
-c8 b[ c b] |
+@lilypond[quote,verbatim]
+\relative {
+ \set Score.barNumberVisibility = #all-bar-numbers-visible
+ \override Score.BarNumber.break-visibility =
+ #end-of-line-invisible
+ \time 6/8
+ \partial 8
+ e'8 | a4 c8 b[ c b] |
+ \partial 4
+ r8 e,8 | a4 \bar "||"
+ \partial 4
+ r8 e8 | a4
+ c8 b[ c b] |
+}
@end lilypond
La commande @code{\partial} détermine la propriété
peut être désactivé à l'aide de la commande @code{\cadenzaOn}, puis
réactivé par un @code{\cadenzaOff} à l'endroit approprié.
-@lilypond[verbatim,relative=2,quote]
-c4 d e d
-\cadenzaOn
-c4 c d8[ d d] f4 g4.
-\cadenzaOff
-\bar "|"
-d4 e d c
+@lilypond[verbatim,quote]
+\relative c'' {
+ c4 d e d
+ \cadenzaOn
+ c4 c d8[ d d] f4 g4.
+ \cadenzaOff
+ \bar "|"
+ d4 e d c
+}
@end lilypond
La numérotation reprend dès la fin d'une cadence.
-@lilypond[verbatim,relative=2,quote]
-% Show all bar numbers
-\override Score.BarNumber.break-visibility = #all-visible
-c4 d e d
-\cadenzaOn
-c4 c d8[ d d] f4 g4.
-\cadenzaOff
-\bar "|"
-d4 e d c
+@lilypond[verbatim,quote]
+\relative c'' {
+ % Show all bar numbers
+ \override Score.BarNumber.break-visibility = #all-visible
+ c4 d e d
+ \cadenzaOn
+ c4 c d8[ d d] f4 g4.
+ \cadenzaOff
+ \bar "|"
+ d4 e d c
+}
@end lilypond
Une cadence représente un fragment détaché de la notion de mesure, en
@code{\bar}. Toute altération ultérieure devra donc être rappelée
manuellement -- voir @ref{Altérations}.
-@lilypond[verbatim,relative=2,quote]
-c4 d e d
-\cadenzaOn
-cis4 d cis d
-\bar "|"
-% First cis is printed without alteration even if it's after a \bar
-cis4 d cis! d
-\cadenzaOff
-\bar "|"
+@lilypond[verbatim,quote]
+\relative c'' {
+ c4 d e d
+ \cadenzaOn
+ cis4 d cis d
+ \bar "|"
+ % First cis is printed without alteration even if it's after a \bar
+ cis4 d cis! d
+ \cadenzaOff
+ \bar "|"
+}
@end lilypond
L'instruction @code{\cadenzaOn} désactive les ligatures automatiques ;
ligatures devront donc être indiquées de manière explicite tout au long
de la cadence -- voir @ref{Barres de ligature manuelles}).
-@lilypond[verbatim,relative=2,quote]
-\repeat unfold 8 { c8 }
-\cadenzaOn
-cis8 c c c c
-\bar"|"
-c8 c c
-\cadenzaOff
-\repeat unfold 8 { c8 }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 8 { c''8 }
+ \cadenzaOn
+ cis8 c c c c
+ \bar"|"
+ c8 c c
+ \cadenzaOff
+ \repeat unfold 8 { c8 }
+}
@end lilypond
Ces commandes prédéfinies affecteront toutes les portées de la
notes ou silences qui dépassent de la mesure sont divisés et au besoin
liés.
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,verbatim]
\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
\remove "Rest_engraver"
\consists "Completion_rest_engraver"
}
-
-{ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2 }
+\relative {
+ c'2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2
+}
@end lilypond
Ces graveurs divisent toutes les notes et silences qui débordent de la
La propriété @code{completionUnit} détermine la durée de référence pour
diviser les notes.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
-} {
- \time 9/8 g\breve. d4. \bar "||"
+} \relative {
+ \time 9/8 g\breve. d''4. \bar "||"
\set completionUnit = #(ly:make-moment 3 8)
g\breve. d4.
}
Ces graveurs découperont les notes de durée altérée, telles celles d'un
triolet, en notes ayant le même facteur d'échelle que les otes saisies.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
-} {
+} \relative {
\time 2/4 r4
- \tuplet 3/2 {g4 a b}
+ \tuplet 3/2 {g'4 a b}
\scaleDurations 2/3 {g a b}
g4*2/3 a b
\tuplet 3/2 {g4 a b}
on peut montrer seulement le rythme d'une mélodie : toutes les notes
sont ramenées à la même hauteur, sur une portée d'une seule ligne.
-@lilypond[quote,relative=1,verbatim]
+@lilypond[quote,verbatim]
<<
\new RhythmicStaff {
- \new Voice = "myRhythm" {
+ \new Voice = "myRhythm" \relative {
\time 4/4
- c4 e8 f g2
+ c'4 e8 f g2
r4 g g f
g1
}
@funindex \autoBeamOff
@funindex autoBeamOff
-@lilypond[quote,verbatim,relative=2]
-\time 2/4 c8 c c c
-\time 6/8 c8 c c c8. c16 c8
+@lilypond[quote,verbatim]
+\relative c'' {
+ \time 2/4 c8 c c c
+ \time 6/8 c8 c c c8. c16 c8
+}
@end lilypond
Lorsque ce comportement automatisé n'est pas satisfaisant, on peut
désactiver la fonctionnalité par un @code{\autoBeamOff} -- réactivation
par @code{\autoBeamOn} :
-@lilypond[quote,relative=1,verbatim]
-c4 c8 c8. c16 c8. c16 c8
-\autoBeamOff
-c4 c8 c8. c16 c8.
-\autoBeamOn
-c16 c8
+@lilypond[quote,verbatim]
+\relative c' {
+ c4 c8 c8. c16 c8. c16 c8
+ \autoBeamOff
+ c4 c8 c8. c16 c8.
+ \autoBeamOn
+ c16 c8
+}
@end lilypond
@cindex mélisme et ligature
Les nouvelles valeurs affectées à une métrique particulière resteront en
vigueur et ré-instaurées si cette métrique réapparaît plus tard.
-@lilypond[quote,relative=2,verbatim]
-\time 5/16
-c16^"default" c c c c |
-% beamExceptions are unlikely to be defined for 5/16 time,
-% but let's disable them anyway to be sure
-\set Timing.beamExceptions = #'()
-\set Timing.beatStructure = #'(2 3)
-c16^"(2+3)" c c c c |
-\set Timing.beatStructure = #'(3 2)
-c16^"(3+2)" c c c c |
+@lilypond[quote,verbatim]
+\relative c'' {
+ \time 5/16
+ c16^"default" c c c c |
+ % beamExceptions are unlikely to be defined for 5/16 time,
+ % but let's disable them anyway to be sure
+ \set Timing.beamExceptions = #'()
+ \set Timing.beatStructure = #'(2 3)
+ c16^"(2+3)" c c c c |
+ \set Timing.beatStructure = #'(3 2)
+ c16^"(3+2)" c c c c |
+}
@end lilypond
-@lilypond[quote,relative=2,verbatim]
-\time 4/4
-a8^"default" a a a a a a a
-% Disable beamExceptions because they are definitely
-% defined for 4/4 time
-\set Timing.beamExceptions = #'()
-\set Timing.baseMoment = #(ly:make-moment 1/4)
-\set Timing.beatStructure = #'(1 1 1 1)
-a8^"changed" a a a a a a a
+@lilypond[quote,verbatim]
+\relative {
+ \time 4/4
+ a'8^"default" a a a a a a a
+ % Disable beamExceptions because they are definitely
+ % defined for 4/4 time
+ \set Timing.beamExceptions = #'()
+ \set Timing.baseMoment = #(ly:make-moment 1/4)
+ \set Timing.beatStructure = #'(1 1 1 1)
+ a8^"changed" a a a a a a a
+}
@end lilypond
Les effets de règles de ligature peuvent être restreints à un contexte
contexte de niveau inférieur, les règles définies au niveau directement
supérieur s'appliqueront.
-@lilypond[quote, verbatim,relative=1]
+@lilypond[quote, verbatim]
\new Staff {
\time 7/8
% No need to disable beamExceptions
de ligature doivent s'appliquer sans distinction, il faut spécifier que
ces règles affectent le contexte @code{Staff} :
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\time 7/8
% rhythm 3-1-1-2
% Change applied to Voice by default -- does not work correctly
% Because of autogenerated voices, all beating will
% be at baseMoment (1 . 8)
\set beatStructure = #'(3 1 1 2)
-<< {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
+<< \relative {a'8 a a a16 a a a a8 a} \\ \relative {f'4. f8 f f f} >>
% Works correctly with context Staff specified
\set Staff.beatStructure = #'(3 1 1 2)
-<< {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
+<< \relative {a'8 a a a16 a a a a8 a} \\ \relative {f'4. f8 f f f} >>
@end lilypond
Vous pouvez ajuster la valeur de @code{baseMoment} afin d'obtenir des
@code{beatStructure} devra être en corrélation avec cette nouvelle
valeur de @code{baseMoment}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\time 5/8
% No need to disable beamExceptions
% as they are not defined for 5/8 time
\set Timing.baseMoment = #(ly:make-moment 1/16)
\set Timing.beatStructure = #'(7 3)
-\repeat unfold 10 { a16 }
+\repeat unfold 10 { a'16 }
@end lilypond
@code{baseMoment} constitue un @strong{moment}, autrement dit une unité
Les règles spécifiques autres que celles concernant la terminaison des
ligatures sont gérées par la propriété @code{beamExceptions}.
-@lilypond[quote,relative=2,verbatim]
-\time 3/16
-\set Timing.beatStructure = #'(2 1)
-\set Timing.beamExceptions =
- \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
-c16 c c |
-\repeat unfold 6 { c32 } |
+@lilypond[quote,verbatim]
+\relative c'' {
+ \time 3/16
+ \set Timing.beatStructure = #'(2 1)
+ \set Timing.beamExceptions =
+ \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
+ c16 c c |
+ \repeat unfold 6 { c32 } |
+}
@end lilypond
@warning{La propriété @code{beamExceptions} doit répertorier absolument
revenir aux règles de ligature par défaut d'un contexte @code{Timing},
de spécifier à nouveau la métrique.
-@lilypond[quote,verbatim,relative=2]
-\time 6/8
-\repeat unfold 6 { a8 }
-% group (4 + 2)
-\set Timing.beatStructure = #'(4 2)
-\repeat unfold 6 { a8 }
-% go back to default behavior
-\time 6/8
-\repeat unfold 6 { a8 }
+@lilypond[quote,verbatim]
+\relative a' {
+ \time 6/8
+ \repeat unfold 6 { a8 }
+ % group (4 + 2)
+ \set Timing.beatStructure = #'(4 2)
+ \repeat unfold 6 { a8 }
+ % go back to default behavior
+ \time 6/8
+ \repeat unfold 6 { a8 }
+}
@end lilypond
Les règles de ligature automatique par défaut sont répertoriées, par
pulsation -- l'élément @code{beatStructure} -- empêchera l'application
de cette dérogation.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\time 4/4
\set Timing.baseMoment = #(ly:make-moment 1/8)
\set Timing.beatStructure = #'(3 3 2)
% This won't beam (3 3 2) because of beamExceptions
-\repeat unfold 8 {c8} |
+\repeat unfold 8 {c''8} |
% This will beam (3 3 2) because we clear beamExceptions
\set Timing.beamExceptions = #'()
-\repeat unfold 8 {c8}
+\repeat unfold 8 {c''8}
@end lilypond
De la même manière, les croches d'une mesure à 3/4 sont ligaturées sur
la mesure par défaut. Ligaturer sur le temps requiert un appel à
@code{beamExceptions}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\time 3/4
% by default we beam in (6) due to beamExceptions
-\repeat unfold 6 {a8} |
+\repeat unfold 6 {a'8} |
% This will beam (1 1 1) due to default baseMoment and beatStructure
\set Timing.beamExceptions = #'()
-\repeat unfold 6 {a8}
+\repeat unfold 6 {a'8}
@end lilypond
Certaines partitions des périodes romantique ou classique font
@code{beamHalfMeasure}, qui d'ailleurs ne sera effective que lorsque le
numérateur de la métrique est un 3.
-@lilypond[quote,verbatim,relative=2]
-\time 3/4
-r4. a8 a a |
-\set Timing.beamHalfMeasure = ##f
-r4. a8 a a |
+@lilypond[quote,verbatim]
+\relative a' {
+ \time 3/4
+ r4. a8 a a |
+ \set Timing.beamHalfMeasure = ##f
+ r4. a8 a a |
+}
@end lilypond
donc préférable, pour éviter tout désagrément, de ne spécifier la
métrique que dans une seule portée.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
\new Staff {
\time 3/4
\set Timing.baseMoment = #(ly:make-moment 1/8)
\set Timing.beatStructure = #'(1 5)
\set Timing.beamExceptions = #'()
- \repeat unfold 6 { a8 }
+ \repeat unfold 6 { a'8 }
}
\new Staff {
- \repeat unfold 6 { a8 }
+ \repeat unfold 6 { a'8 }
}
>>
@end lilypond
soient toujours prises en compte. La modification des règles de
ligature automatiques est abordée au chapitre @ref{Métrique}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
\new Staff {
\overrideTimeSignatureSettings
#'(1 5) % beatStructure
#'() % beamExceptions
\time 3/4
- \repeat unfold 6 { a8 }
+ \repeat unfold 6 { a'8 }
}
\new Staff {
\time 3/4
- \repeat unfold 6 { a8 }
+ \repeat unfold 6 { a'8 }
}
>>
@end lilypond
Le positionnement des ligature manuelles se détermine comme pour toute
indication attachée à une note :
-@lilypond[quote,relative=2,verbatim]
-c8^[ d e] c,_[ d e f g]
+@lilypond[quote,verbatim]
+\relative { c''8^[ d e] c,_[ d e f g] }
@end lilypond
@funindex \noBeam
Le fait d'affubler une note particulière d'un @code{\noBeam} aura pour
effet de l'empêcher d'être ligaturée :
-@lilypond[quote,verbatim,relative=2]
-\time 2/4
-c8 c\noBeam c c
+@lilypond[quote,verbatim]
+\relative {
+ \time 2/4
+ c''8 c\noBeam c c
+}
@end lilypond
Notes d'ornement et normales font l'objet d'un traitement distinct. Il
est dont possible de ligaturer ou non des notes d'ornement sans gêner ce
qui est en place au niveau de la notation normale.
-@lilypond[quote,verbatim,relative=2]
-c4 d8[
-\grace { e32 d c d }
-e8] e[ e
-\grace { f16 }
-e8 e]
+@lilypond[quote,verbatim]
+\relative {
+ c''4 d8[
+ \grace { e32 d c d }
+ e8] e[ e
+ \grace { f16 }
+ e8 e]
+}
@end lilypond
@funindex stemLeftBeamCount
supplémentaire que sur sa gauche ; autrement dit, c'est la ligature
à la croche qui est importante.
-@lilypond[quote,relative=2,verbatim]
-a8[ r16 f g a]
-a8[ r16
-\set stemLeftBeamCount = #2
-\set stemRightBeamCount = #1
-f16
-\set stemLeftBeamCount = #1
-g16 a]
+@lilypond[quote,verbatim]
+\relative a' {
+ a8[ r16 f g a]
+ a8[ r16
+ \set stemLeftBeamCount = #2
+ \set stemRightBeamCount = #1
+ f16
+ \set stemLeftBeamCount = #1
+ g16 a]
+}
@end lilypond
@predefined
quatre triples croches qui suivent vont s'accélérant, alors que les
quatre dernières gardent un tempo régulier.
-@lilypond[relative=1,verbatim,quote]
-\override Beam.grow-direction = #LEFT
-\featherDurations #(ly:make-moment 2/1)
-{ c16[ c c c c c c c] }
-\override Beam.grow-direction = #RIGHT
-\featherDurations #(ly:make-moment 2/3)
-{ c32[ d e f] }
-% revert to non-feathered beams
-\override Beam.grow-direction = #'()
-{ g32[ a b c] }
+@lilypond[verbatim,quote]
+\relative c' {
+ \override Beam.grow-direction = #LEFT
+ \featherDurations #(ly:make-moment 2/1)
+ { c16[ c c c c c c c] }
+ \override Beam.grow-direction = #RIGHT
+ \featherDurations #(ly:make-moment 2/3)
+ { c32[ d e f] }
+ % revert to non-feathered beams
+ \override Beam.grow-direction = #'()
+ { g32[ a b c] }
+}
@end lilypond
@noindent
avec la commande @code{\bar} -- c'est d'ailleurs l'habitude en fin de
morceau, où l'on voit une double barre :
-@lilypond[quote,relative=1,verbatim]
-e4 d c2 \bar "|."
+@lilypond[quote,verbatim]
+\relative { e'4 d c2 \bar "|." }
@end lilypond
Rien ne s'oppose à ce que la dernière note d'une mesure ne s'arrête
Vous disposez de deux types de barres simples et de cinq différentes
doubles barres :
-@lilypond[quote,relative=1,verbatim]
-f1 \bar "|"
-f1 \bar "."
-g1 \bar "||"
-a1 \bar ".|"
-b1 \bar ".."
-c1 \bar "|.|"
-d1 \bar "|."
-e1
+@lilypond[quote,verbatim]
+\relative {
+ f'1 \bar "|"
+ f1 \bar "."
+ g1 \bar "||"
+ a1 \bar ".|"
+ b1 \bar ".."
+ c1 \bar "|.|"
+ d1 \bar "|."
+ e1
+}
@end lilypond
@noindent
ainsi que d'une barre en pointillé et d'une discontinue :
-@lilypond[quote,relative=1,verbatim]
-f1 \bar ";"
-g1 \bar "!"
-a1
+@lilypond[quote,verbatim]
+\relative {
+ f'1 \bar ";"
+ g1 \bar "!"
+ a1
+}
@end lilypond
@noindent
et de neuf types de barre de reprise :
-@lilypond[quote,relative=1,verbatim]
-f1 \bar ".|:"
-g1 \bar ":..:"
-a1 \bar ":|.|:"
-b1 \bar ":|.:"
-c1 \bar ":.|.:"
-d1 \bar "[|:"
-e1 \bar ":|][|:"
-f1 \bar ":|]"
-g1 \bar ":|."
-a1
+@lilypond[quote,verbatim]
+\relative {
+ f'1 \bar ".|:"
+ g1 \bar ":..:"
+ a1 \bar ":|.|:"
+ b1 \bar ":|.:"
+ c1 \bar ":.|.:"
+ d1 \bar "[|:"
+ e1 \bar ":|][|:"
+ f1 \bar ":|]"
+ g1 \bar ":|."
+ a1
+}
@end lilypond
De plus, une barre de mesure peut s'imprimer sous la forme d'une coche :
-@lilypond[quote,relative=1,verbatim]
-f1 \bar "'" g1
+@lilypond[quote,fragment,verbatim]
+f'1 \bar "'" g'1
@end lilypond
On rencontre habituellement ces signes dans le chant grégorien ; nous
Lilypond prend en charge la notation kiévienne, qui dispose d'une
barre de mesure spécifique :
-@lilypond[quote,relative=1,verbatim]
-f1 \bar "k"
+@lilypond[quote,fragment,verbatim]
+f'1 \bar "k"
@end lilypond
De plus amples détails quant à cette forme de notation sont
L'insertion d'un @emph{segno} directement sur la portée s'obtient à
l'aide de trois types de barre de mesure, comme indiqué ci-dessous :
-@lilypond[quote,relative=2,verbatim]
-c4 c c c
-\bar "S"
-c4 c c c \break
-\bar "S"
-c4 c c c
-\bar "S-|"
-c4 c c c \break
-\bar "S-|"
-c4 c c c
-\bar "S-S"
-c4 c c c \break
-\bar "S-S"
-c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ c4 c c c
+ \bar "S"
+ c4 c c c \break
+ \bar "S"
+ c4 c c c
+ \bar "S-|"
+ c4 c c c \break
+ \bar "S-|"
+ c4 c c c
+ \bar "S-S"
+ c4 c c c \break
+ \bar "S-S"
+ c1
+}
@end lilypond
@cindex répétitions
imprimée en fin de portée, et la barre de reprise au début de la
nouvelle.
-@lilypond[quote,relative=2,verbatim]
-c4 c c c
-\bar ".|:-||"
-c4 c c c \break
-\bar ".|:-||"
-c4 c c c
+@lilypond[quote,verbatim]
+\relative c'' {
+ c4 c c c
+ \bar ".|:-||"
+ c4 c c c \break
+ \bar ".|:-||"
+ c4 c c c
+}
@end lilypond
LilyPond dispose de six différents moyens de combiner une barre de
reprise avec un @emph{segno} :
-@lilypond[quote,relative=2,verbatim]
-c4 c c c
-\bar ":|.S"
-c4 c c c \break
-\bar ":|.S"
-c4 c c c
-\bar ":|.S-S"
-c4 c c c \break
-\bar ":|.S-S"
-c4 c c c
-\bar "S.|:-S"
-c4 c c c \break
-\bar "S.|:-S"
-c4 c c c
-\bar "S.|:"
-c4 c c c \break
-\bar "S.|:"
-c4 c c c
-\bar ":|.S.|:"
-c4 c c c \break
-\bar ":|.S.|:"
-c4 c c c
-\bar ":|.S.|:-S"
-c4 c c c \break
-\bar ":|.S.|:-S"
-c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ c4 c c c
+ \bar ":|.S"
+ c4 c c c \break
+ \bar ":|.S"
+ c4 c c c
+ \bar ":|.S-S"
+ c4 c c c \break
+ \bar ":|.S-S"
+ c4 c c c
+ \bar "S.|:-S"
+ c4 c c c \break
+ \bar "S.|:-S"
+ c4 c c c
+ \bar "S.|:"
+ c4 c c c \break
+ \bar "S.|:"
+ c4 c c c
+ \bar ":|.S.|:"
+ c4 c c c \break
+ \bar ":|.S.|:"
+ c4 c c c
+ \bar ":|.S.|:-S"
+ c4 c c c \break
+ \bar ":|.S.|:-S"
+ c1
+}
@end lilypond
Par ailleurs, la commande @code{\inStaffSegno} crée une barre de mesure
matière d'extension. Ce qui suit le @code{"-"} n'est d'aucune
utilité dans la construction de la barre.
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
\defineBarLine "||-dashedSpan" #'("||" "" "!!")
\new StaffGroup <<
- \new Staff {
+ \new Staff \relative c'' {
c1 \bar "||"
c1 \bar "||-dashedSpan"
c1
}
- \new Staff {
+ \new Staff \relative c'' {
c1
c1
c1
de l'espace et ainsi aligner correctement les différents tronçons
d'une barre d'un seul tenant entre les portées d'un système :
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
\defineBarLine ":|.-wrong" #'(":|." "" "|.")
\defineBarLine ":|.-right" #'(":|." "" " |.")
\new StaffGroup <<
- \new Staff {
+ \new Staff \relative c'' {
c1 \bar ":|.-wrong"
c1 \bar ":|.-right"
c1
}
- \new Staff {
+ \new Staff \relative c'' {
c1
c1
c1
les portées d'un @code{StaffGroup}, d'un @code{PianoStaff} ou d'un
@code{GrandStaff}.
-@lilypond[quote,relative=1,verbatim]
+@lilypond[quote,verbatim]
<<
\new StaffGroup <<
- \new Staff {
- e4 d
+ \new Staff \relative {
+ e'4 d
\bar "||"
f4 e
}
- \new Staff { \clef bass c4 g e g }
+ \new Staff \relative { \clef bass c'4 g e g }
>>
- \new Staff { \clef bass c2 c2 }
+ \new Staff \relative { \clef bass c'2 c2 }
>>
@end lilypond
@code{visible en début de ligne}. Voici comment imprimer partout les
numéros de mesure :
-@lilypond[verbatim,quote,relative=1]
-\override Score.BarNumber.break-visibility = ##(#t #t #t)
-\set Score.currentBarNumber = #11
-% Permit first bar number to be printed
-\bar ""
-c1 | c | c | c
-\break
-c1 | c | c | c
+@lilypond[verbatim,quote]
+\relative c' {
+ \override Score.BarNumber.break-visibility = ##(#t #t #t)
+ \set Score.currentBarNumber = #11
+ % Permit first bar number to be printed
+ \bar ""
+ c1 | c | c | c |
+ \break
+ c1 | c | c | c |
+}
@end lilypond
@snippets
Indiquer un repère s'obtient grâce à la commande @code{\mark}.
-@lilypond[quote,verbatim,relative=2]
-c1 \mark \default
-c1 \mark \default
-c1 \mark \default
-c1 \mark \default
+@lilypond[quote,verbatim]
+\relative c'' {
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark \default
+}
@end lilypond
@noindent
spécifier manuellement le repère en question. La valeur à utiliser
est enregistrée dans la propriété @code{rehearsalMark}.
-@lilypond[quote,verbatim,relative=2]
-c1 \mark \default
-c1 \mark \default
-c1 \mark #8
-c1 \mark \default
-c1 \mark \default
+@lilypond[quote,verbatim]
+\relative c'' {
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark #8
+ c1 \mark \default
+ c1 \mark \default
+}
@end lilypond
@noindent
\set Score.markFormatter = #format-mark-circle-alphabet
@end example
-@lilypond[quote,verbatim,relative=2]
-\set Score.markFormatter = #format-mark-box-alphabet
-c1 \mark \default
-c1 \mark \default
-c1 \mark #8
-c1 \mark \default
-c1 \mark \default
+@lilypond[quote,verbatim]
+\relative c'' {
+ \set Score.markFormatter = #format-mark-box-alphabet
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark #8
+ c1 \mark \default
+ c1 \mark \default
+}
@end lilypond
@cindex repère, format
pour une procédure type. Quelques mesures plus loin, son comportement
est modifié pour imprimer un repère encadré.
-@lilypond[quote,verbatim,relative=2]
-\set Score.markFormatter = #format-mark-numbers
-c1 \mark \default
-c1 \mark \default
-\set Score.markFormatter = #format-mark-box-numbers
-c1 \mark \default
-\set Score.markFormatter = #format-mark-circle-numbers
-c1 \mark \default
-\set Score.markFormatter = #format-mark-circle-letters
-c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ \set Score.markFormatter = #format-mark-numbers
+ c1 \mark \default
+ c1 \mark \default
+ \set Score.markFormatter = #format-mark-box-numbers
+ c1 \mark \default
+ \set Score.markFormatter = #format-mark-circle-numbers
+ c1 \mark \default
+ \set Score.markFormatter = #format-mark-circle-letters
+ c1
+}
@end lilypond
Le fichier @file{scm/translation-functions.scm} comporte les
Un @code{\mark} peut contenir un glyphe musical tel que le signe
@emph{segno}.
-@lilypond[quote,verbatim,relative=1]
-c1 \mark \markup { \musicglyph #"scripts.segno" }
-c1 \mark \markup { \musicglyph #"scripts.coda" }
-c1 \mark \markup { \musicglyph #"scripts.ufermata" }
-c1
+@lilypond[quote,verbatim]
+\relative c' {
+ c1 \mark \markup { \musicglyph #"scripts.segno" }
+ c1 \mark \markup { \musicglyph #"scripts.coda" }
+ c1 \mark \markup { \musicglyph #"scripts.ufermata" }
+ c1
+}
@end lilypond
@noindent
est un peu plus petite que celle des notes normales et elles n'occupent
pas de temps dans la mesure.
-@lilypond[quote,relative=2,verbatim]
-c4 \grace b16 a4(
-\grace { b16 c16 } a2)
+@lilypond[quote,verbatim]
+\relative {
+ c''4 \grace b16 a4(
+ \grace { b16 c16 } a2)
+}
@end lilypond
Les plus courantes sont les acciaccatures, qui doivent se jouer très
barrée et dépourvue de liaison, qui viendra s'insérer entre deux notes
déjà liées.
-@lilypond[quote,relative=2,verbatim]
-\acciaccatura d8 c4
-\appoggiatura e8 d4
-\acciaccatura { g16 f } e2
-\slashedGrace a,8 g4
-\slashedGrace b16 a4(
-\slashedGrace b8 a2)
+@lilypond[quote,verbatim]
+\relative {
+ \acciaccatura d''8 c4
+ \appoggiatura e8 d4
+ \acciaccatura { g16 f } e2
+ \slashedGrace a,8 g4
+ \slashedGrace b16 a4(
+ \slashedGrace b8 a2)
+}
@end lilypond
Les petites notes se placent de façon synchrone entre les différentes
portées. Dans l'exemple suivant, il y a deux petites double-croches
pour chaque petite croche.
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Staff { e2 \grace { c16 d e f } e2 }
- \new Staff { c2 \grace { g8 b } c2 }
+ \new Staff \relative { e''2 \grace { c16 d e f } e2 }
+ \new Staff \relative { c''2 \grace { g8 b } c2 }
>>
@end lilypond
requiert deux arguments : la note réelle, et la ou les petites notes qui
s'y rattachent.
-@lilypond[quote,verbatim,relative=2]
-c1 \afterGrace d1 { c16[ d] } c1
+@lilypond[quote,verbatim]
+\relative { c''1 \afterGrace d1 { c16[ d] } c1 }
@end lilypond
Les petites notes se placent alors aux trois quarts de la durée de la
la différence entre le comportement par défaut, à 15/16 et enfin à la
moitié de la durée de base.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- \new Staff {
- c1 \afterGrace d1 { c16[ d] } c1
+ \new Staff \relative {
+ c''1 \afterGrace d1 { c16[ d] } c1
}
- \new Staff {
+ \new Staff \relative {
#(define afterGraceFraction (cons 15 16))
- c1 \afterGrace d1 { c16[ d] } c1
+ c''1 \afterGrace d1 { c16[ d] } c1
}
- \new Staff {
+ \new Staff \relative {
#(define afterGraceFraction (cons 1 2))
- c1 \afterGrace d1 { c16[ d] } c1
+ c''1 \afterGrace d1 { c16[ d] } c1
}
>>
@end lilypond
notes et la note réelle. Nous pourrions positionner ces petites notes à
sept huitièmes de la durée de la note de base :
-@lilypond[quote,verbatim,relative=2]
-\new Voice {
+@lilypond[quote,verbatim]
+\new Voice \relative {
<<
- { d1^\trill_( }
+ { d''1^\trill_( }
{ s2 s4. \grace { c16 d } }
>>
c1)
@code{\grace} ; ces réglages additionnels doivent également être
désactivés dans cette même expression.
-@lilypond[quote,verbatim,relative=2]
-\new Voice {
+@lilypond[quote,verbatim]
+\new Voice \relative {
\acciaccatura {
\stemDown
- f16->
+ f''16->
\stemNeutral
}
g4 e c2
armure, etc. -- sont eux aussi synchrones. Pensez-y lorsque vous
mêlez des portées comprenant des petites notes et d'autres sans :
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Staff { e4 \bar ".|:" \grace c16 d2. }
- \new Staff { c4 \bar ".|:" d2. }
+ \new Staff \relative { e''4 \bar ".|:" \grace c16 d2. }
+ \new Staff \relative { c''4 \bar ".|:" d2. }
>>
@end lilypond
des silences invisibles dans une expression précédée de @code{\grace} et
correspondant à la durée des petites notes :
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Staff { e4 \bar ".|:" \grace c16 d2. }
- \new Staff { c4 \bar ".|:" \grace s16 d2. }
+ \new Staff \relative { e''4 \bar ".|:" \grace c16 d2. }
+ \new Staff \relative { c''4 \bar ".|:" \grace s16 d2. }
>>
@end lilypond
et @code{>}. Un accord peut être suivi d'une durée comme une simple
note.
-@lilypond[verbatim,quote,relative=2]
-<a c e>1 <a c e>2 <f a c e>4 <a c>8. <g c e>16
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1 <a c e>2 <f a c e>4 <a c>8. <g c e>16
+}
@end lilypond
Un accord peut être suivi d'une indication d'articulation comme une
simple note.
-@lilypond[verbatim,quote,relative=2]
-<a c e>1\fermata <a c e>2-> <f a c e>4\prall <a c>8.^! <g c e>16-.
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1\fermata <a c e>2-> <f a c e>4\prall <a c>8.^! <g c e>16-.
+}
@end lilypond
Certaines notes, au sein même d'un accord, peuvent être affectées d'une
articulation ou d'un ornement :
-@lilypond[verbatim,quote,relative=2]
-<a c\prall e>1 <a-> c-^ e>2 <f-. a c-. e-.>4
-<a-+ c-->8. <g\fermata c e\turn>16
+@lilypond[verbatim,quote]
+\relative {
+ <a' c\prall e>1 <a-> c-^ e>2 <f-. a c-. e-.>4
+ <a-+ c-->8. <g\fermata c e\turn>16
+}
@end lilypond
Certains éléments de notation, tels que nuances, soufflets et liaisons,
ne peuvent se rattacher qu'à l'accord et non aux notes qui le composent,
sous peine de ne les voir s'imprimer.
-@lilypond[verbatim,quote,relative=2]
-<a\f c( e>1 <a c) e>\f <a\< c e>( <a\! c e>)
-<a c e>\< <a c e> <a c e>\!
+@lilypond[verbatim,quote]
+\relative {
+ <a'\f c( e>1 <a c) e>\f <a\< c e>( <a\! c e>)
+ <a c e>\< <a c e> <a c e>\!
+}
@end lilypond
@cindex accord vide
sera donc combiné -- pour des combinaisons plus complexes, voir
@ref{Expressions simultanées}.
-@lilypond[verbatim,quote,relative=2]
-\grace { g8( a b }
-<> ) \p \< -. -\markup \italic "sempre staccato"
-\repeat unfold 4 { c4 e } c1\f
+@lilypond[verbatim,quote]
+\relative {
+ \grace { g'8( a b }
+ <> ) \p \< -. -\markup \italic "sempre staccato"
+ \repeat unfold 4 { c4 e } c1\f
+}
@end lilypond
@cindex accord et mode relatif
individuelle précédente. Les autres notes au sein de l'accord se
positionnent relativement à la précédente @emph{dans cet accord}.
-@lilypond[verbatim,quote,relative=2]
-<a c e>1 <f a c> <a c e> <f' a c> <b, e b,>
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1 <f a c> <a c e> <f' a c> <b, e b,>
+}
@end lilypond
Pour plus d'information à propos des accords, voir
raccourci -- symbolisé par la lettre @code{q} -- qui a pour effet de
répéter le dernier accord saisi :
-@lilypond[verbatim,quote,relative=2]
-<a c e>1 q <f a c>2 q
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1 q <f a c>2 q
+}
@end lilypond
À l'instar de n'importe quel accord, le symbole de répétition peut être
ligatures@dots{} En fait, c'est la structure du dernier accord qui est
dupliquée.
-@lilypond[verbatim,quote,relative=2]
-<a c e>1\p^"text" q2\<( q8)[-! q8.]\! q16-1-2-3 q8\prall
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1\p^"text" q2\<( q8)[-! q8.]\! q16-1-2-3 q8\prall
+}
@end lilypond
Dans la mesure où le symbole de répétition d'accord enregistre la
l'utiliser même après une succession de notes individuelles et de
silences :
-@lilypond[verbatim,quote,relative=2]
-<a c e>1 c'4 q2 r8 q8 |
-q2 c, |
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1 c'4 q2 r8 q8 |
+ q2 c, |
+}
@end lilypond
Le symbole de répétition d'accord ne prend en charge que les hauteurs,
Voici deux exemples d'expression simultanée sur une même portée :
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\new Voice { % explicit single voice
- << { a4 b g2 } { d4 g c,2 } >>
+ << \relative { a'4 b g2 }
+ \relative { d'4 g c,2 } >>
}
@end lilypond
-@lilypond[quote,verbatim,relative=2]
-% single first note
-a << { a4 b g } { d4 g c, } >>
+@lilypond[quote,verbatim]
+\relative {
+ % single first note
+ a' << \relative { a'4 b g }
+ \relative { d'4 g c, } >>
+}
@end lilypond
Cette manière de procéder est utile lorsque les éléments de l'expression
Notes, articulations et modifications de propriétés au sein d'un même
@code{Voice} sont enregistrées et gravées selon l'ordre musical :
-@lilypond[quote,verbatim,relative=2]
-<a c>4-. <>-. << c a >> << { c-. <c a> } { a s-. } >>
+@lilypond[quote,verbatim]
+\relative {
+ <a' c>4-. <>-. << c a >> << { c-. <c a> } { a s-. } >>
+}
@end lilypond
La présence de plusieurs hampes, ligatures, durées ou propriétés au même
Dans l'exemple suivant, l'expression simultanée génère implicitement
plusieurs portées :
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
% no single first note
-<< { a4 b g2 } { d4 g2 c,4 } >>
+<< \relative { a'4 b g2 }
+ \relative { d'4 g2 c,4 } >>
@end lilypond
En pareil cas, des rythmes différents ne sont source d'aucun problème
telle notation en appliquant la fonction @code{\makeClusters} à une
séquence d'accords, comme
-@lilypond[quote,relative=2,verbatim]
-\makeClusters { <g b>2 <c g'> }
+@lilypond[quote,verbatim]
+\relative \makeClusters { <g' b>2 <c g'> }
@end lilypond
Des notes ordinaires et des clusters peuvent cohabiter sur une même
La manière la plus facile d'entrer des fragments avec plus d'une voix
sur une portée est la suivante :
-@lilypond[quote,relative=3,verbatim]
+@lilypond[quote,verbatim]
\new Staff <<
\new Voice = "first"
- { \voiceOne r8 r16 g e8. f16 g8[ c,] f e16 d }
+ \relative { \voiceOne r8 r16 g'' e8. f16 g8[ c,] f e16 d }
\new Voice= "second"
- { \voiceTwo d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
+ \relative { \voiceTwo d''16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
>>
@end lilypond
polyphonie continueront à le faire durant ce passage polyphonique et
après lui :
-@lilypond[quote, verbatim, relative=2]
-<<
+@lilypond[quote,verbatim]
+\relative <<
\new Voice = "melody" {
- a4
+ a'4
<<
{
\voiceOne
contextes, le positionnement des liaisons, la direction des hampes, etc.
sont réglés de manière appropriée. En voici un exemple :
-@lilypond[quote,relative=3,verbatim]
+@lilypond[quote,verbatim]
<<
- { r8 r16 g e8. f16 g8[ c,] f e16 d }
+ \relative { r8 r16 g'' e8. f16 g8[ c,] f e16 d }
\\
- { d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
+ \relative { d''16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
>>
@end lilypond
que nous voulons. Grâce à des espaces invisibles, nous évitons de
surcharger la portée avec des demis soupirs.
-@lilypond[quote,relative=3,verbatim]
+@lilypond[quote,verbatim]
<<
- { r8 g g g g f16 ees f8 d }
+ \relative { r8 g'' g g g f16 ees f8 d }
\\
- { ees,8 r ees r d r d r }
+ \relative { ees'8 r ees r d r d r }
\\
- { d'8 s c s bes s a s }
+ \relative { d''8 s c s bes s a s }
>>
@end lilypond
regrouper dans une construction de musique simultanée simple au sein
d'une voix explicite :
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
\new Voice <<
- { e4 f8 d e16 f g8 d4 }
- { c4 d8 b c16 d e8 b4 }
+ \relative { e''4 f8 d e16 f g8 d4 }
+ \relative { c''4 d8 b c16 d e8 b4 }
>>
@end lilypond
Opter pour des couleurs et des têtes de notes spécifiques selon la voix
permet de les identifier plus facilement :
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- { \voiceOneStyle d4 c2 b4 }
+ \relative { \voiceOneStyle d''4 c2 b4 }
\\
- { \voiceTwoStyle e,2 e }
+ \relative { \voiceTwoStyle e'2 e }
\\
- { \voiceThreeStyle b2. c4 }
+ \relative { \voiceThreeStyle b2. c4 }
\\
- { \voiceFourStyle g'2 g }
+ \relative { \voiceFourStyle g'2 g }
>>
@end lilypond
suivant, que la fusion échoue aux premier et troisième temps de la
première mesure, ainsi qu'au premier temps de la deuxième mesure.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- {
- c8 d e d c d c4
+ \relative {
+ c''8 d e d c d c4
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
croche -- jamais avec une noire. Les têtes du premier temps de la
première mesure ont bien fusionné :
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- {
+ \relative {
\mergeDifferentlyHeadedOn
- c8 d e d c d c4
+ c''8 d e d c d c4
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
De même, vous pouvez fusionner les têtes de notes pointées et
non pointées comme au troisième temps de la première mesure :
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- {
+ \relative {
\mergeDifferentlyHeadedOn
\mergeDifferentlyDottedOn
- c8 d e d c d c4
+ c''8 d e d c d c4
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
l'empilement ; le rendement de @code{\mergeDifferentlyHeadedOn} est
alors comme il faut.
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- {
+ \relative {
\mergeDifferentlyHeadedOn
\mergeDifferentlyDottedOn
- c8 d e d c d c4
+ c''8 d e d c d c4
\shiftOn
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
pour effet une fusion incorrecte des têtes de note différentes à partir
de voix différentes.
-@lilypond[quote,relative=1,verbatim]
+@lilypond[quote,verbatim,fragment]
\mergeDifferentlyHeadedOn
-<< { c16 a' b a } \\ { c,2 } >>
+<< \relative { c'16 a' b a } \\ \relative { c'2 } >>
\override NoteColumn.ignore-collision = ##t
-<< { c16 a' b a } \\ { c,2 } >>
+<< \relative { c'16 a' b a } \\ \relative { c'2 } >>
@end lilypond
@ignore
Vous pouvez cependant insérer l'instruction @code{\break} à l'endroit où
vous le jugez utile pour « forcer » le passage à la ligne suivante :
-@lilypond[quote,ragged-right,relative=2,verbatim]
-c4 c c c | \break
-c4 c c c |
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ c4 c c c | \break
+ c4 c c c |
+}
@end lilypond
Par défaut, un saut de ligne ne saurait intervenir au beau milieu d'une
barre de mesure, vous devrez auparavant insérer une barre invisible -- à
l'aide de @code{\bar ""}.
-@lilypond[quote,ragged-right,relative=2,verbatim]
-c4 c c
-\bar "" \break
-c |
-c4 c c c |
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ c4 c c
+ \bar "" \break
+ c |
+ c4 c c c |
+}
@end lilypond
LilyPond ignorera un @code{\break} placé sur une barre à la fin d'une
ligature s'étend sur deux mesures consécutives. Il faut en ce cas là
introduire la dérogation @w{@code{\override Beam.breakable = ##t}}.
-@lilypond[quote,ragged-right,relative=2,verbatim]
-\override Beam.breakable = ##t
-c2. c8[ c | \break
-c8 c] c2. |
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ \override Beam.breakable = ##t
+ c2. c8[ c | \break
+ c8 c] c2. |
+}
@end lilypond
L'instruction opposée, @code{\noBreak}, interdira toute tentative de
@code{outside-staff-priority} est la plus faible sera disposé au plus
près de la portée.
-@lilypond[quote,ragged-right,relative=2,verbatim]
-c4_"Text"\pp
-r2.
-\once \override TextScript.outside-staff-priority = #1
-c4_"Text"\pp % this time the text will be closer to the staff
-r2.
-% by setting outside-staff-priority to a non-number,
-% we disable the automatic collision avoidance
-\once \override TextScript.outside-staff-priority = ##f
-\once \override DynamicLineSpanner.outside-staff-priority = ##f
-c4_"Text"\pp % now they will collide
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ c4_"Text"\pp
+ r2.
+ \once \override TextScript.outside-staff-priority = #1
+ c4_"Text"\pp % this time the text will be closer to the staff
+ r2.
+ % by setting outside-staff-priority to a non-number,
+ % we disable the automatic collision avoidance
+ \once \override TextScript.outside-staff-priority = ##f
+ \once \override DynamicLineSpanner.outside-staff-priority = ##f
+ c4_"Text"\pp % now they will collide
+}
@end lilypond
Le décalage vertical entre des objets extérieurs à la portée se contrôle
par la propriété @code{outside-staff-padding}.
@c KEEP LY
-@lilypond[quote,ragged-right,relative=2,verbatim,staffsize=18]
-\once \override TextScript.outside-staff-padding = #0
-a'4-"outside-staff-padding = #0"
-\once \override TextScript.outside-staff-padding = #3
-d-"outside-staff-padding = #3"
-c-"outside-staff-padding par défaut"
-b-"outside-staff-padding par défaut"
-R1
+@lilypond[quote,ragged-right,verbatim,staffsize=18]
+\relative {
+ \once \override TextScript.outside-staff-padding = #0
+ a'4-"outside-staff-padding = #0"
+ \once \override TextScript.outside-staff-padding = #3
+ d-"outside-staff-padding = #3"
+ c-"outside-staff-padding par défaut"
+ b-"outside-staff-padding par défaut"
+ R1
+}
@end lilypond
Par défaut, les objets extérieurs à la portée sont positionnés en
objet pour éviter qu'il ne soit trop proche d'ventuelles lignes
supplémentaires.
-@lilypond[quote,ragged-right,relative=2,verbatim]
-c4^"Word" c c''2
-R1
-\once \override TextScript.outside-staff-horizontal-padding = #1
-c,,4^"Word" c c''2
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ c''4^"Word" c c''2
+ R1
+ \once \override TextScript.outside-staff-horizontal-padding = #1
+ c,,4^"Word" c c''2
+}
@end lilypond
@seealso
de note ; pour la noire , cet espace est de deux têtes ; il
est de trois pour la blanche.
-@lilypond[quote,verbatim,relative=1]
-c2 c4. c8
-c4. c8 c4. c8
-c8 c c4 c c
+@lilypond[quote,verbatim]
+\relative c' {
+ c2 c4. c8
+ c4. c8 c4. c8
+ c8 c c4 c c
+}
@end lilypond
@code{spacing-increment} est normalement défini à 1,2 espace de
doubles croches à l'exemple précédent, elles seraient suivies d'une
demie largeur de tête :
-@lilypond[quote,verbatim,relative=2]
-c2 c4. c8 | c4. c16[ c] c4. c8 | c8 c c4 c c
+@lilypond[quote,verbatim]
+\relative { c''2 c4. c8 | c4. c16[ c] c4. c8 | c8 c c4 c c }
@end lilypond
Dans notre @emph{Essai sur la gravure musicale automatisée}, nous avons
les réglages par défaut, puis avec des corrections forcées.
@lilypond[quote,ragged-right]
-{
- c'4 e''4 e'4 b'4 |
- b'4 e''4 b'4 e''4 |
+\fixed c' {
+ c4 e'4 e4 b4 |
+ b4 e'4 b4 e'4 |
\override Staff.NoteSpacing.stem-spacing-correction = #1.5
\override Staff.StaffSpacing.stem-spacing-correction = #1.5
- c'4 e''4 e'4 b'4 |
- b'4 e''4 b'4 e''4 |
+ c4 e'4 e4 b4 |
+ b4 e'4 b4 e'4 |
}
@end lilypond
@code{\newSpacingSection} ; ils produiront leurs effets jusqu'à ce
qu'ils soient à nouveau modifiés par une nouvelle section, comme ici :
-@lilypond[relative=1,verbatim,quote]
-\time 4/16
-c16[ c c8]
-\newSpacingSection
-\override Score.SpacingSpanner.spacing-increment = #2
-c16[ c c8]
-\newSpacingSection
-\revert Score.SpacingSpanner.spacing-increment
-c16[ c c8]
+@lilypond[verbatim,quote]
+\relative c' {
+ \time 4/16
+ c16[ c c8]
+ \newSpacingSection
+ \override Score.SpacingSpanner.spacing-increment = #2
+ c16[ c c8]
+ \newSpacingSection
+ \revert Score.SpacingSpanner.spacing-increment
+ c16[ c c8]
+}
@end lilypond
@seealso
les notes sans tenir compte des clefs, barres de mesure ou notes
d'ornement qui pourraient apparaître :
-@lilypond[quote,ragged-right,relative=2,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\override Score.SpacingSpanner.strict-note-spacing = ##t
-\new Staff { c8[ c \clef alto c \grace { c16 c } c8 c c] c32[ c] }
+\new Staff \relative {
+ c''8[ c \clef alto c \grace { c16 c } c8 c c] c32[ c] }
@end lilypond
@seealso
comportait l'indication. Autre exemple, les indications de nuance qui
se @qq{détachent} d'un système peuvent être rapprochées de la portée :
-@lilypond[verbatim,quote,relative=1]
-e4 c g\f c
-e4 c g-\tweak X-offset #-2.7 \f c
+@lilypond[verbatim,quote]
+\relative e' {
+ e4 c g\f c
+ e4 c g-\tweak X-offset #-2.7 \f c
+}
@end lilypond
@item
Le contexte de portée standard s'appelle @code{Staff} :
-@lilypond[verbatim,quote,relative=2]
-\new Staff { c4 d e f }
+@lilypond[verbatim,quote]
+\new Staff \relative { c''4 d e f }
@end lilypond
Le contexte @code{DrumStaff} crée une portée à cinq lignes correspondant
durées. Pour de plus amples détails, consultez
@ref{Gravure de lignes rythmiques}.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new RhythmicStaff { c4 d e f }
@end lilypond
cordes d'une guitare standard. Pour de plus amples détails, consultez
@ref{Tablatures par défaut}.
-@lilypond[verbatim,quote,relative=2]
-\new TabStaff { c4 d e f }
+@lilypond[verbatim,quote]
+\new TabStaff \relative { c''4 d e f }
@end lilypond
LilyPond dispose aussi de deux contextes dédiés à la musique
éditions modernes du grégorien. Bien entendu, il est dépourvu de barres
de mesure.
-@lilypond[verbatim,quote,relative=2]
-\new GregorianTranscriptionStaff { c4 d e f e d }
+@lilypond[verbatim,quote]
+\new GregorianTranscriptionStaff \relative { c''4 d e f e d }
@end lilypond
Vous pourrez toujours définir d'autres contextes de portée selon vos
pas reliées, hormis par une simple ligne verticale en début de ligne, et
les barres de mesure sont indépendantes.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
<<
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { c''1 c }
>>
@end lilypond
Dans un @code{StaffGroup}, le groupe de portées est signifié par un
crochet, et les barres de mesure sont d'un seul tenant.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new StaffGroup <<
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { c''1 c }
>>
@end lilypond
Dans un @code{ChoirStaff}, le groupe de portées est signifié par un
crochet sur la gauche, et les barres de mesure sont individuelles.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new ChoirStaff <<
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { c''1 c }
>>
@end lilypond
Dans un @code{GrandStaff}, le groupe de portées est signifié par une
accolade sur la gauche, et les barres de mesure sont d'un seul tenant.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new GrandStaff <<
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { c''1 c }
>>
@end lilypond
qu'il gère automatiquement l'affichage du nom d'instrument -- voir
@ref{Noms d'instrument} pour plus de détails.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new PianoStaff <<
\set PianoStaff.instrumentName = #"Piano"
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { \clef bass c1 c }
>>
@end lilypond
imbriqués en profondeur. Chaque niveau inférieur aura son propre
délimiteur, en plus de celui du niveau supérieur.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new StaffGroup <<
- \new Staff { c2 c | c2 c }
+ \new Staff \relative { c''2 c | c2 c }
\new StaffGroup <<
- \new Staff { g2 g | g2 g }
+ \new Staff \relative { g'2 g | g2 g }
\new StaffGroup \with {
systemStartDelimiter = #'SystemStartSquare
}
<<
- \new Staff { e2 e | e2 e }
- \new Staff { c2 c | c2 c }
+ \new Staff \relative { e'2 e | e2 e }
+ \new Staff \relative { c'2 c | c2 c }
>>
>>
>>
respectivement de clôturer et (re)démarrer une portée n'importe où dans
une partition.
-@lilypond[verbatim,quote,relative=2]
-\stopStaff f4 d \startStaff g, e
-f'4 d \stopStaff g, e
-f'4 d \startStaff g, e
+@lilypond[verbatim,quote]
+\relative {
+ \stopStaff f''4 d \startStaff g, e
+ f'4 d \stopStaff g, e
+ f'4 d \startStaff g, e
+}
@end lilypond
@predefined
Vous pouvez modifier le nombre de lignes d'une portée :
-@lilypond[verbatim,quote,relative=2]
-f4 d \stopStaff
-\override Staff.StaffSymbol.line-count = #2
-\startStaff g, e |
+@lilypond[verbatim,quote]
+\relative {
+ f''4 d \stopStaff
+ \override Staff.StaffSymbol.line-count = #2
+ \startStaff g, e |
-f'4 d \stopStaff
-\revert Staff.StaffSymbol.line-count
-\startStaff g, e |
+ f'4 d \stopStaff
+ \revert Staff.StaffSymbol.line-count
+ \startStaff g, e |
+}
@end lilypond
Le positionnement de chacune des lignes de la portée est modifiable.
lignes, ainsi que leur position dans la portée, peut donc se modifier à
l'aide d'une seule commande.
-@lilypond[verbatim,quote,relative=2]
-f4 d \stopStaff
-\override Staff.StaffSymbol.line-positions = #'(1 3 5 -1 -3)
-\startStaff g, e |
-f'4 d \stopStaff
-\override Staff.StaffSymbol.line-positions = #'(8 6.5 -6 -8 -0.5)
-\startStaff g, e
+@lilypond[verbatim,quote]
+\relative {
+ f''4 d \stopStaff
+ \override Staff.StaffSymbol.line-positions = #'(1 3 5 -1 -3)
+ \startStaff g, e |
+ f'4 d \stopStaff
+ \override Staff.StaffSymbol.line-positions = #'(8 6.5 -6 -8 -0.5)
+ \startStaff g, e |
+}
@end lilypond
Afin de préserver l'orientation habituelle des hampes -- ascendantes
L'épaisseur des lignes supplémentaires (@emph{ledger lines}) peut être
déterminée indépendamment des lignes de la portée.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.thickness = #2
\override StaffSymbol.ledger-line-thickness = #'(0.5 . 0.4)
+} \relative {
+ f'''4 a, a,, f
}
-{ f'4 a, a,, f }
@end lilypond
@noindent
L'emplacement des lignes supplémentaires est réglable :
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.ledger-positions = #'(-3 -2 -1 2 5 6)
+} \relative {
+ f'''4 a, a,, f
}
-{ f'4 a, a,, f }
@end lilypond
Vous pouvez faire apparaître des lignes supplémentaires additionnelles
relatif aux autres notes, qu'elles aient ou non elles-mêmes des lignes
supplémentaires.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.ledger-extra = #4
+} \relative {
+ f'''4 a, d, f,
}
-{ f'4 a, d, f, }
@end lilypond
Des lignes supplémentaires peuvent apparaître y compris au sein d'une
Modifier l'équidistance des lignes de la portée affectera aussi les
lignes supplémentaires.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.staff-space = #1.5
+} \relative {
+ f'''4 d, g, e,
}
-{ f'4 d, g, e, }
@end lilypond
@snippets
@code{instrumentName}, et les suivantes celle de
@code{shortInstrumentName}.
-@lilypond[verbatim,quote,ragged-right,relative=1]
+@lilypond[verbatim,quote,ragged-right]
\new Staff \with {
instrumentName = #"Violin "
shortInstrumentName = #"Vln. "
+} \relative {
+ c'4.. g'16 c4.. g'16 \break | c1 |
}
-{ c4.. g'16 c4.. g'16 \break | c1 }
@end lilypond
Le recours à la commande @code{\markup} permet de construire des noms
d'instrument particuliers, tels que
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
instrumentName = \markup {
\column { "Clarinetti"
\line { "in B" \smaller \flat }
}
}
+} \relative {
+ c''4 c,16 d e f g2
}
-{ c4 c,16 d e f g2 }
@end lilypond
@cindex noms d'instrument, centrés
reportez-vous au chapitre @ref{Variables d'indentation et de décalage}.
@lilypond[verbatim,quote,ragged-right]
-\relative {
- <<
- \new Staff \with {
- instrumentName = #"Alto Flute in G"
- shortInstrumentName = #"Flt."
- }
- {
- f''2 g4 f \break
- g4 f g2
- }
- \new Staff \with {
- instrumentName = #"Clarinet"
- shortInstrumentName = #"Clar."
- }
- {
- c,4 b c2 \break
- c2 b4 c
- }
- >>
-}
+<<
+ \new Staff \with {
+ instrumentName = #"Alto Flute in G"
+ shortInstrumentName = #"Flt."
+ } \relative {
+ f''2 g4 f \break
+ g4 f g2
+ }
+ \new Staff \with {
+ instrumentName = #"Clarinet"
+ shortInstrumentName = #"Clar."
+ } \relative {
+ c''4 b c2 \break
+ c2 b4 c
+ }
+>>
\layout {
indent = 3.0\cm
autre voix consiste à déclarer explicitement un contexte @code{CueVoice}
au sein de la voix où elle apparaît.
-@lilypond[verbatim,relative=1]
-R1
-<<
- { e2\rest r4. e8 }
- \new CueVoice {
- \stemUp d'8^"flute" c d e fis2
- }
->>
-d,4 r a r
+@lilypond[verbatim]
+\relative {
+ R1
+ <<
+ { e'2\rest r4. e8 }
+ \new CueVoice {
+ \stemUp d'8^"flute" c d e fis2
+ }
+ >>
+ d,4 r a r
+}
@end lilypond
L'instruction @code{\cueClef}, utilisée conjointement à un contexte
réduite, propre à la voix citée. Le retour à la clef d'origine
s'effectue à l'aide de l'instruction @code{\cueClefUnset}.
-@lilypond[verbatim,noragged-right,relative=1]
-\clef "bass"
-R1
-<<
- { e2\rest r4. \cueClefUnset e,8 }
- \new CueVoice {
- \cueClef "treble" \stemUp d''8^"flute" c d e fis2
- }
->>
-d,,4 r a r
+@lilypond[verbatim,noragged-right]
+\relative {
+ \clef "bass"
+ R1
+ <<
+ { e'2\rest r4. \cueClefUnset e,8 }
+ \new CueVoice {
+ \cueClef "treble" \stemUp d''8^"flute" c d e fis2
+ }
+ >>
+ d,,4 r a r
+}
@end lilypond
Notez que les deux instructions @code{\cueClef} et @code{\cueClefUnset}
sont disponibles si nécessaire en dehors d'un @code{CueVoice}.
-@lilypond[verbatim,noragged-right,relative=1]
-\clef "bass"
-R1
-\cueClef "treble"
-d'8^"flute" c d e fis2
-\cueClefUnset
-d,,4 r a r
+@lilypond[verbatim,noragged-right]
+\relative {
+ \clef "bass"
+ R1
+ \cueClef "treble"
+ d''8^"flute" c d e fis2
+ \cueClefUnset
+ d,,4 r a r
+}
@end lilypond
Lorsque la situation est plus complexe, instrument transpositeur ou
au-dessus ou au-dessous de la portée selon la syntaxe utilisée -- cf.
@ref{Direction et positionnement}.
-@lilypond[quote,verbatim,relative=2]
-a8^"pizz." g f e a4-"scherz." f
+@lilypond[quote,verbatim]
+\relative { a'8^"pizz." g f e a4-"scherz." f }
@end lilypond
Cette syntaxe est en fait un raccourci. Des constructions plus
@code{\markup} et selon les préceptes énoncés dans
@ref{Mise en forme du texte}.
-@lilypond[quote,verbatim,relative=2]
-a8^\markup { \italic pizz. } g f e
-a4_\markup { \tiny scherz. \bold molto } f
+@lilypond[quote,verbatim]
+\relative {
+ a'8^\markup { \italic pizz. } g f e
+ a4_\markup { \tiny scherz. \bold molto } f }
@end lilypond
Par défaut, ces indications n'affectent en rien l'espacement des
dans l'exemple qui suit, le premier commentaire n'influe pas sur
l'espacement, à l'inverse du second.
-@lilypond[quote,verbatim,relative=2]
-a8^"pizz." g f e
-\textLengthOn
-a4_"scherzando" f
+@lilypond[quote,verbatim]
+\relative {
+ a'8^"pizz." g f e
+ \textLengthOn
+ a4_"scherzando" f
+}
@end lilypond
En plus d'indications textuelles, les notes peuvent se voir attacher des
ou ondulée. Ces objets, que l'on appelle @qq{extenseurs}, se dessinent
entre deux notes à l'aide de la syntaxe suivante :
-@lilypond[verbatim,quote,relative=2]
-\override TextSpanner.bound-details.left.text = "rit."
-b1\startTextSpan
-e,\stopTextSpan
+@lilypond[verbatim,quote]
+\relative {
+ \override TextSpanner.bound-details.left.text = "rit."
+ b'1\startTextSpan
+ e,\stopTextSpan
+}
@end lilypond
@cindex texte, mise en forme des prolongations
faites appel à un bloc @code{\markup} --
voir @ref{Mise en forme du texte}.
-@lilypond[quote,relative=2,verbatim]
-\override TextSpanner.bound-details.left.text =
- \markup { \upright "rit." }
-b1\startTextSpan c
-e,\stopTextSpan
+@lilypond[quote,verbatim]
+\relative {
+ \override TextSpanner.bound-details.left.text =
+ \markup { \upright "rit." }
+ b'1\startTextSpan c
+ e,\stopTextSpan
+}
@end lilypond
Le style de ligne se définit lui aussi comme une propriété de l'objet.
@c \mark needs to be placed on a separate line (it's not
@c attached to an object like \markup is). -vv
-@lilypond[verbatim,quote,relative=2]
-c4
-\mark "Allegro"
-c c c
+@lilypond[verbatim,quote]
+\relative {
+ c''4
+ \mark "Allegro"
+ c c c
+}
@end lilypond
Cette syntaxe rend possible l'adjonction de n'importe quel texte à une
manières dès lors qu'est utilisé un bloc @code{\markup}, comme indiqué
au chapitre @ref{Mise en forme du texte}.
-@lilypond[quote,verbatim,relative=1]
-<c e>1
-\mark \markup { \italic { colla parte } }
-<d f>2 <e g>
-<c f aes>1
+@lilypond[quote,verbatim]
+\relative {
+ <c' e>1
+ \mark \markup { \italic { colla parte } }
+ <d f>2 <e g>
+ <c f aes>1
+}
@end lilypond
@noindent
avoir accès au symbole approprié, selon les indications contenues au
chapitre @ref{Notation musicale dans du texte formaté}.
-@lilypond[quote,verbatim,relative=2]
-<bes f>2 <aes d>
-\mark \markup { \musicglyph #"scripts.ufermata" }
-<e g>1
+@lilypond[quote,verbatim]
+\relative {
+ <bes' f>2 <aes d>
+ \mark \markup { \musicglyph #"scripts.ufermata" }
+ <e g>1
+}
@end lilypond
@noindent
une marque qui tomberait sur un saut de ligne sera imprimée au début
de la ligne suivante.
-@lilypond[quote,verbatim,relative=2,ragged-right]
-\mark "Allegro"
-c1 c
-\mark "assai" \break
-c c
+@lilypond[quote,verbatim,ragged-right]
+\relative c'' {
+ \mark "Allegro"
+ c1 c
+ \mark "assai" \break
+ c c
+}
@end lilypond
@funindex \markLengthOn
caractère @code{\}. Ces commandes n'affecteront que la première
expression qui les suit.
-@lilypond[quote,verbatim,relative=2]
-a1-\markup intenso
-a2^\markup { poco \italic più forte }
-c e1
-d2_\markup { \italic "string. assai" }
-e
-b1^\markup { \bold { molto \italic agitato } }
-c
+@lilypond[quote,verbatim]
+\relative {
+ a'1-\markup intenso
+ a2^\markup { poco \italic più forte }
+ c e1
+ d2_\markup { \italic "string. assai" }
+ e
+ b1^\markup { \bold { molto \italic agitato } }
+ c
+}
@end lilypond
@cindex caractères spéciaux en mode markup
@c repeat double quote for pairing "
@c KEEP LY
-@lilypond[quote,verbatim,relative=2]
-a1^"\italic markup..."
-a_\markup { \italic "... imprime des lettres en \"italique\" !" }
-a a
+@lilypond[quote,verbatim]
+\relative {
+ a'1^"\italic markup..."
+ a_\markup { \italic "... imprime des lettres en \"italique\" !" }
+ a a
+}
@end lilypond
Une liste de mots, pour pouvoir être traitée en tant qu'expression
tout comme la première :
@c repeat double quote for pairing "
-@lilypond[quote,verbatim,relative=2]
-c1^\markup { \center-column { a bbb c } }
-c1^\markup { \center-column { a { bbb c } } }
-c1^\markup { \center-column { a \line { bbb c } } }
-c1^\markup { \center-column { a "bbb c" } }
+@lilypond[quote,verbatim]
+\relative c'' {
+ c1^\markup { \center-column { a bbb c } }
+ c1^\markup { \center-column { a { bbb c } } }
+ c1^\markup { \center-column { a \line { bbb c } } }
+ c1^\markup { \center-column { a "bbb c" } }
+}
@end lilypond
Vous pouvez stocker les étiquettes textuelles en tant que variables,
Le mode @emph{markup} autorise des changements élémentaires de la
fonte :
-@lilypond[quote,verbatim,relative=2]
-d1^\markup {
- \bold { Più mosso }
- \italic { non troppo \underline Vivo }
+@lilypond[quote,verbatim]
+\relative {
+ d''1^\markup {
+ \bold { Più mosso }
+ \italic { non troppo \underline Vivo }
+ }
+ r2 r4 r8
+ d,_\markup { \italic quasi \smallCaps Tromba }
+ f1 d2 r
}
-r2 r4 r8
-d,_\markup { \italic quasi \smallCaps Tromba }
-f1 d2 r
@end lilypond
@cindex caractères, taille
Vous pouvez adopter l'une des tailles prédéfinies, comme ici :
-@lilypond[quote,verbatim,relative=2]
-b1_\markup { \huge Sinfonia }
-b1^\markup { \teeny da }
-b1-\markup { \normalsize camera }
+@lilypond[quote,verbatim]
+\relative b' {
+ b1_\markup { \huge Sinfonia }
+ b1^\markup { \teeny da }
+ b1-\markup { \normalsize camera }
+}
@end lilypond
Vous pouvez la modifier relativement à sa valeur précédente :
-@lilypond[quote,verbatim,relative=2]
-b1_\markup { \larger Sinfonia }
-b1^\markup { \smaller da }
-b1-\markup { \magnify #0.6 camera }
+@lilypond[quote,verbatim]
+\relative b' {
+ b1_\markup { \larger Sinfonia }
+ b1^\markup { \smaller da }
+ b1-\markup { \magnify #0.6 camera }
+}
@end lilypond
Vous pouvez l'augmenter ou la diminuer par rapport à la taille globale
de portée :
-@lilypond[quote,verbatim,relative=2]
-b1_\markup { \fontsize #-2 Sinfonia }
-b1^\markup { \fontsize #1 da }
-b1-\markup { \fontsize #3 camera }
+@lilypond[quote,verbatim]
+\relative b' {
+ b1_\markup { \fontsize #-2 Sinfonia }
+ b1^\markup { \fontsize #1 da }
+ b1-\markup { \fontsize #3 camera }
+}
@end lilypond
Vous pouvez lui attribuer une valeur arbitraire quelle que soit la
taille de portée globale :
-@lilypond[quote,verbatim,relative=2]
-b1_\markup { \abs-fontsize #20 Sinfonia }
-b1^\markup { \abs-fontsize #8 da }
-b1-\markup { \abs-fontsize #14 camera }
+@lilypond[quote,verbatim]
+\relative b' {
+ b1_\markup { \abs-fontsize #20 Sinfonia }
+ b1^\markup { \abs-fontsize #8 da }
+ b1-\markup { \abs-fontsize #14 camera }
+}
@end lilypond
Lorsque le texte comporte des espaces, mieux vaut le borner par des
extrémité gauche. Dans l'exemple qui suit, il n'y a aucune différence
entre les deux premiers @emph{markups}.
-@lilypond[quote,verbatim,relative=2]
-d1-\markup { poco }
-f
-d-\markup { \left-align poco }
-f
-d-\markup { \center-align { poco } }
-f
-d-\markup { \right-align poco }
+@lilypond[quote,verbatim]
+\relative {
+ d''1-\markup { poco }
+ f
+ d-\markup { \left-align poco }
+ f
+ d-\markup { \center-align { poco } }
+ f
+ d-\markup { \right-align poco }
+}
@end lilypond
@funindex \halign
L'alignement horizontal peut être ajusté à l'aide d'une valeur
numérique :
-@lilypond[quote,verbatim,relative=2]
-a1-\markup { \halign #-1 poco }
-e'
-a,-\markup { \halign #0 poco }
-e'
-a,-\markup { \halign #0.5 poco }
-e'
-a,-\markup { \halign #2 poco }
+@lilypond[quote,verbatim]
+\relative {
+ a'1-\markup { \halign #-1 poco }
+ e'
+ a,-\markup { \halign #0 poco }
+ e'
+ a,-\markup { \halign #0.5 poco }
+ e'
+ a,-\markup { \halign #2 poco }
+}
@end lilypond
@noindent
dernier @emph{markup}, dépourvu de point d'ancrage, n'est de ce fait pas
déplacé.
-@lilypond[quote,verbatim,relative=1]
-d2^\markup {
- Acte I
- \raise #2 { Scène 1 }
-}
-a'
-g_\markup {
- \null
- \lower #4 \bold { Très modéré }
-}
-a
-d,^\markup {
- \raise #4 \italic { Une forêt. }
+@lilypond[quote,verbatim]
+\relative {
+ d'2^\markup {
+ Acte I
+ \raise #2 { Scène 1 }
+ }
+ a'
+ g_\markup {
+ \null
+ \lower #4 \bold { Très modéré }
+ }
+ a
+ d,^\markup {
+ \raise #4 \italic { Une forêt. }
+ }
+ a'4 a g2 a
}
-a'4 a g2 a
@end lilypond
@funindex \general-align
Tout objet soumis à ces commandes doit être précédé d'un point
d'ancrage.
-@lilypond[quote,verbatim,relative=1]
-d2^\markup {
- Acte I
- \translate #'(-1 . 2) "Scène 1"
-}
-a'
-g_\markup {
- \null
- \general-align #Y #3.2 \bold "Très modéré"
-}
-a
-d,^\markup {
- \null
- \translate-scaled #'(-1 . 2) \teeny "Une forêt."
+@lilypond[quote,verbatim]
+\relative {
+ d'2^\markup {
+ Acte I
+ \translate #'(-1 . 2) "Scène 1"
+ }
+ a'
+ g_\markup {
+ \null
+ \general-align #Y #3.2 \bold "Très modéré"
+ }
+ a
+ d,^\markup {
+ \null
+ \translate-scaled #'(-1 . 2) \teeny "Une forêt."
+ }
+ a'4 a g2 a
}
-a'4 a g2 a
@end lilypond
@cindex multiligne, markup
pures. Nous vous conseillons, en pareil cas, de toujours spécifier les
dimensions du dessin, comme dans ce qui suit :
-@lilypond[quote,verbatim,relative=1]
-c1^\markup {
+@lilypond[quote,verbatim,fragment]
+c'1^\markup {
\combine
\epsfile #X #10 #"./context-example.eps"
\with-dimensions #'(0 . 6) #'(0 . 10)
closepath
stroke"
}
-c
+c'
@end lilypond
L'annexe @ref{Graphic} répertorie les différentes commandes en matière
Notes et altérations sont données à l'aide d'instructions
@emph{markup} :
-@lilypond[quote,verbatim,relative=2]
-a2 a^\markup {
+@lilypond[quote,verbatim,fragment]
+a'2 a'^\markup {
\note #"4" #1
=
\note-by-number #1 #1 #1.5
}
-b1_\markup {
+b'1_\markup {
\natural \semiflat \flat
\sesquiflat \doubleflat
}
\glissando
-a1_\markup {
+a'1_\markup {
\natural \semisharp \sharp
\sesquisharp \doublesharp
}
-\glissando b
+\glissando b'
@end lilypond
Le mode @emph{markup} permet d'accéder à d'autres objets de
notation :
-@lilypond[quote,verbatim,relative=1]
-g1 bes
-ees\finger \markup \tied-lyric #"4~1"
-fis_\markup { \dynamic rf }
-bes^\markup {
- \beam #8 #0.1 #0.5
-}
-cis
-d-\markup {
- \markalphabet #8
- \markletter #8
+@lilypond[quote,verbatim]
+\relative {
+ g1 bes
+ ees\finger \markup \tied-lyric #"4~1"
+ fis_\markup { \dynamic rf }
+ bes^\markup {
+ \beam #8 #0.1 #0.5
+ }
+ cis
+ d-\markup {
+ \markalphabet #8
+ \markletter #8
+ }
}
@end lilypond
@emph{markup}, comme le montre l'exemple qui suit. Ces différents
symboles sont répertoriés dans l'annexe @ref{La fonte Feta}.
-@lilypond[quote,verbatim,relative=2]
-c2
-c'^\markup { \musicglyph #"eight" }
-c,4
-c,8._\markup { \musicglyph #"clefs.G_change" }
-c16
-c2^\markup { \musicglyph #"timesig.neomensural94" }
+@lilypond[quote,verbatim]
+\relative {
+ c''2
+ c'^\markup { \musicglyph #"eight" }
+ c,4
+ c,8._\markup { \musicglyph #"clefs.G_change" }
+ c16
+ c2^\markup { \musicglyph #"timesig.neomensural94" }
+}
@end lilypond
La rubrique @ref{Tout savoir sur les fontes} contient d'autres
Le mode @emph{markup} supporte aussi les diagrammes spécifiques à
certains instruments :
-@lilypond[quote,verbatim,relative=2]
-c1^\markup {
- \fret-diagram-terse #"x;x;o;2;3;2;"
-}
-c^\markup {
- \harp-pedal #"^-v|--ov^"
-}
-c
-c^\markup {
- \combine
- \musicglyph #"accordion.discant"
+@lilypond[quote,verbatim]
+\relative {
+ c''1^\markup {
+ \fret-diagram-terse #"x;x;o;2;3;2;"
+ }
+ c^\markup {
+ \harp-pedal #"^-v|--ov^"
+ }
+ c
+ c^\markup {
\combine
- \raise #0.5 \musicglyph #"accordion.dot"
- \raise #1.5 \musicglyph #"accordion.dot"
+ \musicglyph #"accordion.discant"
+ \combine
+ \raise #0.5 \musicglyph #"accordion.dot"
+ \raise #1.5 \musicglyph #"accordion.dot"
+ }
}
@end lilypond
suffit que l'expression en question contienne un bloc @code{\score}
incluant un bloc @code{\layout}.
-@lilypond[quote,verbatim,relative=1]
-c4 d^\markup {
- \score {
- \relative { c'4 d e f }
- \layout { }
+@lilypond[quote,verbatim]
+\relative {
+ c'4 d^\markup {
+ \score {
+ \relative { c'4 d e f }
+ \layout { }
+ }
}
+ e f |
+ c d e f
}
-e f |
-c d e f
@end lilypond
Les différentes commandes @emph{markup} relatives à la notation musicale
montre la syntaxe à utiliser pour accéder, en mode @emph{markup}, aux
différentes fontes @code{feta} non textuelles de LilyPond.
-@lilypond[quote,verbatim,relative=2]
-a1^\markup {
+@lilypond[quote,verbatim,fragment]
+a'1^\markup {
\vcenter {
\override #'(font-encoding . fetaBraces)
\lookup #"brace120"
@code{font-size} correspond à la correction à apporter à la taille par
défaut.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\override Score.RehearsalMark.font-family = #'typewriter
\mark \markup "Ouverture"
\override Voice.TextScript.font-shape = #'italic
\override Voice.TextScript.font-series = #'bold
-d2.^\markup "Allegro"
+d''2.^\markup "Allegro"
\override Voice.TextScript.font-size = #-3
-c4^smaller
+c''4^smaller
@end lilypond
@noindent
système, dès lors qu'elle est accessible par Fontconfig et que vous
respectez la syntaxe suivante :
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\override Staff.TimeSignature.font-name = #"Bitstream Charter"
\override Staff.TimeSignature.font-size = #2
\time 3/4
-a1_\markup {
+a'1_\markup {
\override #'(font-name . "Vera Bold")
{ Vera Bold }
}
Les indications d'archet, poussé (@code{\upbow}) et tiré
(@code{\downbow}), peuvent se combiner à des liaisons comme ici :
-@lilypond[verbatim,quote,relative=2]
-c4(\downbow d) e(\upbow f)
+@lilypond[verbatim,quote]
+\relative { c''4(\downbow d) e(\upbow f) }
@end lilypond
@noindent
Alternativement, les indications de corde peuvent se traiter sous forme
de @emph{markup}, et un script indiquer une corde à vide.
-@lilypond[verbatim,quote,relative=2]
-a4 \open
+@lilypond[verbatim,quote,fragment]
+a'4 \open
\romanStringNumbers
-a\2
-a2^\markup { \small "sul A" }
+a'\2
+a'2^\markup { \small "sul A" }
@end lilypond
@predefined
effleurer la corde à l'endroit où vous l'auriez pincée si la note avait
été normale.
-@lilypond[verbatim,quote,relative=2]
-d4 e4.
-\harmonicsOn
-d8 e e
-d4 e4.
-\harmonicsOff
-d8 e e
+@lilypond[verbatim,quote]
+\relative d'' {
+ d4 e4.
+ \harmonicsOn
+ d8 e e
+ d4 e4.
+ \harmonicsOff
+ d8 e e
+}
@end lilypond
Une autre façon de procéder consiste à faire surmonter la note normale
d'un petit cercle. Ceci indique que la note écrite doit être jouée en
harmonique :
-@lilypond[verbatim,quote,relative=2]
-d2^\flageolet d_\flageolet
+@lilypond[verbatim,quote,fragment]
+d''2^\flageolet d''_\flageolet
@end lilypond
Un plus petit cercle peut être créé, comme indiqué dans les exemples de
de pizzicato pour lequel la corde est tirée vers le haut (plutôt que sur
le côté) de telle sorte qu'elle vienne frapper le manche.
-@lilypond[verbatim,quote,relative=1]
-c4\snappizzicato
-<c' e g>4\snappizzicato
-<c' e g>4^\snappizzicato
-<c, e g>4_\snappizzicato
+@lilypond[verbatim,quote]
+\relative {
+ c'4\snappizzicato
+ <c' e g>4\snappizzicato
+ <c' e g>4^\snappizzicato
+ <c, e g>4_\snappizzicato
+}
@end lilypond
qui contient cette mélodie :
@c KEEP LY
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melodie" {
- a1 a4. a8 a2
+ \new Voice = "melodie" \relative {
+ a'1 a4. a8 a2
}
\new Lyrics \lyricsto "melodie" {
Ce sont les mots
Les syllabes seront alignées selon la dérogation apportée à la propriété
@code{self-alignment-X} :
-@lilypond[relative=1,verbatim,quote]
+@lilypond[verbatim,quote]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- c2 e4 g2 f
+ c'2 e4 g2 f
}
\new Lyrics \lyricmode {
\override LyricText.self-alignment-X = #LEFT
(@code{_}) pour obtenir une espace, ou bien encore utiliser un tilde
(@code{~}) pour obtenir une liaison entre les syllabes.
-@lilypond[quote,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
{
- { \autoBeamOff
- r8 b c fis, fis c' b e,
+ \relative {
+ \autoBeamOff
+ r8 b' c fis, fis c' b e,
}
\addlyrics
{
@item
Une liaison de prolongation constitue de fait un mélisme :
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- f4 g2 ~ |
+ f''4 g2 ~ |
4 e2 ~ |
8
}
liaison. Il s'agit là de la façon traditionnelle de saisir des
paroles :
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- f4 g8 ( f e f )
+ f''4 g8 ( f e f )
e8 ( d e2 )
}
\new Lyrics \lyricsto "melody" {
un mélisme, si tant est que la procédure de ligature automatique a été
désactivée -- voir @ref{Définition des règles de ligature automatique}.
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
\autoBeamOff
- f4 g8[ f e f]
+ f''4 g8[ f e f]
e2.
}
\new Lyrics \lyricsto "melody" {
@code{\melisma} et @code{\melismaEnd}, comme constituant un
mélisme :
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- f4 g8
+ f''4 g8
\melisma
f e f
\melismaEnd
d'un caractère souligné simple @code{_}, pour chaque note faisant partie
de la vocalise :
-@lilypond[verbatim, quote, relative=2]
+@lilypond[verbatim, quote]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- f4 g8 f e f
+ f''4 g8 f e f
e8 d e2
}
\new Lyrics \lyricsto "melody" {
mélodie comme fait générateur d'un mélisme. Il suffit en ce cas de
définir @code{melismaBusyProperties} :
-@lilypond[relative=1,verbatim,quote]
+@lilypond[verbatim,quote]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
\set melismaBusyProperties = #'()
- c4 d ( e )
+ c'4 d ( e )
g8 [ f ] f4 ~ 4
}
\new Lyrics \lyricsto "melody" {
est active, survient un mélisme, vous pouvez l'indiquer dans les paroles
par un simple caractère souligné pour chaque note à inclure :
-@lilypond[relative=1,verbatim,quote]
+@lilypond[verbatim,quote]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
\set melismaBusyProperties = #'()
- c4 d ( e )
+ c'4 d ( e )
g8 [ f ] ~ 4 ~ f
}
\new Lyrics \lyricsto "melody" {
La propriété @code{minimum-distance} de l'objet @code{LyricSpace}
permet d'accroître l'espacement des paroles.
-@lilypond[relative=1,verbatim,quote,ragged-right]
-{
+@lilypond[verbatim,quote,ragged-right]
+\relative c' {
c c c c
\override Lyrics.LyricSpace.minimum-distance = #1.0
c c c c
On peut ajouter un numéro aux couplets en définissant la variable
@code{stanza} :
-@lilypond[quote,ragged-right,verbatim,relative=2]
-\new Voice {
- \time 3/4 g2 e4 a2 f4 g2.
+@lilypond[quote,ragged-right,verbatim]
+\new Voice \relative {
+ \time 3/4 g'2 e4 a2 f4 g2.
} \addlyrics {
\set stanza = #"1. "
Hi, my name is Bert.
définir @code{vocalName}, et @code{shortVocalName} pour une version
abrégée.
-@lilypond[ragged-right,quote,verbatim,relative=2]
-\new Voice {
- \time 3/4 g2 e4 a2 f4 g2.
+@lilypond[ragged-right,quote,verbatim]
+\new Voice \relative {
+ \time 3/4 g'2 e4 a2 f4 g2.
} \addlyrics {
\set vocalName = #"Bert "
Hi, my name is Bert.
rôle. L'utilisation d'un @emph{markup} -- dans une fonte réservée à cet
effet -- vous permettra de générer ces indications :
-@lilypond[quote,verbatim,relative=1]
-\clef "G_8"
-c4^\markup \fontsize #1 \smallCaps Kaspar
-c c c
-\clef "bass"
-a4^\markup \fontsize #1 \smallCaps Melchior
-a a a
-\clef "G_8"
-c4^\markup \fontsize #1 \smallCaps Kaspar
-c c c
+@lilypond[quote,verbatim]
+\relative c' {
+ \clef "G_8"
+ c4^\markup \fontsize #1 \smallCaps Kaspar
+ c c c
+ \clef "bass"
+ a4^\markup \fontsize #1 \smallCaps Melchior
+ a a a
+ \clef "G_8"
+ c4^\markup \fontsize #1 \smallCaps Kaspar
+ c c c
+}
@end lilypond
Dans le cas où les changements de personnage se multiplient, il peut
Une courte intervention peut se formuler à l'aide d'un simple
@emph{markup} :
-@lilypond[quote,verbatim,relative=2]
-a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
-a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
-a4 a a a
+@lilypond[quote,verbatim]
+\relative {
+ a'4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
+ a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
+ a4 a a a
+}
@end lilypond
Une intervention un peu plus longue peut nécessiter d'étirer la musique
-- pour indiquer à LilyPond où serait susceptible de se produire un saut
de ligne.
-@lilypond[verbatim,quote,relative=2]
-a4 b c2 |
-\cadenzaOn
-a4 b c2
-a4 b c2
-\bar ""
-a4 b c2
-a4 b c2
-\cadenzaOff
-a4 b c2 |
-a4 b c2 |
+@lilypond[verbatim,quote]
+\relative a' {
+ a4 b c2 |
+ \cadenzaOn
+ a4 b c2
+ a4 b c2
+ \bar ""
+ a4 b c2
+ a4 b c2
+ \cadenzaOff
+ a4 b c2 |
+ a4 b c2 |
+}
@end lilypond
Dans la mélodie d'un cantique, les silences ou pauses s'indiquent à
l'aide de barres de mesure spécifiques :
-@lilypond[verbatim, quote,relative=2]
-a4
-\cadenzaOn
-b c2
-a4 b c2
-\bar "'"
-a4 b c2
-a4 b c2
-\bar ";"
-a4 b c2
-\bar "!"
-a4 b c2
-\bar "||"
+@lilypond[verbatim, quote]
+\relative a' {
+ a4
+ \cadenzaOn
+ b c2
+ a4 b c2
+ \bar "'"
+ a4 b c2
+ a4 b c2
+ \bar ";"
+ a4 b c2
+ \bar "!"
+ a4 b c2
+ \bar "||"
+}
@end lilypond
Vous pouvez accessoirement, bien qu'il s'agisse de notation moderne,
@noindent
Les diagrammes sont générés en tant qu'objet de type @emph{markup} :
-@lilypond[verbatim,quote,relative=2]
-c1^\markup
+@lilypond[verbatim,quote,fragment]
+c''1^\markup
\woodwind-diagram #'piccolo #'((lh . (gis))
(cc . (one three))
(rh . (ees)))
Les clés ou trous peuvent être partiellement enfoncés ou bouchés :
@c KEEP LY
-@lilypond[verbatim, quote, relative=2]
+@lilypond[verbatim, quote, fragment]
\textLengthOn
-c1^\markup {
+c''1^\markup {
\center-column {
"quart de trou"
\woodwind-diagram #'flute #'((cc . (one1q))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"demi-trou"
\woodwind-diagram #'flute #'((cc . (one1h))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"trois quarts de trou"
\woodwind-diagram #'flute #'((cc . (one3q))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"anneau"
\woodwind-diagram #'flute #'((cc . (oneR))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"bouché"
\woodwind-diagram #'flute #'((cc . (oneF two))
L'indication du doigté permettant de triller s'obtient en grisant une
position :
-@lilypond[verbatim,quote,relative=2]
-c1^\markup {
+@lilypond[verbatim,quote,fragment]
+c''1^\markup {
\woodwind-diagram #'bass-clarinet
#'((cc . (threeT four))
(lh . ())
possibles :
@c KEEP LY
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote,fragment]
\textLengthOn
-c1^\markup {
+c''1^\markup {
\center-column {
"quart de trou et anneau"
\woodwind-diagram #'flute #'((cc . (one1qTR))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"anneau et fermé"
\woodwind-diagram #'flute #'((cc . (oneTR))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"anneau et ouvert"
\woodwind-diagram #'flute #'((cc . (oneRT))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"ouvert et fermé"
\woodwind-diagram #'flute #'((cc . (oneT))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"quart de trou et trois quarts"
\woodwind-diagram #'flute #'((cc . (one1qT3q))
soient en rouge, alors que le résultat nous présente deux portées et que
les notes, placées sur la portée inférieure, restent en noir.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\override Staff.NoteHead.color = #red
-\new Staff { a }
+\new Staff { a' }
@end lilypond
Étant donné qu'aucun contexte @code{Staff} n'existe lorsque la
contenir les notes qui suivent. Voici la syntaxe correcte pour obtenir
ces notes en rouge :
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\new Staff {
\override Staff.NoteHead.color = #red
- a
+ a'
}
@end lilypond
@ignore
Tutorial guidelines: (different from policy.txt!)
-- unless you have a really good reason, use either
+- unless you have a really good reason, use
@lilypond[verbatim,quote]
- or
- @lilypond[verbatim,quote,relative=2]
-
- Don't use any other relative=X commands.
- use "aes" and "ees" instead of "as" and "es". I know it's not
correct Dutch naming, but let's not confuse people with this
doppia, o @code{\bar "|."} per una stanghetta finale. La lista completa
delle stanghette si trova in @ruser{Stanghette}.
-@lilypond[verbatim,quote,relative=2]
-g1 e1 \bar "||" c2. c'4 \bar "|."
+@lilypond[verbatim,quote]
+\relative { g'1 e1 \bar "||" c2. c'4 \bar "|." }
@end lilypond
@node Controlli di battuta
nordiche e germaniche, come il tedesco e l'olandese. Per usare altri
nomi per le @notation{alterazioni}, si veda @ruser{Nomi delle note in altre lingue}.
-@lilypond[verbatim,quote,relative=2]
-cis4 ees fisis, aeses
+@lilypond[verbatim,quote]
+\relative { cis''4 ees fisis, aeses }
@end lilypond
@cindex armatura di chiave, impostare
In questo esempio:
-@lilypond[verbatim,quote,relative=2]
-\key d \major
-cis4 d e fis
+@lilypond[verbatim,quote]
+\relative {
+ \key d \major
+ cis''4 d e fis
+}
@end lilypond
@noindent
nota con altezza Si-bequadro.} Nella tonalità di La bemolle maggiore,
@emph{deve} avere un'alterazione:
-@lilypond[verbatim,quote,relative=2]
-\key aes \major
-aes4 c b c
+@lilypond[verbatim,quote]
+\relative {
+ \key aes \major
+ aes'4 c b c
+}
@end lilypond
Se l'esempio precedente sembra poco chiaro, considera questo: se tu stessi
Una @notation{legatura di valore} si ottiene apponendo una tilde @code{~} alla
prima delle due note legate.
-@lilypond[verbatim,quote,relative=2]
-g4~ 4 c2~ | 4~ 8 a~ 2 |
+@lilypond[verbatim,quote]
+\relative { g'4~ 4 c2~ | 4~ 8 a~ 2 | }
@end lilypond
@cindex durata senza altezza
nota iniziale e quella finale sono indicate rispettivamente con
@code{(} e @code{)}.
-@lilypond[verbatim,quote,relative=2]
-d4( c16) cis( d e c cis d) e( d4)
+@lilypond[verbatim,quote]
+\relative { d''4( c16) cis( d e c cis d) e( d4) }
@end lilypond
@node Legature di frase
con ampi gruppi di note. Legature di valore e legature di portamento
possono essere annidate le une dentro le altre.
-@lilypond[verbatim,quote,relative=2]
-c4~( c8 d~ 4 e)
+@lilypond[verbatim,quote]
+\relative { c''4(~ c8 d~ 4 e) }
@end lilypond
Le @notation{articolazioni} di uso comune possono essere aggiunte a una nota
con una lineetta @code{-} e un singolo carattere:
-@lilypond[verbatim,quote,relative=2]
-c4-^ c-+ c-- c-!
-c4-> c-. c2-_
+@lilypond[verbatim,quote]
+\relative {
+ c''4-^ c-+ c-- c-!
+ c4-> c-. c2-_
+}
@end lilypond
@node Diteggiature
aggiunte a una nota con una lineetta (@code{-}) e il numero che si
vuole visualizzare:
-@lilypond[verbatim,quote,relative=2]
-c4-3 e-5 b-2 a-1
+@lilypond[verbatim,quote]
+\relative { c''4-3 e-5 b-2 a-1 }
@end lilypond
Articolazioni e diteggiature solitamente sono posizionate verticalmente in automatico, ma
multiple sulla stessa nota. Tuttavia, nella maggior parte dei casi è
meglio lasciare che sia LilyPond a determinare le direzioni delle articolazioni.
-@lilypond[verbatim,quote,relative=2]
-c4_-^1 d^. f^4_2-> e^-_+
+@lilypond[verbatim,quote]
+\relative { c''4_-^1 d^. f^4_2-> e^-_+ }
@end lilypond
@node Dinamiche
I segni di @notation{dinamica} si ottengono aggiungendo alla nota
i simboli (preceduti da un segno di barra invertita, o backslash):
-@lilypond[verbatim,quote,relative=2]
-c4\ff c\mf c\p c\pp
+@lilypond[verbatim,quote]
+\relative { c''4\ff c\mf c\p c\pp }
@end lilypond
esempio @code{\ff}, terminerà il (de)crescendo, oppure può essere usato
il comando @code{\!}:
-@lilypond[verbatim,quote,relative=2]
-c4\< c\ff\> c c\!
+@lilypond[verbatim,quote]
+\relative { c''4\< c\ff\> c c\! }
@end lilypond
Puoi aggiungere del testo nei tuoi spartiti:
-@lilypond[verbatim,quote,relative=2]
-c2^"espr" a_"legato"
+@lilypond[verbatim,quote,fragment]
+c''2^"espr" a'_"legato"
@end lilypond
Per aggiungere delle formattazioni puoi usare il comando @code{\markup}:
Tutte le @notation{travature} vengono disegnate automaticamente:
-@lilypond[verbatim,quote,relative=2]
-a8 ais d ees r d c16 b a8
+@lilypond[verbatim,quote]
+\relative { a'8 ais d ees r d c16 b a8 }
@end lilypond
Se non ti piace il modo in cui vengono prodotte automaticamente le travature, è
possibile sovrascriverle manualmente. Per correggere soltanto una singola
travatura, indica la prima nota da raggruppare con @code{[} e l'ultima con @code{]}.
-@lilypond[verbatim,quote,relative=2]
-a8[ ais] d[ ees r d] c16 b a8
+@lilypond[verbatim,quote]
+\relative { a'8[ ais] d[ ees r d] c16 b a8 }
@end lilypond
Se desideri disattivare il raggruppamento automatico, interamente o
per disattivare il raggruppamento automatico e @code{\autoBeamOn} per
riattivarlo.
-@lilypond[verbatim,quote,relative=2]
-\autoBeamOff
-a8 c b4 d8. c16 b4 |
-\autoBeamOn
-a8 c b4 d8. c16 b4 |
+@lilypond[verbatim,quote]
+\relative {
+ \autoBeamOff
+ a'8 c b4 d8. c16 b4 |
+ \autoBeamOn
+ a8 c b4 d8. c16 b4 |
+}
@end lilypond
@code{\partial}. Questa è seguita da una durata: @code{\partial 4}
è un'anacrusi di semiminima e @code{\partial 8} di croma.
-@lilypond[verbatim,quote,relative=2]
-\partial 8 f8 |
-c2 d |
+@lilypond[verbatim,quote]
+\relative {
+ \partial 8 f''8 |
+ c2 d |
+}
@end lilypond
@node Gruppi irregolari
occupa la stessa durata. Per le terzine ci sono tre note invece di
due, quindi una @notation{terzina} ha 3/2 come frazione:
-@lilypond[verbatim,quote,relative=2]
-\tuplet 3/2 { f8 g a }
-\tuplet 3/2 { c8 r c }
-\tuplet 3/2 { f,8 g16[ a g a] }
-\tuplet 3/2 { d4 a8 }
+@lilypond[verbatim,quote]
+\relative {
+ \tuplet 3/2 { f''8 g a }
+ \tuplet 3/2 { c8 r c }
+ \tuplet 3/2 { f,8 g16[ a g a] }
+ \tuplet 3/2 { d4 a8 }
+}
@end lilypond
@node Abbellimenti
ma possono essere creati anche ponendo davanti a un'espressione
musicale le parole chiave @code{\appoggiatura} o @code{\acciaccatura}:
-@lilypond[verbatim,quote,relative=2]
-c2 \grace { a32 b } c2 |
-c2 \appoggiatura b16 c2 |
-c2 \acciaccatura b16 c2 |
+@lilypond[verbatim,quote]
+\relative {
+ c''2 \grace { a32 b } c2 |
+ c2 \appoggiatura b16 c2 |
+ c2 \acciaccatura b16 c2 |
+}
@end lilypond
@emph{espressioni musicali}. Anche una singola nota è un'espressione
musicale:
-@lilypond[verbatim,quote,relative=2]
-a4
+@lilypond[verbatim,quote,fragment]
+a'4
@end lilypond
Se si racchiude una nota tra parentesi si crea un'@emph{espressione
musicale composta}. In questo esempio abbiamo creato un'espressione
musicale composta da due note:
-@lilypond[verbatim,quote,relative=2]
-{ a4 g4 }
+@lilypond[verbatim,quote]
+\relative { a'4 g4 }
@end lilypond
Se si mette un gruppo di espressioni musicali (es: note) tra parentesi,
significa che sono in sequenza (ovvero, ciascuna espressione segue la
precedente). Il risultato è un'altra espressione musicale:
-@lilypond[verbatim,quote,relative=2]
-{ { a4 g } f4 g }
+@lilypond[verbatim,quote]
+\relative { { a'4 g } f4 g }
@end lilypond
@menu
separate) vengono combinate in simultanea:
@lilypond[verbatim,quote]
-\relative {
- <<
- { a'2 g }
- { f2 e }
- { d2 b }
- >>
-}
+<<
+ \relative { a'2 g }
+ \relative { f'2 e }
+ \relative { d'2 b }
+>>
@end lilypond
Si noti che abbiamo indentato ogni livello dell'input con una diversa
e @code{>>}:
@lilypond[verbatim,quote]
-\relative {
- <<
- \new Staff { \clef "treble" c''4 }
- \new Staff { \clef "bass" c,,4 }
- >>
-}
+<<
+ \new Staff { \clef "treble" c''4 }
+ \new Staff { \clef "bass" c4 }
+>>
@end lilypond
Il comando @code{\new} introduce un @q{contesto di notazione.} Un
frequenti delle partiture poliritmiche.
@lilypond[verbatim,quote]
-\relative {
- <<
- \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
- \new Staff { \clef "bass" c,,4 }
- >>
-}
+<<
+ \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
+ \new Staff { \clef "bass" c4 }
+>>
@end lilypond
Ecco un piccolo esempio:
@lilypond[verbatim,quote]
-\relative {
- \new PianoStaff <<
- \new Staff { \time 2/4 c''4 e | g g, | }
- \new Staff { \clef "bass" c,,4 c' | e c | }
- >>
-}
+\new PianoStaff <<
+ \new Staff \relative { \time 2/4 c''4 e | g g, | }
+ \new Staff \relative { \clef "bass" c4 c' | e c | }
+>>
@end lilypond
Altri raggruppamenti di pentagrammi vengono preceduti da @code{\new GrandStaff},
che tutte le note in un accordo devono avere la stessa durata, e che la
durata è posta dopo la parentesi chiusa.
-@lilypond[verbatim,quote,relative=2]
-r4 <c e g> <c f a>2
+@lilypond[verbatim,quote]
+\relative { r4 <c'' e g> <c f a>2 }
@end lilypond
Pensa agli accordi come a qualcosa di equivalente alle note singole:
le travature e le legature di valore. Questi devono essere posti fuori dalle
parentesi angolari.
-@lilypond[verbatim,quote,relative=2]
-r4 <c e g>~ <c f a>2 |
-<c e g>8[ <c f a> <c e g> <c f a>]
- <c e g>8\>[ <c f a> <c f a> <c e g>]\! |
-r4 <c e g>8.\p <c f a>16( <c e g>4-. <c f a>) |
+@lilypond[verbatim,quote]
+\relative {
+ r4 <c'' e g>~ <c f a>2 |
+ <c e g>8[ <c f a> <c e g> <c f a>]
+ <c e g>8\>[ <c f a> <c f a> <c e g>]\! |
+ r4 <c e g>8.\p <c f a>16( <c e g>4-. <c f a>) |
+}
@end lilypond
@seealso
inserita manualmente e finire prima della fine della travatura -- non
molto musicale, forse, ma possibile:
-@lilypond[quote,verbatim,ragged-right,relative=2]
-g8\( a b[ c b\) a] g4
+@lilypond[quote,verbatim,ragged-right]
+\relative { g'8\( a b[ c b\) a] g4 }
@end lilypond
In generale, tipi diversi di parentesi, costrutti in parentesi e segni che
irregolari, e una legatura di frase che si estende fuori da un gruppo
irregolare (linee 3 e 4).
-@lilypond[quote,verbatim,ragged-right,relative=1]
-r16[ g \tuplet 3/2 { r16 e'8] }
-g,16( a \tuplet 3/2 { b16 d) e }
-g,8[( a \tuplet 3/2 { b8 d) e~] } |
-\tuplet 5/4 { e32\( a, b d e } a4.\)
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ r16[ g' \tuplet 3/2 { r16 e'8] }
+ g,16( a \tuplet 3/2 { b16 d) e }
+ g,8[( a \tuplet 3/2 { b8 d) e~] } |
+ \tuplet 5/4 { e32\( a, b d e } a4.\)
+}
@end lilypond
Ecco come suddividere gli accordi precedenti in due voci e aggiungere sia
la nota di passaggio che la legatura di portamento:
-@lilypond[quote,verbatim,ragged-right,relative=2]
-\key g \major
-% Voice "1" Voice "2"
-<< { g4 fis8( g) a4 g } \\ { d4 d d d } >>
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ % Voice "1" Voice "2"
+ << { g'4 fis8( g) a4 g } \\ { d4 d d d } >>
+}
@end lilypond
Si noti come i gambi della seconda voce adesso siano rivolti in basso.
Ecco un altro semplice esempio:
-@lilypond[quote,verbatim,ragged-right,relative=2]
-\key d \minor
-% Voice "1" Voice "2"
-<< { r4 g g4. a8 } \\ { d,2 d4 g } >> |
-<< { bes4 bes c bes } \\ { g4 g g8( a) g4 } >> |
-<< { a2. r4 } \\ { fis2. s4 } >> |
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key d \minor
+ % Voice "1" Voice "2"
+ << { r4 g' g4. a8 } \\ { d,2 d4 g } >> |
+ << { bes4 bes c bes } \\ { g4 g g8( a) g4 } >> |
+ << { a2. r4 } \\ { fis2. s4 } >> |
+}
@end lilypond
Non è necessario usare un costrutto con @code{<< \\ >>} in ogni
può aiutare la leggibilità del codice, ma se ci sono molte note in
ogni battuta è preferibile dividere ogni voce, così:
-@lilypond[quote,verbatim,ragged-right,relative=2]
-\key d \minor
-<< {
- % Voice "1"
- r4 g g4. a8 |
- bes4 bes c bes |
- a2. r4 |
-} \\ {
- % Voice "2"
- d,2 d4 g |
- g4 g g8( a) g4 |
- fis2. s4 |
-} >>
+@lilypond[quote,verbatim,ragged-right]
+<<
+ \key d \minor
+ \relative { % Voice "1"
+ r4 g' g4. a8 |
+ bes4 bes c bes |
+ a2. r4 |
+ } \\
+ \relative { % Voice "2"
+ d'2 d4 g |
+ g4 g g8( a) g4 |
+ fis2. s4 |
+ }
+>>
@end lilypond
nell'output. Ad esempio, si confrontino l'input e l'output del
seguente esempio:
-@lilypond[quote,verbatim,relative=2]
-cis4 cis2. | a4 a2. |
+@lilypond[quote,verbatim]
+\relative { cis''4 cis2. | a4 a2. | }
@end lilypond
L'input è alquanto essenziale, ma nell'output sono stati aggiunti stanghette,
le altre cose) sulla dimensione delle teste delle note. La modifica è relativa
al valore predefinito, non all'ultimo valore impostato.
-@lilypond[quote,verbatim,ragged-right,relative=1]
-c4 d
-% make note heads smaller
-\set fontSize = #-4
-e4 f |
-% make note heads larger
-\set fontSize = #2.5
-g4 a
-% return to default size
-\unset fontSize
-b4 c |
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ c'4 d
+ % make note heads smaller
+ \set fontSize = #-4
+ e4 f |
+ % make note heads larger
+ \set fontSize = #2.5
+ g4 a
+ % return to default size
+ \unset fontSize
+ b4 c |
+}
@end lilypond
Abbiamo visto come impostare i valori di diversi tipi di
@cindex colore, proprietà del
@cindex NoteHead, esempio di sovrascrittura
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-c4 d
-\override NoteHead.color = #red
-e4 f |
-\override NoteHead.color = #green
-g4 a b c |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ c'4 d
+ \override NoteHead.color = #red
+ e4 f |
+ \override NoteHead.color = #green
+ g4 a b c |
+}
@end lilypond
@node Il comando revert
@cindex colore, proprietà del
@cindex NoteHead, esempio di sovrascrittura
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-c4 d
-\override NoteHead.color = #red
-e4 f |
-\override NoteHead.color = #green
-g4 a
-\revert NoteHead.color
-b4 c |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ c'4 d
+ \override NoteHead.color = #red
+ e4 f |
+ \override NoteHead.color = #green
+ g4 a
+ \revert NoteHead.color
+ b4 c |
+}
@end lilypond
@node Il prefisso once
@cindex colore, proprietà del
@cindex NoteHead, esempio di sovrascrittura
-@lilypond[quote,verbatim,relative=1]
-c4 d
-\override NoteHead.color = #red
-e4 f |
-\once \override NoteHead.color = #green
-g4 a
-\revert NoteHead.color
-b c |
+@lilypond[quote,verbatim]
+\relative {
+ c'4 d
+ \override NoteHead.color = #red
+ e4 f |
+ \once \override NoteHead.color = #green
+ g4 a
+ \revert NoteHead.color
+ b c |
+}
@end lilypond
Il prefisso @code{\once} può essere usato anche di fronte a molti
@cindex font-size, esempio
@cindex NoteHead, esempio di sovrascrittura
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-<c e g>4
-\once \override NoteHead.font-size = #-3
-<c e g>4
-<c e g>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ <c' e g>4
+ \once \override NoteHead.font-size = #-3
+ <c e g>4
+ <c e g>4
+}
@end lilypond
Come si vede, la sovrascrittura riguarda @emph{tutte} le teste di nota
@cindex font-size, esempio
@cindex @code{\tweak}, esempio
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-<c e g>4
-<c \tweak font-size #-3 e g>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ <c' e g>4
+ <c \tweak font-size #-3 e g>4
+}
@end lilypond
Si noti che la sintassi di @code{\tweak} è diversa da quella di
@cindex colore, proprietà del
@cindex @code{\tweak}, esempio
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-a4^"Black"
+@lilypond[quote,fragment,ragged-right,verbatim]
+a'4^"Black"
-\tweak color #red ^"Red"
-\tweak color #green _"Green"
@end lilypond
@cindex proprietà del colore, esempio
@cindex colore, esempio
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
-\tweak direction #up
-\tuplet 3/4 {
- \tweak color #red
- \tuplet 3/2 { c8[ c c] }
- \tuplet 3/2 { c8[ c c] }
- \tuplet 3/2 { c8[ c c] }
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ \tweak direction #up
+ \tuplet 3/4 {
+ \tweak color #red
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ }
}
@end lilypond
@c NOTE Tuplet brackets collide if notes are high on staff
@c See issue 509
-@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
-\tuplet 3/2 { c8[ c c] }
-\once \override TupletNumber.text = #tuplet-number::calc-fraction-text
-\tuplet 3/2 {
- c8[ c]
- c8[ c]
- \once \override TupletNumber.transparent = ##t
- \tuplet 3/2 { c8[ c c] }
- \tuplet 3/2 { c8[ c c] }
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \tuplet 3/2 { c'8[ c c] }
+ \once \override TupletNumber.text = #tuplet-number::calc-fraction-text
+ \tuplet 3/2 {
+ c8[ c]
+ c8[ c]
+ \once \override TupletNumber.transparent = ##t
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ }
}
@end lilypond
@c Mozart, Die Zauberflöte Nr.7 Duett
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8 bes[( g]) g |
+ \relative {
+ r4 bes'8 bes[( g]) g |
g8[( es]) es d[( f]) as |
as8 g
}
@cindex proprietà thickness, esempio
@cindex thickness (spessore), esempio
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
+ \relative {
% Increase thickness of all following slurs from 1.2 to 5.0
\override Slur.thickness = #5.0
- r4 bes8 bes[( g]) g |
+ r4 bes'8 bes[( g]) g |
g8[( es]) es d[( f]) as |
as8 g
}
@cindex LyricText, esempio di sovrascrittura
@cindex @code{\addlyrics}, esempio
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8 bes[( g]) g |
+ \relative {
+ r4 bes'8 bes[( g]) g |
g8[( es]) es d[( f]) as |
as8 g
}
@cindex proprietà stencil, esempio
@cindex stencil, esempio
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override BarLine.stencil = ##f
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex proprietà stencil, esempio
@cindex stencil, esempio
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.stencil = ##f
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
scorciatoia, @code{\omit}:
@funindex \omit
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\omit Staff.BarLine
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@code{point-stencil}, che trasforma lo stencil in un oggetto a dimensione
zero:
-@lilypond[quote,verbatim,relative=2]
-{
- c4 c
+@lilypond[quote,verbatim]
+\relative {
+ c''4 c
\once \override NoteHead.stencil = #point-stencil
c4 c
}
@cindex proprietà break-visibility, esempio
@cindex break-visibility, esempio
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.break-visibility = ##(#f #f #f)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex proprietà transparent, esempio
@cindex transparent, esempio
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.TimeSignature.transparent = ##t
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
frequente, perciò è stata creata la scorciatoia @code{\hide}:
@funindex \hide
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\hide Staff.TimeSignature
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex proprietà stencil, esempio
@cindex stencil, esempio
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\omit Staff.TimeSignature
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex proprietà color
@cindex color, proprietà
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.color = #white
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex proprietà color, esempio
@cindex color, esempio
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.color = #(x11-color 'white)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex proprietà color, esempio
@cindex color, esempio
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.color = #(rgb-color 1 1 1)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex color, esempio
@cindex x11-color, esempio di utilizzo
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.StaffSymbol.color = #(x11-color 'grey30)
\override Staff.TimeSignature.color = #(x11-color 'grey60)
\override Voice.NoteHead.color = #(x11-color 'grey85)
\override Voice.Stem.color = #(x11-color 'grey85)
\override Staff.BarLine.color = #(x11-color 'grey10)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex proprietà alignAboveContext, esempio
@cindex @code{\with}, esempio
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex Clef, esempio di sovrascrittura
@cindex TimeSignature, esempio di sovrascrittura
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex proprietà direction, esempio
@cindex direction, esempio
-@lilypond[quote,verbatim,relative=2]
-c4-5 a-3 f-1 c'-5 |
-\override Fingering.direction = #DOWN
-c4-5 a-3 f-1 c'-5 |
-\override Fingering.direction = #UP
-c4-5 a-3 f-1 c'-5 |
+@lilypond[quote,verbatim]
+\relative {
+ c''4-5 a-3 f-1 c'-5 |
+ \override Fingering.direction = #DOWN
+ c4-5 a-3 f-1 c'-5 |
+ \override Fingering.direction = #UP
+ c4-5 a-3 f-1 c'-5 |
+}
@end lilypond
Tuttavia sovrascrivere la proprietà @code{direction} non è il modo
@cindex fingering, esempio
-@lilypond[quote,verbatim,relative=2]
-c4-5 a-3 f-1 c'-5 |
-c4_5 a_3 f_1 c'_5 |
-c4^5 a^3 f^1 c'^5 |
+@lilypond[quote,verbatim]
+\relative {
+ c''4-5 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 proprietà @code{direction} viene ignorata negli accordi, ma i
@cindex fingering, esempio
-@lilypond[quote,verbatim,relative=2]
-<c-5 g-3>4
-<c-5 g-3 e-2>4
-<c-5 g-3 e-2 c-1>4
+@lilypond[quote,verbatim]
+\relative {
+ <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 fingering, esempio
-@lilypond[quote,verbatim,relative=2]
-<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
+@lilypond[quote,verbatim]
+\relative {
+ <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
È possibile avere un controllo ancora maggiore sulla disposizione della
@cindex @code{\set}, esempio di utilizzo
@cindex proprietà fingeringOrientations, esempio
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-\set fingeringOrientations = #'(left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
-\set fingeringOrientations = #'(left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4 |
-\set fingeringOrientations = #'(up left down)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
-\set fingeringOrientations = #'(up left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4 |
-\set fingeringOrientations = #'(right)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \set fingeringOrientations = #'(left)
+ <f'-2>4
+ <c-1 e-2 g-3 b-5>4
+ \set fingeringOrientations = #'(left)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4 |
+ \set fingeringOrientations = #'(up left down)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4
+ \set fingeringOrientations = #'(up left)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4 |
+ \set fingeringOrientations = #'(right)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4
+}
@end lilypond
@noindent
valore predefinito di tale proprietà è @w{@code{-5}}, dunque proviamo
con @w{@code{-7}}:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-\override Fingering.font-size = #-7
-\set fingeringOrientations = #'(left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
-\set fingeringOrientations = #'(left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4 |
-\set fingeringOrientations = #'(up left down)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
-\set fingeringOrientations = #'(up left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4 |
-\set fingeringOrientations = #'(right)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \override Fingering.font-size = #-7
+ \set fingeringOrientations = #'(left)
+ <f'-2>4
+ <c-1 e-2 g-3 b-5>4
+ \set fingeringOrientations = #'(left)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4 |
+ \set fingeringOrientations = #'(up left down)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4
+ \set fingeringOrientations = #'(up left)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4 |
+ \set fingeringOrientations = #'(right)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4
+}
@end lilypond
@node Oggetti esterni al rigo
@cindex proprietà bound-details, esempio
@cindex bound-details, esempio
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
+@lilypond[quote,fragment,ragged-right,verbatim]
% Set details for later Text Spanner
\override TextSpanner.bound-details.left.text
= \markup { \small \bold Slower }
\dynamicUp
% Start Ottava Bracket
\ottava #1
-c'4 \startTextSpan
+c''4 \startTextSpan
% Add Dynamic Text and hairpin
-c4\pp\<
-c4
+c''4\pp\<
+c''4
% Add Text Script
-c4^Text |
-c4 c
+c''4^Text |
+c''4 c''
% Add Dynamic Text and terminate hairpin
-c4\ff c \stopTextSpan |
+c''4\ff c'' \stopTextSpan |
% Stop Ottava Bracket
\ottava #0
-c,4 c c c |
+c'4 c' c' c' |
@end lilypond
Questo esempio mostra anche come creare gli estensori (spanner) del testo,
insieme ad altri oggetti esterni al rigo in base a quel valore. Ecco un
esempio che mostra l'effetto dei due metodi:
-@lilypond[quote,verbatim,relative=2]
-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 |
-\once \override Slur.outside-staff-priority = #500
-c4( c^\markup { \tiny \sharp } d4.) c8 |
+@lilypond[quote,verbatim]
+\relative c'' {
+ 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 |
+ \once \override Slur.outside-staff-priority = #500
+ c4( c^\markup { \tiny \sharp } d4.) c8 |
+}
@end lilypond
Attraverso la proprietà @code{outside-staff-priority} si può
Si ottengono risultati abbastanza accettabili, come dimostra
questo esempio:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-\clef "bass"
-\key aes \major
-\time 9/8
-\dynamicUp
-bes4.~\f\< \( bes4 bes8 des4\ff\> c16 bes\! |
-ees,2.~\)\mf ees4 r8 |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \clef "bass"
+ \key aes \major
+ \time 9/8
+ \dynamicUp
+ bes4.~\f\< \( bes4 bes8 des4\ff\> c16 bes\! |
+ ees,2.~\)\mf ees4 r8 |
+}
@end lilypond
Tuttavia, se le note e le loro dinamiche sono molto vicine,
potrebbe non essere però il posizionamento migliore, come mostra
questo esempio piuttosto improbabile:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim,fragment]
\dynamicUp
-a4\f b\mf a\mp b\p
+\relative { a'4\f b\mf a\mp b\p }
@end lilypond
@noindent
@cindex proprietà padding, esempio
@cindex padding, esempio
-@lilypond[quote,fragment,relative=1,verbatim]
-c2\fermata
+@lilypond[quote,fragment,verbatim]
+c'2\fermata
\override Script.padding = #3
b2\fermata
@end lilypond
@cindex proprietà staff-padding, esempio
@cindex staff-padding, esempio
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,verbatim]
\override DynamicLineSpanner.staff-padding = #3
-a4\f b\mf a\p b\mp
+\relative { a'4\f b\mf a\p b\mp }
@end lilypond
@cindex proprietà self-alignment-X, esempio
@cindex self-alignment-X, esempio
-@lilypond[quote,fragment,ragged-right,verbatim,relative=3]
+@lilypond[quote,fragment,ragged-right,verbatim]
\voiceOne
-<a\2>
+<a''\2>
\once \override StringNumber.self-alignment-X = #RIGHT
-<a\2>
+<a''\2>
@end lilypond
le note e le pause simultanee. Ecco un esempio
di collisione di questo tipo:
-@lilypond[quote,verbatim,fragment,ragged-right, relative=1]
-<< { c4 c c c } \\ { R1 } >>
+@lilypond[quote,verbatim,ragged-right]
+<< \relative { c'4 c c c } \\ { R1 } >>
@end lilypond
In questo caso la soluzione migliore è spostare in basso la pausa d'intero, poiché
@cindex proprietà staff-position, esempio
@cindex staff-position, esempio
-@lilypond[quote,verbatim,fragment,ragged-right, relative=1]
+@lilypond[quote,verbatim,ragged-right]
<<
- { c4 c c c }
+ \relative { c'4 c c c }
\\
\override MultiMeasureRest.staff-position = #-8
{ R1 }
delle travature. Ecco un esempio in cui una legatura di frase
e una legatura di portamento collidono:
-@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
-a8 \( ( a'16 ) a \)
+@lilypond[quote,verbatim,ragged-right]
+\relative { a'8 \( ( a'16 ) a \) }
@end lilypond
@cindex PhrasingSlur, esempio di sovrascrittura
sceglierà la legatura di frase tra quelle candidate che hanno le
estremità più vicine a queste:
-@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+@lilypond[quote,verbatim,fragment,ragged-right]
\once \override PhrasingSlur.positions = #'(2.5 . 4.5)
-a8 \( ( a'16 ) a \)
+a'8 \( ( a''16 ) a'' \)
@end lilypond
È migliorato, ma perché non abbassare un po' l'estremità destra
stessa voce possono essere unite da una legatura di valore.
Se si usano due voci con le note legate in una voce
-@lilypond[quote,fragment,relative=2]
-<< { b8~ 8\noBeam } \\ { b8[ g] } >>
+@lilypond[quote]
+<< { b'8~ 8\noBeam } \\ { b'8[ g'] } >>
@end lilypond
@noindent
@cindex Flag, esempio di rimozione
@cindex @code{\omit}, esempio
-@lilypond[quote,fragment,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
{
\once \omit Stem
\once \omit Flag
- b8~ 8\noBeam
+ b'8~ 8\noBeam
}
\\
- { b8[ g] }
+ { b'8[ g'] }
>>
@end lilypond
La proprietà di contesto @code{fontSize} regola la dimensione relativa di
tutti gli elementi della notazione basati su un glifo in un contesto:
-@lilypond[verbatim,quote,relative=2]
-\time 3/4
-d4---5 c8( b a g) |
-\set fontSize = -6
-e'4-- c!8-4( b a g) |
-\set fontSize = 0
-fis4---3 e8( d) fis4 |
-g2.
+@lilypond[verbatim,quote]
+\relative {
+ \time 3/4
+ d''4---5 c8( b a g) |
+ \set fontSize = -6
+ e'4-- c!8-4( b a g) |
+ \set fontSize = 0
+ fis4---3 e8( d) fis4 |
+ g2.
+}
@end lilypond
Il valore di @code{fontSize} è un numero che indica la dimensione
@item @code{\huge} @tab @code{\set fontSize = 2} @tab 126%
@end multitable
-@lilypond[verbatim,quote,relative=2]
-\teeny
-c4.-> d8---3
-\tiny
-c4.-> d8---3
-\small
-c4.-> d8---3
-\normalsize
-c4.-> d8---3
-\large
-c4.-> d8---3
-\huge
-c4.-> d8---3
+@lilypond[verbatim,quote]
+\relative c'' {
+ \teeny
+ c4.-> d8---3
+ \tiny
+ c4.-> d8---3
+ \small
+ c4.-> d8---3
+ \normalsize
+ c4.-> d8---3
+ \large
+ c4.-> d8---3
+ \huge
+ c4.-> d8---3
+}
@end lilypond
@cindex dimensione del tipo di carattere standard (per gli elementi della notazione)
Le indicazioni di diteggiatura si inseriscono con
@samp{@var{nota}-@var{numero}}:
-@lilypond[verbatim,quote,relative=2]
-c4-1 d-2 f-4 e-3
+@lilypond[verbatim,quote]
+\relative { c''4-1 d-2 f-4 e-3 }
@end lilypond
Si può usare il testo incluso dentro @code{\markup} o tra virgolette per
indicare un cambio di dito.
-@lilypond[verbatim,quote,relative=2]
-c4-1 d-2 f\finger \markup \tied-lyric #"4~3" c\finger "2 - 3"
+@lilypond[verbatim,quote]
+\relative {
+ c''4-1 d-2 f\finger \markup \tied-lyric #"4~3" c\finger "2 - 3"
+}
@end lilypond
@cindex pollice, indicazione
Si può aggiungere il simbolo del pollice per indicare che una nota deve essere
suonata col pollice (ad esempio, nella musica per violoncello).
-@lilypond[verbatim,quote,relative=2]
-<a_\thumb a'-3>2 <b_\thumb b'-3>
+@lilypond[verbatim,quote]
+\relative { <a'_\thumb a'-3>2 <b_\thumb b'-3> }
@end lilypond
@cindex diteggiatura per accordi
È possibile indicare la diteggiatura di ogni singola nota di un
accordo specificandola dopo ciascuna altezza.
-@lilypond[verbatim,quote,relative=2]
-<c-1 e-2 g-3 b-5>2 <d-1 f-2 a-3 c-5>
+@lilypond[verbatim,quote]
+\relative {
+ <c''-1 e-2 g-3 b-5>2 <d-1 f-2 a-3 c-5>
+}
@end lilypond
Le indicazioni di diteggiatura possono essere poste sopra o sotto il
Le note nascoste (o invisibili o trasparenti) possono essere utili nella
preparazione di esercizi di teoria e composizione.
-@lilypond[verbatim,quote,relative=2]
-c4 d
-\hideNotes
-e4 f
-\unHideNotes
-g a
-\hideNotes
-b
-\unHideNotes
-c
+@lilypond[verbatim,quote]
+\relative {
+ c''4 d
+ \hideNotes
+ e4 f
+ \unHideNotes
+ g a
+ \hideNotes
+ b
+ \unHideNotes
+ c
+}
@end lilypond
Questo comando rende invisibili le teste, i gambi e le code delle note, e
le pause. Le travature sono invisibili se iniziano su una nota
nascosta. Mentre gli oggetti attaccati a note invisibili sono comunque visibili.
-@lilypond[verbatim,quote,relative=2]
-e8(\p f g a)--
-\hideNotes
-e8(\p f g a)--
+@lilypond[verbatim,quote]
+\relative c'' {
+ e8(\p f g a)--
+ \hideNotes
+ e8(\p f g a)--
+}
@end lilypond
Si possono assegnare dei colori a ciascun oggetto. I nomi dei colori validi
sono elencati nella @ref{List of colors}.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote,fragment]
\override NoteHead.color = #red
-c4 c
+c''4 c''
\override NoteHead.color = #(x11-color 'LimeGreen)
-d
+d''
\override Stem.color = #blue
-e
+e''
@end lilypond
I colori RGB esatti si specificano con la funzione Scheme @code{rgb-color}.
-@lilypond[verbatim,quote,relative=2]
-\override Staff.StaffSymbol.color = #(x11-color 'SlateBlue2)
-\set Staff.instrumentName = \markup {
- \with-color #(x11-color 'navy) "Clarinet"
-}
+@lilypond[verbatim,quote]
+\relative c'' {
+ \override Staff.StaffSymbol.color = #(x11-color 'SlateBlue2)
+ \set Staff.instrumentName = \markup {
+ \with-color #(x11-color 'navy) "Clarinet"
+ }
-\override Stem.color = #(rgb-color 0 0 0)
-gis8 a
-\override Stem.color = #(rgb-color 1 1 1)
-gis8 a
-\override Stem.color = #(rgb-color 0 0 0.5)
-gis4 a
+ \override Stem.color = #(rgb-color 0 0 0)
+ gis8 a
+ \override Stem.color = #(rgb-color 1 1 1)
+ gis8 a
+ \override Stem.color = #(rgb-color 0 0 0.5)
+ gis4 a
+}
@end lilypond
@seealso
ogni nota dell'accordo. Si possono mettere tra parentesi anche singole note
di un accordo.
-@lilypond[verbatim,quote,relative=2]
-c2 \parenthesize d
-c2 \parenthesize <c e g>
-c2 <c \parenthesize e g>
+@lilypond[verbatim,quote]
+\relative {
+ c''2 \parenthesize d
+ c2 \parenthesize <c e g>
+ c2 <c \parenthesize e g>
+}
@end lilypond
Si possono mettere tra parentesi anche oggetti diversi dalle note. Per le
articolazioni è necessario usare un trattino prima del comando @code{\parenthesize}.
-@lilypond[verbatim,quote,relative=2]
-c2-\parenthesize -. d
-c2 \parenthesize r
+@lilypond[verbatim,quote]
+\relative {
+ c''2-\parenthesize -. d
+ c2 \parenthesize r
+}
@end lilypond
@seealso
I valori possibili per @code{@var{nome}} sono elencati in
@ref{List of articulations}. Ad esempio:
-@lilypond[verbatim,quote,relative=2]
-c4\staccato c\mordent b2\turn
-c1\fermata
+@lilypond[verbatim,quote]
+\relative {
+ c''4\staccato c\mordent b2\turn
+ c1\fermata
+}
@end lilypond
@cindex marcato
@notation{accento}, @notation{staccato} e @notation{portato}.
L'output corrispondente è:
-@lilypond[verbatim,quote,relative=2]
-c4-^ c-+ c-- c-!
-c4-> c-. c2-_
+@lilypond[verbatim,quote]
+\relative {
+ c''4-^ c-+ c-- c-!
+ c4-> c-. c2-_
+}
@end lilypond
Le regole per il posizionamento predefinito delle articolazioni sono
a una pausa multipla (e soltanto ad essa). Questo crea un oggetto
@code{MultiMeasureRestText}.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote,fragment]
\override Script.color = #red
\override MultiMeasureRestText.color = #blue
-a2\fermata r\fermata
+a'2\fermata r\fermata
R1\fermataMarkup
@end lilypond
dinamiche possono essere posizionate manualmente sopra o sotto il
rigo, come è spiegato in dettaglio in @ref{Direction and placement}.
-@lilypond[verbatim,quote,relative=2]
-c2\ppp c\mp
-c2\rfz c^\mf
-c2_\spp c^\ff
+@lilypond[verbatim,quote]
+\relative c'' {
+ c2\ppp c\mp
+ c2\rfz c^\mf
+ c2_\spp c^\ff
+}
@end lilypond
@cindex forcella
Si possono usare @code{\cr} e @code{\decr} al posto di @code{\<} e
@code{\>}. Le @notation{forcelle} vengono create con questa notazione.
-@lilypond[verbatim,quote,relative=2]
-c2\< c\!
-d2\< d\f
-e2\< e\>
-f2\> f\!
-e2\> e\mp
-d2\> d\>
-c1\!
+@lilypond[verbatim,quote]
+\relative c'' {
+ c2\< c\!
+ d2\< d\f
+ e2\< e\>
+ f2\> f\!
+ e2\> e\mp
+ d2\> d\>
+ c1\!
+}
@end lilypond
Una forcella che termina con @code{\!} si estenderà fino al margine
successiva partirà dal margine destro della stessa nota invece che
dal margine sinistro, come accade quando si termina con @code{\!}.
-@lilypond[verbatim,quote,relative=2]
-c1\< | c4 a c\< a | c4 a c\! a\< | c4 a c a\!
+@lilypond[verbatim,quote]
+\relative {
+ c''1\< | c4 a c\< a | c4 a c\! a\< | c4 a c a\!
+}
@end lilypond
Le forcelle terminate con indicazioni dinamiche assolute invece che da
dinamica assoluta stessa può cambiare il punto in cui finisce la
forcella precedente.
-@lilypond[verbatim,quote,relative=2]
-c1\< | c4 a c\mf a | c1\< | c4 a c\ffff a
+@lilypond[verbatim,quote]
+\relative {
+ c''1\< | c4 a c\mf a | c1\< | c4 a c\ffff a
+}
@end lilypond
@cindex indicazioni dinamiche multiple su una nota
una nota. Questo è utile soprattutto quando si aggiunge un
@notation{crescendo} e un @notation{decrescendo} alla stessa nota:
-@lilypond[verbatim,quote,relative=2]
-c4\< c\! d\> e\!
-<< f1 { s4 s4\< s4\> s4\! } >>
+@lilypond[verbatim,quote]
+\relative {
+ c''4\< c\! d\> e\!
+ << f1 { s4 s4\< s4\> s4\! } >>
+}
@end lilypond
@cindex espressivo
un decrescendo sulla stessa nota. Tuttavia, si tenga presente che
viene implementato come articolazione, non come dinamica.
-@lilypond[verbatim,quote,relative=2]
-c2 b4 a
-g1\espressivo
+@lilypond[verbatim,quote]
+\relative {
+ c''2 b4 a
+ g1\espressivo
+}
@end lilypond
@funindex \cresc
decrescendo con @code{\decresc} o @code{\dim}.
Le linee di estensione sono aggiunte automaticamente.
-@lilypond[verbatim,quote,relative=2]
-g8\cresc a b c b c d e\mf |
-f8\decresc e d c e\> d c b |
-a1\dim ~ |
-a2. r4\! |
+@lilypond[verbatim,quote]
+\relative {
+ g'8\cresc a b c b c d e\mf |
+ f8\decresc e d c e\> d c b |
+ a1\dim ~ |
+ a2. r4\! |
+}
@end lilypond
@funindex \crescTextCresc
@funindex dimHairpin
Le indicazioni testuali per i cambi di dinamica possono essere impiegate anche per sostituire le forcelle:
-@lilypond[verbatim,quote,relative=2]
-\crescTextCresc
-c4\< d e f\! |
-\dimTextDecresc
-g4\> e d c\! |
-\dimTextDecr
-e4\> d c b\! |
-\dimTextDim
-d4\> c b a\! |
-\crescHairpin
-\dimHairpin
-c4\< d\! e\> d\! |
+@lilypond[verbatim,quote]
+\relative c'' {
+ \crescTextCresc
+ c4\< d e f\! |
+ \dimTextDecresc
+ g4\> e d c\! |
+ \dimTextDecr
+ e4\> d c b\! |
+ \dimTextDim
+ d4\> c b a\! |
+ \crescHairpin
+ \dimHairpin
+ c4\< d\! e\> d\! |
+}
@end lilypond
@warning{Nella musica polifonica, una legatura di portamento deve
terminare nella stessa voce in cui è iniziata.}
-@lilypond[verbatim,quote,relative=2]
-f4( g a) a8 b(
-a4 g2 f4)
-<c e>2( <b d>2)
+@lilypond[verbatim,quote]
+\relative {
+ f''4( g a) a8 b(
+ a4 g2 f4)
+ <c e>2( <b d>2)
+}
@end lilypond
@cindex legature di portamento, posizionamento manuale
Le legature di portamento possono essere continue, punteggiate o tratteggiate. Lo
stile predefinito è quello continuo:
-@lilypond[verbatim,quote,relative=1]
-c4( e g2)
-\slurDashed
-g4( e c2)
-\slurDotted
-c4( e g2)
-\slurSolid
-g4( e c2)
+@lilypond[verbatim,quote]
+\relative {
+ c'4( e g2)
+ \slurDashed
+ g4( e c2)
+ \slurDotted
+ c4( e g2)
+ \slurSolid
+ g4( e c2)
+}
@end lilypond
@funindex \slurHalfDashed
ovvero con la prima metà tratteggiata e la seconda continua; oppure semicontinue
(half-solid), ovvero con la prima metà continua e la seconda tratteggiata:
-@lilypond[verbatim,quote,relative=1]
-c4( e g2)
-\slurHalfDashed
-g4( e c2)
-\slurHalfSolid
-c4( e g2)
-\slurSolid
-g4( e c2)
+@lilypond[verbatim,quote]
+\relative {
+ c'4( e g2)
+ \slurHalfDashed
+ g4( e c2)
+ \slurHalfSolid
+ c4( e g2)
+ \slurSolid
+ g4( e c2)
+}
@end lilypond
@funindex \slurDashPattern
Si possono definire modelli di tratteggio personalizzati per le legature di
portamento:
-@lilypond[verbatim,quote,relative=1]
-c4( e g2)
-\slurDashPattern #0.7 #0.75
-g4( e c2)
-\slurDashPattern #0.5 #2.0
-c4( e g2)
-\slurSolid
-g4( e c2)
+@lilypond[verbatim,quote]
+\relative {
+ c'4( e g2)
+ \slurDashPattern #0.7 #0.75
+ g4( e c2)
+ \slurDashPattern #0.5 #2.0
+ c4( e g2)
+ \slurSolid
+ g4( e c2)
+}
@end lilypond
Le @notation{legature di frase}, che indicano una frase musicale, si
scrivono con i comandi @code{\(} e @code{\)}:
-@lilypond[verbatim,quote,relative=2]
-c4\( d( e) f(
-e2) d\)
+@lilypond[verbatim,quote]
+\relative {
+ c''4\( d( e) f(
+ e2) d\)
+}
@end lilypond
@funindex \phrasingSlurUp
Le legature di frase possono essere continue, puntate o tratteggiate. Lo stile
predefinito è quello continuo:
-@lilypond[verbatim,quote,relative=1]
-c4\( e g2\)
-\phrasingSlurDashed
-g4\( e c2\)
-\phrasingSlurDotted
-c4\( e g2\)
-\phrasingSlurSolid
-g4\( e c2\)
+@lilypond[verbatim,quote]
+\relative {
+ c'4\( e g2\)
+ \phrasingSlurDashed
+ g4\( e c2\)
+ \phrasingSlurDotted
+ c4\( e g2\)
+ \phrasingSlurSolid
+ g4\( e c2\)
+}
@end lilypond
@funindex phrasingSlurHalfDashed
tratteggiata, la seconda continua) o semicontinue (la prima metà
continua, la seconda tratteggiata):
-@lilypond[verbatim,quote,relative=1]
-c4\( e g2\)
-\phrasingSlurHalfDashed
-g4\( e c2\)
-\phrasingSlurHalfSolid
-c4\( e g2\)
-\phrasingSlurSolid
-g4\( e c2\)
+@lilypond[verbatim,quote]
+\relative {
+ c'4\( e g2\)
+ \phrasingSlurHalfDashed
+ g4\( e c2\)
+ \phrasingSlurHalfSolid
+ c4\( e g2\)
+ \phrasingSlurSolid
+ g4\( e c2\)
+}
@end lilypond
@funindex \phrasingSlurDashPattern
Si possono definire modelli di tratteggio personalizzati anche per le legature di frase:
-@lilypond[verbatim,quote,relative=1]
-c4\( e g2\)
-\phrasingSlurDashPattern #0.7 #0.75
-g4\( e c2\)
-\phrasingSlurDashPattern #0.5 #2.0
-c4\( e g2\)
-\phrasingSlurSolid
-g4\( e c2\)
+@lilypond[verbatim,quote]
+\relative {
+ c'4\( e g2\)
+ \phrasingSlurDashPattern #0.7 #0.75
+ g4\( e c2\)
+ \phrasingSlurDashPattern #0.5 #2.0
+ c4\( e g2\)
+ \phrasingSlurSolid
+ g4\( e c2\)
+}
@end lilypond
Le definizioni dei modelli di tratteggio per le legature di frase hanno
I respiri si inseriscono col comando @code{\breathe}:
-@lilypond[verbatim,quote,relative=2]
-c2. \breathe d4
+@lilypond[verbatim,quote]
+{ c''2. \breathe d''4 }
@end lilypond
Diversamente da altri segni di espressione, il respiro non è associato
Un respiro termina una travatura automatica; per evitare questo
comportamento, si veda @ref{Manual beams}.
-@lilypond[verbatim,quote,relative=2]
-c8 \breathe d e f g2
+@lilypond[verbatim,quote]
+\relative { c''8 \breathe d e f g2 }
@end lilypond
È supportata la divisio, indicatore del respiro nella musica
portamento è indicata con un più o un meno (su o giù). Il numero indica
l'intervallo per cui il portamento si estenderà @emph{oltre} la nota principale.
-@lilypond[verbatim,quote,relative=2]
-c2\bendAfter #+4
-c2\bendAfter #-4
-c2\bendAfter #+6.5
-c2\bendAfter #-6.5
-c2\bendAfter #+8
-c2\bendAfter #-8
+@lilypond[verbatim,quote]
+\relative c'' {
+ c2\bendAfter #+4
+ c2\bendAfter #-4
+ c2\bendAfter #+6.5
+ c2\bendAfter #-6.5
+ c2\bendAfter #+8
+ c2\bendAfter #-8
+}
@end lilypond
@snippets
Un @notation{glissando} si crea attaccando @code{\glissando}
a una nota:
-@lilypond[verbatim,quote,relative=2]
-g2\glissando g'
-c2\glissando c,
-\afterGrace f,1\glissando f'16
+@lilypond[verbatim,quote]
+\relative {
+ g'2\glissando g'
+ c2\glissando c,
+ \afterGrace f,1\glissando f'16
+}
@end lilypond
Un glissando può collegare note appartenenti a righi diversi:
di un accordo sono numerate a partire da zero nell'ordine in cui appaiono
nel file di input @file{.ly}.
-@lilypond[verbatim,quote,relative=2]
-<c, e>1\glissando g' |
-<c, e>1\glissando |
-<g' b> |
-\break
-\set glissandoMap = #'((0 . 1) (1 . 0))
-<c, g'>1\glissando |
-<d a'> |
-\set glissandoMap = #'((0 . 0) (0 . 1) (0 . 2))
-c1\glissando |
-<d f a> |
-\set glissandoMap = #'((2 . 0) (1 . 0) (0 . 1))
-<f d a'>1\glissando |
-<c c'> |
+@lilypond[verbatim,quote]
+\relative {
+ <c' e>1\glissando g' |
+ <c, e>1\glissando |
+ <g' b> |
+ \break
+ \set glissandoMap = #'((0 . 1) (1 . 0))
+ <c, g'>1\glissando |
+ <d a'> |
+ \set glissandoMap = #'((0 . 0) (0 . 1) (0 . 2))
+ c1\glissando |
+ <d f a> |
+ \set glissandoMap = #'((2 . 0) (1 . 0) (0 . 1))
+ <f d a'>1\glissando |
+ <c c'> |
+}
@end lilypond
Si possono adottare diversi stili di glissando. Maggiori dettagli in @ref{Line styles}.
Un @notation{arpeggio} su un accordo (detto anche accordo spezzato)
si ottiene aggiungendo @code{\arpeggio} all'accordo:
-@lilypond[verbatim,quote,relative=1]
-<c e g c>1\arpeggio
+@lilypond[verbatim,quote]
+\relative { <c' e g c>1\arpeggio }
@end lilypond
Si possono scrivere vari tipi di arpeggio.
@code{\arpeggioNormal} ripristina l'arpeggio normale:
-@lilypond[verbatim,quote,relative=1]
-<c e g c>2\arpeggio
+@lilypond[verbatim,quote]
+\relative {
+ <c' e g c>2\arpeggio
-\arpeggioArrowUp
-<c e g c>2\arpeggio
+ \arpeggioArrowUp
+ <c e g c>2\arpeggio
-\arpeggioArrowDown
-<c e g c>2\arpeggio
+ \arpeggioArrowDown
+ <c e g c>2\arpeggio
-\arpeggioNormal
-<c e g c>2\arpeggio
+ \arpeggioNormal
+ <c e g c>2\arpeggio
+}
@end lilypond
@cindex arpeggio, simboli speciali
Si possono creare simboli di arpeggio speciali @emph{in forma di parentesi}:
-@lilypond[verbatim,quote,relative=1]
-<c e g c>2
+@lilypond[verbatim,quote]
+\relative {
+ <c' e g c>2
-\arpeggioBracket
-<c e g c>2\arpeggio
+ \arpeggioBracket
+ <c e g c>2\arpeggio
-\arpeggioParenthesis
-<c e g c>2\arpeggio
+ \arpeggioParenthesis
+ <c e g c>2\arpeggio
-\arpeggioParenthesisDashed
-<c e g c>2\arpeggio
+ \arpeggioParenthesisDashed
+ <c e g c>2\arpeggio
-\arpeggioNormal
-<c e g c>2\arpeggio
+ \arpeggioNormal
+ <c e g c>2\arpeggio
+}
@end lilypond
Le proprietà del tratteggio della parentesi dell'arpeggio sono regolate
I trilli con linea di estensione si ottengono con
@code{\startTrillSpan} e @code{\stopTrillSpan}:
-@lilypond[verbatim,quote,relative=2]
-d1\startTrillSpan
-d1
-c2\stopTrillSpan
-r2
+@lilypond[verbatim,quote]
+\relative {
+ d''1\startTrillSpan
+ d1
+ c2\stopTrillSpan
+ r2
+}
@end lilypond
Un estensore del trillo che va a capo ricomincerà esattamente sopra la
prima nota della nuova riga.
-@lilypond[ragged-right,verbatim,quote,relative=2]
-d1\startTrillSpan
-\break
-d1
-c2\stopTrillSpan
-r2
+@lilypond[ragged-right,verbatim,quote]
+\relative {
+ d''1\startTrillSpan
+ \break
+ d1
+ c2\stopTrillSpan
+ r2
+}
@end lilypond
È possibile tracciare trilli consecutivi senza dover esplicitare i comandi
@code{\stopTrillSpan}, perché il trillo successivo diventerà
automaticamente il limite destro di quello precedente.
-@lilypond[verbatim,quote,relative=2]
-d1\startTrillSpan
-d1
-b1\startTrillSpan
-d2\stopTrillSpan
-r2
+@lilypond[verbatim,quote]
+\relative {
+ d''1\startTrillSpan
+ d1
+ b1\startTrillSpan
+ d2\stopTrillSpan
+ r2
+}
@end lilypond
I trilli possono essere anche combinati con le note di abbellimento. La sintassi
di questo costrutto e il metodo per posizionare in modo preciso gli abbellimenti
sono descritti in @ref{Grace notes}.
-@lilypond[verbatim,quote,relative=2]
-d1~\afterGrace
-d1\startTrillSpan { c32[ d]\stopTrillSpan }
-c2 r2
+@lilypond[verbatim,quote]
+\relative {
+ d''1~\afterGrace
+ d1\startTrillSpan { c32[ d]\stopTrillSpan }
+ c2 r2
+}
@end lilypond
@cindex trilli con altezza
principale e il secondo è la nota @emph{trillata}, che appare come una testa
di nota senza gambo e racchiusa tra parentesi.
-@lilypond[verbatim,quote,relative=2]
-\pitchedTrill
-d2\startTrillSpan fis
-d2
-c2\stopTrillSpan
-r2
+@lilypond[verbatim,quote]
+\relative {
+ \pitchedTrill
+ d''2\startTrillSpan fis
+ d2
+ c2\stopTrillSpan
+ r2
+}
@end lilypond
@cindex trilli con notina e alterazione
aggiunte manualmente. Apparirà solo l'alterazione del primo trillo con
notina in una misura.
-@lilypond[verbatim,quote,relative=2]
-\pitchedTrill
-eis4\startTrillSpan fis
-eis4\stopTrillSpan
-\pitchedTrill
-eis4\startTrillSpan cis
-eis4\stopTrillSpan
-\pitchedTrill
-eis4\startTrillSpan fis
-eis4\stopTrillSpan
-\pitchedTrill
-eis4\startTrillSpan fis!
-eis4\stopTrillSpan
+@lilypond[verbatim,quote]
+\relative {
+ \pitchedTrill
+ eis''4\startTrillSpan fis
+ eis4\stopTrillSpan
+ \pitchedTrill
+ eis4\startTrillSpan cis
+ eis4\stopTrillSpan
+ \pitchedTrill
+ eis4\startTrillSpan fis
+ eis4\stopTrillSpan
+ \pitchedTrill
+ eis4\startTrillSpan fis!
+ eis4\stopTrillSpan
+}
@end lilypond
@predefined
desunta dalla notazione olandese. Per usare altri nomi
per le alterazioni, si veda @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
Un bequadro cancella l'effetto di un'alterazione o di un'armatura
bequadri mediante l'aggiunta di un particolare suffisso: un'altezza naturale
è indicata con il semplice nome della nota:
-@lilypond[verbatim,quote,relative=2]
-a4 aes a2
+@lilypond[verbatim,quote,fragment]
+\relative c'' { a4 aes a2 }
@end lilypond
@cindex quarto di tono
È possibile indicare alterazioni di quarti di tono. Ecco una serie di Do
con altezza crescente:
-@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
tra parentesi) si ottiene aggiungendo il punto interrogativo@tie{}@code{?} dopo
l'altezza. Questi segni possono essere usati anche per produrre dei bequadri.
-@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 alterazione e legatura di valore
Se una nota è prolungata attraverso una legatura di valore, l'alterazione
viene ripetuta solo all'inizio di un nuovo sistema:
-@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}. Talvolta solo questi nomi
contratti sono definiti nei corrispondenti file della lingua.
-@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
Senza un comando esplicito, la chiave predefinita in LilyPond è la chiave
di violino (o di @emph{Sol}).
-@lilypond[verbatim,quote,relative=1,ragged-right]
-c2 c
+@lilypond[verbatim,quote,fragment,ragged-right]
+c'2 c'
@end lilypond
Per cambiare la chiave si usa il comando @code{\clef} seguito dal nome della
chiave. In tutti gli esempi seguenti viene mostrato il @emph{Do centrale}.
-@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
L'elenco completo di tutti i nomi di chiave possibili si trova in @ref{Clef styles}.
È possibile usare altri numeri interi, se necessario. I nomi di chiave
contenenti caratteri non alfabetici devono essere racchiusi tra virgolette
-@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
L'ottavazione opzionale si può ottenere racchiudendo l'argomento numerico
tra parentesi tonde o quadre:
-@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
Le altezze vengono mostrate come se l'argomento numerico fosse
di @emph{avviso}, e all'inizio di quella successiva. Tale chiave di
@emph{precauzione} può essere soppressa.
-@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
Una chiave che è già stata visualizzata non viene ristampata se viene
Si può cambiare tale comportamento predefinito col comando
@code{\set Staff.forceClef = ##t}.
-@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
separati. Quindi qualsiasi @code{\override} all'oggetto @var{Clef} dovrà essere
applicato, con un altro @code{\override}, all'oggetto @var{ClefModifier}.
-@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} e @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
Si possono definire ulteriori modi elencando le alterazioni per ogni
alterazioni vengono collocate entro l'ottava che finisce in quella
posizione del rigo.
-@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
I @notation{segni di ottavazione} introducono un'ulteriore trasposizione di
ottava nel rigo:
-@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
L'aspetto delle teste delle note può essere modificato:
-@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
L'elenco di tutti gli stili per le teste di nota è in @ref{Note head styles}.
la testa della nota nei contesti del rigo e dell'intavolatura e possono
essere usati per rappresentare qualsiasi significato musicale:
-@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
Questo comando può essere usato all'interno e all'esterno degli accordi per
generare teste barrate sia nel contesto del rigo che in
quello dell'intavolatura:
-@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
Potete utilizzare, al posto di @code{\xNote}, @code{\xNotesOn} e
Esiste anche una scorciatoia simile per le forme a diamante:
-@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
Gli stili possibili sono Sacred Harp, Southern Harmony,
Funk (Harmonica Sacra), Walker e Aiken (Christian Harmony):
-@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
tonalità minore, il grado della scala può essere determinato
in base alla relativa maggiore:
-@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
l'esecutore può scegliere qualsiasi nota ma deve seguire il ritmo
indicato. Si possono creare queste teste:
-@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 ~
Un'unica ripetizione senza finale alternativo:
-@lilypond[verbatim,quote,relative=2]
-\repeat volta 2 { c4 d e f }
-c2 d
-\repeat volta 2 { d4 e f g }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat volta 2 { c''4 d e f }
+ c2 d
+ \repeat volta 2 { d4 e f g }
+}
@end lilypond
Il segno di inizio della ripetizione, per impostazione predefinita, non
appare nella prima misura. È tuttavia possibile aggiungerlo inserendo
a mano la battuta @code{\bar ".|:"} prima della prima nota.
-@lilypond[verbatim,fragment,quote,relative=2]
-\repeat volta 2 { \bar ".|:" c4 d e f }
-c2 d
-\repeat volta 2 { d4 e f g }
+@lilypond[verbatim,fragment,quote]
+\relative {
+ \repeat volta 2 { \bar ".|:" c''4 d e f }
+ c2 d
+ \repeat volta 2 { d4 e f g }
+}
@end lilypond
I finali alternativi si ottengono con @code{\alternative}. Ogni gruppo
Una singola ripetizione con un finale alternativo:
-@lilypond[verbatim,quote,relative=2]
-\repeat volta 2 { c4 d e f | }
-\alternative {
- { c2 e | }
- { f2 g | }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat volta 2 { c''4 d e f | }
+ \alternative {
+ { c2 e | }
+ { f2 g | }
+ }
+ c1
}
-c1
@end lilypond
Molteplici ripetizioni con un finale alternativo:
-@lilypond[verbatim,quote,relative=2]
-\repeat volta 4 { c4 d e f | }
-\alternative {
- { c2 e | }
- { f2 g | }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat volta 4 { c''4 d e f | }
+ \alternative {
+ { c2 e | }
+ { f2 g | }
+ }
+ c1
}
-c1
@end lilypond
Molteplici ripetizioni con più di un finale alternativo:
-@lilypond[verbatim,quote,relative=2]
-\repeat volta 3 { c4 d e f | }
-\alternative {
- { c2 e | }
- { f2 g | }
- { a2 g | }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat volta 3 { c''4 d e f | }
+ \alternative {
+ { c2 e | }
+ { f2 g | }
+ { a2 g | }
+ }
+ c1
}
-c1
@end lilypond
@warning{Se ci sono due o più finali alternativi, non ci deve essere
Si possono aggiungere delle legature di valore a un secondo finale:
-@lilypond[verbatim,quote,relative=2]
-c1
-\repeat volta 2 { c4 d e f~ }
-\alternative {
- { f2 d }
- { f2\repeatTie f, }
+@lilypond[verbatim,quote]
+\relative {
+ c''1
+ \repeat volta 2 { c4 d e f~ }
+ \alternative {
+ { f2 d }
+ { f2\repeatTie f, }
+ }
}
@end lilypond
Lontano da una ripetizione:
-@lilypond[verbatim,quote,relative=1]
-e1
-\inStaffSegno
-f2 g a b
-c1_"D.S." \bar "|."
+@lilypond[verbatim,quote]
+\relative {
+ e'1
+ \inStaffSegno
+ f2 g a b
+ c1_"D.S." \bar "|."
+}
@end lilypond
All'inizio di una ripetizione:
-@lilypond[verbatim,quote,relative=1]
-e1
-\repeat volta 2 {
- \inStaffSegno % start repeat
- f2 g a b
+@lilypond[verbatim,quote]
+\relative {
+ e'1
+ \repeat volta 2 {
+ \inStaffSegno % start repeat
+ f2 g a b
+ }
+ c1_"D.S." \bar "|."
}
-c1_"D.S." \bar "|."
@end lilypond
Alla fine di una ripetizione:
-@lilypond[verbatim,quote,relative=1]
-e1
-\repeat volta 2 {
+@lilypond[verbatim,quote]
+\relative {
+ e'1
+ \repeat volta 2 {
+ f2 g a b
+ \inStaffSegno % end repeat
+ }
f2 g a b
- \inStaffSegno % end repeat
+ c1_"D.S." \bar "|."
}
-f2 g a b
-c1_"D.S." \bar "|."
@end lilypond
Tra due ripetizioni:
-@lilypond[verbatim,quote,relative=1]
-e1
-\repeat volta 2 {
- f2 g a b
-}
-\inStaffSegno % double repeat
-\repeat volta 2 {
- f2 g a b
+@lilypond[verbatim,quote]
+\relative {
+ e'1
+ \repeat volta 2 {
+ f2 g a b
+ }
+ \inStaffSegno % double repeat
+ \repeat volta 2 {
+ f2 g a b
+ }
+ c1_"D.S." \bar "|."
}
-c1_"D.S." \bar "|."
@end lilypond
selezionati dai tipi predefiniti o dai tipi precedentemente definiti col
comando @code{\defineBarLine} (vedi @ref{Bar lines}).
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote]
\defineBarLine ":|.S[" #'(":|." "S[" "")
\defineBarLine "]" #'("]" "" "")
-e1
-\repeat volta 2 {
- f2 g a b
- \once \set Score.endRepeatSegnoType = ":|.S["
- \inStaffSegno
+\relative {
+ e'1
+ \repeat volta 2 {
+ f2 g a b
+ \once \set Score.endRepeatSegnoType = ":|.S["
+ \inStaffSegno
+ }
+ f2 g \bar "]" a b
+ c1_"D.S." \bar "|."
}
-f2 g \bar "]" a b
-c1_"D.S." \bar "|."
@end lilypond
@item start-repeat
Stampa una stanghetta @code{.|:}.
-@lilypond[verbatim,quote,relative=2]
-c1
-\set Score.repeatCommands = #'(start-repeat)
-d4 e f g
-c1
+@lilypond[verbatim,quote]
+\relative {
+ c''1
+ \set Score.repeatCommands = #'(start-repeat)
+ d4 e f g
+ c1
+}
@end lilypond
Come vuole la pratica comune di incisione, i segni di ripetizione non vengono
@item end-repeat
Stampa una stanghetta @code{:|.}:
-@lilypond[verbatim,quote,relative=2]
-c1
-d4 e f g
-\set Score.repeatCommands = #'(end-repeat)
-c1
+@lilypond[verbatim,quote]
+\relative {
+ c''1
+ d4 e f g
+ \set Score.repeatCommands = #'(end-repeat)
+ c1
+}
@end lilypond
@item (volta @var{numero}) @dots{} (volta #f)
Crea una nuova volta col numero specificato. La parentesi della volta deve
essere terminata esplicitamente, altrimenti non sarà stampata.
-@lilypond[verbatim,quote,relative=2]
-f4 g a b
-\set Score.repeatCommands = #'((volta "2"))
-g4 a g a
-\set Score.repeatCommands = #'((volta #f))
-c1
+@lilypond[verbatim,quote]
+\relative {
+ f''4 g a b
+ \set Score.repeatCommands = #'((volta "2"))
+ g4 a g a
+ \set Score.repeatCommands = #'((volta #f))
+ c1
+}
@end lilypond
@end table
Comandi di ripetizione multipli possono trovarsi nello stesso punto:
-@lilypond[verbatim,quote,relative=2]
-f4 g a b
-\set Score.repeatCommands = #'((volta "2, 5") end-repeat)
-g4 a g a
-c1
-\set Score.repeatCommands = #'((volta #f) (volta "95") end-repeat)
-b1
-\set Score.repeatCommands = #'((volta #f))
+@lilypond[verbatim,quote]
+\relative {
+ f''4 g a b
+ \set Score.repeatCommands = #'((volta "2, 5") end-repeat)
+ g4 a g a
+ c1
+ \set Score.repeatCommands = #'((volta #f) (volta "95") end-repeat)
+ b1
+ \set Score.repeatCommands = #'((volta #f))
+}
@end lilypond
@cindex parentesi della volta con testo
@code{@var{numero-di-ripetizioni}} è il numero di volte per
cui è ripetuta @code{@var{espressione-musicale}}.
-@lilypond[verbatim,quote,relative=2]
-\repeat unfold 2 { c4 d e f }
-c1
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 2 { c''4 d e f }
+ c1
+}
@end lilypond
In alcuni casi, specialmente in un contesto @code{\relative}, la funzione
Le ripetizioni dispiegate (unfold) possono avere dei finali alternativi.
-@lilypond[verbatim,quote,relative=2]
-\repeat unfold 2 { c4 d e f }
-\alternative {
- { c2 g' }
- { c,2 b }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 2 { c''4 d e f }
+ \alternative {
+ { c2 g' }
+ { c,2 b }
+ }
+ c1
}
-c1
@end lilypond
Se il numero di ripetizioni è maggiore del numero di finali alternativi, la
prima alternativa viene applicata più volte, finché le alternative rimaste
non esauriscono il numero totale delle ripetizioni.
-@lilypond[verbatim,quote,relative=2]
-\repeat unfold 4 { c4 d e f }
-\alternative {
- { c2 g' }
- { c,2 b }
- { e2 d }
- }
-c1
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 4 { c''4 d e f }
+ \alternative {
+ { c2 g' }
+ { c,2 b }
+ { e2 d }
+ }
+ c1
+}
@end lilypond
Se il numero di finali alternativi è maggiore del numero di ripetizioni, solo
le prime alternative vengono applicate. Le alternative rimanenti saranno
ignorate e non verranno stampate.
-@lilypond[verbatim,quote,relative=2]
-\repeat unfold 2 { c4 d e f }
-\alternative {
- { c2 g' }
- { c,2 b }
- { e2 d }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 2 { c''4 d e f }
+ \alternative {
+ { c2 g' }
+ { c,2 b }
+ { e2 d }
+ }
+ c1
}
-c1
@end lilypond
È anche possibile annidare molteplici funzioni @code{unfold} (con o
senza finali alternativi).
-@lilypond[verbatim,quote,relative=2]
-\repeat unfold 2 {
- \repeat unfold 2 { c4 d e f }
- \alternative {
- { c2 g' }
- { c,2 b }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 2 {
+ \repeat unfold 2 { c''4 d e f }
+ \alternative {
+ { c2 g' }
+ { c,2 b }
+ }
}
+ c1
}
-c1
@end lilypond
Gli accordi si ripetono col simbolo di ripetizione dell'accordo
Fraseggi più brevi di una misura vengono sostituiti dal tratto obliquo.
-@lilypond[verbatim,quote,relative=2]
-\repeat percent 4 { c128 d e f }
-\repeat percent 4 { c64 d e f }
-\repeat percent 5 { c32 d e f }
-\repeat percent 4 { c16 d e f }
-\repeat percent 4 { c8 d }
-\repeat percent 4 { c4 }
-\repeat percent 2 { c2 }
+@lilypond[verbatim,quote]
+\relative c'' {
+ \repeat percent 4 { c128 d e f }
+ \repeat percent 4 { c64 d e f }
+ \repeat percent 5 { c32 d e f }
+ \repeat percent 4 { c16 d e f }
+ \repeat percent 4 { c8 d }
+ \repeat percent 4 { c4 }
+ \repeat percent 2 { c2 }
+}
@end lilypond
Fraseggi di una o due misure vengono sostituiti da simboli simili alla percentuale.
-@lilypond[verbatim,quote,relative=2]
-\repeat percent 2 { c4 d e f }
-\repeat percent 2 { c2 d }
-\repeat percent 2 { c1 }
+@lilypond[verbatim,quote]
+\relative c'' {
+ \repeat percent 2 { c4 d e f }
+ \repeat percent 2 { c2 d }
+ \repeat percent 2 { c1 }
+}
@end lilypond
-@lilypond[verbatim,quote,relative=2]
-\repeat percent 3 { c4 d e f | c2 g' }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat percent 3 { c''4 d e f | c2 g' }
+}
@end lilypond
Fraseggi più brevi di una misura ma con durate miste adottano un
simbolo di doppia percentuale.
-@lilypond[verbatim,quote,relative=2]
-\repeat percent 4 { c8. <d f>16 }
-\repeat percent 2 { \tuplet 3/2 { r8 c d } e4 }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat percent 4 { c''8. <d f>16 }
+ \repeat percent 2 { \tuplet 3/2 { r8 c d } e4 }
+}
@end lilypond
@snippets
Per inserire i segni del tremolo tra le note, si usa @code{\repeat} con
lo stile tremolo:
-@lilypond[quote,verbatim,relative=2]
-\repeat tremolo 8 { c16 d }
-\repeat tremolo 6 { c16 d }
-\repeat tremolo 2 { c16 d }
+@lilypond[quote,verbatim]
+\relative c'' {
+ \repeat tremolo 8 { c16 d }
+ \repeat tremolo 6 { c16 d }
+ \repeat tremolo 2 { c16 d }
+}
@end lilypond
La sintassi di @code{\repeat tremolo} prevede specificamente che
travatura al gambo della nota. Se @code{@var{N}} è omesso, viene
usato l'ultimo valore:
-@lilypond[quote,verbatim,relative=2]
-c2:8 c:32
-c: c:
+@lilypond[quote,verbatim]
+\relative {
+ c''2:8 c:32
+ c: c:
+}
@end lilypond
@snippets
di travature.
@c Two 64th notes are needed to obtain beams
-@lilypond[quote,verbatim,relative=2]
-\time 8/1
-c\longa c\breve c1 c2
-c4 c8 c16 c32 c64 c128 c128
+@lilypond[quote,verbatim]
+\relative {
+ \time 8/1
+ c''\longa c\breve c1 c2
+ c4 c8 c16 c32 c64 c128 c128
+}
@end lilypond
Ecco gli stessi valori con la disposizione automatica delle travature disabilitata.
@c not strictly "writing rhythms"; more of a "displaying" thing,
@c but it's ok here. -gp
-@lilypond[quote,verbatim,relative=2]
-\time 8/1
-\autoBeamOff
-c\longa c\breve c1 c2
-c4 c8 c16 c32 c64 c128 c128
+@lilypond[quote,verbatim]
+\relative {
+ \time 8/1
+ \autoBeamOff
+ c''\longa c\breve c1 c2
+ c4 c8 c16 c32 c64 c128 c128
+}
@end lilypond
Solo nella notazione per musica antica è possibile specificare una nota che
Se una durata viene omessa, viene mantenuta quella precedente. Il valore
predefinito della prima nota è di un quarto.
-@lilypond[quote,verbatim,relative=2]
-a a a2 a a4 a a1 a
+@lilypond[quote,verbatim]
+\relative { a' a a2 a a4 a a1 a }
@end lilypond
Le durate isolate prendono l'altezza dalla nota o accordo precedenti.
-@lilypond[quote,verbatim,relative=2]
-\time 8/1
-c \longa \breve 1 2
-4 8 16 32 64 128 128
+@lilypond[quote,verbatim]
+\relative {
+ \time 8/1
+ c'' \longa \breve 1 2
+ 4 8 16 32 64 128 128
+}
@end lilypond
@cindex note puntate
durata. Le figure con doppio punto si indicano aggiungendo due
punti, e così via.
-@lilypond[quote,verbatim,relative=2]
-a4 b c4. b8 a4. b4.. c8.
+@lilypond[quote,verbatim]
+\relative { a'4 b c4. b8 a4. b4.. c8. }
@end lilypond
Alcune durate non possono essere rappresentate soltanto con
specificare direttamente la durata di un gruppo irregolare prima
della musica per far sì che i gruppi siano suddivisi automaticamente:
-@lilypond[quote,verbatim,relative=2]
-g2 r8 \tuplet 3/2 8 { cis16 d e e f g g f e }
+@lilypond[quote,verbatim]
+\relative {
+ g'2 r8 \tuplet 3/2 8 { cis16 d e e f g g f e }
+}
@end lilypond
@cindex posizionamento della parentesi quadra del gruppo irregolare
Le parentesi dei gruppi irregolari si possono posizionare manualmente sopra
o sotto il rigo:
-@lilypond[quote,verbatim,relative=2]
-\tupletUp \tuplet 3/2 { c8 d e }
-\tupletNeutral \tuplet 3/2 { c8 d e }
-\tupletDown \tuplet 3/2 { f,8 g a }
-\tupletNeutral \tuplet 3/2 { f8 g a }
+@lilypond[quote,verbatim]
+\relative {
+ \tupletUp \tuplet 3/2 { c''8 d e }
+ \tupletNeutral \tuplet 3/2 { c8 d e }
+ \tupletDown \tuplet 3/2 { f,8 g a }
+ \tupletNeutral \tuplet 3/2 { f8 g a }
+}
@end lilypond
È possibile annidare i gruppi irregolari:
-@lilypond[quote,verbatim,relative=2]
-\autoBeamOff
-c4 \tuplet 5/4 { f8 e f \tuplet 3/2 { e[ f g] } } f4
+@lilypond[quote,verbatim]
+\relative {
+ \autoBeamOff
+ c''4 \tuplet 5/4 { f8 e f \tuplet 3/2 { e[ f g] } } f4
+}
@end lilypond
La modifica di gruppi irregolari annidati che iniziano simultaneamente
alla prima di ogni coppia di note legate. Esso indica che la nota deve
essere legata alla nota successiva, che deve essere della stessa altezza.
-@lilypond[quote,verbatim,relative=2]
-a2~ 4~ 16 r r8
+@lilypond[quote,verbatim]
+{ a'2~ 4~ 16 r r8 }
@end lilypond
Le legature di valore possono avvantaggiarsi dell'interpretazione dell'
@q{ultima altezza esplicita} per le durate isolate:
-@lilypond[quote,verbatim,relative=2]
-a2~ 4~ 16 r r8
+@lilypond[quote,verbatim]
+{ a'2~ 4~ 16 r r8 }
@end lilypond
Le legature di valore si usano per unire due note a cavallo di una
non verrà creata alcuna legatura. Singoli suoni degli accordi possono essere
legati inserendo la legatura all'interno dell'accordo stesso.
-@lilypond[quote,verbatim,relative=1]
-<c e g>2 ~ 2
-<c e g>4~ <c e g c>
-<c~ e g~ b> <c e g b>
+@lilypond[quote,verbatim]
+\relative c' {
+ <c e g>2~ 2 |
+ <c e g>4~ <c e g c>
+ <c~ e g~ b> <c e g b> |
+}
@end lilypond
@cindex ripetere le legature di valore
pianoforte, arpa e altri strumenti a corda e a percussione. Si inseriscono
così:
-@lilypond[quote,verbatim,relative=1]
-<c f g>1\laissezVibrer
+@lilypond[quote,verbatim,fragment]
+<c' f' g'>1\laissezVibrer
@end lilypond
@cindex legature di valore, posizionamento
Le legature di valore possono essere tratteggiate, punteggiate, oppure tracciate secondo una
successione di tratti continui e tratti interrotti.
-@lilypond[quote, verbatim, relative=1]
-\tieDotted
-c2~ 2
-\tieDashed
-c2~ 2
-\tieHalfDashed
-c2~ 2
-\tieHalfSolid
-c2~ 2
-\tieSolid
-c2~ 2
+@lilypond[quote, verbatim]
+\relative c' {
+ \tieDotted
+ c2~ 2
+ \tieDashed
+ c2~ 2
+ \tieHalfDashed
+ c2~ 2
+ \tieHalfSolid
+ c2~ 2
+ \tieSolid
+ c2~ 2
+}
@end lilypond
Si possono specificare modelli di tratteggiatura personalizzati:
-@lilypond[quote, verbatim, relative=1]
-\tieDashPattern #0.3 #0.75
-c2~ 2
-\tieDashPattern #0.7 #1.5
-c2~ 2
-\tieSolid
-c2~ 2
+@lilypond[quote, verbatim]
+\relative c' {
+ \tieDashPattern #0.3 #0.75
+ c2~ 2
+ \tieDashPattern #0.7 #1.5
+ c2~ 2
+ \tieSolid
+ c2~ 2
+}
@end lilypond
Le definizioni dei modelli di tratteggiatura delle legature di valore hanno la
Se le legature collidono con altri oggetti del rigo, si possono sovrascrivere
le proprietà di formattazione @var{whiteout} e @var{layer}.
-@lilypond[verbatim,quote,ragged-right,relative=2]
-\override Tie.layer = #-2
-\override Staff.TimeSignature.layer = #-1
-\override Staff.KeySignature.layer = #-1
-\override Staff.TimeSignature.whiteout-box = ##t
-\override Staff.KeySignature.whiteout-box = ##t
-b2 b~
-\time 3/4
-\key a \major
-b r4
+@lilypond[verbatim,quote,ragged-right]
+\relative {
+ \override Tie.layer = #-2
+ \override Staff.TimeSignature.layer = #-1
+ \override Staff.KeySignature.layer = #-1
+ \override Staff.TimeSignature.whiteout = ##t
+ \override Staff.KeySignature.whiteout = ##t
+ b'2 b~
+ \time 3/4
+ \key a \major
+ b r4
+}
@end lilypond
@predefined
il formattatore automatico che gestisce le collisioni tra pause non interviene su
questo tipo di pause.
-@lilypond[quote,verbatim,relative=2]
-a4\rest d4\rest
+@lilypond[quote,verbatim]
+\relative { a'4\rest d4\rest }
@end lilypond
@snippets
Una pausa invisibile (chiamata anche @q{pausa spaziatrice}) si inserisce come
come una nota col nome@tie{}@code{s}:
-@lilypond[verbatim,quote,relative=2]
-c4 c s c
-s2 c
+@lilypond[verbatim,quote]
+\relative c'' {
+ c4 c s c |
+ s2 c |
+}
@end lilypond
@cindex testo, \skip
se il testo desume le proprie durate dalle note presenti in una melodia ad esso
associata attraverso @code{\addlyrics} o @code{\lyricsto}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
{
- a2 \skip2 a2 a2
+ a'2 \skip2 a'2 a'2
}
\new Lyrics {
\lyricmode {
Dato che @code{\skip} è un comando, non modifica la durata predefinita delle
note che seguono, diversamente da@tie{}@code{s}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
{
- \repeat unfold 8 { a4 }
+ \repeat unfold 8 { a'4 }
}
{
- a4 \skip 2 a |
- s2 a
+ a'4 \skip 2 a' |
+ s2 a'
}
>>
@end lilypond
Una pausa spaziatrice crea implicitamente i contesti @code{Staff} e @code{Voice}
se non esistono già, proprio come accade per le note e le pause:
-@lilypond[quote,verbatim,relative=2]
-s1 s s
+@lilypond[quote,verbatim]
+{ s1 s s }
@end lilypond
@code{\skip} si limita a saltare un valore musicale, non crea nessun tipo di
Una pausa d'intero appare al centro della misura con la durata di una semibreve
o di una breve, in base all'indicazione di tempo.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\time 4/4
R1 |
\time 6/4
L'indicazione di tempo si imposta così:
-@lilypond[quote,verbatim,relative=2]
-\time 2/4 c2
-\time 3/4 c2.
+@lilypond[quote,verbatim,fragment]
+\time 2/4 c''2
+\time 3/4 c''2.
@end lilypond
I cambi di indicazione di tempo a metà misura sono trattati in @ref{Upbeats}.
appare un'indicazione di tempo di precauzione. Si può modificare questo
comportamento predefinito, come è spiegato in @ref{Visibility of objects}.
-@lilypond[quote,verbatim,relative=2]
-\time 2/4
-c2 c
-\break
-c c
-\break
-\time 4/4
-c c c c
+@lilypond[quote,verbatim]
+\relative c'' {
+ \time 2/4
+ c2 c
+ \break
+ c c
+ \break
+ \time 4/4
+ c c c c
+}
@end lilypond
@cindex indicazione di tempo, stile
Un'indicazione metronomica è semplice da scrivere:
-@lilypond[verbatim,quote,relative=1]
-\tempo 4 = 120
-c2 d
-e4. d8 c2
+@lilypond[verbatim,quote]
+\relative {
+ \tempo 4 = 120
+ c'2 d
+ e4. d8 c2
+}
@end lilypond
Le indicazioni metronomiche si possono rappresentare anche come una gamma
di due numeri:
-@lilypond[verbatim,quote,relative=1]
-\tempo 4 = 40 - 46
-c4. e8 a4 g
-b,2 d4 r
+@lilypond[verbatim,quote]
+\relative {
+ \tempo 4 = 40 - 46
+ c'4. e8 a4 g
+ b,2 d4 r
+}
@end lilypond
Al loro posto si possono usare delle indicazioni di tempo testuali:
-@lilypond[verbatim,quote,relative=2]
-\tempo "Allegretto"
-c4 e d c
-b4. a16 b c4 r4
+@lilypond[verbatim,quote]
+\relative {
+ \tempo "Allegretto"
+ c''4 e d c
+ b4. a16 b c4 r4
+}
@end lilypond
Un'indicazione metronomica, se combinata con del testo, viene posta
automaticamente tra parentesi:
-@lilypond[verbatim,quote,relative=2]
-\tempo "Allegro" 4 = 160
-g4 c d e
-d4 b g2
+@lilypond[verbatim,quote]
+\relative {
+ \tempo "Allegro" 4 = 160
+ g'4 c d e
+ d4 b g2
+}
@end lilypond
In generale, il testo può essere qualsiasi oggetto di tipo testuale:
-@lilypond[verbatim,quote,relative=2]
-\tempo \markup { \italic Faster } 4 = 132
-a8-. r8 b-. r gis-. r a-. r
+@lilypond[verbatim,quote]
+\relative {
+ \tempo \markup { \italic Faster } 4 = 132
+ a'8-. r8 b-. r gis-. r a-. r
+}
@end lilypond
È possibile scrivere un'indicazione metronomica tra parentesi e senza testo
includendo una stringa vuota nell'input:
-@lilypond[verbatim,quote,relative=2]
-\tempo "" 8 = 96
-d4 g e c
+@lilypond[verbatim,quote]
+\relative {
+ \tempo "" 8 = 96
+ d''4 g e c
+}
@end lilypond
@funindex \markLengthOn
@code{@var{durata}} è la lunghezza della musica che precede la
prima battuta.
-@lilypond[quote,verbatim,relative=1]
-\time 3/4
-\partial 4.
-r4 e8 | a4 c8 b c4 |
+@lilypond[quote,verbatim]
+\relative {
+ \time 3/4
+ \partial 4.
+ r4 e'8 | a4 c8 b c4 |
+}
@end lilypond
Quando si usa @code{\partial} dopo l'inizio di una partitura, la
@var{durata} è la lunghezza @emph{rimanente} della misura corrente.
Non crea una battuta con un nuovo numero.
-@lilypond[quote,verbatim,relative=1]
-\set Score.barNumberVisibility = #all-bar-numbers-visible
-\override Score.BarNumber.break-visibility =
- #end-of-line-invisible
-\time 9/8
-d'4.~ 4 d8 d( c) b | c4.~ 4. \bar "||"
-\time 12/8
-\partial 4.
-c8( d) e | f2.~ 4 f8 a,( c) f |
+@lilypond[quote,verbatim]
+\relative {
+ \set Score.barNumberVisibility = #all-bar-numbers-visible
+ \override Score.BarNumber.break-visibility =
+ #end-of-line-invisible
+ \time 9/8
+ d''4.~ 4 d8 d( c) b | c4.~ 4. \bar "||"
+ \time 12/8
+ \partial 4.
+ c8( d) e | f2.~ 4 f8 a,( c) f |
+}
@end lilypond
Il comando @code{\partial} è @emph{obbligatorio} quando l'indicazione
di tempo cambia in mezzo a una misura, ma si può usare anche da solo.
-@lilypond[quote,verbatim,relative=1]
-\set Score.barNumberVisibility = #all-bar-numbers-visible
-\override Score.BarNumber.break-visibility =
- #end-of-line-invisible
-\time 6/8
-\partial 8
-e8 | a4 c8 b[ c b] |
-\partial 4
-r8 e,8 | a4 \bar "||"
-\partial 4
-r8 e8 | a4
-c8 b[ c b] |
+@lilypond[quote,verbatim]
+\relative {
+ \set Score.barNumberVisibility = #all-bar-numbers-visible
+ \override Score.BarNumber.break-visibility =
+ #end-of-line-invisible
+ \time 6/8
+ \partial 8
+ e'8 | a4 c8 b[ c b] |
+ \partial 4
+ r8 e,8 | a4 \bar "||"
+ \partial 4
+ r8 e8 | a4
+ c8 b[ c b] |
+}
@end lilypond
Il comando @code{\partial} imposta la proprietà @code{Timing.measurePosition},
@q{disabilitato} col comando @code{\cadenzaOn} e poi @q{riabilitato}
quando necessario con @code{\cadenzaOff}.
-@lilypond[verbatim,relative=2,quote]
-c4 d e d
-\cadenzaOn
-c4 c d8[ d d] f4 g4.
-\cadenzaOff
-\bar "|"
-d4 e d c
+@lilypond[verbatim,quote]
+\relative c'' {
+ c4 d e d
+ \cadenzaOn
+ c4 c d8[ d d] f4 g4.
+ \cadenzaOff
+ \bar "|"
+ d4 e d c
+}
@end lilypond
La numerazione delle battute riprende dopo la cadenza.
@code{\cadenzaOn}. Quindi tutte le travature nelle cadenze devono
essere inserite manualmente. Si veda @ref{Manual beams}.
-@lilypond[verbatim,relative=2,quote]
-\repeat unfold 8 { c8 }
-\cadenzaOn
-cis8 c c c c
-\bar"|"
-c8 c c
-\cadenzaOff
-\repeat unfold 8 { c8 }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 8 { c''8 }
+ \cadenzaOn
+ cis8 c c c c
+ \bar"|"
+ c8 c c
+ \cadenzaOff
+ \repeat unfold 8 { c8 }
+}
@end lilypond
Questi comandi predefiniti hanno effetto su tutti i righi di una partitura, anche
seguente, le note e le pause che eccedono la durata di battuta vengono divise e
le note sono anche connesse con legature di valore a cavallo della stanghetta.
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,verbatim]
\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
\remove "Rest_engraver"
\consists "Completion_rest_engraver"
}
-
-{ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2 }
+\relative {
+ c'2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2
+}
@end lilypond
Questi incisori dividono tutte le note e le pause in corrispondenza
La proprietà @code{completionUnit} imposta la durata preferita per le note
divise.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
-} {
- \time 9/8 g\breve. d4. \bar "||"
+} \relative {
+ \time 9/8 g\breve. d''4. \bar "||"
\set completionUnit = #(ly:make-moment 3 8)
g\breve. d4.
}
quelle dei gruppi irregolari, in note con lo stesso fattore di ridimensionamento
della nota di input.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
-} {
+} \relative {
\time 2/4 r4
- \tuplet 3/2 {g4 a b}
+ \tuplet 3/2 {g'4 a b}
\scaleDurations 2/3 {g a b}
g4*2/3 a b
\tuplet 3/2 {g4 a b}
ritmico. Tutte le altezze delle note su tale rigo sono appiattite e
il rigo stesso ha una sola linea
-@lilypond[quote,relative=1,verbatim]
+@lilypond[quote,verbatim]
<<
\new RhythmicStaff {
- \new Voice = "myRhythm" {
+ \new Voice = "myRhythm" \relative {
\time 4/4
- c4 e8 f g2
+ c'4 e8 f g2
r4 g g f
g1
}
@funindex \autoBeamOff
@funindex autoBeamOff
-@lilypond[quote,verbatim,relative=2]
-\time 2/4 c8 c c c
-\time 6/8 c8 c c c8. c16 c8
+@lilypond[quote,verbatim]
+\relative c'' {
+ \time 2/4 c8 c c c
+ \time 6/8 c8 c c c8. c16 c8
+}
@end lilypond
Se queste impostazioni automatiche non sono soddisfacenti, si può definire
La disposizione automatica delle travature, se non necessaria, può essere
disabilitata con @code{\autoBeamOff} e riabilitata con @code{\autoBeamOn}:
-@lilypond[quote,relative=1,verbatim]
-c4 c8 c8. c16 c8. c16 c8
-\autoBeamOff
-c4 c8 c8. c16 c8.
-\autoBeamOn
-c16 c8
+@lilypond[quote,verbatim]
+\relative c' {
+ c4 c8 c8. c16 c8. c16 c8
+ \autoBeamOff
+ c4 c8 c8. c16 c8.
+ \autoBeamOn
+ c16 c8
+}
@end lilypond
@cindex melismi, con travature
un controllo di battuta@tie{}@code{|} dato che la funzione non ha altro
modo per determinare la lunghezza della misura. Ecco un semplice esempio:
-@lilypond[quote,relative=2,verbatim]
-\time 3/16
-\set Timing.beatStructure = #'(2 1)
-\set Timing.beamExceptions =
- \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
-c16 c c |
-\repeat unfold 6 { c32 } |
+@lilypond[quote,verbatim]
+\relative c'' {
+ \time 3/16
+ \set Timing.beatStructure = #'(2 1)
+ \set Timing.beamExceptions =
+ \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
+ c16 c c |
+ \repeat unfold 6 { c32 } |
+}
@end lilypond
@warning{Il valore di @code{beamExceptions} deve essere una lista @emph{completa}
controllato dalla proprietà di contesto @code{beamHalfMeasure}, che ha effetto
soltanto sulle indicazioni di tempo che hanno 3 come numeratore:
-@lilypond[quote,verbatim,relative=2]
-\time 3/4
-r4. a8 a a |
-\set Timing.beamHalfMeasure = ##f
-r4. a8 a a |
+@lilypond[quote,verbatim]
+\relative a' {
+ \time 3/4
+ r4. a8 a a |
+ \set Timing.beamHalfMeasure = ##f
+ r4. a8 a a |
+}
@end lilypond
@subsubsubheading Come funziona la disposizione automatica delle travature
Per evitare questo problema si può impostare l'indicazione di tempo su
un solo rigo.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
\new Staff {
\time 3/4
\set Timing.baseMoment = #(ly:make-moment 1/8)
\set Timing.beatStructure = #'(1 5)
\set Timing.beamExceptions = #'()
- \repeat unfold 6 { a8 }
+ \repeat unfold 6 { a'8 }
}
\new Staff {
- \repeat unfold 6 { a8 }
+ \repeat unfold 6 { a'8 }
}
>>
@end lilypond
specificate manualmente indicandone l'inizio e la fine con
@code{[} e @code{]}.
-@lilypond[quote,relative=1,verbatim]
-r4 r8[ g' a r] r g[ | a] r
+@lilypond[quote,verbatim]
+\relative { r4 r8[ g' a r] r g[ | a] r }
@end lilypond
@cindex travature manuali, scorciatoia per impostare la direzione
La direzione delle travature può essere impostata manualmente attraverso
gli indicatori di direzione:
-@lilypond[quote,relative=2,verbatim]
-c8^[ d e] c,_[ d e f g]
+@lilypond[quote,verbatim]
+\relative { c''8^[ d e] c,_[ d e f g] }
@end lilypond
@funindex \noBeam
Le note individuali possono essere contrassegnate con @code{\noBeam} per impedire
che vengano inserite in una travatura:
-@lilypond[quote,verbatim,relative=2]
-\time 2/4
-c8 c\noBeam c c
+@lilypond[quote,verbatim]
+\relative {
+ \time 2/4
+ c''8 c\noBeam c c
+}
@end lilypond
Le travature degli abbellimenti e quelle delle note normali possono coesistere
simultaneamente. Gli abbellimenti privi di travatura non vengono inseriti
nella travatura delle note normali.
-@lilypond[quote,verbatim,relative=2]
-c4 d8[
-\grace { e32 d c d }
-e8] e[ e
-\grace { f16 }
-e8 e]
+@lilypond[quote,verbatim]
+\relative {
+ c''4 d8[
+ \grace { e32 d c d }
+ e8] e[ e
+ \grace { f16 }
+ e8 e]
+}
@end lilypond
@funindex stemLeftBeamCount
sola travatura a sinistra: la travatura corrispondente alla sottodivisione di un ottavo
all'interno dell'intero raggruppamento.
-@lilypond[quote,relative=2,verbatim]
-a8[ r16 f g a]
-a8[ r16
-\set stemLeftBeamCount = #2
-\set stemRightBeamCount = #1
-f16
-\set stemLeftBeamCount = #1
-g16 a]
+@lilypond[quote,verbatim]
+\relative a' {
+ a8[ r16 f g a]
+ a8[ r16
+ \set stemLeftBeamCount = #2
+ \set stemRightBeamCount = #1
+ f16
+ \set stemLeftBeamCount = #1
+ g16 a]
+}
@end lilypond
Si possono inserire altri tipi di stanghette col comando @code{\bar}. Ad
esempio, di solito si usa una stanghetta finale al termine di un brano:
-@lilypond[quote,relative=1,verbatim]
-e4 d c2 \bar "|."
+@lilypond[quote,verbatim]
+\relative { e'4 d c2 \bar "|." }
@end lilypond
Se l'ultima nota di una misura non termina entro la stanghetta
Sono disponibili per l'inserimento manuale due tipi di stanghette semplici e
cinque tipi di stanghette doppie:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar "|"
-f1 \bar "."
-g1 \bar "||"
-a1 \bar ".|"
-b1 \bar ".."
-c1 \bar "|.|"
-d1 \bar "|."
-e1
+@lilypond[quote,verbatim]
+\relative {
+ f'1 \bar "|"
+ f1 \bar "."
+ g1 \bar "||"
+ a1 \bar ".|"
+ b1 \bar ".."
+ c1 \bar "|.|"
+ d1 \bar "|."
+ e1
+}
@end lilypond
@noindent
oltre alle stanghette puntate e tratteggiate:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar ";"
-g1 \bar "!"
-a1
+@lilypond[quote,verbatim]
+\relative {
+ f'1 \bar ";"
+ g1 \bar "!"
+ a1
+}
@end lilypond
@noindent
e a nove tipi di stanghette per le ripetizioni:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar ".|:"
-g1 \bar ":..:"
-a1 \bar ":|.|:"
-b1 \bar ":|.:"
-c1 \bar ":.|.:"
-d1 \bar "[|:"
-e1 \bar ":|][|:"
-f1 \bar ":|]"
-g1 \bar ":|."
-a1
+@lilypond[quote,verbatim]
+\relative {
+ f'1 \bar ".|:"
+ g1 \bar ":..:"
+ a1 \bar ":|.|:"
+ b1 \bar ":|.:"
+ c1 \bar ":.|.:"
+ d1 \bar "[|:"
+ e1 \bar ":|][|:"
+ f1 \bar ":|]"
+ g1 \bar ":|."
+ a1
+}
@end lilypond
Inoltre, una stanghetta può apparire come un semplice segno di spunta:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar "'" g1
+@lilypond[quote,fragment,verbatim]
+f'1 \bar "'" g'1
@end lilypond
Tuttavia,dato che questi segni di spunta sono tipicamente usati nella notazione
gregoriana, è preferibile usare @code{\divisioMinima}, come è descritto
Lilypond supporta la notazione gregoriana russa e fornisce una stanghetta speciale per
questo tipo di notazione:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar "k"
+@lilypond[quote,fragment,verbatim]
+f'1 \bar "k"
@end lilypond
I dettagli di questo tipo di notazione sono spiegati in
@ref{Typesetting Kievan square notation}.
Per i segni di tipo segno interni al rigo, ci sono tre tipi di stanghette che
differiscono nel comportamento quando incontrano un'interruzione di linea:
-@lilypond[quote,relative=2,verbatim]
-c4 c c c
-\bar "S"
-c4 c c c \break
-\bar "S"
-c4 c c c
-\bar "S-|"
-c4 c c c \break
-\bar "S-|"
-c4 c c c
-\bar "S-S"
-c4 c c c \break
-\bar "S-S"
-c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ c4 c c c
+ \bar "S"
+ c4 c c c \break
+ \bar "S"
+ c4 c c c
+ \bar "S-|"
+ c4 c c c \break
+ \bar "S-|"
+ c4 c c c
+ \bar "S-S"
+ c4 c c c \break
+ \bar "S-S"
+ c1
+}
@end lilypond
@cindex ritornelli
crea una doppia stanghetta alla fine della linea e una stanghetta
di inizio ripetizione all'inizio della linea successiva.
-@lilypond[quote,relative=2,verbatim]
-c4 c c c
-\bar ".|:-||"
-c4 c c c \break
-\bar ".|:-||"
-c4 c c c
+@lilypond[quote,verbatim]
+\relative c'' {
+ c4 c c c
+ \bar ".|:-||"
+ c4 c c c \break
+ \bar ".|:-||"
+ c4 c c c
+}
@end lilypond
Esistono sei diverse combinazioni di ripetizioni e indicazioni di segno:
-@lilypond[quote,relative=2,verbatim]
-c4 c c c
-\bar ":|.S"
-c4 c c c \break
-\bar ":|.S"
-c4 c c c
-\bar ":|.S-S"
-c4 c c c \break
-\bar ":|.S-S"
-c4 c c c
-\bar "S.|:-S"
-c4 c c c \break
-\bar "S.|:-S"
-c4 c c c
-\bar "S.|:"
-c4 c c c \break
-\bar "S.|:"
-c4 c c c
-\bar ":|.S.|:"
-c4 c c c \break
-\bar ":|.S.|:"
-c4 c c c
-\bar ":|.S.|:-S"
-c4 c c c \break
-\bar ":|.S.|:-S"
-c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ c4 c c c
+ \bar ":|.S"
+ c4 c c c \break
+ \bar ":|.S"
+ c4 c c c
+ \bar ":|.S-S"
+ c4 c c c \break
+ \bar ":|.S-S"
+ c4 c c c
+ \bar "S.|:-S"
+ c4 c c c \break
+ \bar "S.|:-S"
+ c4 c c c
+ \bar "S.|:"
+ c4 c c c \break
+ \bar "S.|:"
+ c4 c c c
+ \bar ":|.S.|:"
+ c4 c c c \break
+ \bar ":|.S.|:"
+ c4 c c c
+ \bar ":|.S.|:-S"
+ c4 c c c \break
+ \bar ":|.S.|:-S"
+ c1
+}
@end lilypond
Esiste inoltre un comando @code{\inStaffSegno} che crea una stanghetta
La parte che segue il segno @code{"-"} non viene usato per costruire
la stanghetta.
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
\defineBarLine "||-dashedSpan" #'("||" "" "!!")
\new StaffGroup <<
- \new Staff {
+ \new Staff \relative c'' {
c1 \bar "||"
c1 \bar "||-dashedSpan"
c1
}
- \new Staff {
+ \new Staff \relative c'' {
c1
c1
c1
Le stanghette risultanti sono connesse tra i diversi righi
di un @code{StaffGroup}, @code{PianoStaff} o @code{GrandStaff}.
-@lilypond[quote,relative=1,verbatim]
+@lilypond[quote,verbatim]
<<
\new StaffGroup <<
- \new Staff {
- e4 d
+ \new Staff \relative {
+ e'4 d
\bar "||"
f4 e
}
- \new Staff { \clef bass c4 g e g }
+ \new Staff \relative { \clef bass c'4 g e g }
>>
- \new Staff { \clef bass c2 c2 }
+ \new Staff \relative { \clef bass c'2 c2 }
>>
@end lilypond
viene aggiornata automaticamente per ogni misura. Può anche essere
impostata a mano:
-@lilypond[verbatim,quote,relative=1]
-c1 c c c
-\break
-\set Score.currentBarNumber = #50
-c1 c c c
+@lilypond[verbatim,quote]
+\relative c' {
+ c1 c c c
+ \break
+ \set Score.currentBarNumber = #50
+ c1 c c c
+}
@end lilypond
@cindex numeri di battuta, disposizione a distanza regolare
Per creare un segno di chiamata si usa il comando @code{\mark}.
-@lilypond[quote,verbatim,relative=2]
-c1 \mark \default
-c1 \mark \default
-c1 \mark \default
-c1 \mark \default
+@lilypond[quote,verbatim]
+\relative c'' {
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark \default
+}
@end lilypond
@noindent
modo da impostare il segno manualmente. Il valore da usare viene salvato
nella proprietà @code{rehearsalMark}.
-@lilypond[quote,verbatim,relative=2]
-c1 \mark \default
-c1 \mark \default
-c1 \mark #8
-c1 \mark \default
-c1 \mark \default
+@lilypond[quote,verbatim]
+\relative c'' {
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark #8
+ c1 \mark \default
+ c1 \mark \default
+}
@end lilypond
@noindent
\set Score.markFormatter = #format-mark-circle-alphabet
@end example
-@lilypond[quote,verbatim,relative=2]
-\set Score.markFormatter = #format-mark-box-alphabet
-c1 \mark \default
-c1 \mark \default
-c1 \mark #8
-c1 \mark \default
-c1 \mark \default
+@lilypond[quote,verbatim]
+\relative c'' {
+ \set Score.markFormatter = #format-mark-box-alphabet
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark #8
+ c1 \mark \default
+ c1 \mark \default
+}
@end lilypond
@cindex segno di chiamata, formato
predefinita e dopo alcune misure su una procedura che produce un
numero racchiuso in un quadrato.
-@lilypond[quote,verbatim,relative=2]
-\set Score.markFormatter = #format-mark-numbers
-c1 \mark \default
-c1 \mark \default
-\set Score.markFormatter = #format-mark-box-numbers
-c1 \mark \default
-\set Score.markFormatter = #format-mark-circle-numbers
-c1 \mark \default
-\set Score.markFormatter = #format-mark-circle-letters
-c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ \set Score.markFormatter = #format-mark-numbers
+ c1 \mark \default
+ c1 \mark \default
+ \set Score.markFormatter = #format-mark-box-numbers
+ c1 \mark \default
+ \set Score.markFormatter = #format-mark-circle-numbers
+ c1 \mark \default
+ \set Score.markFormatter = #format-mark-circle-letters
+ c1
+}
@end lilypond
Il file @file{scm/translation-functions.scm} contiene le
I glifi musicali (come il Segno) possono essere posti dentro il
comando @code{\mark}
-@lilypond[quote,verbatim,relative=1]
-c1 \mark \markup { \musicglyph #"scripts.segno" }
-c1 \mark \markup { \musicglyph #"scripts.coda" }
-c1 \mark \markup { \musicglyph #"scripts.ufermata" }
-c1
+@lilypond[quote,verbatim]
+\relative c' {
+ c1 \mark \markup { \musicglyph #"scripts.segno" }
+ c1 \mark \markup { \musicglyph #"scripts.coda" }
+ c1 \mark \markup { \musicglyph #"scripts.ufermata" }
+ c1
+}
@end lilypond
@noindent
Gli abbellimenti sono degli ornamenti musicali che hanno un carattere in corpo
più piccolo e non alterano la durata della misura.
-@lilypond[quote,relative=2,verbatim]
-c4 \grace b16 a4(
-\grace { b16 c16 } a2)
+@lilypond[quote,verbatim]
+\relative {
+ c''4 \grace b16 a4(
+ \grace { b16 c16 } a2)
+}
@end lilypond
Esistono altri tre tipi di abbellimenti possibili; l'@emph{acciaccatura} -- un
privo di legatura di portamento, in modo da collocarla tra note
già poste sotto una legatura: si usa il comando @code{\slashedGrace}.
-@lilypond[quote,relative=2,verbatim]
-\acciaccatura d8 c4
-\appoggiatura e8 d4
-\acciaccatura { g16 f } e2
-\slashedGrace a,8 g4
-\slashedGrace b16 a4(
-\slashedGrace b8 a2)
+@lilypond[quote,verbatim]
+\relative {
+ \acciaccatura d''8 c4
+ \appoggiatura e8 d4
+ \acciaccatura { g16 f } e2
+ \slashedGrace a,8 g4
+ \slashedGrace b16 a4(
+ \slashedGrace b8 a2)
+}
@end lilypond
Il posizionamento degli abbellimenti è sincronizzato sui diversi righi.
Nell'esempio seguente, ci sono due abbellimenti da un sedicesimo ogni
abbellimento da un ottavo
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Staff { e2 \grace { c16 d e f } e2 }
- \new Staff { c2 \grace { g8 b } c2 }
+ \new Staff \relative { e''2 \grace { c16 d e f } e2 }
+ \new Staff \relative { c''2 \grace { g8 b } c2 }
>>
@end lilypond
comando @code{\afterGrace}. Considera due argomenti: la nota principale e
gli abbellimenti che la seguono.
-@lilypond[quote,verbatim,relative=2]
-c1 \afterGrace d1 { c16[ d] } c1
+@lilypond[quote,verbatim]
+\relative { c''1 \afterGrace d1 { c16[ d] } c1 }
@end lilypond
In questo modo, gli abbellimenti sono collocati dopo uno spazio corrispondente a
le diverse spaziature che si ottengono con la frazione predefinita, con 15/16
e infine con 1/2 della nota principale.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- \new Staff {
- c1 \afterGrace d1 { c16[ d] } c1
+ \new Staff \relative {
+ c''1 \afterGrace d1 { c16[ d] } c1
}
- \new Staff {
+ \new Staff \relative {
#(define afterGraceFraction (cons 15 16))
- c1 \afterGrace d1 { c16[ d] } c1
+ c''1 \afterGrace d1 { c16[ d] } c1
}
- \new Staff {
+ \new Staff \relative {
#(define afterGraceFraction (cons 1 2))
- c1 \afterGrace d1 { c16[ d] } c1
+ c''1 \afterGrace d1 { c16[ d] } c1
}
>>
@end lilypond
specified using spacers. The following example places the grace
note after a space lasting 7/8 of the main note.
-@lilypond[quote,verbatim,relative=2]
-\new Voice {
+@lilypond[quote,verbatim]
+\new Voice \relative {
<<
- { d1^\trill_( }
+ { d''1^\trill_( }
{ s2 s4. \grace { c16 d } }
>>
c1)
i valori predefiniti. Nell'esempio seguente la direzione predefinita del
gambo viene prima sovrascritta e poi ripristinata.
-@lilypond[quote,verbatim,relative=2]
-\new Voice {
+@lilypond[quote,verbatim]
+\new Voice \relative {
\acciaccatura {
\stemDown
- f16->
+ f''16->
\stemNeutral
}
g4 e c2
armature di chiave, le stanghette, etc. Fai attenzione quando metti insieme
righi che hanno degli abbellimenti con righi che non ne hanno. Ad esempio
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Staff { e4 \bar ".|:" \grace c16 d2. }
- \new Staff { c4 \bar ".|:" d2. }
+ \new Staff \relative { e''4 \bar ".|:" \grace c16 d2. }
+ \new Staff \relative { c''4 \bar ".|:" d2. }
>>
@end lilypond
Si può ovviare a questo problema inserendo degli abbellimenti della durata
corrispondente negli altri righi. Riprendendo l'esempio precedente
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Staff { e4 \bar ".|:" \grace c16 d2. }
- \new Staff { c4 \bar ".|:" \grace s16 d2. }
+ \new Staff \relative { e''4 \bar ".|:" \grace c16 d2. }
+ \new Staff \relative { c''4 \bar ".|:" \grace s16 d2. }
>>
@end lilypond
e @code{>} e può essere seguito da una durata, come accade per le
semplici note.
-@lilypond[verbatim,quote,relative=2]
-<a c e>1 <a c e>2 <f a c e>4 <a c>8. <g c e>16
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1 <a c e>2 <f a c e>4 <a c>8. <g c e>16
+}
@end lilypond
Proprio come per le note, si possono specificare le articolazioni da
riferire all'accordo.
-@lilypond[verbatim,quote,relative=2]
-<a c e>1\fermata <a c e>2-> <f a c e>4\prall <a c>8.^! <g c e>16-.
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1\fermata <a c e>2-> <f a c e>4\prall <a c>8.^! <g c e>16-.
+}
@end lilypond
Si possono specificare abbellimenti e articolazioni per ogni nota che fa parte
dell'accordo.
-@lilypond[verbatim,quote,relative=2]
-<a c\prall e>1 <a-> c-^ e>2 <f-. a c-. e-.>4
-<a-+ c-->8. <g\fermata c e\turn>16
+@lilypond[verbatim,quote]
+\relative {
+ <a' c\prall e>1 <a-> c-^ e>2 <f-. a c-. e-.>4
+ <a-+ c-->8. <g\fermata c e\turn>16
+}
@end lilypond
Tuttavia, alcuni elementi della notazione, come le dinamiche, le forcelle e le
legature di portamento, devono essere attaccate all'accordo invece che alle
sue singole note, altrimenti non appariranno.
-@lilypond[verbatim,quote,relative=2]
-<a\f c( e>1 <a c) e>\f <a\< c e>( <a\! c e>)
-<a c e>\< <a c e> <a c e>\!
+@lilypond[verbatim,quote]
+\relative {
+ <a'\f c( e>1 <a c) e>\f <a\< c e>( <a\! c e>)
+ <a c e>\< <a c e> <a c e>\!
+}
@end lilypond
@cindex accordi vuoti
questi (possibilità più complesse di combinazione sono spiegate in
@ref{Simultaneous expressions}):
-@lilypond[verbatim,quote,relative=2]
-\grace { g8( a b }
-<> ) \p \< -. -\markup \italic "sempre staccato"
-\repeat unfold 4 { c4 e } c1\f
+@lilypond[verbatim,quote]
+\relative {
+ \grace { g'8( a b }
+ <> ) \p \< -. -\markup \italic "sempre staccato"
+ \repeat unfold 4 { c4 e } c1\f
+}
@end lilypond
@cindex altezza relativa, accordi
all'altezza dell'ultima nota che precede l'accordo. Le altezze di tutte le altre note
dell'accordo sono relative alla nota che le precede @emph{all'interno dell'accordo}.
-@lilypond[verbatim,quote,relative=2]
-<a c e>1 <f a c> <a c e> <f' a c> <b, e b,>
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1 <f a c> <a c e> <f' a c> <b, e b,>
+}
@end lilypond
Maggiori informazioni sugli accordi si trovano in @ref{Chord notation}.
Per inserire la musica più rapidamente, si può usare una scorciatoia che ripete
l'accordo precedente. Il simbolo di ripetizione dell'accordo è @code{q}:
-@lilypond[verbatim,quote,relative=2]
-<a c e>1 q <f a c>2 q
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1 q <f a c>2 q
+}
@end lilypond
Come nel caso dei normali accordi, il simbolo di ripetzione dell'accordo si
di portamento, le travature, etc. dato che solo le altezze dell'accordo
precedente vengono duplicate.
-@lilypond[verbatim,quote,relative=2]
-<a c e>1\p^"text" q2\<( q8)[-! q8.]\! q16-1-2-3 q8\prall
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1\p^"text" q2\<( q8)[-! q8.]\! q16-1-2-3 q8\prall
+}
@end lilypond
Il simbolo di ripetizione dell'accordo ricorda sempre l'ultimo accordo
inserito, quindi è possibile inserire l'accordo più recente anche se
nel frattempo sono state inserite altre note (senza accordi) o pause.
-@lilypond[verbatim,quote,relative=2]
-<a c e>1 c'4 q2 r8 q8 |
-q2 c, |
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1 c'4 q2 r8 q8 |
+ q2 c, |
+}
@end lilypond
Tuttavia questo simbolo non conserva le dinamiche, le articolazioni o
e le modifiche delle proprietà in una @emph{singola} voce (@samp{Voice})
sono raccolte e create secondo l'ordine della musica:
-@lilypond[quote,verbatim,relative=2]
-<a c>4-. <>-. << c a >> << { c-. <c a> } { a s-. } >>
+@lilypond[quote,verbatim]
+\relative {
+ <a' c>4-. <>-. << c a >> << { c-. <c a> } { a s-. } >>
+}
@end lilypond
Per poter inserire gambi o travature multiple e variare le durate o
inserisce applicando la funzione @code{\makeClusters} a una sequenza
di accordi, ad esempio:
-@lilypond[quote,relative=2,verbatim]
-\makeClusters { <g b>2 <c g'> }
+@lilypond[quote,verbatim]
+\relative \makeClusters { <g' b>2 <c g'> }
@end lilypond
Si possono inserire insieme sullo stesso rigo le normali note e i cluster,
assegnare il testo a una voce che continua prima, durante e dopo una sezione
polifonica:
-@lilypond[quote, verbatim, relative=2]
-<<
+@lilypond[quote,verbatim]
+\relative <<
\new Voice = "melody" {
- a4
+ a'4
<<
{
\voiceOne
Il primo esempio potrebbe essere riscritto nel modo seguente:
-@lilypond[quote,relative=3,verbatim]
+@lilypond[quote,verbatim]
<<
- { r8 r16 g e8. f16 g8[ c,] f e16 d }
+ \relative { r8 r16 g'' e8. f16 g8[ c,] f e16 d }
\\
- { d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
+ \relative { d''16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
>>
@end lilypond
inserita in terza posizione in modo che diventi la terza voce, che ha
i gambi in su. Si usano le pause spaziatrici per evitare il raddoppio delle pause ordinarie.
-@lilypond[quote,relative=3,verbatim]
+@lilypond[quote,verbatim]
<<
- { r8 g g g g f16 ees f8 d }
+ \relative { r8 g'' g g g f16 ees f8 d }
\\
- { ees,8 r ees r d r d r }
+ \relative { ees'8 r ees r d r d r }
\\
- { d'8 s c s bes s a s }
+ \relative { d''8 s c s bes s a s }
>>
@end lilypond
in un semplice costrutto musicale simultaneo all'interno di una
voce esplicita:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
\new Voice <<
- { e4 f8 d e16 f g8 d4 }
- { c4 d8 b c16 d e8 b4 }
+ \relative { e''4 f8 d e16 f g8 d4 }
+ \relative { c''4 d8 b c16 d e8 b4 }
>>
@end lilypond
Si possono assegnare colori e forme diverse a ciascuna voce per facilitarne
l'identificazione:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- { \voiceOneStyle d4 c2 b4 }
+ \relative { \voiceOneStyle d''4 c2 b4 }
\\
- { \voiceTwoStyle e,2 e }
+ \relative { \voiceTwoStyle e'2 e }
\\
- { \voiceThreeStyle b2. c4 }
+ \relative { \voiceThreeStyle b2. c4 }
\\
- { \voiceFourStyle g'2 g }
+ \relative { \voiceFourStyle g'2 g }
>>
@end lilypond
sul primo e terzo movimento della prima battuta e sul primo movimento della seconda
battuta, in cui l'unione automatica delle teste di nota non funziona.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- {
- c8 d e d c d c4
+ \relative {
+ c''8 d e d c d c4
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
questo esempio le teste delle note nel primo battito della prima battuta
sono unite:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- {
+ \relative {
\mergeDifferentlyHeadedOn
- c8 d e d c d c4
+ c''8 d e d c d c4
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
Anche le teste di note con diversi punti, come nel terzo movimento della prima
battuta, possono essere unite:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- {
+ \relative {
\mergeDifferentlyHeadedOn
\mergeDifferentlyDottedOn
- c8 d e d c d c4
+ c''8 d e d c d c4
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
spostare il Sol superiore (@notation{g}) fuori dalla colonna e di
conseguenza @code{\mergeDifferentlyHeadedOn} funziona correttamente.
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- {
+ \relative {
\mergeDifferentlyHeadedOn
\mergeDifferentlyDottedOn
- c8 d e d c d c4
+ c''8 d e d c d c4
\shiftOn
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
le note con teste diverse che si trovano in voci
diverse saranno unite in modo non corretto.
-@lilypond[quote,relative=1,verbatim]
+@lilypond[quote,verbatim,fragment]
\mergeDifferentlyHeadedOn
-<< { c16 a' b a } \\ { c,2 } >>
+<< \relative { c'16 a' b a } \\ \relative { c'2 } >>
\override NoteColumn.ignore-collision = ##t
-<< { c16 a' b a } \\ { c,2 } >>
+<< \relative { c'16 a' b a } \\ \relative { c'2 } >>
@end lilypond
@ignore
Il contesto di base del rigo è @code{Staff}:
-@lilypond[verbatim,quote,relative=2]
-\new Staff { c4 d e f }
+@lilypond[verbatim,quote]
+\new Staff \relative { c''4 d e f }
@end lilypond
Il contesto @code{DrumStaff} crea un rigo di cinque linee impostato
soltanto i valori ritmici dell'input. Le durate reali vengono
mantenute. Ulteriori dettagli in @ref{Showing melody rhythms}.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new RhythmicStaff { c4 d e f }
@end lilypond
nell'accordatura standard per chitarra. Ulteriori dettagli
in @ref{Default tablatures}.
-@lilypond[verbatim,quote,relative=2]
-\new TabStaff { c4 d e f }
+@lilypond[verbatim,quote]
+\new TabStaff \relative { c''4 d e f }
@end lilypond
Ci sono due contesti del rigo specifici per la notazione di musica
Il contesto @code{GregorianTranscriptionStaff} crea un rigo per
il canto gregoriano moderno. Non mostra le stanghette delle battute.
-@lilypond[verbatim,quote,relative=2]
-\new GregorianTranscriptionStaff { c4 d e f e d }
+@lilypond[verbatim,quote]
+\new GregorianTranscriptionStaff \relative { c''4 d e f e d }
@end lilypond
Si possono creare nuovi contesti per un singolo rigo, come è spiegato
Se non si specifica alcun contesto, vengono usate le proprietà predefinite:
il gruppo inizia con una linea verticale e le stanghette non sono collegate.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
<<
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { c''1 c }
>>
@end lilypond
Nel contesto @code{StaffGroup}, il gruppo inizia con una parentesi quadra e le
stanghette attraversano tutti i righi.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new StaffGroup <<
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { c''1 c }
>>
@end lilypond
Nel contesto @code{ChoirStaff}, il gruppo inizia con una parentesi quadra, ma le
stanghette non sono collegate.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new ChoirStaff <<
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { c''1 c }
>>
@end lilypond
Nel contesto @code{GrandStaff}, il gruppo inizia con una parentesi graffa e
le stanghette sono collegate da rigo a rigo.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new GrandStaff <<
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { c''1 c }
>>
@end lilypond
differenza che permette di mostrare il nome dello strumento direttamente. Ulteriori
dettagli in @ref{Instrument names}.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new PianoStaff <<
\set PianoStaff.instrumentName = #"Piano"
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { \clef bass c1 c }
>>
@end lilypond
livello. In questo caso, ogni contesto inferiore crea una nuova parentesi
accanto alla parentesi del gruppo superiore.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new StaffGroup <<
- \new Staff { c2 c | c2 c }
+ \new Staff \relative { c''2 c | c2 c }
\new StaffGroup <<
- \new Staff { g2 g | g2 g }
+ \new Staff \relative { g'2 g | g2 g }
\new StaffGroup \with {
systemStartDelimiter = #'SystemStartSquare
}
<<
- \new Staff { e2 e | e2 e }
- \new Staff { c2 c | c2 c }
+ \new Staff \relative { e'2 e | e2 e }
+ \new Staff \relative { c'2 c | c2 c }
>>
>>
>>
(ri)avviare le linee del rigo, per impedire che appaiano in un punto
della partitura.
-@lilypond[verbatim,quote,relative=2]
-\stopStaff f4 d \startStaff g, e
-f'4 d \stopStaff g, e
-f'4 d \startStaff g, e
+@lilypond[verbatim,quote]
+\relative {
+ \stopStaff f''4 d \startStaff g, e
+ f'4 d \stopStaff g, e
+ f'4 d \startStaff g, e
+}
@end lilypond
@predefined
Si può cambiare il numero di linee del rigo:
-@lilypond[verbatim,quote,relative=2]
-f4 d \stopStaff
-\override Staff.StaffSymbol.line-count = #2
-\startStaff g, e |
+@lilypond[verbatim,quote]
+\relative {
+ f''4 d \stopStaff
+ \override Staff.StaffSymbol.line-count = #2
+ \startStaff g, e |
-f'4 d \stopStaff
-\revert Staff.StaffSymbol.line-count
-\startStaff g, e |
+ f'4 d \stopStaff
+ \revert Staff.StaffSymbol.line-count
+ \startStaff g, e |
+}
@end lilypond
Si può cambiare anche la posizione di ogni linea del rigo. Un elenco di
quindi questo comando permette di variare anche il numero delle linee,
oltre alla loro posizione.
-@lilypond[verbatim,quote,relative=2]
-f4 d \stopStaff
-\override Staff.StaffSymbol.line-positions = #'(1 3 5 -1 -3)
-\startStaff g, e |
-f'4 d \stopStaff
-\override Staff.StaffSymbol.line-positions = #'(8 6.5 -6 -8 -0.5)
-\startStaff g, e
+@lilypond[verbatim,quote]
+\relative {
+ f''4 d \stopStaff
+ \override Staff.StaffSymbol.line-positions = #'(1 3 5 -1 -3)
+ \startStaff g, e |
+ f'4 d \stopStaff
+ \override Staff.StaffSymbol.line-positions = #'(8 6.5 -6 -8 -0.5)
+ \startStaff g, e |
+}
@end lilypond
Per conservare le tipiche direzioni dei gambi (nella metà inferiore del
Si può modificare lo spessore della linea del rigo. Per impostazione predefinita,
questa modifica ha effetto anche sui tagli addizionali e sui gambi.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.thickness = #3
+} \relative {
+ f''4 d g, e
}
-{ f4 d g, e }
@end lilypond
È anche possibile impostare lo spessore dei tagli addizionali in modo
indipendente dalle linee del rigo.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.thickness = #2
\override StaffSymbol.ledger-line-thickness = #'(0.5 . 0.4)
+} \relative {
+ f'''4 a, a,, f
}
-{ f'4 a, a,, f }
@end lilypond
@noindent
Si possono modificare le posizioni verticali dei tagli addizionali:
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.ledger-positions = #'(-3 -2 -1 2 5 6)
+} \relative {
+ f'''4 a, a,, f
}
-{ f'4 a, a,, f }
@end lilypond
Si possono far apparire ulteriori tagli addizionali sopra o sotto le
teste delle note, a seconda della posizione corrente relativa alle
altre teste, anch'esse con i propri tagli addizionali.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.ledger-extra = #4
+} \relative {
+ f'''4 a, d, f,
}
-{ f'4 a, d, f, }
@end lilypond
Si possono far apparire i tagli addizionali anche dentro il rigo quando servono
quando non lo è. Nell'esempio il comando @code{\stopStaff} serve ad annullare
il comando @code{\override} per l'oggetto @code{StaffSymbol}.
-@lilypond[verbatim,quote,relative=1]
-\override Staff.StaffSymbol.line-positions = #'(-8 0 2 4)
-d4 e f g
-\stopStaff
-\startStaff
-\override Staff.StaffSymbol.ledger-positions = #'(-8 -6 (-4 -2) 0)
-d4 e f g
+@lilypond[verbatim,quote]
+\relative d' {
+ \override Staff.StaffSymbol.line-positions = #'(-8 0 2 4)
+ d4 e f g
+ \stopStaff
+ \startStaff
+ \override Staff.StaffSymbol.ledger-positions = #'(-8 -6 (-4 -2) 0)
+ d4 e f g
+}
@end lilypond
Si può cambiare la distanza tra le linee del rigo. Tale modifica ha
effetto anche sulla spaziatura della linea.
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.staff-space = #1.5
+} \relative {
+ f'''4 d, g, e,
}
-{ f'4 d, g, e, }
@end lilypond
@snippets
e @code{ChoirStaff}. Il valore di @code{instrumentName} viene usato per il
primo rigo e quello di @code{shortInstrumentName} per tutti i righi successivi.
-@lilypond[verbatim,quote,ragged-right,relative=1]
+@lilypond[verbatim,quote,ragged-right]
\new Staff \with {
instrumentName = #"Violin "
shortInstrumentName = #"Vln. "
+} \relative {
+ c'4.. g'16 c4.. g'16 \break | c1 |
}
-{ c4.. g'16 c4.. g'16 \break | c1 }
@end lilypond
@cindex nomi degli strumenti, complessi
Si può usare @code{\markup} per creare nomi più complessi:
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
instrumentName = \markup {
\column { "Clarinetti"
\line { "in B" \smaller \flat }
}
}
+} \relative {
+ c''4 c,16 d e f g2
}
-{ c4 c,16 d e f g2 }
@end lilypond
@cindex nomi degli strumenti, centrare
Per allineare al centro i nomi degli strumenti che vanno a capo, occorre
usare @code{\center-column}:
-@lilypond[verbatim,quote,indent=1.5\cm,relative=2]
+@lilypond[verbatim,quote,indent=1.5\cm]
<<
\new Staff \with {
instrumentName = #"Flute"
- }
- { f2 g4 f }
+ } \relative {
+ f''2 g4 f
+}
\new Staff \with {
instrumentName = \markup {
\center-column { "Clarinet"
\line { "in B" \smaller \flat }
}
}
- }
- { c4 b c2 }
+ } \relative { c''4 b c2 }
>>
@end lilypond
@ref{paper variables for shifts and indents,,@code{@bs{}paper} variables for shifts and indents}.
@lilypond[verbatim,quote,ragged-right]
-\relative {
- <<
- \new Staff \with {
- instrumentName = #"Alto Flute in G"
- shortInstrumentName = #"Flt."
- }
- {
- f''2 g4 f \break
- g4 f g2
- }
- \new Staff \with {
- instrumentName = #"Clarinet"
- shortInstrumentName = #"Clar."
- }
- {
- c,4 b c2 \break
- c2 b4 c
- }
- >>
-}
+<<
+ \new Staff \with {
+ instrumentName = #"Alto Flute in G"
+ shortInstrumentName = #"Flt."
+ } \relative {
+ f''2 g4 f \break
+ g4 f g2
+ }
+ \new Staff \with {
+ instrumentName = #"Clarinet"
+ shortInstrumentName = #"Clar."
+ } \relative {
+ c''4 b c2 \break
+ c2 b4 c
+ }
+>>
\layout {
indent = 3.0\cm
Il modo più semplice per formattare le notine è creare esplicitamente un
contesto @code{CueVoice} all'interno della parte.
-@lilypond[verbatim,relative=1]
-R1
-<<
- { e2\rest r4. e8 }
- \new CueVoice {
- \stemUp d'8^"flute" c d e fis2
- }
->>
-d,4 r a r
+@lilypond[verbatim]
+\relative {
+ R1
+ <<
+ { e'2\rest r4. e8 }
+ \new CueVoice {
+ \stemUp d'8^"flute" c d e fis2
+ }
+ >>
+ d,4 r a r
+}
@end lilypond
Si può usare il comando @code{\cueClef} all'interno di un contesto
Si può poi usare il comando @code{\cueClefUnset} per tornare alla chiave
originale, di nuovo nella dimensione giusta.
-@lilypond[verbatim,noragged-right,relative=1]
-\clef "bass"
-R1
-<<
- { e2\rest r4. \cueClefUnset e,8 }
- \new CueVoice {
- \cueClef "treble" \stemUp d''8^"flute" c d e fis2
- }
->>
-d,,4 r a r
+@lilypond[verbatim,noragged-right]
+\relative {
+ \clef "bass"
+ R1
+ <<
+ { e'2\rest r4. \cueClefUnset e,8 }
+ \new CueVoice {
+ \cueClef "treble" \stemUp d''8^"flute" c d e fis2
+ }
+ >>
+ d,,4 r a r
+}
@end lilypond
I comandi @code{\cueClef} e @code{\cueClefUnset} si possono usare anche
senza un esplicito contesto @code{CueVoice}.
-@lilypond[verbatim,noragged-right,relative=1]
-\clef "bass"
-R1
-\cueClef "treble"
-d'8^"flute" c d e fis2
-\cueClefUnset
-d,,4 r a r
+@lilypond[verbatim,noragged-right]
+\relative {
+ \clef "bass"
+ R1
+ \cueClef "treble"
+ d''8^"flute" c d e fis2
+ \cueClefUnset
+ d,,4 r a r
+}
@end lilypond
Per posizionamenti complessi delle notine, per esempio includere la
Tali indicazioni possono essere posizionate sopra o sotto il rigo,
usando la sintassi descritta in @ref{Direction and placement}.
-@lilypond[quote,verbatim,relative=2]
-a8^"pizz." g f e a4-"scherz." f
+@lilypond[quote,verbatim]
+\relative { a'8^"pizz." g f e a4-"scherz." f }
@end lilypond
In realtà questa sintassi è una scorciatoia; si può specificare una formattazione
del testo più complessa usando in modo esplicito un blocco @code{\markup}, come
è spiegato in @ref{Formatting text}.
-@lilypond[quote,verbatim,relative=2]
-a8^\markup { \italic pizz. } g f e
-a4_\markup { \tiny scherz. \bold molto } f
+@lilypond[quote,verbatim]
+\relative {
+ a'8^\markup { \italic pizz. } g f e
+ a4_\markup { \tiny scherz. \bold molto } f }
@end lilypond
Le indicazioni testuali, di norma, non influenzano la spaziatura delle note.
nell'esempio seguente la prima stringa di testo non influenza la spaziatura,
mentre la seconda sì.
-@lilypond[quote,verbatim,relative=2]
-a8^"pizz." g f e
-\textLengthOn
-a4_"scherzando" f
+@lilypond[quote,verbatim]
+\relative {
+ a'8^"pizz." g f e
+ \textLengthOn
+ a4_"scherzando" f
+}
@end lilypond
Oltre alle scritte, si possono attaccare alle note anche le
chiamati @qq{estensori} (spanner), si creano collegando due note
con la seguente sintassi:
-@lilypond[verbatim,quote,relative=2]
-\override TextSpanner.bound-details.left.text = "rit."
-b1\startTextSpan
-e,\stopTextSpan
+@lilypond[verbatim,quote]
+\relative {
+ \override TextSpanner.bound-details.left.text = "rit."
+ b'1\startTextSpan
+ e,\stopTextSpan
+}
@end lilypond
@cindex estensori del testo, formattazione
può ottenere una formattazione diversa tramite i blocchi @code{\markup}, come
è spiegato in @ref{Formatting text}.
-@lilypond[quote,relative=2,verbatim]
-\override TextSpanner.bound-details.left.text =
- \markup { \upright "rit." }
-b1\startTextSpan c
-e,\stopTextSpan
+@lilypond[quote,verbatim]
+\relative {
+ \override TextSpanner.bound-details.left.text =
+ \markup { \upright "rit." }
+ b'1\startTextSpan c
+ e,\stopTextSpan
+}
@end lilypond
Lo stile della linea, così come la stringa testuale, può essere definito come
@c \mark needs to be placed on a separate line (it's not
@c attached to an object like \markup is). -vv
-@lilypond[verbatim,quote,relative=2]
-c4
-\mark "Allegro"
-c c c
+@lilypond[verbatim,quote]
+\relative {
+ c''4
+ \mark "Allegro"
+ c c c
+}
@end lilypond
Questa sintassi permette di porre del testo sopra una stanghetta;
una formattazione del testo più complessa è possibile grazie al
blocco @code{\markup}, come è spiegato in @ref{Formatting text}:
-@lilypond[quote,verbatim,relative=1]
-<c e>1
-\mark \markup { \italic { colla parte } }
-<d f>2 <e g>
-<c f aes>1
+@lilypond[quote,verbatim]
+\relative {
+ <c' e>1
+ \mark \markup { \italic { colla parte } }
+ <d f>2 <e g>
+ <c f aes>1
+}
@end lilypond
@noindent
o corona, se si specifica il nome appropriato del simbolo, come è spiegato
in @ref{Music notation inside markup}:
-@lilypond[quote,verbatim,relative=2]
-<bes f>2 <aes d>
-\mark \markup { \musicglyph #"scripts.ufermata" }
-<e g>1
+@lilypond[quote,verbatim]
+\relative {
+ <bes' f>2 <aes d>
+ \mark \markup { \musicglyph #"scripts.ufermata" }
+ <e g>1
+}
@end lilypond
@noindent
un'interruzione di linea, l'indicazione apparirà all'inizio della linea
successiva.
-@lilypond[quote,verbatim,relative=2,ragged-right]
-\mark "Allegro"
-c1 c
-\mark "assai" \break
-c c
+@lilypond[quote,verbatim,ragged-right]
+\relative c'' {
+ \mark "Allegro"
+ c1 c
+ \mark "assai" \break
+ c c
+}
@end lilypond
@funindex \markLengthOn
inseriti col carattere di barra inversa @code{\}. Tali comandi hanno
effetto solo sulla prima espressione che segue.
-@lilypond[quote,verbatim,relative=2]
-a1-\markup intenso
-a2^\markup { poco \italic più forte }
-c e1
-d2_\markup { \italic "string. assai" }
-e
-b1^\markup { \bold { molto \italic agitato } }
-c
+@lilypond[quote,verbatim]
+\relative {
+ a'1-\markup intenso
+ a2^\markup { poco \italic più forte }
+ c e1
+ d2_\markup { \italic "string. assai" }
+ e
+ b1^\markup { \bold { molto \italic agitato } }
+ c
+}
@end lilypond
@cindex caratteri speciali in modalità markup
la formattazione del testo. Le stesse doppie virgolette possono essere
stampate facendole precedere da una barra inversa.
-@lilypond[quote,verbatim,relative=2]
-a1^"\italic markup..."
-a_\markup { \italic "... prints \"italic\" letters!" }
-a a
+@lilypond[quote,verbatim]
+\relative {
+ a'1^"\italic markup..."
+ a_\markup { \italic "... prints \"italic\" letters!" }
+ a a
+}
@end lilypond
Perché sia trattata come un'espressione distinta, una lista di parole deve
saranno sistemate, centrate e allineate; nell'esempio seguente, la seconda
espressione di @code{\markup} viene trattata nello stesso modo della prima:
-@lilypond[quote,verbatim,relative=2]
-c1^\markup { \center-column { a bbb c } }
-c1^\markup { \center-column { a { bbb c } } }
-c1^\markup { \center-column { a \line { bbb c } } }
-c1^\markup { \center-column { a "bbb c" } }
+@lilypond[quote,verbatim]
+\relative c'' {
+ c1^\markup { \center-column { a bbb c } }
+ c1^\markup { \center-column { a { bbb c } } }
+ c1^\markup { \center-column { a \line { bbb c } } }
+ c1^\markup { \center-column { a "bbb c" } }
+}
@end lilypond
I markup possono essere salvati in delle variabili, che possono poi essere
La modalità markup permette di cambiare il tipo di carattere:
-@lilypond[quote,verbatim,relative=2]
-d1^\markup {
- \bold { Più mosso }
- \italic { non troppo \underline Vivo }
+@lilypond[quote,verbatim]
+\relative {
+ d''1^\markup {
+ \bold { Più mosso }
+ \italic { non troppo \underline Vivo }
+ }
+ r2 r4 r8
+ d,_\markup { \italic quasi \smallCaps Tromba }
+ f1 d2 r
}
-r2 r4 r8
-d,_\markup { \italic quasi \smallCaps Tromba }
-f1 d2 r
@end lilypond
@cindex dimensione del tipo di carattere
Si può impostare su una dimensione predefinita,
-@lilypond[quote,verbatim,relative=2]
-b1_\markup { \huge Sinfonia }
-b1^\markup { \teeny da }
-b1-\markup { \normalsize camera }
+@lilypond[quote,verbatim]
+\relative b' {
+ b1_\markup { \huge Sinfonia }
+ b1^\markup { \teeny da }
+ b1-\markup { \normalsize camera }
+}
@end lilypond
oppure in modo proporzionale rispetto al valore precedente,
-@lilypond[quote,verbatim,relative=2]
-b1_\markup { \larger Sinfonia }
-b1^\markup { \smaller da }
-b1-\markup { \magnify #0.6 camera }
+@lilypond[quote,verbatim]
+\relative b' {
+ b1_\markup { \larger Sinfonia }
+ b1^\markup { \smaller da }
+ b1-\markup { \magnify #0.6 camera }
+}
@end lilypond
Può essere aumentata o diminuita rispetto al valore impostato per la
dimensione globale del rigo:
-@lilypond[quote,verbatim,relative=2]
-b1_\markup { \fontsize #-2 Sinfonia }
-b1^\markup { \fontsize #1 da }
-b1-\markup { \fontsize #3 camera }
+@lilypond[quote,verbatim]
+\relative b' {
+ b1_\markup { \fontsize #-2 Sinfonia }
+ b1^\markup { \fontsize #1 da }
+ b1-\markup { \fontsize #3 camera }
+}
@end lilypond
Si può impostare anche su una dimensione fissa (in punti), indipendentemente
dalla dimensione globale del rigo:
-@lilypond[quote,verbatim,relative=2]
-b1_\markup { \abs-fontsize #20 Sinfonia }
-b1^\markup { \abs-fontsize #8 da }
-b1-\markup { \abs-fontsize #14 camera }
+@lilypond[quote,verbatim]
+\relative b' {
+ b1_\markup { \abs-fontsize #20 Sinfonia }
+ b1^\markup { \abs-fontsize #8 da }
+ b1-\markup { \abs-fontsize #14 camera }
+}
@end lilypond
@cindex pedice
sinistro: nell'esempio seguente, non c'è differenza tra il primo e il
secondo markup.
-@lilypond[quote,verbatim,relative=2]
-d1-\markup { poco }
-f
-d-\markup { \left-align poco }
-f
-d-\markup { \center-align { poco } }
-f
-d-\markup { \right-align poco }
+@lilypond[quote,verbatim]
+\relative {
+ d''1-\markup { poco }
+ f
+ d-\markup { \left-align poco }
+ f
+ d-\markup { \center-align { poco } }
+ f
+ d-\markup { \right-align poco }
+}
@end lilypond
@funindex \halign
L'allineamento orizzontale può essere ritoccato usando un valore numerico:
-@lilypond[quote,verbatim,relative=2]
-a1-\markup { \halign #-1 poco }
-e'
-a,-\markup { \halign #0 poco }
-e'
-a,-\markup { \halign #0.5 poco }
-e'
-a,-\markup { \halign #2 poco }
+@lilypond[quote,verbatim]
+\relative {
+ a'1-\markup { \halign #-1 poco }
+ e'
+ a,-\markup { \halign #0 poco }
+ e'
+ a,-\markup { \halign #0.5 poco }
+ e'
+ a,-\markup { \halign #2 poco }
+}
@end lilypond
@noindent
illustra queste due possibilità; l'ultimo markup in questo esempio non ha un
punto di riferimento e di conseguenza non si muove.
-@lilypond[quote,verbatim,relative=1]
-d2^\markup {
- Acte I
- \raise #2 { Scène 1 }
-}
-a'
-g_\markup {
- \null
- \lower #4 \bold { Très modéré }
-}
-a
-d,^\markup {
- \raise #4 \italic { Une forêt. }
+@lilypond[quote,verbatim]
+\relative {
+ d'2^\markup {
+ Acte I
+ \raise #2 { Scène 1 }
+ }
+ a'
+ g_\markup {
+ \null
+ \lower #4 \bold { Très modéré }
+ }
+ a
+ d,^\markup {
+ \raise #4 \italic { Une forêt. }
+ }
+ a'4 a g2 a
}
-a'4 a g2 a
@end lilypond
@funindex \general-align
degli oggetti testuali in modalità markup. Qualsiasi oggetto interessato
da questi comandi deve essere preceduto da un punto di riferimento:
-@lilypond[quote,verbatim,relative=1]
-d2^\markup {
- Acte I
- \translate #'(-1 . 2) "Scène 1"
-}
-a'
-g_\markup {
- \null
- \general-align #Y #3.2 \bold "Très modéré"
-}
-a
-d,^\markup {
- \null
- \translate-scaled #'(-1 . 2) \teeny "Une forêt."
+@lilypond[quote,verbatim]
+\relative {
+ d'2^\markup {
+ Acte I
+ \translate #'(-1 . 2) "Scène 1"
+ }
+ a'
+ g_\markup {
+ \null
+ \general-align #Y #3.2 \bold "Très modéré"
+ }
+ a
+ d,^\markup {
+ \null
+ \translate-scaled #'(-1 . 2) \teeny "Une forêt."
+ }
+ a'4 a g2 a
}
-a'4 a g2 a
@end lilypond
@cindex markup multilinea
usando del codice PostScript nativo. In tal caso, può essere utile specificare
esplicitamente la dimensione del disegno, come è mostrato sotto:
-@lilypond[quote,verbatim,relative=1]
-c1^\markup {
+@lilypond[quote,verbatim,fragment]
+c'1^\markup {
\combine
\epsfile #X #10 #"./context-example.eps"
\with-dimensions #'(0 . 6) #'(0 . 10)
closepath
stroke"
}
-c
+c'
@end lilypond
Una lista completa dei comandi specifici per la grafica si trova in
Per le note e le alterazioni esistono dei comandi markup appositi:
-@lilypond[quote,verbatim,relative=2]
-a2 a^\markup {
+@lilypond[quote,verbatim,fragment]
+a'2 a'^\markup {
\note #"4" #1
=
\note-by-number #1 #1 #1.5
}
-b1_\markup {
+b'1_\markup {
\natural \semiflat \flat
\sesquiflat \doubleflat
}
\glissando
-a1_\markup {
+a'1_\markup {
\natural \semisharp \sharp
\sesquisharp \doublesharp
}
-\glissando b
+\glissando b'
@end lilypond
Anche altri oggetti della notazione possono essere stampati in
modalità markup:
-@lilypond[quote,verbatim,relative=1]
-g1 bes
-ees\finger \markup \tied-lyric #"4~1"
-fis_\markup { \dynamic rf }
-bes^\markup {
- \beam #8 #0.1 #0.5
-}
-cis
-d-\markup {
- \markalphabet #8
- \markletter #8
+@lilypond[quote,verbatim]
+\relative {
+ g1 bes
+ ees\finger \markup \tied-lyric #"4~1"
+ fis_\markup { \dynamic rf }
+ bes^\markup {
+ \beam #8 #0.1 #0.5
+ }
+ cis
+ d-\markup {
+ \markalphabet #8
+ \markletter #8
+ }
}
@end lilypond
completa di questi simboli e dei loro nomi si trova in
@ref{The Feta font}.
-@lilypond[quote,verbatim,relative=2]
-c2
-c'^\markup { \musicglyph #"eight" }
-c,4
-c,8._\markup { \musicglyph #"clefs.G_change" }
-c16
-c2^\markup { \musicglyph #"timesig.neomensural94" }
+@lilypond[quote,verbatim]
+\relative {
+ c''2
+ c'^\markup { \musicglyph #"eight" }
+ c,4
+ c,8._\markup { \musicglyph #"clefs.G_change" }
+ c16
+ c2^\markup { \musicglyph #"timesig.neomensural94" }
+}
@end lilypond
Un altro modo per stampare glifi non testuali è descritto in
La modalità markup supporta anche i diagrammi per strumenti specifici:
-@lilypond[quote,verbatim,relative=2]
-c1^\markup {
- \fret-diagram-terse #"x;x;o;2;3;2;"
-}
-c^\markup {
- \harp-pedal #"^-v|--ov^"
-}
-c
-c^\markup {
- \combine
- \musicglyph #"accordion.discant"
+@lilypond[quote,verbatim]
+\relative {
+ c''1^\markup {
+ \fret-diagram-terse #"x;x;o;2;3;2;"
+ }
+ c^\markup {
+ \harp-pedal #"^-v|--ov^"
+ }
+ c
+ c^\markup {
\combine
- \raise #0.5 \musicglyph #"accordion.dot"
- \raise #1.5 \musicglyph #"accordion.dot"
+ \musicglyph #"accordion.discant"
+ \combine
+ \raise #0.5 \musicglyph #"accordion.dot"
+ \raise #1.5 \musicglyph #"accordion.dot"
+ }
}
@end lilypond
caso, il blocco @code{\score} annidato deve contenere un blocco @code{\layout},
come è illustrato qui:
-@lilypond[quote,verbatim,relative=1]
-c4 d^\markup {
- \score {
- \relative { c'4 d e f }
- \layout { }
+@lilypond[quote,verbatim]
+\relative {
+ c'4 d^\markup {
+ \score {
+ \relative { c'4 d e f }
+ \layout { }
+ }
}
+ e f |
+ c d e f
}
-e f |
-c d e f
@end lilypond
Una lista completa dei comandi relativi alla notazione musicale si trova
seguente sintassi permette di usare vari caratteri @code{feta} di LilyPond
(non testuali) direttamente nella modalità markup:
-@lilypond[quote,verbatim,relative=2]
-a1^\markup {
+@lilypond[quote,verbatim,fragment]
+a'1^\markup {
\vcenter {
\override #'(font-encoding . fetaBraces)
\lookup #"brace120"
dimensioni alternative. Il valore specificato per @code{font-size} è
la modifica relativa alla dimensione predefinita.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\override Score.RehearsalMark.font-family = #'typewriter
\mark \markup "Ouverture"
\override Voice.TextScript.font-shape = #'italic
\override Voice.TextScript.font-series = #'bold
-d2.^\markup "Allegro"
+d''2.^\markup "Allegro"
\override Voice.TextScript.font-size = #-3
-c4^smaller
+c''4^smaller
@end lilypond
@noindent
nel sistema operativo e riconosciuto da FontConfig, usando la seguente
sintassi:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\override Staff.TimeSignature.font-name = #"Bitstream Charter"
\override Staff.TimeSignature.font-size = #2
\time 3/4
-a1_\markup {
+a'1_\markup {
\override #'(font-name . "Vera Bold")
{ Vera Bold }
}
Il testo vocale può essere allineato a una melodia automaticamente
specificando il nome del contesto voce con @code{\lyricsto}:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
- a1 a4. a8 a2
+ \new Voice = "melody" \relative {
+ a'1 a4. a8 a2
}
\new Lyrics \lyricsto "melody" {
These are the words
Ecco due esempi:
-@lilypond[relative=1,verbatim,quote]
+@lilypond[verbatim,quote]
<<
- \new Voice = "melody" {
- c'2 a f f e e
+ \new Voice = "melody" \relative {
+ c''2 a f f e e
}
\new Lyrics \lyricmode {
c4. -- a -- f -- f -- e2. -- e
Per cambiare l'allineamento delle sillabe, basta impostare la
proprietà @code{self-alignment-X}:
-@lilypond[relative=1,verbatim,quote]
+@lilypond[verbatim,quote]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- c2 e4 g2 f
+ c'2 e4 g2 f
}
\new Lyrics \lyricmode {
\override LyricText.self-alignment-X = #LEFT
usare il carattere @code{_}. Altrimenti si può usare il simbolo
tilde (@code{~}) per ottenere una legatura di valore per il testo.
-@lilypond[quote,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
{
- { \autoBeamOff
- r8 b c fis, fis c' b e,
+ \relative {
+ \autoBeamOff
+ r8 b' c fis, fis c' b e,
}
\addlyrics
{
@item
I melismi vengono creati automaticamente sulle note legate insieme:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- f4 g2 ~ |
+ f''4 g2 ~ |
4 e2 ~ |
8
}
delle legature di portamento sulle note di ogni melisma. Questo è
il modo più comune di inserire il testo:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- f4 g8 ( f e f )
+ f''4 g8 ( f e f )
e8 ( d e2 )
}
\new Lyrics \lyricsto "melody" {
disposte manualmente, purché la travatura automatica sia disabilitata.
Vedi @ref{Setting automatic beam behavior}.
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
\autoBeamOff
- f4 g8[ f e f]
+ f''4 g8[ f e f]
e2.
}
\new Lyrics \lyricsto "melody" {
Un gruppo di note privo di legature sarà trattato come un melisma
se sono comprese tra @code{\melisma} @code{\melismaEnd}.
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- f4 g8
+ f''4 g8
\melisma
f e f
\melismaEnd
solo trattino basso, @code{_}, per ogni nota ulteriore da aggiungere
al melisma.
-@lilypond[verbatim, quote, relative=2]
+@lilypond[verbatim, quote]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- f4 g8 f e f
+ f''4 g8 f e f
e8 d e2
}
\new Lyrics \lyricsto "melody" {
nella melodia senza che indichino i melismi. Per farlo si imposta
@code{melismaBusyProperties}:
-@lilypond[relative=1,verbatim,quote]
+@lilypond[verbatim,quote]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
\set melismaBusyProperties = #'()
- c4 d ( e )
+ c'4 d ( e )
g8 [ f ] f4 ~ 4
}
\new Lyrics \lyricsto "melody" {
Per aumentare lo spazio tra le righe del testo, si imposta la proprietà
@code{minimum-distance} di @code{LyricSpace}.
-@lilypond[relative=1,verbatim,quote,ragged-right]
-{
+@lilypond[verbatim,quote,ragged-right]
+\relative c' {
c c c c
\override Lyrics.LyricSpace.minimum-distance = #1.0
c c c c
I numeri di strofa si aggiungono impostando @code{stanza}:
-@lilypond[quote,ragged-right,verbatim,relative=2]
-\new Voice {
- \time 3/4 g2 e4 a2 f4 g2.
+@lilypond[quote,ragged-right,verbatim]
+\new Voice \relative {
+ \time 3/4 g'2 e4 a2 f4 g2.
} \addlyrics {
\set stanza = #"1. "
Hi, my name is Bert.
Si creano impostando @code{vocalName}. Una versione abbreviata
si inserisce con @code{shortVocalName}.
-@lilypond[ragged-right,quote,verbatim,relative=2]
-\new Voice {
- \time 3/4 g2 e4 a2 f4 g2.
+@lilypond[ragged-right,quote,verbatim]
+\new Voice \relative {
+ \time 3/4 g'2 e4 a2 f4 g2.
} \addlyrics {
\set vocalName = #"Bert "
Hi, my name is Bert.
sezione appartenente a quel personaggio. È possibile fare ciò con
i markup. Spesso si usa un tipo di carattere preciso a questo scopo.
-@lilypond[quote,verbatim,relative=1]
-\clef "G_8"
-c4^\markup \fontsize #1 \smallCaps Kaspar
-c c c
-\clef "bass"
-a4^\markup \fontsize #1 \smallCaps Melchior
-a a a
-\clef "G_8"
-c4^\markup \fontsize #1 \smallCaps Kaspar
-c c c
+@lilypond[quote,verbatim]
+\relative c' {
+ \clef "G_8"
+ c4^\markup \fontsize #1 \smallCaps Kaspar
+ c c c
+ \clef "bass"
+ a4^\markup \fontsize #1 \smallCaps Melchior
+ a a a
+ \clef "G_8"
+ c4^\markup \fontsize #1 \smallCaps Kaspar
+ c c c
+}
@end lilypond
Altrimenti, se ci sono molti cambi di personaggi, è più semplice
In caso di brevi intromissioni può bastare un semplice @code{\markup}.
-@lilypond[quote,verbatim,relative=2]
-a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
-a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
-a4 a a a
+@lilypond[quote,verbatim]
+\relative {
+ a'4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
+ a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
+ a4 a a a
+}
@end lilypond
In caso di frasi più lunghe può essere necessario espandere la musica
necessario inserire delle stanghette fittizie con @code{\bar ""} per
mostrare dove si deve interrompere la linea.
-@lilypond[verbatim,quote,relative=2]
-a4 b c2 |
-\cadenzaOn
-a4 b c2
-a4 b c2
-\bar ""
-a4 b c2
-a4 b c2
-\cadenzaOff
-a4 b c2 |
-a4 b c2 |
+@lilypond[verbatim,quote]
+\relative a' {
+ a4 b c2 |
+ \cadenzaOn
+ a4 b c2
+ a4 b c2
+ \bar ""
+ a4 b c2
+ a4 b c2
+ \cadenzaOff
+ a4 b c2 |
+ a4 b c2 |
+}
@end lilypond
Nei canti le pause si indicano con stanghette modificate.
-@lilypond[verbatim, quote,relative=2]
-a4
-\cadenzaOn
-b c2
-a4 b c2
-\bar "'"
-a4 b c2
-a4 b c2
-\bar ";"
-a4 b c2
-\bar "!"
-a4 b c2
-\bar "||"
+@lilypond[verbatim, quote]
+\relative a' {
+ a4
+ \cadenzaOn
+ b c2
+ a4 b c2
+ \bar "'"
+ a4 b c2
+ a4 b c2
+ \bar ";"
+ a4 b c2
+ \bar "!"
+ a4 b c2
+ \bar "||"
+}
@end lilypond
Altrimenti, talvolta si usa la notazione usata nel canto gregoriano per
delle note nel rigo, ma in realtà produce due righi, di cui il più basso
conserva il colore nero predefinito per le teste delle note.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\override Staff.NoteHead.color = #red
-\new Staff { a }
+\new Staff { a' }
@end lilypond
Questo accade perché non esiste un contesto @code{Staff} quando viene
un altro rigo separato nel quale vengono inserite le note. Il codice
corretto per colorare le teste di tutte le note è
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\new Staff {
\override Staff.NoteHead.color = #red
- a
+ a'
}
@end lilypond
@ignore
Tutorial guidelines: (different from policy.txt!)
-- unless you have a really good reason, use either
+- unless you have a really good reason, use
@lilypond[verbatim,quote]
- or
- @lilypond[verbatim,quote,relative=2]
-
- Don't use any other relative=X commands.
- use "aes" and "ees" instead of "as" and "es". I know it's not
correct Dutch naming, but let's not confuse people with this
以下の例では:
-@lilypond[verbatim,quote,relative=2]
-\key d \major
-cis4 d e fis
+@lilypond[verbatim,quote]
+\relative {
+ \key d \major
+ cis''4 d e fis
+}
@end lilypond
@noindent
そうではなく、@qq{ピッチが B ナチュラルである音符がある} という意味です。@c
A フラット メジャーの調では、@code{b} には臨時記号が付きます:
-@lilypond[verbatim,quote,relative=2]
-\key aes \major
-aes4 c b c
+@lilypond[verbatim,quote]
+\relative {
+ \key aes \major
+ aes'4 c b c
+}
@end lilypond
混乱してしまいましたか？@c
@notation{タイ}はタイが始まる最初の音符にチルド @code{~} を@c
付加することによって作成されます。
-@lilypond[verbatim,quote,relative=2]
-g4~ 4 c2~ | 4~ 8 a~ 2 |
+@lilypond[verbatim,quote]
+\relative { g'4~ 4 c2~ | 4~ 8 a~ 2 | }
@end lilypond
@notation{スラー}は多くの音符に亘って描かれる曲線です。@c
スラーの開始音符と終了音符にはそれぞれ @code{(} と @code{)} を付加します。
-@lilypond[verbatim,quote,relative=2]
-d4( c16) cis( d e c cis d) e( d4)
+@lilypond[verbatim,quote]
+\relative { d''4( c16) cis( d e c cis d) e( d4) }
@end lilypond
しかしながら、あなたは複数のスラーを重ねたり、複数のフレージング スラーを@c
重ねることはできません。
-@lilypond[verbatim,quote,relative=2]
-g4\( g8( a) b( c) b4\)
+@lilypond[verbatim,quote]
+\relative { g'4\( g8( a) b( c) b4\) }
@end lilypond
@smallspace
表していて、より大きな音符のグループに対して使用することができます。@c
スラーとタイはネストさせることができます。
-@lilypond[verbatim,quote,relative=2]
-c4~( c8 d~ 4 e)
+@lilypond[verbatim,quote]
+\relative { c''4(~ c8 d~ 4 e) }
@end lilypond
@seealso
一般的な @notation{アーティキュレーション} はダッシュ @code{-} と単一文字を@c
使うことで音符に付け加えることができます:
-@lilypond[verbatim,quote,relative=2]
-c4-^ c-+ c-- c-!
-c4-> c-. c2-_
+@lilypond[verbatim,quote]
+\relative {
+ c''4-^ c-+ c-- c-!
+ c4-> c-. c2-_
+}
@end lilypond
しかしながらたいていの場合は、LilyPond にアーティキュレーションの方向を@c
決定させるのが一番です。
-@lilypond[verbatim,quote,relative=2]
-c4_-^1 d^. f^4_2-> e^-_+
+@lilypond[verbatim,quote]
+\relative { c''4_-^1 d^. f^4_2-> e^-_+ }
@end lilypond
@end ignore
付きのマークを付け加えることによって作成されます:
-@lilypond[verbatim,quote,relative=2]
-c4\ff c\mf c\p c\pp
+@lilypond[verbatim,quote]
+\relative { c''4\ff c\mf c\p c\pp }
@end lilypond
@notation{クレッシェンド} と @notation{デクレッシェンド} はコマンド @code{\<} と
次の強弱記号 -- 例えば、@code{\f} -- が (デ)クレッシェンドを終わらせます。@c
コマンド @code{\!} を使って終わらせることもできます:
-@lilypond[verbatim,quote,relative=2]
-c4\< c\ff\> c c\!
+@lilypond[verbatim,quote]
+\relative { c''4\< c\ff\> c c\! }
@end lilypond
テキストをあなたの楽譜に追加することができます:
-@lilypond[verbatim,quote,relative=2]
-c2^"espr" a_"legato"
+@lilypond[verbatim,quote,fragment]
+c''2^"espr" a'_"legato"
@end lilypond
追加のフォーマット指定を @code{\markup} コマンドで追加することができます:
-@lilypond[verbatim,quote,relative=2]
-c2^\markup { \bold espr }
-a2_\markup {
+@lilypond[verbatim,quote,fragment]
+c''2^\markup { \bold espr }
+a'2_\markup {
\dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
}
@end lilypond
すべての @notation{連桁} は自動的に描かれます:
-@lilypond[verbatim,quote,relative=2]
-a8 ais d ees r d c16 b a8
+@lilypond[verbatim,quote]
+\relative { a'8 ais d ees r d c16 b a8 }
@end lilypond
あなたが自動連桁を好まない場合、手動で上書きすることもできます。@c
ある箇所の連桁を修正するには、連桁を付ける最初の音符に @code{[} を、@c
最後の音符に @code{]} を付け加えます。
-@lilypond[verbatim,quote,relative=2]
-a8[ ais] d[ ees r d] c16 b a8
+@lilypond[verbatim,quote]
+\relative { a'8[ ais] d[ ees r d] c16 b a8 }
@end lilypond
もしあなたが楽譜全体あるいは一部で自動連桁を Off にしたいのなら、@c
自動連桁を Off にするにはコマンド @code{\autoBeamOff} を、@c
再度自動連桁を On にするには @code{\autoBeamOn} を使用します。
-@lilypond[verbatim,quote,relative=2]
-\autoBeamOff
-a8 c b4 d8. c16 b4 |
-\autoBeamOn
-a8 c b4 d8. c16 b4 |
+@lilypond[verbatim,quote]
+\relative {
+ \autoBeamOff
+ a'8 c b4 d8. c16 b4 |
+ \autoBeamOn
+ a8 c b4 d8. c16 b4 |
+}
@end lilypond
@code{\partial 4} は 4 分音符のピックアップであり、@c
@code{\partial 8} は 8 分音符のピックアップです。
-@lilypond[verbatim,quote,relative=2]
-\partial 8 f8 |
-c2 d |
+@lilypond[verbatim,quote]
+\relative {
+ \partial 8 f''8 |
+ c2 d |
+}
@end lilypond
3 連符は 2 つの音符の代わりに 3 つの音符を演奏しますので、@notation{連符}
の分数は 3/2 となります。
-@lilypond[verbatim,quote,relative=2]
-\tuplet 3/2 { f8 g a }
-\tuplet 3/2 { c8 r c }
-\tuplet 3/2 { f,8 g16[ a g a] }
-\tuplet 3/2 { d4 a8 }
+@lilypond[verbatim,quote]
+\relative {
+ \tuplet 3/2 { f''8 g a }
+ \tuplet 3/2 { c8 r c }
+ \tuplet 3/2 { f,8 g16[ a g a] }
+ \tuplet 3/2 { d4 a8 }
+}
@end lilypond
キーワード @code{\appoggiatura} や @code{\acciaccatura} による接頭音楽表記に@c
よっても作成されます:
-@lilypond[verbatim,quote,relative=2]
-c2 \grace { a32 b } c2 |
-c2 \appoggiatura b16 c2 |
-c2 \acciaccatura b16 c2 |
+@lilypond[verbatim,quote]
+\relative {
+ c''2 \grace { a32 b } c2 |
+ c2 \appoggiatura b16 c2 |
+ c2 \acciaccatura b16 c2 |
+}
@end lilypond
LilyPond 入力ファイルの中では、音楽は @notation{音楽表記} によって表されます。@c
単一の音符は 1 つの音楽表記になります:
-@lilypond[verbatim,quote,relative=2]
-a4
+@lilypond[verbatim,quote,fragment]
+a'4
@end lilypond
表記を波括弧で括ることによって @emph{複合音楽表記} が作成されます。@c
2 つの音符を持つ複合音楽表記を作成しました:
-@lilypond[verbatim,quote,relative=2]
-{ a4 g4 }
+@lilypond[verbatim,quote]
+\relative { a'4 g4 }
@end lilypond
波括弧の中にある音楽表記 (例えば、いくつかの音符) のグループはそれらが@c
(つまり、それぞれの音符は前の音符に続くということです)。@c
もう 1 つ音楽表記の結果を示します:
-@lilypond[verbatim,quote,relative=2]
-{ { a4 g } f4 g }
+@lilypond[verbatim,quote]
+\relative { { a'4 g } f4 g }
@end lilypond
保持しています) が同時進行するように組み合わされています:
@lilypond[verbatim,quote]
-\relative {
- <<
- { a'2 g }
- { f2 e }
- { d2 b }
- >>
-}
+<<
+ \relative { a'2 g }
+ \relative { f'2 e }
+ \relative { d'2 b }
+>>
@end lilypond
入力の各レベルに対して異なる量のスペースをインデントとして与えていることに@c
これらの @code{Staff} 要素は @code{<<} と @code{>>} で並列に組み合わされます:
@lilypond[verbatim,quote]
-\relative {
- <<
- \new Staff { \clef "treble" c''4 }
- \new Staff { \clef "bass" c,,4 }
- >>
-}
+<<
+ \new Staff { \clef "treble" c''4 }
+ \new Staff { \clef "bass" c4 }
+>>
@end lilypond
コマンド @code{\new} は 1 つの @q{記譜コンテキスト} を導入します。@c
複合リズム (polyrhythmic) の楽譜よりも一般的だからです。
@lilypond[verbatim,quote]
-\relative {
- <<
- \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
- \new Staff { \clef "bass" c,,4 }
- >>
-}
+<<
+ \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
+ \new Staff { \clef "bass" c4 }
+>>
@end lilypond
@node 譜表グループ
小さな例を挙げます:
@lilypond[verbatim,quote]
-\relative {
- \new PianoStaff <<
- \new Staff { \time 2/4 c''4 e | g g, | }
- \new Staff { \clef "bass" c,,4 c' | e c | }
- >>
-}
+\new PianoStaff <<
+ \new Staff \relative { \time 2/4 c''4 e | g g, | }
+ \new Staff \relative { \clef "bass" c4 c' | e c | }
+>>
@end lilypond
ピアノ譜以外の譜表グループ化はオーケストラ譜向けには @code{\new GrandStaff}
その演奏時間は山括弧を閉じた後に置かれなければならないということに@c
注意してください。
-@lilypond[verbatim,quote,relative=2]
-r4 <c e g> <c f a>2
+@lilypond[verbatim,quote]
+\relative { r4 <c'' e g> <c f a>2 }
@end lilypond
和音は単一の音符とほとんど同じであると考えてください:
例えば、あなたは連桁やタイなどのマークをコードに組み合わせることができます。@c
それらは山括弧の外側に置かれなければなりません。
-@lilypond[verbatim,quote,relative=2]
-r4 <c e g>~ <c f a>2 |
-<c e g>8[ <c f a> <c e g> <c f a>]
- <c e g>8\>[ <c f a> <c f a> <c e g>]\! |
-r4 <c e g>8.\p <c f a>16( <c e g>4-. <c f a>) |
+@lilypond[verbatim,quote]
+\relative {
+ r4 <c'' e g>~ <c f a>2 |
+ <c e g>8[ <c f a> <c e g> <c f a>]
+ <c e g>8\>[ <c f a> <c f a> <c e g>]\! |
+ r4 <c e g>8.\p <c f a>16( <c e g>4-. <c f a>) |
+}
@end lilypond
@seealso
タイが 2 つの連符にまたがっていて、@c
さらにフレージング スラーが連符の外にまで伸びています (行 3 と 4)。
-@lilypond[quote,verbatim,ragged-right,relative=1]
-r16[ g \tuplet 3/2 { r16 e'8] }
-g,16( a \tuplet 3/2 { b16 d) e }
-g,8[( a \tuplet 3/2 { b8 d) e~] } |
-\tuplet 5/4 { e32\( a, b d e } a4.\)
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ r16[ g' \tuplet 3/2 { r16 e'8] }
+ g,16( a \tuplet 3/2 { b16 d) e }
+ g,8[( a \tuplet 3/2 { b8 d) e~] } |
+ \tuplet 5/4 { e32\( a, b d e } a4.\)
+}
@end lilypond
以下では、上記の例の和音を 2 つのボイスに分け、経過音とスラーを付け加えています:
-@lilypond[quote,verbatim,ragged-right,relative=2]
-\key g \major
-% Voice "1" Voice "2"
-<< { g4 fis8( g) a4 g } \\ { d4 d d d } >>
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ % Voice "1" Voice "2"
+ << { g'4 fis8( g) a4 g } \\ { d4 d d d } >>
+}
@end lilypond
この例では 2 番目のボイスの符幹が下向きになっていることに気付いてください。
しかしながら、各小節に多くの音符がある場合、@c
以下のようにボイス毎に分離した方が良いかもしれません:
-@lilypond[quote,verbatim,ragged-right,relative=2]
-\key d \minor
-<< {
- % Voice "1"
- r4 g g4. a8 |
- bes4 bes c bes |
- a2. r4 |
-} \\ {
- % Voice "2"
- d,2 d4 g |
- g4 g g8( a) g4 |
- fis2. s4 |
-} >>
+@lilypond[quote,verbatim,ragged-right]
+<<
+ \key d \minor
+ \relative { % Voice "1"
+ r4 g' g4. a8 |
+ bes4 bes c bes |
+ a2. r4 |
+ } \\
+ \relative { % Voice "2"
+ d'2 d4 g |
+ g4 g g8( a) g4 |
+ fis2. s4 |
+ }
+>>
@end lilypond
記譜要素を出力に追加しなければなりません。@c
例えば、以下の例で入力と出力を比較してください:
-@lilypond[quote,verbatim,relative=2]
-cis4 cis2. | a4 a2. |
+@lilypond[quote,verbatim]
+\relative { cis''4 cis2. | a4 a2. | }
@end lilypond
この入力は内容がやや乏しいですが、出力では小節線、臨時記号、音部記号、@c
変更は直前にセットされた値から行われるのではなく、デフォルト値から行われます。
@c KEEP LY
-@lilypond[quote,verbatim,ragged-right,relative=1]
-c4 d
-% 符頭を小さくします
-\set fontSize = #-4
-e4 f |
-% 符頭を大きくします
-\set fontSize = #2.5
-g4 a
-% デフォルトのサイズに戻します
-\unset fontSize
-b4 c |
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ c'4 d
+ % 符頭を小さくします
+ \set fontSize = #-4
+ e4 f |
+ % 符頭を大きくします
+ \set fontSize = #2.5
+ g4 a
+ % デフォルトのサイズに戻します
+ \unset fontSize
+ b4 c |
+}
@end lilypond
これまでにいくつかのタイプのプロパティ値をセットする方法を見てきました。@c
@cindex color property, example (color プロパティの例)
@cindex NoteHead, example of overriding (NoteHead をオーバライドする例)
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-c4 d
-\override NoteHead.color = #red
-e4 f |
-\override NoteHead.color = #green
-g4 a b c |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ c'4 d
+ \override NoteHead.color = #red
+ e4 f |
+ \override NoteHead.color = #green
+ g4 a b c |
+}
@end lilypond
@cindex color property, example (color プロパティの例)
@cindex NoteHead, example of overriding (NoteHead をオーバライドする例)
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-c4 d
-\override NoteHead.color = #red
-e4 f |
-\override NoteHead.color = #green
-g4 a
-\revert NoteHead.color
-b4 c |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ c'4 d
+ \override NoteHead.color = #red
+ e4 f |
+ \override NoteHead.color = #green
+ g4 a
+ \revert NoteHead.color
+ b4 c |
+}
@end lilypond
@cindex color property, example (color プロパティの例)
@cindex NoteHead, example of overriding (NoteHead をオーバライドする例)
-@lilypond[quote,verbatim,relative=1]
-c4 d
-\override NoteHead.color = #red
-e4 f |
-\once \override NoteHead.color = #green
-g4 a
-\revert NoteHead.color
-b c |
+@lilypond[quote,verbatim]
+\relative {
+ c'4 d
+ \override NoteHead.color = #red
+ e4 f |
+ \once \override NoteHead.color = #green
+ g4 a
+ \revert NoteHead.color
+ b c |
+}
@end lilypond
@code{\once} 接頭辞をさまざまな定義済みコマンドの前に置くことで、@c
@cindex font-size property, example (font-size プロパティの例)
@cindex NoteHead, example of overriding (NoteHead をオーバライドする例)
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-<c e g>4
-\once \override NoteHead.font-size = #-3
-<c e g>4
-<c e g>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ <c' e g>4
+ \once \override NoteHead.font-size = #-3
+ <c e g>4
+ <c e g>4
+}
@end lilypond
このオーバライドは和音の中にある@emph{すべて}の符頭に影響を与えています。@c
@cindex font-size property, example (font-size プロパティの例)
@cindex @code{\tweak}, example (@code{\tweak} の例)
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-<c e g>4
-<c \tweak font-size #-3 e g>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ <c' e g>4
+ <c \tweak font-size #-3 e g>4
+}
@end lilypond
@code{\tweak} の構文は @code{\override} コマンドの構文とは@c
@cindex color property, example (color プロパティの例)
@cindex @code{\tweak}, example (@code{\tweak} の例)
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-a4^"Black"
+@lilypond[quote,fragment,ragged-right,verbatim]
+a'4^"Black"
-\tweak color #red ^"Red"
-\tweak color #green _"Green"
@end lilypond
オブジェクト名を指定して LilyPond がそれらのオブジェクトの起源を@c
追跡できるようにすることで、@code{\tweak} で調整することができます:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-<\tweak Accidental.color #red cis4
- \tweak Accidental.color #green es
- g>
+@lilypond[quote,fragment,ragged-right,verbatim]
+<\tweak Accidental.color #red cis''4
+ \tweak Accidental.color #green es''
+ g''>
@end lilypond
この長い形式の @code{\tweak} コマンドは以下のように記述することができます:
@cindex direction property, example (direction プロパティの例)
@cindex color property, example (color プロパティの例)
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
-\tweak direction #up
-\tuplet 3/4 {
- \tweak color #red
- \tuplet 3/2 { c8[ c c] }
- \tuplet 3/2 { c8[ c c] }
- \tuplet 3/2 { c8[ c c] }
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ \tweak direction #up
+ \tuplet 3/4 {
+ \tweak color #red
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ }
}
@end lilypond
@cindex transparent property, example (transparent プロパティの例)
@cindex TupletNumber, example of overriding (TupletNumber をオーバライドする例)
-@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
-\tuplet 3/2 { c8[ c c] }
-\once \override TupletNumber.text = #tuplet-number::calc-fraction-text
-\tuplet 3/2 {
- c8[ c]
- c8[ c]
- \once \override TupletNumber.transparent = ##t
- \tuplet 3/2 { c8[ c c] }
- \tuplet 3/2 { c8[ c c] }
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \tuplet 3/2 { c'8[ c c] }
+ \once \override TupletNumber.text = #tuplet-number::calc-fraction-text
+ \tuplet 3/2 {
+ c8[ c]
+ c8[ c]
+ \once \override TupletNumber.transparent = ##t
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ }
}
@end lilypond
@c Mozart, Die Zauberflöte Nr.7 Duett
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8 bes[( g]) g |
+ \relative {
+ r4 bes'8 bes[( g]) g |
g8[( es]) es d[( f]) as |
as8 g
}
@cindex Slur example of overriding (Slur をオーバライドする例)
@cindex thickness property, example (thickness プロパティの例)
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
+ \relative {
% Increase thickness of all following slurs from 1.2 to 5.0
\override Slur.thickness = #5.0
- r4 bes8 bes[( g]) g |
+ r4 bes'8 bes[( g]) g |
g8[( es]) es d[( f]) as |
as8 g
}
@cindex thickness property, example (thickness プロパティの例)
@c KEEP LY
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8
+ \relative {
+ r4 bes'8
% 直後にあるスラーのみを太くします
\once \override Slur.thickness = #5.0
bes8[( g]) g |
@cindex thickness property, example (thickness プロパティの例)
@c KEEP LY
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8
+ \relative {
+ r4 bes'8
% 直後にあるスラーのみを太くします
\once \override Slur.thickness = #5.0
bes[( g]) g |
@cindex thickness property, example (thickness プロパティの例)
@c KEEP LY
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8
+ \relative {
+ r4 bes'8
% 以後のスラーの太さを 1.2 から 5.0 に増やします
\override Slur.thickness = #5.0
bes[( g]) g |
@cindex LyricText, example of overriding (Lyric をオーバライドする例)
@cindex @code{\addlyrics}, example (@code{\addlyrics} の例)
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8 bes[( g]) g |
+ \relative {
+ r4 bes'8 bes[( g]) g |
g8[( es]) es d[( f]) as |
as8 g
}
@cindex BarLine, example of overriding (BarLine をオーバライドする例)
@cindex stencil property, example (stencil プロパティの例)
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override BarLine.stencil = ##f
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex BarLine, example of overriding (BarLine をオーバライドする例)
@cindex stencil property, example (stencil プロパティの例)
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.stencil = ##f
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
短くしたコマンド @code{\omit} が用意されています:
@funindex \omit
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\omit Staff.BarLine
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
この場合、@code{point-stencil} を使ってサイズが 0 のステンシル (型、型紙) を@c
オブジェクトにセットします:
-@lilypond[quote,verbatim,relative=2]
-{
- c4 c
+@lilypond[quote,verbatim]
+\relative {
+ c''4 c
\once \override NoteHead.stencil = #point-stencil
c4 c
}
@cindex BarLine, example of overriding (BarLine をオーバライドする例)
@cindex break-visibility property, example (break-visibility プロパティの例)
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.break-visibility = ##(#f #f #f)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex TimeSignature, example of overriding (TimeSignature をオーバライドする例)
@cindex transparent property, example (transparent プロパティの例)
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.TimeSignature.transparent = ##t
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
短くしたコマンド @code{\hide} が用意されています:
@funindex \hide
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\hide Staff.TimeSignature
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex TimeSignature, example of overriding (TimeSignature をオーバライドする例)
@cindex stencil property, example (stencil プロパティの例)
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\omit Staff.TimeSignature
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex BarLine, example of overriding (BarLine をオーバライドする例)
@cindex color property, example (color プロパティの例)
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.color = #white
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex BarLine, example of overriding (BarLine をオーバライドする例)
@cindex color property, example (color プロパティの例)
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.color = #(x11-color 'white)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex BarLine, example of overriding (BarLine をオーバライドする例)
@cindex color property, example (color プロパティの例)
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.color = #(rgb-color 1 1 1)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex color property, example (color プロパティの例)
@cindex x11-color, example of using (x11-color の使用例)
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.StaffSymbol.color = #(x11-color 'grey30)
\override Staff.TimeSignature.color = #(x11-color 'grey60)
\override Voice.NoteHead.color = #(x11-color 'grey85)
\override Voice.Stem.color = #(x11-color 'grey85)
\override Staff.BarLine.color = #(x11-color 'grey10)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex alignAboveContext property, example (alignAboveContext プロパティの例)
@cindex @code{\with}, example (@code{\with} の例)
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex Clef, example of overriding (Clef をオーバライドする例)
@cindex TimeSignature, example of overriding (TimeSignature をオーバライドする例)
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex TimeSignature, example of overriding (TimeSignature をオーバライドする例)
@c KEEP LY
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
短縮形 @code{\hide} と @code{\omit} を使うことができ、結果として@c
以下のようになります:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex fontSize property, example (fontSize プロパティの例)
@c KEEP LY
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex staff-space property, example (staff-space プロパティの例)
@cindex stencil property, example (stencil プロパティの例)
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex markup example (マークアップの例)
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-c2^"Text1"
-c2^"Text2" |
-c2^"Text3"
-c2^"Text4" |
+@lilypond[quote,fragment,ragged-right,verbatim]
+c''2^"Text1"
+c''2^"Text2" |
+c''2^"Text3"
+c''2^"Text4" |
@end lilypond
デフォルトでは、譜も互いにできるだけ近くなるよう配置されます
@cindex Fingering, example of overriding (Fingering をオーバライドする例)
@cindex direction property, example (direction プロパティの例)
-@lilypond[quote,verbatim,relative=2]
-c4-5 a-3 f-1 c'-5 |
-\override Fingering.direction = #DOWN
-c4-5 a-3 f-1 c'-5 |
-\override Fingering.direction = #UP
-c4-5 a-3 f-1 c'-5 |
+@lilypond[quote,verbatim]
+\relative {
+ c''4-5 a-3 f-1 c'-5 |
+ \override Fingering.direction = #DOWN
+ c4-5 a-3 f-1 c'-5 |
+ \override Fingering.direction = #UP
+ c4-5 a-3 f-1 c'-5 |
+}
@end lilypond
しかしながら、@code{direction} プロパティをオーバライドすることは、@c
@cindex fingering example (運指法記号の例)
-@lilypond[quote,verbatim,relative=2]
-c4-5 a-3 f-1 c'-5 |
-c4_5 a_3 f_1 c'_5 |
-c4^5 a^3 f^1 c'^5 |
+@lilypond[quote,verbatim]
+\relative {
+ c''4-5 a-3 f-1 c'-5 |
+ c4_5 a_3 f_1 c'_5 |
+ c4^5 a^3 f^1 c'^5 |
+}
@end lilypond
@code{direction} プロパティは和音では無視されますが、@c
@cindex fingering example (運指法記号の例)
-@lilypond[quote,verbatim,relative=2]
-<c-5 g-3>4
-<c-5 g-3 e-2>4
-<c-5 g-3 e-2 c-1>4
+@lilypond[quote,verbatim]
+\relative {
+ <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 fingering example (運指法記号の例)
-@lilypond[quote,verbatim,relative=2]
-<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
+@lilypond[quote,verbatim]
+\relative {
+ <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
@code{\set fingeringOrientations} コマンドを使うことによって和音の中に@c
@cindex @code{\set}, example of using (@code{\set} の使用例)
@cindex fingeringOrientations property, example (fingeringOrientations プロパティの例)
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-\set fingeringOrientations = #'(left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
-\set fingeringOrientations = #'(left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4 |
-\set fingeringOrientations = #'(up left down)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
-\set fingeringOrientations = #'(up left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4 |
-\set fingeringOrientations = #'(right)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \set fingeringOrientations = #'(left)
+ <f'-2>4
+ <c-1 e-2 g-3 b-5>4
+ \set fingeringOrientations = #'(left)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4 |
+ \set fingeringOrientations = #'(up left down)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4
+ \set fingeringOrientations = #'(up left)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4 |
+ \set fingeringOrientations = #'(right)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4
+}
@end lilypond
@noindent
デフォルト値は内部リファレンスの @code{Fingering} オブジェクトのページから
@w{@code{-5}} であることがわかるので、@w{@code{-7}} にセットしてみましょう:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-\override Fingering.font-size = #-7
-\set fingeringOrientations = #'(left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
-\set fingeringOrientations = #'(left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4 |
-\set fingeringOrientations = #'(up left down)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
-\set fingeringOrientations = #'(up left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4 |
-\set fingeringOrientations = #'(right)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \override Fingering.font-size = #-7
+ \set fingeringOrientations = #'(left)
+ <f'-2>4
+ <c-1 e-2 g-3 b-5>4
+ \set fingeringOrientations = #'(left)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4 |
+ \set fingeringOrientations = #'(up left down)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4
+ \set fingeringOrientations = #'(up left)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4 |
+ \set fingeringOrientations = #'(right)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4
+}
@end lilypond
@cindex bound-details property, example (bound-details プロパティの例)
@c KEEP LY
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
+@lilypond[quote,fragment,ragged-right,verbatim]
% 以降のテキスト スパナの詳細を設定します
\override TextSpanner.bound-details.left.text
= \markup { \small \bold Slower }
\dynamicUp
% オッターバ囲みの開始
\ottava #1
-c'4 \startTextSpan
+c''4 \startTextSpan
% 強弱テキストとヘアピンを付け加えます
-c4\pp\<
-c4
+c''4\pp\<
+c''4
% テキスト スクリプトを付け加えます
-c4^Text |
-c4 c
+c''4^Text |
+c''4 c''
% 強弱テキストを付け加え、強弱ヘアピンを終わらせます
-c4\ff c \stopTextSpan |
+c''4\ff c'' \stopTextSpan |
% オッターバ囲みを終わらせます
\ottava #0
-c,4 c c c |
+c'4 c' c' c' |
@end lilypond
この例はテキスト スパナ -- 音楽の上に置かれる延長線付きのテキスト -- の@c
@cindex bound-details property, example (bound-details プロパティの例)
@c KEEP LY
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
+@lilypond[quote,fragment,ragged-right,verbatim]
% 以降のテキスト スパナの詳細を設定します
\override TextSpanner.bound-details.left.text
= \markup { \small \bold Slower }
\once \override Staff.OttavaBracket.outside-staff-priority = #340
% オッターバ囲みの開始
\ottava #1
-c'4 \startTextSpan
+c''4 \startTextSpan
% 強弱テキストを付け加えます
-c4\pp
+c''4\pp
% 強弱の線スパナを付け加えます
-c4\<
+c''4\<
% テキスト スクリプトを付け加えます
-c4^Text |
-c4 c
+c''4^Text |
+c''4 c''
% 強弱テキストを付け加えます
-c4\ff c \stopTextSpan |
+c''4\ff c'' \stopTextSpan |
% オッターバ囲みを終わらせます
\ottava #0
-c,4 c c c |
+c'4 c' c' c' |
@end lilypond
これらのオブジェクトのいくつか
@code{outside-staff-priority} 値に従って配置することができます。@c
ここで、2 つの方法の効果を示す例を挙げます:
-@lilypond[quote,verbatim,relative=2]
-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 |
-\once \override Slur.outside-staff-priority = #500
-c4( c^\markup { \tiny \sharp } d4.) c8 |
+@lilypond[quote,verbatim]
+\relative c'' {
+ 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 |
+ \once \override Slur.outside-staff-priority = #500
+ c4( c^\markup { \tiny \sharp } d4.) c8 |
+}
@end lilypond
@code{outside-staff-priority} は、個々のオブジェクトの垂直方向の配置を@c
@cindex TextScript, example of overriding (TextScript をオーバライドする例)
@cindex outside-staff-priority property, example (outside-staff-priority プロパティの例)
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-c2^"Text1"
-c2^"Text2" |
+@lilypond[quote,fragment,ragged-right,verbatim]
+c''2^"Text1"
+c''2^"Text2" |
\once \override TextScript.outside-staff-priority = #500
-c2^"Text3"
-c2^"Text4" |
+c''2^"Text3"
+c''2^"Text4" |
@end lilypond
これはたしかに @qq{Text3} を @qq{Text4} の上に配置しています。@c
テキストの配置に便宜をはかる必要がある限り、音符の間隔を広げます:
@c KEEP LY
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,verbatim]
\textLengthOn % 音符の間隔を広げてテキストに揃えます
-c2^"Text1"
-c2^"Text2" |
-c2^"Text3"
-c2^"Text4" |
+c''2^"Text1"
+c''2^"Text2" |
+c''2^"Text3"
+c''2^"Text4" |
@end lilypond
デフォルトの動作に戻すためのコマンドは @code{\textLengthOff} です。@c
@cindex outside-staff-priority property, example (outside-staff-priority プロパティの例)
@c KEEP LY
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-% このマークアップは短いため衝突は起きません
-c2^"Tex" c'' |
-R1 |
-
-% このマークアップは長くて納まりきらないため、上に押し上げられます
-c,,2^"Text" c'' |
-R1 |
-
-% 衝突回避を OFF にします
-\once \override TextScript.outside-staff-priority = ##f
-c,,2^"Long Text " c'' |
-R1 |
-
-% 衝突回避を OFF にします
-\once \override TextScript.outside-staff-priority = ##f
-\textLengthOn % そして textLengthOn を ON にします
-c,,2^"Long Text " % 後ろにスペースが付け加えられます
-c''2 |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ % このマークアップは短いため衝突は起きません
+ c''2^"Tex" c'' |
+ R1 |
+
+ % このマークアップは長くて納まりきらないため、上に押し上げられます
+ c,,2^"Text" c'' |
+ R1 |
+
+ % 衝突回避を OFF にします
+ \once \override TextScript.outside-staff-priority = ##f
+ c,,2^"Long Text " c'' |
+ R1 |
+
+ % 衝突回避を OFF にします
+ \once \override TextScript.outside-staff-priority = ##f
+ \textLengthOn % そして textLengthOn を ON にします
+ c,,2^"Long Text " % 後ろにスペースが付け加えられます
+ c''2 |
+}
@end lilypond
このことは、以下の例のように、@c
到底受け入れられない結果を生み出す可能性があります:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-\clef "bass"
-\key aes \major
-\time 9/8
-\dynamicUp
-bes4.~\f\< \( bes4 bes8 des4\ff\> c16 bes\! |
-ees,2.~\)\mf ees4 r8 |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \clef "bass"
+ \key aes \major
+ \time 9/8
+ \dynamicUp
+ bes4.~\f\< \( bes4 bes8 des4\ff\> c16 bes\! |
+ ees,2.~\)\mf ees4 r8 |
+}
@end lilypond
しかしながら、音符とそれに付けられた強弱記号が互いに近い場合、@c
@cindex Script, example of overriding (Script をオーバライドする例)
@cindex padding property, example (padding プロパティの例)
-@lilypond[quote,fragment,relative=1,verbatim]
-c2\fermata
+@lilypond[quote,fragment,verbatim]
+c'2\fermata
\override Script.padding = #3
b2\fermata
@end lilypond
@cindex padding property, example (padding プロパティの例)
@c KEEP LY
-@lilypond[quote,fragment,relative=1,verbatim]
+@lilypond[quote,fragment,verbatim]
% これは機能しません。この下を見てください
\override MetronomeMark.padding = #3
\tempo 4 = 120
-c1 |
+c'1 |
% これは機能します
\override Score.MetronomeMark.padding = #3
\tempo 4 = 80
-d1 |
+d'1 |
@end lilypond
2 番目の例では、ある特定のオブジェクトを扱うのはどのコンテキストなのかを@c
@cindex staff-padding property, example (staff-padding プロパティの例)
@c KEEP LY
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,verbatim]
\dynamicUp
% 幅を 1 単位広げます
\override DynamicText.extra-spacing-width = #'(-0.5 . 0.5)
% 強弱記号を譜から 2 単位上のベース ラインに揃えます
\override DynamicLineSpanner.staff-padding = #2
-a4\f b\mf c\mp b\p
+\relative { a'4\f b\mf c\mp b\p }
@end lilypond
@cindex StringNumber, example of overriding (StringNumber をオーバライドする例)
@cindex self-alignment-X property, example (self-alignment-X プロパティの例)
-@lilypond[quote,fragment,ragged-right,verbatim,relative=3]
+@lilypond[quote,fragment,ragged-right,verbatim]
\voiceOne
-<a\2>
+<a''\2>
\once \override StringNumber.self-alignment-X = #RIGHT
-<a\2>
+<a''\2>
@end lilypond
同時に起こる音符と休符に対してのみ行われるからです。@c
以下に、このタイプの衝突の例を挙げます:
-@lilypond[quote,verbatim,fragment,ragged-right, relative=1]
-<< { c4 c c c } \\ { R1 } >>
+@lilypond[quote,verbatim,ragged-right]
+<< \relative { c'4 c c c } \\ { R1 } >>
@end lilypond
ここでの最良の解決策は、複数小節に亘る休符を下へ移動させることです。@c
@cindex MultiMeasureRest, example of overriding (MultiMeasureRest をオーバライドする例)
@cindex staff-position property, example (staff-position プロパティの例)
-@lilypond[quote,verbatim,fragment,ragged-right, relative=1]
+@lilypond[quote,verbatim,ragged-right]
<<
- { c4 c c c }
+ \relative { c'4 c c c }
\\
\override MultiMeasureRest.staff-position = #-8
{ R1 }
ここで、フレージング スラーとスラーが衝突している例を示します:
-@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
-a8 \( ( a'16 ) a \)
+@lilypond[quote,verbatim,ragged-right]
+\relative { a'8 \( ( a'16 ) a \) }
@end lilypond
@cindex PhrasingSlur, example of overriding (PhrasingSlur をオーバライドする例)
設定すると、LilyPond は候補の中から両端の位置が最も設定に近いフレージング
スラーを選択します:
-@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+@lilypond[quote,verbatim,fragment,ragged-right]
\once \override PhrasingSlur.positions = #'(2.5 . 4.5)
-a8 \( ( a'16 ) a \)
+a'8 \( ( a''16 ) a'' \)
@end lilypond
これで改善されました。@c
通常、タイで結べるのは同じボイスの中にある 2 つ音符だけです。@c
2 つのボイスを使い、そのうちの 1 つにタイで結んだ音符を置きます:
-@lilypond[quote,fragment,relative=2]
-<< { b8~ 8\noBeam } \\ { b8[ g] } >>
+@lilypond[quote]
+<< { b'8~ 8\noBeam } \\ { b'8[ g'] } >>
@end lilypond
@noindent
score を作成するのに用いられます:
@c KEEP LY
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- \new Staff {
+ \new Staff \relative {
% 暗黙的に Voice コンテキストが作成されます
- c4 c
+ c''4 c
}
- \new Staff {
- d4 d
+ \new Staff \relative {
+ d''4 d
}
>>
@end lilypond
@noindent
そして、1 つの譜に複数のボイスが配置されます:
-@lilypond[quote,verbatim,relative=2]
-<<
- \new Staff <<
- \new Voice {
- \voiceOne
- c8 c c4 c c
- }
- \new Voice {
- \voiceTwo
- g4 g g g
- }
- >>
+@lilypond[quote,verbatim]
+\new Staff <<
+ \new Voice \relative {
+ \voiceOne
+ c''8 c c4 c c
+ }
+ \new Voice \relative {
+ \voiceTwo
+ g'4 g g g
+ }
>>
@end lilypond
例え同じ名前を持つコンテキストが存在していたとしても、常に全く新たな@c
コンテキストを作成します:
-@lilypond[quote,verbatim,relative=2]
-<<
- \new Staff <<
- \new Voice = "A" {
- \voiceOne
- c8 c c4 c c
- }
- \new Voice = "A" {
- \voiceTwo
- g4 g g g
- }
- >>
+@lilypond[quote,verbatim]
+\new Staff <<
+ \new Voice = "A" \relative {
+ \voiceOne
+ c''8 c c4 c c
+ }
+ \new Voice = "A" \relative {
+ \voiceTwo
+ g'4 g g g
+ }
>>
@end lilypond
(一般に、@code{ChordNames}, @code{Voice}, @code{TabVoice},
あるいは @code{Lyrics} です)。
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
\set Score.autoBeaming = ##f
-<<
- {
- e8 e e e
- \set autoBeaming = ##t
- e8 e e e
- } \\ {
- c8 c c c c8 c c c
- }
->>
+\relative {
+ e''8 e e e
+ \set autoBeaming = ##t
+ e8 e e e
+} \\
+\relative {
+ c''8 c c c c8 c c c
+}
@end lilypond
変更は @q{オンザフライ} (その場、その時々) で適用されるため、@c
(この場合は、@code{Voice} です) にセットしようと試みても、効果はありません。@c
なぜなら、@code{skipBars} は @code{Score} コンテキストのプロパティだからです。
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
R1*2
\set skipBars = ##t
R1*2
音楽表記を囲っているコンテキストにセットされたプロパティは、@c
囲まれているコンテキストの中にある @code{\unset} では変更されません:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
\set Score.autoBeaming = ##t
-<<
- {
- \unset autoBeaming
- e8 e e e
- \unset Score.autoBeaming
- e8 e e e
- } \\ {
- c8 c c c c8 c c c
- }
->>
+\relative {
+ \unset autoBeaming
+ e''8 e e e
+ \unset Score.autoBeaming
+ e8 e e e
+} \\
+\relative {
+ c''8 c c c c8 c c c
+}
@end lilypond
@code{\set} と同様に、
@code{\set} の前に @code{\once} を置くと、@c
その設定は単一の時間ステップにだけ適用されます:
-@lilypond[quote,verbatim,relative=2]
-c4
+@lilypond[quote,fragment,verbatim]
+c''4
\once \set fontSize = #4.7
-c4
-c4
+c''4
+c''4
@end lilypond
利用可能なすべてのコンテキスト プロパティについての完全な記述は、@c
例えば、@code{Stem} オブジェクトの @code{thickness} プロパティを@c
オーバライドすることによって、符幹の太さを太くすることができます:
-@lilypond[quote,verbatim,relative=2]
-c4 c
+@lilypond[quote,fragment,verbatim]
+c''4 c''
\override Voice.Stem.thickness = #3.0
-c4 c
+c''4 c''
@end lilypond
@code{\override} でコンテキストが指定されていない場合、その下にある@c
コンテキストに適用されます:
-@lilypond[quote,verbatim,relative=2]
-{ \override Staff.Stem.thickness = #3.0
- <<
- {
- e4 e
- \override Stem.thickness = #0.5
- e4 e
- } \\ {
- c4 c c c
- }
- >>
-}
+@lilypond[quote,fragment,verbatim]
+\override Staff.Stem.thickness = #3.0
+<<
+ \relative {
+ e''4 e
+ \override Stem.thickness = #0.5
+ e4 e
+ } \\
+ \relative {
+ c''4 c c c
+ }
+>>
@end lilypond
調整可能なオプションには @q{サブプロパティ} があり、これはプロパティの@c
例を示します:
-@lilypond[quote,verbatim,relative=2]
-c4
-\override Voice.Stem.thickness = #3.0
-c4 c
-\revert Voice.Stem.thickness
-c4
+@lilypond[quote,verbatim]
+\relative {
+ c''4
+ \override Voice.Stem.thickness = #3.0
+ c4 c
+ \revert Voice.Stem.thickness
+ c4
+}
@end lilypond
@code{\override} と @code{\revert} の効果は、@c
その時点から影響を受けるコンテキストの中にある@c
すべてのグラフィカル オブジェクトに適用されます:
-@lilypond[quote,verbatim,relative=2]
-{
- <<
- {
- e4
- \override Staff.Stem.thickness = #3.0
- e4 e e
- } \\ {
- c4 c c
- \revert Staff.Stem.thickness
- c4
- }
- >>
-}
+@lilypond[quote,verbatim]
+<<
+ \relative {
+ e''4
+ \override Staff.Stem.thickness = #3.0
+ e4 e e
+ } \\
+ \relative {
+ c''4 c c
+ \revert Staff.Stem.thickness
+ c4
+ }
+>>
@end lilypond
@funindex \once
@code{\once} を @code{\override} と共に用いることで、@c
カレントの時間ステップだけに効果を与えることができます:
-@lilypond[quote,verbatim,relative=2]
-{
- <<
- {
- \override Stem.thickness = #3.0
- e4 e e e
- } \\ {
- c4
- \once \override Stem.thickness = #3.0
- c4 c c
- }
- >>
-}
+@lilypond[quote,verbatim]
+<<
+ \relative c {
+ \override Stem.thickness = #3.0
+ e''4 e e e
+ } \\
+ \relative {
+ c''4
+ \once \override Stem.thickness = #3.0
+ c4 c c
+ }
+>>
@end lilypond
an item in the input file, you can use the @code{\tweak} command.
For example:
-@lilypond[relative=2,verbatim,quote]
-< c
- \tweak color #red
- d
- g
- \tweak duration-log #1
- a
-> 4
--\tweak padding #8
--^
+@lilypond[verbatim,quote]
+\relative {
+ < c''
+ \tweak color #red
+ d
+ g
+ \tweak duration-log #1
+ a
+ > 4
+ -\tweak padding #8
+ -^
+}
@end lilypond
So, this works:
-@lilypond[relative=2,verbatim,quote]
-<\tweak color #red c>4
+@lilypond[verbatim,fragment,quote]
+<\tweak color #red c''>4
@end lilypond
@noindent
but this does not:
-@lilypond[relative=2,verbatim,quote]
-\tweak color #red c4
+@lilypond[verbatim,fragment,quote]
+\tweak color #red c''4
@end lilypond
@end ignore
以下の例では、和音の中にある符頭の 1 つの色を変更し、@c
さらに他の符頭のタイプを変更しています:
-@lilypond[relative=2,verbatim,quote]
-< c
+@lilypond[verbatim,fragment,quote]
+< c''
\tweak color #red
- d
- g
+ d''
+ g''
\tweak duration-log #1
- a
+ a''
> 4
@end lilypond
@code{\tweak} を用いて、スラーを変更することができます:
-@lilypond[verbatim,quote,relative=1]
-c-\tweak thickness #5 ( d e f)
+@lilypond[verbatim,quote]
+\relative { c'-\tweak thickness #5 ( d e f) }
@end lilypond
オブジェクトは @code{EventChord} の内部にあるイベントによって作成される@c
からです:
-@lilypond[relative=2,verbatim,quote]
-\tweak color #red c4
-\tweak color #red <c e>4
-<\tweak color #red c e>4
+@lilypond[verbatim,fragment,quote]
+\tweak color #red c''4
+\tweak color #red <c'' e''>4
+<\tweak color #red c'' e''>4
@end lilypond
単純な @code{\tweak} コマンドでは入力から直接作成されないオブジェクトを@c
オブジェクト名を明示的に指定した @code{\tweak} コマンドを用いることで@c
調整することができます:
-@lilypond[relative=2,verbatim,quote]
+@lilypond[fragment,verbatim,quote]
\tweak Stem.color #red
-\tweak Beam.color #green c8 e
-<c e \tweak Accidental.font-size #-3 ges>4
+\tweak Beam.color #green c''8 e''
+<c'' e'' \tweak Accidental.font-size #-3 ges''>4
@end lilypond
@code{\tweak} コマンドで音部記号や拍子記号を変更することはできません。@c
記譜要素の前に複数の @code{\tweak} コマンドを配置することができます
-- それらはすべて効果を持ちます:
-@lilypond[verbatim,quote,relative=1]
-c
--\tweak style #'dashed-line
--\tweak dash-fraction #0.2
--\tweak thickness #3
--\tweak color #red
- \glissando
-f'
+@lilypond[verbatim,fragment,quote]
+c'
+ -\tweak style #'dashed-line
+ -\tweak dash-fraction #0.2
+ -\tweak thickness #3
+ -\tweak color #red
+ \glissando
+f''
@end lilypond
入力ファイルのあるセクションから生成される音楽の流れ
方向指示子は、その後にくる音符だけに効果を持ちます:
-@lilypond[verbatim,quote,relative=2]
-c2( c)
-c2_( c)
-c2( c)
-c2^( c)
+@lilypond[verbatim,quote]
+\relative {
+ c''2( c)
+ c2_( c)
+ c2( c)
+ c2^( c)
+}
@end lilypond
@node 方向プロパティ
これらの指示子は、キャンセルされるまで効果を持ちます。
-@lilypond[verbatim,quote,relative=2]
-c2( c)
-\slurDown
-c2( c)
-c2( c)
-\slurNeutral
-c2( c)
+@lilypond[verbatim,quote]
+\relative {
+ c''2( c)
+ \slurDown
+ c2( c)
+ c2( c)
+ \slurNeutral
+ c2( c)
+}
@end lilypond
多声の音楽では、一般的にオブジェクトの向きを変えるよりも明示的に
譜線の本数は、@code{'line-positions} の値リストの中にある要素数によって、@c
暗黙的に定義されます。}
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.line-positions = #'(7 3 0 -4 -6 -7)
}
-{ a4 e' f b | d1 }
+\relative { a4 e' f b | d1 }
@end lilypond
譜の幅を変更することができます。@c
単位は譜スペースです。@c
譜内部のオブジェクトのスペースは、この設定によって影響を受けません。
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.width = #23
}
-{ a4 e' f b | d1 }
+\relative { a4 e' f b | d1 }
@end lilypond
@end ignore
@c KEEP LY
-@lilypond[verbatim,quote,relative=2]
-a~a
-a
+@lilypond[verbatim,quote,fragment]
+a'~ a'
+a'
% タイの長さを増加させます
-\tweak minimum-length #5
-~a
+~ a'
@end lilypond
@c KEEP LY
@end lilypond
@c KEEP LY
-@lilypond[verbatim,quote,relative=2]
-a \< a a a \!
-% ヘアピンの長さを増加させます
-\override Hairpin.minimum-length = #20
-a \< a a a \!
+@lilypond[verbatim,quote]
+\relative {
+ a' \< a a a \!
+ % ヘアピンの長さを増加させます
+ \override Hairpin.minimum-length = #20
+ a \< a a a \!
+}
@end lilypond
さらに、このオーバライドはスラーとフレージング スラーの長さを@c
増加させるためにも使用されます:
-@lilypond[verbatim,quote,relative=2]
-a( a)
-a
--\tweak minimum-length #5
-( a)
+@lilypond[verbatim,quote]
+\relative {
+ a'( g)
+ a
+ -\tweak minimum-length #5
+ ( g)
-a\( a\)
-a
--\tweak minimum-length #5
-\( a\)
+ a\( g\)
+ a
+ -\tweak minimum-length #5
+ \( g\)
+}
@end lilypond
いくつかのレイアウト オブジェクトでは、@c
効果を持ちません:
@c KEEP LY
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,fragment,quote]
% デフォルト
-e \glissando c'
+e' \glissando c''
% 単独では効果を持ちません
\once \override Glissando.minimum-length = #20
-e, \glissando c'
+e' \glissando c''
% 以下の両方のオーバライドが存在する場合にのみ、効果を持ちます
\once \override Glissando.minimum-length = #20
\once \override Glissando.springs-and-rods = #ly:spanner::set-spacing-rods
-e, \glissando c'
+e' \glissando c''
@end lilypond
@code{Beam} オブジェクトでも同じことが言えます:
@c KEEP LY
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,fragment,quote]
% 単独では効果を持ちません
\once \override Beam.minimum-length = #20
-e8 e e e
+e'8 e' e' e'
% 以下の両方のオーバライドが存在する場合にのみ、効果を持ちます
\once \override Beam.minimum-length = #20
\once \override Beam.springs-and-rods = #ly:spanner::set-spacing-rods
-e8 e e e
+e'8 e' e' e'
@end lilypond
@subsubsubheading The @code{to-barline} プロパティ
直前の小節線のところで終了させられます。@c
偽に設定すると、スパナは小節線を越えて、音符のところで終了します:
-@lilypond[verbatim,quote,relative=2]
-a \< a a a a \! a a a \break
-\override Hairpin.to-barline = ##f
-a \< a a a a \! a a a
+@lilypond[verbatim,quote]
+\relative {
+ a' \< a a a a \! a a a \break
+ \override Hairpin.to-barline = ##f
+ a \< a a a a \! a a a
+}
@end lilypond
このプロパティはすべてのスパナに対して効果を持つわけではありません。@c
プロパティ階層内で 2 階層下にネストされていますが、@c
この @code{\override} コマンドは非常にシンプルです:
-@lilypond[relative=2,quote,verbatim]
-e2 \glissando b
+@lilypond[quote,fragment,verbatim]
+e''2 \glissando b'
\once \override Glissando.bound-details.left.Y = #3
\once \override Glissando.bound-details.right.Y = #-2
-e2 \glissando b
+e''2 \glissando b'
@end lilypond
@code{Y} プロパティの単位は @code{staff-space} であり、@c
関数は呼び出されず、そのオブジェクトは描画されません。@c
@code{\rever} でデフォルトの動作に戻すことができます。
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,fragment,verbatim]
a1 a
\omit Score.BarLine
a a
@code{#t} にセットされると、そのオブジェクトはスペースを占めたままですが、@c
不可視になります。
-@lilypond[quote,verbatim,relative=2]
-a4 a
+@lilypond[quote,fragment,verbatim]
+a'4 a'
\once \hide NoteHead
-a a
+a' a'
@end lilypond
@node オブジェクトを白で描く
これにより、以下に示すように、@c
白いオブジェクトの画像が幽霊のように浮かび上がることがあります:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
\override Staff.Clef.color = #white
-a1
+a'1
@end lilypond
オブジェクトの描画順序を変更することにより、これを回避することができます。@c
より小さな値 -- 例えば、@code{-1} -- を与えて、@c
音部記号を先に描画させる必要があります:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,fragment,verbatim]
\override Staff.Clef.color = #white
\override Staff.Clef.layer = #-1
-a1
+a'1
@end lilypond
@node break-visibility を用いる
以下の例は、小節線の可視性を制御するベクトルの使用方法を示しています:
@c KEEP LY
-@lilypond[quote,verbatim,relative=1,ragged-right]
-f4 g a b
-f4 g a b
-% カレント行の最後で小節線を削除します
-\once \override Score.BarLine.break-visibility = #'#(#f #t #t)
-\break
-f4 g a b
-f4 g a b
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ f'4 g a b
+ f4 g a b
+ % カレント行の最後で小節線を削除します
+ \once \override Score.BarLine.break-visibility = #'#(#f #t #t)
+ \break
+ f4 g a b
+ f4 g a b
+}
@end lilypond
@code{break-visibility} をオーバライドするために使用される@c
B フラット メジャーへの明示的な変更の後に出現する調号は可視のままです。
@c KEEP LY
-@lilypond[quote,verbatim,relative=1,ragged-right]
-\key g \major
-f4 g a b
-% すべての調号を削除しようと試みます
-\override Staff.KeySignature.break-visibility = #all-invisible
-\key bes \major
-f4 g a b
-\break
-f4 g a b
-f4 g a b
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ f'4 g a b
+ % すべての調号を削除しようと試みます
+ \override Staff.KeySignature.break-visibility = #all-invisible
+ \key bes \major
+ f4 g a b
+ \break
+ f4 g a b
+ f4 g a b
+}
@end lilypond
そのような明示的な調号や音部記号の変更の可視性は
オブジェクトを削除するには適切な @code{break-visibility}
をオーバライドする必要があります。
-@lilypond[quote,verbatim,relative=1,ragged-right]
-\key g \major
-f4 g a b
-\set Staff.explicitKeySignatureVisibility = #all-invisible
-\override Staff.KeySignature.break-visibility = #all-invisible
-\key bes \major
-f4 g a b \break
-f4 g a b
-f4 g a b
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ f'4 g a b
+ \set Staff.explicitKeySignatureVisibility = #all-invisible
+ \override Staff.KeySignature.break-visibility = #all-invisible
+ \key bes \major
+ f4 g a b \break
+ f4 g a b
+ f4 g a b
+}
@end lilypond
@subsubsubheading 前の調をキャンセルする臨時記号の可視性
@code{Staff} コンテキスト プロパティ @code{printKeyCancellation} に
@code{#f} をセットします:
-@lilypond[quote,verbatim,relative=1,ragged-right]
-\key g \major
-f4 g a b
-\set Staff.explicitKeySignatureVisibility = #all-invisible
-\set Staff.printKeyCancellation = ##f
-\override Staff.KeySignature.break-visibility = #all-invisible
-\key bes \major
-f4 g a b \break
-f4 g a b
-f4 g a b
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ f'4 g a b
+ \set Staff.explicitKeySignatureVisibility = #all-invisible
+ \set Staff.printKeyCancellation = ##f
+ \override Staff.KeySignature.break-visibility = #all-invisible
+ \key bes \major
+ f4 g a b \break
+ f4 g a b
+ f4 g a b
+}
@end lilypond
このオーバライドによって、調の変更を示す臨時記号だけが残ります。
そのようなケースでは、@code{printKeyCancellation} を @code{#f} に@c
設定しても効果はありません:
-@lilypond[quote,verbatim,relative=1,ragged-right]
-\key g \major
-f4 g a b
-\set Staff.explicitKeySignatureVisibility = #all-invisible
-\set Staff.printKeyCancellation = ##f
-\key c \major
-f4 g a b \break
-f4 g a b
-f4 g a b
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ f'4 g a b
+ \set Staff.explicitKeySignatureVisibility = #all-invisible
+ \set Staff.printKeyCancellation = ##f
+ \key c \major
+ f4 g a b \break
+ f4 g a b
+ f4 g a b
+}
@end lilypond
調を C@tie{}メジャーや A@tie{}マイナーに変更する場合に、@c
前の調をキャンセルする臨時記号を消すには、@code{KeyCancellation}
グラフィカル オブジェクトの可視性をオーバライドします:
-@lilypond[quote,verbatim,relative=1,ragged-right]
-\key g \major
-f4 g a b
-\set Staff.explicitKeySignatureVisibility = #all-invisible
-\override Staff.KeyCancellation.break-visibility = #all-invisible
-\key c \major
-f4 g a b \break
-f4 g a b
-f4 g a b
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ f'4 g a b
+ \set Staff.explicitKeySignatureVisibility = #all-invisible
+ \override Staff.KeyCancellation.break-visibility = #all-invisible
+ \key c \major
+ f4 g a b \break
+ f4 g a b
+ f4 g a b
+}
@end lilypond
@c TODO Add visibility of cautionary accidentals before notes
それらをオーバライドすることもできます:
@c TODO Complete
-@lilypond[relative=2,ragged-right,verbatim,quote]
-e2 \glissando f
-\once \override Glissando.bound-details.right.Y = #-2
-e2 \glissando f
+@lilypond[ragged-right,verbatim,quote]
+\relative {
+ e''2 \glissando f
+ \once \override Glissando.bound-details.right.Y = #-2
+ e2 \glissando f
+}
@end lilypond
グリッサンドの終点の @code{Y} には @code{-2} がセットされています。@c
レイアウト オブジェクトを回転させることが有用な状況はあまりありません。@c
以下の例は、有用であるかもしれないシチュエーションの 1 つを示しています:
-@lilypond[quote,verbatim,relative=1]
-g4\< e' d' f\!
+@lilypond[quote,fragment,verbatim]
+g4\< e' d'' f''\!
\override Hairpin.rotation = #'(20 -1 0)
-g,,4\< e' d' f\!
+g4\< e' d'' f''\!
@end lilypond
@node マークアップを回転させる
セットしています。@c
そうしなければテキストのいくつかは高く押し上げられてしまいます。
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,fragment,verbatim]
\override TextScript.outside-staff-priority = ##f
g4^\markup { \rotate #30 "a G" }
b^\markup { \rotate #30 "a B" }
-des^\markup { \rotate #30 "a D-Flat" }
-fis^\markup { \rotate #30 "an F-Sharp" }
+des'^\markup { \rotate #30 "a D-Flat" }
+fis'^\markup { \rotate #30 "an F-Sharp" }
@end lilypond
以下の例は、3 つの音符を示していて、1 つはデフォルト配置の運指記号を持ち、@c
他の 2 つの運指記号は @code{X-offset} と @code{Y-offset} が変更されています。
-@lilypond[verbatim,quote,relative=2]
-a-3
-a
+@lilypond[verbatim,fragment,quote]
+a'-3
+a'
-\tweak X-offset #0
-\tweak Y-offset #0
-3
-a
+a'
-\tweak X-offset #-1
-\tweak Y-offset #1
-3
@code{\tweak} コマンドを用いることで@c
単一の音符に付けられている複数の注釈を個別に揃えることができます:
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,verbatim,fragment]
a'
-\tweak self-alignment-X #-1
^"left-aligned"
以下の例は、運指記号を符頭に近づけるための調整方法を示しています。
@c KEEP LY
-@lilypond[quote,verbatim,relative=2]
-a
+@lilypond[quote,verbatim,fragment]
+a'
-\tweak self-alignment-X #0.5 % 左方向に移動させます
-\tweak Y-offset #ly:self-alignment-interface::y-aligned-on-self
-\tweak self-alignment-Y #-1 % 上方向に移動させます
リハーサル記号と小節番号はオブジェクトの上で水平方向に中央揃えされます:
@c KEEP LY
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment]
% リハーサル記号は音部記号の上に中央揃えされます
\override Score.RehearsalMark.break-align-symbols = #'(clef)
\key a \major
\clef treble
\mark "↓"
-e1
+e'1
% リハーサル記号は拍子記号の上に中央揃えされます
\override Score.RehearsalMark.break-align-symbols = #'(time-signature)
\key a \major
\clef treble
\time 3/4
\mark "↓"
-e2.
+e'2.
% リハーサル記号はブレス記号の上に中央揃えされます
\override Score.RehearsalMark.break-align-symbols = #'(breathing-sign)
\key a \major
\clef treble
\time 4/4
-e1
+e'1
\breathe
\mark "↓"
@end lilypond
小節線が不可視である場合、小節線があるはずの場所に揃えられます。
@c KEEP LY
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment]
% リハーサル記号は調号の上に中央揃えされます
\override Score.RehearsalMark.break-align-symbols = #'(key-signature clef)
\key a \major
\clef treble
\mark "↓"
-e1
+e'1
% リハーサル記号は音部記号の上に中央揃えされます
\set Staff.explicitKeySignatureVisibility = #all-invisible
\override Score.RehearsalMark.break-align-symbols = #'(key-signature clef)
-\key a \minor
+\key a \major
\clef bass
\mark "↓"
-gis,,1
+gis,1
% リハーサル記号は小節線の上に中央揃えされます
\set Staff.explicitKeySignatureVisibility = #all-invisible
\set Staff.explicitClefVisibility = #all-invisible
\key a \major
\clef treble
\mark "↓"
-e''1
+e'1
@end lilypond
以下の例で示すように、@c
複数の譜を持つ楽譜では、この設定はすべての譜に適用されます。
@c KEEP LY
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment]
% RehearsalMark は KeySignature の上に中央揃えされます
\override Score.RehearsalMark.break-align-symbols = #'(key-signature)
\key a \major
\clef treble
\time 4/4
\mark "↓"
-e1
+e'1
% RehearsalMark は KeySignature の左端に揃えられます
\once \override Score.KeySignature.break-align-anchor-alignment = #LEFT
\mark "↓"
\key a \major
-e
+e'1
% RehearsalMark は KeySignature の右端に揃えられます
\once \override Score.KeySignature.break-align-anchor-alignment = #RIGHT
\key a \major
\mark "↓"
-e
+e'1
@end lilypond
また、リハーサル記号を左端に揃えて、@c
単位は譜スペースです:
@c KEEP LY
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment]
% リハーサル記号は調号の左端に揃えられて
% さらに 3.5 譜スペース右にずらされます
\override Score.RehearsalMark.break-align-symbols = #'(key-signature)
\once \override Score.KeySignature.break-align-anchor = #3.5
\key a \major
\mark "↓"
-e1
+e'1
% リハーサル記号は調号の左端に揃えられて
% さらに 2 譜スペース左にずらされます
\once \override Score.KeySignature.break-align-anchor = #-2
\key a \major
\mark "↓"
-e1
+e'1
@end lilypond
それでは、上記の例に @code{\once \override} 形式の @code{\shape} を@c
使ってタイを 0.5 譜スペースだけ上に移動させてみましょう:
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote]
<<
{
\shape #'((0 . 0.5) (0 . 0.5) (0 . 0.5) (0 . 0.5)) Tie
- e1~ 1
+ e'1~ 1
}
\\
- { r4 <g c,> <g c,> <g c,> }
+ \relative { r4 <g' c,> <g c,> <g c,> }
>>
@end lilypond
タイの位置は改善されましたが、中央部分をもっと持ち上げるべきです。@c
以下の例で @code{\tweak} 形式でそれを行っています:
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote]
<<
{
- e1-\shape #'((0 . 0.5) (0 . 1) (0 . 1) (0 . 0.5)) ~ e
+ e'1-\shape #'((0 . 0.5) (0 . 1) (0 . 1) (0 . 0.5)) ~ e'
}
\\
- { r4 <g c,> <g c,> <g c,> }
+ \relative { r4 <g' c,> <g c,> <g c,> }
>>
@end lilypond
同じ方法で制御ポイントを水平方向に移動させることもできて、同じ音楽@c
タイミングで発生する 2 つの曲線をうまく配置することができます:
-@lilypond[verbatim,quote,ragged-right,relative=2]
-c8(\( a) a'4 e c\)
-\shape #'((0.7 . -0.4) (0.5 . -0.4) (0.3 . -0.3) (0 . -0.2)) Slur
-\shape #'((0 . 0) (0 . 0.5) (0 . 0.5) (0 . 0)) PhrasingSlur
-c8(\( a) a'4 e c\)
+@lilypond[verbatim,quote,ragged-right]
+\relative {
+ c''8(\( a) a'4 e c\)
+ \shape #'((0.7 . -0.4) (0.5 . -0.4) (0.3 . -0.3) (0 . -0.2)) Slur
+ \shape #'((0 . 0) (0 . 0.5) (0 . 0.5) (0 . 0)) PhrasingSlur
+ c8(\( a) a'4 e c\)
+}
@end lilypond
@code{\shape} 関数は改行を跨ぐ曲線の制御ポイントを移動させることも@c
片方の曲線は変更する必要がない場合、空のリストを渡します。@c
以下の例では、1 つのスラーが改行で 2 つに分割されています:
-@lilypond[verbatim,quote,ragged-right,relative=1]
-c4( f g c
-\break
-d,4 c' f, c)
+@lilypond[verbatim,quote,ragged-right]
+\relative {
+ c'4( f g c
+ \break
+ d,4 c' f, c)
+}
@end lilypond
分割されたスラーの形状を変更することで、改行を跨いで続くスラーである@c
ことがわかりやすくなります:
@c KEEP LY
-@lilypond[verbatim,quote,ragged-right,relative=1]
+@lilypond[verbatim,quote,ragged-right]
% 片方のスラーを変更する必要がない場合、
% () を ((0 . 0) (0 . 0) (0 . 0) (0 . 0)) の短縮形として使うことができます
-\shape #'(
- (( 0 . 0) (0 . 0) (0 . 0) (0 . 1))
- ((0.5 . 1.5) (1 . 0) (0 . 0) (0 . -1.5))
- ) Slur
-c4( f g c
-\break
-d,4 c' f, c)
+\relative c' {
+ \shape #'(
+ (( 0 . 0) (0 . 0) (0 . 0) (0 . 1))
+ ((0.5 . 1.5) (1 . 0) (0 . 0) (0 . -1.5))
+ ) Slur
+ c4( f g c
+ \break
+ d,4 c' f, c)
+}
@end lilypond
S 字曲線が求められた場合は、常に制御ポイントを手動で調節する必要があります
--- LilyPond が自動的にそのような形状を選択することはありません。
-@lilypond[verbatim,quote,relative=2]
-c8( e b-> f d' a e-> g)
-\shape #'((0 . -1) (5.5 . -0.5) (-5.5 . -10.5) (0 . -5.5)) PhrasingSlur
-c8\( e b-> f d' a e-> g\)
+@lilypond[verbatim,quote]
+\relative c'' {
+ c8( e b-> f d' a e-> g)
+ \shape #'((0 . -1) (5.5 . -0.5) (-5.5 . -10.5) (0 . -5.5)) PhrasingSlur
+ c8\( e b-> f d' a e-> g\)
+}
@end lilypond
@subsubsubheading 制御ポイントの位置を明示的に指定する
繰り返しの差し替え部分まで延びるスラーを表示する方法を示しています。
@c KEEP LY
-@lilypond[verbatim,quote,relative=2]
-c1
-\repeat volta 3 { c4 d( e f }
-\alternative {
- { g2) d }
- {
- g2
- % スラーを作成して、新しい位置に移動させます
- % <> はスラーを終わらせるための空の和音です
- -\tweak control-points #'((-2 . 3.8) (-1 . 3.9) (0 . 4) (1 . 3.4)) ( <> )
- f,
- }
- {
- e'2
- % スラーを作成して、新しい位置に移動させます
- -\tweak control-points #'((-2 . 3) (-1 . 3.1) (0 . 3.2) (1 . 2.4)) ( <> )
- f,
+@lilypond[verbatim,quote]
+\relative {
+ c''1
+ \repeat volta 3 { c4 d( e f }
+ \alternative {
+ { g2) d }
+ {
+ g2
+ % スラーを作成して、新しい位置に移動させます
+ % <> はスラーを終わらせるための空の和音です
+ -\tweak control-points #'((-2 . 3.8) (-1 . 3.9) (0 . 4) (1 . 3.4)) ( <> )
+ f,
+ }
+ {
+ e'2
+ % スラーを作成して、新しい位置に移動させます
+ -\tweak control-points #'((-2 . 3) (-1 . 3.1) (0 . 3.2) (1 . 2.4)) ( <> )
+ f,
+ }
}
}
@end lilypond
一連の音楽の中で、和音モードと音符モードを切り替えることができます:
-@lilypond[verbatim,quote,ragged-right,relative=1]
-<c e g>2 <g b d>
-\chordmode { c2 f }
-<c e g>2 <g' b d>
-\chordmode { f2 g }
+@lilypond[verbatim,quote,ragged-right]
+\relative {
+ <c' e g>2 <g b d>
+ \chordmode { c2 f }
+ <c e g>2 <g' b d>
+ \chordmode { f2 g }
+}
@end lilypond
@seealso
@code{ChordNames} コンテキストに休符が渡されると、@c
@code{noChordSymbol} マークアップが表示されます。
-@lilypond[verbatim, quote, relative=1]
+@lilypond[verbatim,quote]
<<
\new ChordNames \chordmode {
c1
指の変更のためにマークアップ テキストや文字列が使用されることもあります。
-@lilypond[verbatim,quote,relative=2]
-c4-1 d-2 f-4 e-3
+@lilypond[verbatim,quote]
+\relative { c''4-1 d-2 f-4 e-3 }
@end lilypond
指の入れ替えのためにマークアップ テキストを使うこともできます。
-@lilypond[verbatim,quote,relative=2]
-c4-1 d-2 f\finger \markup \tied-lyric #"4~3" c\finger "2 - 3"
+@lilypond[verbatim,quote]
+\relative {
+ c''4-1 d-2 f\finger \markup \tied-lyric #"4~3" c\finger "2 - 3"
+}
@end lilypond
@cindex thumb-script (サム-スクリプト)
サム-スクリプト (thumb-script) を付け加えることができます
(例えば、チェロ音楽で)。
-@lilypond[verbatim,quote,relative=2]
-<a_\thumb a'-3>2 <b_\thumb b'-3>
+@lilypond[verbatim,quote]
+\relative { <a'_\thumb a'-3>2 <b_\thumb b'-3> }
@end lilypond
@cindex fingering chords (和音の運指法)
和音の個々の音符の後に運指を付け加えることによって、@c
和音に対する運指法を付け加えることができます。
-@lilypond[verbatim,quote,relative=2]
-<c-1 e-2 g-3 b-5>2 <d-1 f-2 a-3 c-5>
+@lilypond[verbatim,quote]
+\relative {
+ <c''-1 e-2 g-3 b-5>2 <d-1 f-2 a-3 c-5>
+}
@end lilypond
運指指示の配置を手動で譜の上または下にすることができます。@c
隠された (または不可視、透明の) 音符は、preparing theory や作曲の演習の際に@c
有用です。
-@lilypond[verbatim,quote,relative=2]
-c4 d
-\hideNotes
-e4 f
-\unHideNotes
-g a
-\hideNotes
-b
-\unHideNotes
-c
+@lilypond[verbatim,quote]
+\relative {
+ c''4 d
+ \hideNotes
+ e4 f
+ \unHideNotes
+ g a
+ \hideNotes
+ b
+ \unHideNotes
+ c
+}
@end lilypond
符頭、符幹、旗、それに休符は不可視です。@c
連桁は、隠された音符から始まる場合は、不可視です。
不可視の音符に取り付けられたオブジェクトは可視のままです。
-@lilypond[verbatim,quote,relative=2]
-e8(\p f g a)--
-\hideNotes
-e8(\p f g a)--
+@lilypond[verbatim,quote]
+\relative c'' {
+ e8(\p f g a)--
+ \hideNotes
+ e8(\p f g a)--
+}
@end lilypond
個々のオブジェクトに色を割り振ることができます。@c
有効なカラー名は @ref{List of colors} でリストアップされています。
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote,fragment]
\override NoteHead.color = #red
-c4 c
+c''4 c''
\override NoteHead.color = #(x11-color 'LimeGreen)
-d
+d''
\override Stem.color = #blue
-e
+e''
@end lilypond
その色はデフォルトの黒になります。
@c KEEP LY
-@lilypond[verbatim,quote,relative=2]
-\override Staff.StaffSymbol.color = #(x11-color 'SlateBlue2)
-\set Staff.instrumentName = \markup {
- \with-color #(x11-color 'navy) "Clarinet"
-}
+@lilypond[verbatim,quote]
+\relative c'' {
+ \override Staff.StaffSymbol.color = #(x11-color 'SlateBlue2)
+ \set Staff.instrumentName = \markup {
+ \with-color #(x11-color 'navy) "Clarinet"
+ }
-gis8 a
-\override Beam.color = #(x11-color "medium turquoise")
-gis a
-\override Accidental.color = #(x11-color 'DarkRed)
-gis a
-\override NoteHead.color = #(x11-color "LimeGreen")
-gis a
-% 以下は意図的に意味をなさない色を指定しています。符幹が黒のままであることに注意してください
-\override Stem.color = #(x11-color 'Boggle)
-b2 cis
+ gis8 a
+ \override Beam.color = #(x11-color "medium turquoise")
+ gis a
+ \override Accidental.color = #(x11-color 'DarkRed)
+ gis a
+ \override NoteHead.color = #(x11-color "LimeGreen")
+ gis a
+ % 以下は意図的に意味をなさない色を指定しています。符幹が黒のままであることに注意してください
+ \override Stem.color = #(x11-color 'Boggle)
+ b2 cis
+}
@end lilypond
@cindex rgb-color
Scheme 関数 @code{rgb-color} を用いることによって、@c
厳密な RGB カラーを指定することができます。
-@lilypond[verbatim,quote,relative=2]
-\override Staff.StaffSymbol.color = #(x11-color 'SlateBlue2)
-\set Staff.instrumentName = \markup {
- \with-color #(x11-color 'navy) "Clarinet"
-}
+@lilypond[verbatim,quote]
+\relative c'' {
+ \override Staff.StaffSymbol.color = #(x11-color 'SlateBlue2)
+ \set Staff.instrumentName = \markup {
+ \with-color #(x11-color 'navy) "Clarinet"
+ }
-\override Stem.color = #(rgb-color 0 0 0)
-gis8 a
-\override Stem.color = #(rgb-color 1 1 1)
-gis8 a
-\override Stem.color = #(rgb-color 0 0 0.5)
-gis4 a
+ \override Stem.color = #(rgb-color 0 0 0)
+ gis8 a
+ \override Stem.color = #(rgb-color 1 1 1)
+ gis8 a
+ \override Stem.color = #(rgb-color 0 0 0.5)
+ gis4 a
+}
@end lilypond
@seealso
和音の音符それぞれに括弧が付けられます。@c
和音内部の音符に個別に括弧を付けることもできます。
-@lilypond[verbatim,quote,relative=2]
-c2 \parenthesize d
-c2 \parenthesize <c e g>
-c2 <c \parenthesize e g>
+@lilypond[verbatim,quote]
+\relative {
+ c''2 \parenthesize d
+ c2 \parenthesize <c e g>
+ c2 <c \parenthesize e g>
+}
@end lilypond
音符ではないオブジェクトにも括弧を付けることができます。@c
アーティキュレーションに対して括弧をつける場合、@c
@code{\parenthesize} コマンドの前にハイフンが必要です。
-@lilypond[verbatim,quote,relative=2]
-c2-\parenthesize -. d
-c2 \parenthesize r
+@lilypond[verbatim,quote]
+\relative {
+ c''2-\parenthesize -. d
+ c2 \parenthesize r
+}
@end lilypond
@seealso
記譜要素に四角いバルーンで印を付けて、テキストを付け加えることができます。@c
この機能の主目的は記譜法を説明することです。
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Voice \with { \consists "Balloon_engraver" }
-{
+\relative c'' {
\balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" }
a8
\balloonGrobText #'Rest #'(-4 . -4) \markup { "I'm a rest" }
@ref{List of articulations} でリストアップしています。@c
例えば:
-@lilypond[verbatim,quote,relative=2]
-c4\staccato c\mordent b2\turn
-c1\fermata
+@lilypond[verbatim,quote]
+\relative {
+ c''4\staccato c\mordent b2\turn
+ c1\fermata
+}
@end lilypond
@cindex marcato (マルカート)
ことができます (複数小節の休符にだけ付けることができます)。@c
このコマンドは @code{MultiMeasureRestText} オブジェクトを作成します。
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote,fragment]
\override Script.color = #red
\override MultiMeasureRestText.color = #blue
-a2\fermata r\fermata
+a'2\fermata r\fermata
R1\fermataMarkup
@end lilypond
強弱記号を手動で譜の上または下に配置することもできます --
@ref{Direction and placement} を参照してください。
-@lilypond[verbatim,quote,relative=2]
-c2\ppp c\mp
-c2\rfz c^\mf
-c2_\spp c^\ff
+@lilypond[verbatim,quote]
+\relative c'' {
+ c2\ppp c\mp
+ c2\rfz c^\mf
+ c2_\spp c^\ff
+}
@end lilypond
@c 保留
用いる場合もあります。@c
この記譜法を用いるとデフォルトでは @notation{ヘアピン} が譜刻されます。
-@lilypond[verbatim,quote,relative=2]
-c2\< c\!
-d2\< d\f
-e2\< e\>
-f2\> f\!
-e2\> e\mp
-d2\> d\>
-c1\!
+@lilypond[verbatim,quote]
+\relative c'' {
+ c2\< c\!
+ d2\< d\f
+ e2\< e\>
+ f2\> f\!
+ e2\> e\mp
+ d2\> d\>
+ c1\!
+}
@end lilypond
@code{\!} で終了するヘアピンは、@c
音符の中央で終了します。@c
次のへアピンは、通常通りに音符の左端で始まる代わりに、右端から始まります。
-@lilypond[verbatim,quote,relative=2]
-c1\< | c4 a c\< a | c4 a c\! a\< | c4 a c a\!
+@lilypond[verbatim,quote]
+\relative {
+ c''1\< | c4 a c\< a | c4 a c\! a\< | c4 a c a\!
+}
@end lilypond
@code{\!} の代わりに絶対強弱記号で終了するヘアピも同じように譜刻されます。@c
しかしながら、絶対強弱記号の幅によってヘアピンの終了点は変わります。
-@lilypond[verbatim,quote,relative=2]
-c1\< | c4 a c\mf a | c1\< | c4 a c\ffff a
+@lilypond[verbatim,quote]
+\relative {
+ c''1\< | c4 a c\mf a | c1\< | c4 a c\ffff a
+}
@end lilypond
@cindex multiple dynamic marks on one note (1 つの音符に複数の強弱記号をつける)
これは特に、同じ音符に @notation{クレッシェンド} と @notation{デクレッシェンド}
を付ける場合に有用です。
-@lilypond[verbatim,quote,relative=2]
-c4\< c\! d\> e\!
-<< f1 { s4 s4\< s4\> s4\! } >>
+@lilypond[verbatim,quote]
+\relative {
+ c''4\< c\! d\> e\!
+ << f1 { s4 s4\< s4\> s4\! } >>
+}
@end lilypond
@cindex espressivo articulation (表現的なアーティキュレーション)
しかしながら、これは強弱記号ではなくアーティキュレーションとして実装されている@c
ということに注意してください。
-@lilypond[verbatim,quote,relative=2]
-c2 b4 a
-g1\espressivo
+@lilypond[verbatim,quote]
+\relative {
+ c''2 b4 a
+ g1\espressivo
+}
@end lilypond
@code{\dim} で開始します。@c
必要に応じて延長線が譜刻されます。
-@lilypond[verbatim,quote,relative=2]
-g8\cresc a b c b c d e\mf |
-f8\decresc e d c e\> d c b |
-a1\dim ~ |
-a2. r4\! |
+@lilypond[verbatim,quote]
+\relative {
+ g'8\cresc a b c b c d e\mf |
+ f8\decresc e d c e\> d c b |
+ a1\dim ~ |
+ a2. r4\! |
+}
@end lilypond
@funindex \crescTextCresc
@funindex dimHairpin
強弱のテキスト符号の変更でヘアピンを置換することもできます:
-@lilypond[verbatim,quote,relative=2]
-\crescTextCresc
-c4\< d e f\! |
-\dimTextDecresc
-g4\> e d c\! |
-\dimTextDecr
-e4\> d c b\! |
-\dimTextDim
-d4\> c b a\! |
-\crescHairpin
-\dimHairpin
-c4\< d\! e\> d\! |
+@lilypond[verbatim,quote]
+\relative c'' {
+ \crescTextCresc
+ c4\< d e f\! |
+ \dimTextDecresc
+ g4\> e d c\! |
+ \dimTextDecr
+ e4\> d c b\! |
+ \dimTextDim
+ d4\> c b a\! |
+ \crescHairpin
+ \dimHairpin
+ c4\< d\! e\> d\! |
+}
@end lilypond
新たに絶対強弱記号や強弱に対応させるテキストを作成するには、@c
@warning{多声音楽では、@c
スラーが始まったボイスでそのスラーを終わらせる必要があります。}
-@lilypond[verbatim,quote,relative=2]
-f4( g a) a8 b(
-a4 g2 f4)
-<c e>2( <b d>2)
+@lilypond[verbatim,quote]
+\relative {
+ f''4( g a) a8 b(
+ a4 g2 f4)
+ <c e>2( <b d>2)
+}
@end lilypond
@cindex slurs, manual placement (手動でスラーを配置する)
スラーは実線、点線あるいは破線のどれかになります。@c
実線がスラーのデフォルト スタイルです:
-@lilypond[verbatim,quote,relative=1]
-c4( e g2)
-\slurDashed
-g4( e c2)
-\slurDotted
-c4( e g2)
-\slurSolid
-g4( e c2)
+@lilypond[verbatim,quote]
+\relative {
+ c'4( e g2)
+ \slurDashed
+ g4( e c2)
+ \slurDotted
+ c4( e g2)
+ \slurSolid
+ g4( e c2)
+}
@end lilypond
@funindex \slurHalfDashed
スラーの半分を破線 (前半を破線、後半を実線) にする、あるいは、@c
半分を実線 (前半を実線、後半を破線) にすることもできます:
-@lilypond[verbatim,quote,relative=1]
-c4( e g2)
-\slurHalfDashed
-g4( e c2)
-\slurHalfSolid
-c4( e g2)
-\slurSolid
-g4( e c2)
+@lilypond[verbatim,quote]
+\relative {
+ c'4( e g2)
+ \slurHalfDashed
+ g4( e c2)
+ \slurHalfSolid
+ c4( e g2)
+ \slurSolid
+ g4( e c2)
+}
@end lilypond
@funindex \slurDashPattern
スラーの破線パターンを定義することができます:
-@lilypond[verbatim,quote,relative=1]
-c4( e g2)
-\slurDashPattern #0.7 #0.75
-g4( e c2)
-\slurDashPattern #0.5 #2.0
-c4( e g2)
-\slurSolid
-g4( e c2)
+@lilypond[verbatim,quote]
+\relative {
+ c'4( e g2)
+ \slurDashPattern #0.7 #0.75
+ g4( e c2)
+ \slurDashPattern #0.5 #2.0
+ c4( e g2)
+ \slurSolid
+ g4( e c2)
+}
@end lilypond
音楽センテンスを示す @notation{フレージング スラー} (またはフレーズ記号) は@c
コマンド @code{\(} と @code{\)} を用いて記述します:
-@lilypond[verbatim,quote,relative=2]
-c4\( d( e) f(
-e2) d\)
+@lilypond[verbatim,quote]
+\relative {
+ c''4\( d( e) f(
+ e2) d\)
+}
@end lilypond
@funindex \phrasingSlurUp
フレージング スラーを実線、点線あるいは破線にすることができます。@c
実線がフレージング スラーのデフォルト スタイルです:
-@lilypond[verbatim,quote,relative=1]
-c4\( e g2\)
-\phrasingSlurDashed
-g4\( e c2\)
-\phrasingSlurDotted
-c4\( e g2\)
-\phrasingSlurSolid
-g4\( e c2\)
+@lilypond[verbatim,quote]
+\relative {
+ c'4\( e g2\)
+ \phrasingSlurDashed
+ g4\( e c2\)
+ \phrasingSlurDotted
+ c4\( e g2\)
+ \phrasingSlurSolid
+ g4\( e c2\)
+}
@end lilypond
@funindex phrasingSlurHalfDashed
フレージング スラーの半分を破線 (前半を破線、後半を実線) にする、あるいは、@c
半分を実線 (前半を実線、後半を破線) にすることもできます:
-@lilypond[verbatim,quote,relative=1]
-c4\( e g2\)
-\phrasingSlurHalfDashed
-g4\( e c2\)
-\phrasingSlurHalfSolid
-c4\( e g2\)
-\phrasingSlurSolid
-g4\( e c2\)
+@lilypond[verbatim,quote]
+\relative {
+ c'4\( e g2\)
+ \phrasingSlurHalfDashed
+ g4\( e c2\)
+ \phrasingSlurHalfSolid
+ c4\( e g2\)
+ \phrasingSlurSolid
+ g4\( e c2\)
+}
@end lilypond
@funindex \phrasingSlurDashPattern
フレージング スラーの破線パターンを定義することができます:
-@lilypond[verbatim,quote,relative=1]
-c4\( e g2\)
-\phrasingSlurDashPattern #0.7 #0.75
-g4\( e c2\)
-\phrasingSlurDashPattern #0.5 #2.0
-c4\( e g2\)
-\phrasingSlurSolid
-g4\( e c2\)
+@lilypond[verbatim,quote]
+\relative {
+ c'4\( e g2\)
+ \phrasingSlurDashPattern #0.7 #0.75
+ g4\( e c2\)
+ \phrasingSlurDashPattern #0.5 #2.0
+ c4\( e g2\)
+ \phrasingSlurSolid
+ g4\( e c2\)
+}
@end lilypond
フレージング スラーに対する破線パターンの定義は、@c
ブレス記号は @code{\breathe} を用いて入力します:
-@lilypond[verbatim,quote,relative=2]
-c2. \breathe d4
+@lilypond[verbatim,quote]
+{ c''2. \breathe d''4 }
@end lilypond
ブレス記号は自動連桁を終わらせます。@c
この振る舞いをオーバライドする方法は、@ref{手動連桁} を参照してください。
-@lilypond[verbatim,quote,relative=2]
-c8 \breathe d e f g2
+@lilypond[verbatim,quote]
+\relative { c''8 \breathe d e f g2 }
@end lilypond
@c 保留
Fall あるいは Doit の向きはプラスあるいはマイナス (上あるいは下) で示します。@c
指示の数は Fall あるいは Doit の主音符を展開させるピッチの幅を示します。
-@lilypond[verbatim,quote,relative=2]
-c2\bendAfter #+4
-c2\bendAfter #-4
-c2\bendAfter #+6.5
-c2\bendAfter #-6.5
-c2\bendAfter #+8
-c2\bendAfter #-8
+@lilypond[verbatim,quote]
+\relative c'' {
+ c2\bendAfter #+4
+ c2\bendAfter #-4
+ c2\bendAfter #+6.5
+ c2\bendAfter #-6.5
+ c2\bendAfter #+8
+ c2\bendAfter #-8
+}
@end lilypond
@snippets
@notation{グリッサンド} は音符の後に @code{\glissando} を付けることに@c
よって作成されます:
-@lilypond[verbatim,quote,relative=2]
-g2\glissando g'
-c2\glissando c,
-\afterGrace f,1\glissando f'16
+@lilypond[verbatim,quote]
+\relative {
+ g'2\glissando g'
+ c2\glissando c,
+ \afterGrace f,1\glissando f'16
+}
@end lilypond
グリッサンドは譜を跨いで音符を結ぶことができます:
和音の音符は入力ファイル @file{.ly} で出現する順に 0, 1, @dots{} と@c
番号が付きます。
-@lilypond[verbatim,quote,relative=2]
-<c, e>1\glissando g' |
-<c, e>1\glissando |
-<g' b> |
-\break
-\set glissandoMap = #'((0 . 1) (1 . 0))
-<c, g'>1\glissando |
-<d a'> |
-\set glissandoMap = #'((0 . 0) (0 . 1) (0 . 2))
-c1\glissando |
-<d f a> |
-\set glissandoMap = #'((2 . 0) (1 . 0) (0 . 1))
-<f d a'>1\glissando |
-<c c'> |
+@lilypond[verbatim,quote]
+\relative {
+ <c' e>1\glissando g' |
+ <c, e>1\glissando |
+ <g' b> |
+ \break
+ \set glissandoMap = #'((0 . 1) (1 . 0))
+ <c, g'>1\glissando |
+ <d a'> |
+ \set glissandoMap = #'((0 . 0) (0 . 1) (0 . 2))
+ c1\glissando |
+ <d f a> |
+ \set glissandoMap = #'((2 . 0) (1 . 0) (0 . 1))
+ <f d a'>1\glissando |
+ <c c'> |
+}
@end lilypond
異なるスタイルのグリッサンドを作成することもできます。@c
和音の @notation{アルペジオ} (変則和音とも呼ばれます) は和音構造の後に
@code{\arpeggio} を付けることによって記述されます:
-@lilypond[verbatim,quote,relative=1]
-<c e g c>1\arpeggio
+@lilypond[verbatim,quote]
+\relative { <c' e g c>1\arpeggio }
@end lilypond
異なるタイプのアルペジオを描くこともできます。@c
@code{\arpeggioNormal} は通常のアルペジオに戻します:
-@lilypond[verbatim,quote,relative=1]
-<c e g c>2\arpeggio
+@lilypond[verbatim,quote]
+\relative {
+ <c' e g c>2\arpeggio
-\arpeggioArrowUp
-<c e g c>2\arpeggio
+ \arpeggioArrowUp
+ <c e g c>2\arpeggio
-\arpeggioArrowDown
-<c e g c>2\arpeggio
+ \arpeggioArrowDown
+ <c e g c>2\arpeggio
-\arpeggioNormal
-<c e g c>2\arpeggio
+ \arpeggioNormal
+ <c e g c>2\arpeggio
+}
@end lilypond
@cindex arpeggio symbols, special (特殊なアルペジオ シンボル)
特殊な @emph{括弧スタイル} のアルペジオ シンボルを作成することができます:
-@lilypond[verbatim,quote,relative=1]
-<c e g c>2
+@lilypond[verbatim,quote]
+\relative {
+ <c' e g c>2
-\arpeggioBracket
-<c e g c>2\arpeggio
+ \arpeggioBracket
+ <c e g c>2\arpeggio
-\arpeggioParenthesis
-<c e g c>2\arpeggio
+ \arpeggioParenthesis
+ <c e g c>2\arpeggio
-\arpeggioParenthesisDashed
-<c e g c>2\arpeggio
+ \arpeggioParenthesisDashed
+ <c e g c>2\arpeggio
-\arpeggioNormal
-<c e g c>2\arpeggio
+ \arpeggioNormal
+ <c e g c>2\arpeggio
+}
@end lilypond
括弧スタイルのアルペジオの破線プロパティは @code{'dash-definition} プロパティで@c
延長線を持つ長いトリルは @code{\startTrillSpan} と @code{\stopTrillSpan} で@c
作成されます:
-@lilypond[verbatim,quote,relative=2]
-d1\startTrillSpan
-d1
-c2\stopTrillSpan
-r2
+@lilypond[verbatim,quote]
+\relative {
+ d''1\startTrillSpan
+ d1
+ c2\stopTrillSpan
+ r2
+}
@end lilypond
改行を跨ぐトリルは、次行の最初の音符の上から再開されます。
-@lilypond[ragged-right,verbatim,quote,relative=2]
-d1\startTrillSpan
-\break
-d1
-c2\stopTrillSpan
-r2
+@lilypond[ragged-right,verbatim,quote]
+\relative {
+ d''1\startTrillSpan
+ \break
+ d1
+ c2\stopTrillSpan
+ r2
+}
@end lilypond
連続したトリルには、明示的な @code{\stopTrillSpan} コマンドは必要ありません。@c
なぜなら、自動的に次のトリルが前のトリルの右端となるからです。
-@lilypond[verbatim,quote,relative=2]
-d1\startTrillSpan
-d1
-b1\startTrillSpan
-d2\stopTrillSpan
-r2
+@lilypond[verbatim,quote]
+\relative {
+ d''1\startTrillSpan
+ d1
+ b1\startTrillSpan
+ d2\stopTrillSpan
+ r2
+}
@end lilypond
トリルを装飾小音符と組み合わせることもできます。@c
この組み合わせの構文と装飾小音符を正確に配置する方法については、@c
@ref{装飾小音符} で説明しています。
-@lilypond[verbatim,quote,relative=2]
-d1~\afterGrace
-d1\startTrillSpan { c32[ d]\stopTrillSpan }
-c2 r2
+@lilypond[verbatim,quote]
+\relative {
+ d''1~\afterGrace
+ d1\startTrillSpan { c32[ d]\stopTrillSpan }
+ c2 r2
+}
@end lilypond
@cindex pitched trills (ピッチを持つトリル)
最初の引数は主音符です。2 番目の引数は @emph{トリル} の音符であり、@c
括弧で囲まれた符幹を持たない符頭として譜刻されます。
-@lilypond[verbatim,quote,relative=2]
-\pitchedTrill
-d2\startTrillSpan fis
-d2
-c2\stopTrillSpan
-r2
+@lilypond[verbatim,quote]
+\relative {
+ \pitchedTrill
+ d''2\startTrillSpan fis
+ d2
+ c2\stopTrillSpan
+ r2
+}
@end lilypond
@c 未訳
音符の後に @code{\@var{number}} を付けることによって、演奏する音符の弦を@c
指示することができます。
-@lilypond[verbatim,quote,relative=0]
+@lilypond[verbatim,quote,fragment]
\clef "treble_8"
c4\5 e\4 g2\3
-<c,\5 e\4 g\3>1
+<c\5 e\4 g\3>1
@end lilypond
運指と弦の指示を一緒に使う場合、@c
和音全体や和音の @emph{中にない} 単独の音符に適用される場合、@c
運指記号は異なるメカニズムで配置されます。
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment]
\clef "treble_8"
g4\3-0
g-0\3
@warning{Scheme 表記で数字を入力する場合、数字の後にくるもの (閉じ括弧 @code{>}
等であっても) の前にスペースを置くことを忘れないで下さい。}
-@lilypond[quote,verbatim,relative=0]
+@lilypond[quote,verbatim,fragment]
\clef "treble_8"
c4\rightHandFinger #1
e\rightHandFinger #2
g\rightHandFinger #3
-c\rightHandFinger #4
-<c,\rightHandFinger #1 e\rightHandFinger #2
- g\rightHandFinger #3 c\rightHandFinger #4 >1
+c'\rightHandFinger #4
+<c\rightHandFinger #1 e\rightHandFinger #2
+ g\rightHandFinger #3 c'\rightHandFinger #4 >1
@end lilypond
入力しやすくするために、@code{\rightHandFinger} を短縮することができます。
以下の例は、楽譜にギターのポジションとバレーの指示を含める方法を示しています。
-@lilypond[quote,ragged-right,verbatim,relative=0]
-\clef "treble_8"
-b16 d g b e
-\textSpannerDown
-\override TextSpanner.bound-details.left.text = #"XII "
-g16\startTextSpan
-b16 e g e b g\stopTextSpan
-e16 b g d
+@lilypond[quote,ragged-right,verbatim,fragment]
+\relative {
+ \clef "treble_8"
+ b,16 d g b e
+ \textSpannerDown
+ \override TextSpanner.bound-details.left.text = #"XII "
+ g16\startTextSpan
+ b16 e g e b g\stopTextSpan
+ e16 b g d
+}
@end lilypond
@seealso
スキップするということに注意してください。@c
くれぐれも注意してください。
-@lilypond[quote,relative=2,ragged-right,verbatim]
-c8 d
-\set Score.skipTypesetting = ##t
-e8 e e e e e e e
-\set Score.skipTypesetting = ##f
-c8 d b bes a g c2
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ c''8 d
+ \set Score.skipTypesetting = ##t
+ e8 e e e e e e e
+ \set Score.skipTypesetting = ##f
+ c8 d b bes a g c2
+}
@end lilypond
多声の音楽では、@code{Score.skipTypesetting} はすべてのボイスと譜に@c
ボイスが他の譜に切り替わる時に、音符を繋げる線を自動的に譜刻することができます:
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,verbatim]
\new PianoStaff <<
\new Staff = "one" {
\showStaffSwitch
- c1
+ c'1
\change Staff = "two"
b2 a
}
それに @notation{ウナ コルダ} (@notation{una corda}, @notation{U.C.}) です。@c
サステイン ペダルは、ビブラフォンやチェレスタにもあります。
-@lilypond[quote,verbatim,relative=2]
-c4\sustainOn d e g
-<c, f a>1\sustainOff
-c4\sostenutoOn e g c,
-<bes d f>1\sostenutoOff
-c4\unaCorda d e g
-<d fis a>1\treCorde
+@lilypond[quote,verbatim]
+\relative {
+ c''4\sustainOn d e g
+ <c, f a>1\sustainOff
+ c4\sostenutoOn e g c,
+ <bes d f>1\sostenutoOff
+ c4\unaCorda d e g
+ <d fis a>1\treCorde
+}
@end lilypond
@cindex pedal indication styles (ペダル指示スタイル)
サステイン ペダルとウナ コルダ ペダルの指示はテキスト スタイルですが、@c
ソステヌート ペダル指示は混合スタイルです。
-@lilypond[quote,verbatim,relative=2]
-c4\sustainOn g c2\sustainOff
-\set Staff.pedalSustainStyle = #'mixed
-c4\sustainOn g c d
-d\sustainOff\sustainOn g, c2\sustainOff
-\set Staff.pedalSustainStyle = #'bracket
-c4\sustainOn g c d
-d\sustainOff\sustainOn g, c2
-\bar "|."
+@lilypond[quote,verbatim]
+\relative {
+ c''4\sustainOn g c2\sustainOff
+ \set Staff.pedalSustainStyle = #'mixed
+ c4\sustainOn g c d
+ d\sustainOff\sustainOn g, c2\sustainOff
+ \set Staff.pedalSustainStyle = #'bracket
+ c4\sustainOn g c d
+ d\sustainOff\sustainOn g, c2
+ \bar "|."
+}
@end lilypond
ペダル コマンドの配置は、@c
右のペダルは E, F, G, それに A です。@c
ペダルのポジションをテキスト記号で指示することがあります:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\textLengthOn
-cis1_\markup \concat \vcenter {
+cis''1_\markup \concat \vcenter {
[D \flat C \sharp B|E \sharp F \sharp G A \flat] }
-c!1_\markup \concat \vcenter {
+c''!1_\markup \concat \vcenter {
[ C \natural ] }
@end lilypond
あるいはペダル ダイアグラムで指示することもあります:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\textLengthOn
-cis1_\markup { \harp-pedal #"^v-|vv-^" }
-c!1_\markup { \harp-pedal #"^o--|vv-^" }
+cis''1_\markup { \harp-pedal #"^v-|vv-^" }
+c''!1_\markup { \harp-pedal #"^o--|vv-^" }
@end lilypond
@code{\harp-pedal} コマンドは文字列を受け取ります。@c
臨時記号に他の名前を使うには、@c
@ref{Note names in other languages} を参照してください。
-@lilypond[verbatim,quote,relative=2]
-ais1 aes aisis aeses
+@lilypond[verbatim,quote,fragment]
+\relative c'' { ais1 aes aisis aeses }
@end lilypond
ナチュラルは臨時記号や調号の効果をキャンセルします。@c
しかしながら、ナチュラルは接尾辞として音符名構文にエンコードされてはいません。@c
そのため、ナチュラルのピッチは単に音符名で入力されます:
-@lilypond[verbatim,quote,relative=2]
-a4 aes a2
+@lilypond[verbatim,quote,fragment]
+\relative c'' { a4 aes a2 }
@end lilypond
@cindex quarter tones (4 分音)
4 分音が付け加えられるかもしれません。@c
以下の一連の C は左から順にピッチが増えていっています:
-@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
譜刻することができます。@c
これら追加の臨時記号を使ってナチュラル記号を作り出すこともできます。
-@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 (タイで結ばれた音符への臨時記号)
タイで結ばれた音符に付ける臨時記号は@c
新しいシステム (訳者: 譜 1 行分のこと) の開始点でのみ譜刻されます:
-@lilypond[verbatim,quote,relative=2]
-cis1 ~ 1 ~
-\break
-cis
+@lilypond[verbatim,quote,fragment,ragged-right]
+\relative c'' {
+ cis1~ 1~
+ \break
+ cis
+}
@end lilypond
@code{eeses}@tie{}/@tie{}@code{eses} にも適用されます。@c
他の言語ファイルでは短縮名だけが定義されている場合があります。
-@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
以下のそれぞれの例の中にある音符はすべてミドル C です。@c
例の中にある音部名をダブル クォートで囲むことができます (必須ではありません)。
-@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
他の音部記号もあります:
@c KEEP LY
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment]
\clef french
-c2 c
+c'2 c'
\clef soprano
-c2 c
+c'2 c'
\clef mezzosoprano
-c2 c
+c'2 c'
\clef baritone
-c2 c
+c'2 c'
\break
\clef varbaritone
-c2 c
+c'2 c'
\clef subbass
-c2 c
+c'2 c'
\clef percussion
-c2 c
+c'2 c'
\break
\clef G % treble と同義です
-c2 c
+c'2 c'
\clef F % bass と同義です
-c2 c
+c'2 c'
\clef C % alto と同義です
-c2 c
+c'2 c'
@end lilypond
@cindex transposing clefs (音部を移調する)
音部名にアルファベット以外の文字が含まれる場合、@c
音部名をダブル クォートで囲む必要があります。
-@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
数字の引数を括弧や角括弧で囲むことで、オプションのオクターブを@c
表示させることができます:
-@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
ピッチは数字の引数が括弧で囲まれていない場合と同じです。
別の @code{\override} で @var{ClefModifier} グラフィカル オブジェクトに@c
適用する必要があります。
-@lilypond[fragment,quote,relative=1]
+@lilypond[fragment,quote,verbatim]
\new Staff \with {
\override ClefModifier.color = #red
\override Clef.color = #blue
}
-\clef "treble_8" c4
+\clef "treble_8" c'4
@end lilypond
@code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
@code{\mixolydian}, @code{\aeolian} それに @code{\locrian} です。
-@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
新たにモードを定義することができます
1 つの値だけを渡した場合、その譜ポジションで終了するオクターブの範囲@c
に臨時記号が配置されます。
-@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{オッターバ囲み} は譜をオクターブ単位で移調します:
-@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
符頭を変更することができます:
-@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
すべての符頭スタイルを調べるには、@ref{Note head styles} を参照してください。
以下の定義済みコマンドは符頭を譜コンテキストとタブ譜コンテキストで変更し、@c
何らかの音楽的意味を表すために使用することができます:
-@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
この定義済みコマンドの音楽関数は、譜コンテキストやタブ譜コンテキストの@c
和音の内外で使用して、符頭を×の形にすることができます:
-@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
@code{\xNote}, @code{\xNotesOn} それに @code{\xNotesOff} の同義語として
また、和音の中でのみ使用できるダイアモンド形のための短縮記法があります:
-@lilypond[verbatim,quote,relative=2]
-<c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
+@lilypond[verbatim,quote]
+\relative c'' {
+ <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic> f\harmonic
+}
@end lilypond
@predefined
Funk (Harmonica Sacra)、Walker、それに Aiken (Christian Harmony) スタイルで@c
使用されます:
-@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
マイナーで記述している場合、@c
符頭の形状を決定する音階ステップはメジャーの場合との相対関係になります:
-@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
@predefined
指定されたリズムに従って演奏する必要があります。@c
このような符頭は以下のようにして作成することができます:
-@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 ~
入れ替えを持たない 1 回の繰り返しは以下のようになります:
-@lilypond[verbatim,quote,relative=2]
-\repeat volta 2 { c4 d e f }
-c2 d
-\repeat volta 2 { d4 e f g }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat volta 2 { c''4 d e f }
+ c2 d
+ \repeat volta 2 { d4 e f g }
+}
@end lilypond
繰り返し時に入れ替えて演奏する部分は @code{\alternative} を@c
繰り返しが 1 回で、入れ替えも 1 つの場合は以下のようになります:
-@lilypond[verbatim,quote,relative=2]
-\repeat volta 2 { c4 d e f | }
-\alternative {
- { c2 e | }
- { f2 g | }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat volta 2 { c''4 d e f | }
+ \alternative {
+ { c2 e | }
+ { f2 g | }
+ }
+ c1
}
-c1
@end lilypond
複数の入れ替え部分を 1 回ずつ演奏する繰り返しは以下のようになります:
-@lilypond[verbatim,quote,relative=2]
-\repeat volta 4 { c4 d e f | }
-\alternative {
- { c2 e | }
- { f2 g | }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat volta 4 { c''4 d e f | }
+ \alternative {
+ { c2 e | }
+ { f2 g | }
+ }
+ c1
}
-c1
@end lilypond
繰り返し部分を複数回繰り返す場合は以下のようになります:
-@lilypond[verbatim,quote,relative=2]
-\repeat volta 3 { c4 d e f | }
-\alternative {
- { c2 e | }
- { f2 g | }
- { a2 g | }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat volta 3 { c''4 d e f | }
+ \alternative {
+ { c2 e | }
+ { f2 g | }
+ { a2 g | }
+ }
+ c1
}
-c1
@end lilypond
@warning{入れ替えが複数ある場合、入れ替えの閉じ波括弧と次の入れ替えの@c
使わないで下さい:
@c KEEP LY
-@lilypond[verbatim,quote,relative=1]
-% ここで \partial を使わないで下さい
-c4 e g % ここで小節チェックを行わないで下さい
-% ここで \partial を使わないで下さい
-\repeat volta 4 {
- e4 |
- c2 e |
+@lilypond[verbatim,quote]
+\relative {
+ % ここで \partial を使わないで下さい
+ c'4 e g % ここで小節チェックを行わないで下さい
% ここで \partial を使わないで下さい
- g4 g g % ここで小節チェックを行わないで下さい
+ \repeat volta 4 {
+ e4 |
+ c2 e |
+ % ここで \partial を使わないで下さい
+ g4 g g % ここで小節チェックを行わないで下さい
+ }
+ % ここで \partial を使わないで下さい
+ g4 |
+ a2 a |
+ g1 |
}
-% ここで \partial を使わないで下さい
-g4 |
-a2 a |
-g1 |
@end lilypond
同様に、繰り返しが楽譜の先頭の部分小節から始まり、入れ替え部分を持たない場合、@c
上の例と同じ条件が適用されます:
@c KEEP LY
-@lilypond[verbatim,quote,relative=1]
-\partial 4 % \partial が必要です
-\repeat volta 4 {
- e4 |
- c2 e |
+@lilypond[verbatim,quote]
+\relative {
+ \partial 4 % \partial が必要です
+ \repeat volta 4 {
+ e'4 |
+ c2 e |
+ % ここで \partial を使わないで下さい
+ g4 g g % ここで小節チェックを行わないで下さい
+ }
% ここで \partial を使わないで下さい
- g4 g g % ここで小節チェックを行わないで下さい
+ g4 |
+ a2 a |
+ g1 |
}
-% ここで \partial を使わないで下さい
-g4 |
-a2 a |
-g1 |
@end lilypond
完全な長さを持たない小節で始まる小節に入れ替え部分を付け加える場合、@c
最初の入れ替え部分を除く、各入れ替え部分の開始点。
@end itemize
-@lilypond[verbatim,quote,relative=1]
-\partial 4
-\repeat volta 2 { e4 | c2 e | }
-\alternative {
- {
- f2 d |
- \set Timing.measureLength = #(ly:make-moment 3/4)
- g4 g g % optional bar check is allowed here
- }
- {
- \set Timing.measureLength = #(ly:make-moment 4/4)
- a2 a |
+@lilypond[verbatim,quote]
+\relative {
+ \partial 4
+ \repeat volta 2 { e'4 | c2 e | }
+ \alternative {
+ {
+ f2 d |
+ \set Timing.measureLength = #(ly:make-moment 3/4)
+ g4 g g % optional bar check is allowed here
+ }
+ {
+ \set Timing.measureLength = #(ly:make-moment 4/4)
+ a2 a |
+ }
}
+ g1 |
}
-g1 |
@end lilypond
@code{measureLength} プロパティについての説明は @ref{Time administration}
@code{doubleRepeatSegnoType} を必要に応じてオーバライドすることにより@c
設定することができます。
-@lilypond[verbatim,quote,relative=1]
-e1
-\repeat volta 2 {
+@lilypond[verbatim,quote]
+\relative {
+ e'1
\inStaffSegno
f2 g a b
+ c1_"D.S." \bar "|."
}
-c1_"D.S." \bar "|."
@end lilypond
@cindex repeats, with ties (タイを持つ繰り返し)
繰り返しの 2 回目の部分にタイを付け加えることもできます:
-@lilypond[verbatim,quote,relative=2]
-c1
-\repeat volta 2 { c4 d e f~ }
-\alternative {
- { f2 d }
- { f2\repeatTie f, }
+@lilypond[verbatim,quote]
+\relative {
+ c''1
+ \repeat volta 2 { c4 d e f~ }
+ \alternative {
+ { f2 d }
+ { f2\repeatTie f, }
+ }
}
@end lilypond
@item start-repeat
@code{|:} 小節線を譜刻します。
-@lilypond[verbatim,quote,relative=2]
-c1
-\set Score.repeatCommands = #'(start-repeat)
-d4 e f g
-c1
+@lilypond[verbatim,quote]
+\relative {
+ c''1
+ \set Score.repeatCommands = #'(start-repeat)
+ d4 e f g
+ c1
+}
@end lilypond
標準の譜刻習慣に従い、楽曲の先頭では繰り返し記号は譜刻されません。
@item end-repeat
@code{:|.} 小節線を譜刻します。
-@lilypond[verbatim,quote,relative=2]
-c1
-d4 e f g
-\set Score.repeatCommands = #'(end-repeat)
-c1
+@lilypond[verbatim,quote]
+\relative {
+ c''1
+ d4 e f g
+ \set Score.repeatCommands = #'(end-repeat)
+ c1
+}
@end lilypond
@item (volta @var{number}) ... (volta #f)
Volta 囲みは明示的に終了させる必要があります。@c
さもなければ、譜刻されません。
-@lilypond[verbatim,quote,relative=2]
-f4 g a b
-\set Score.repeatCommands = #'((volta "2"))
-g4 a g a
-\set Score.repeatCommands = #'((volta #f))
-c1
+@lilypond[verbatim,quote]
+\relative {
+ f''4 g a b
+ \set Score.repeatCommands = #'((volta "2"))
+ g4 a g a
+ \set Score.repeatCommands = #'((volta #f))
+ c1
+}
@end lilypond
@end table
複数の繰り返しコマンドが同時に発生することもあります:
-@lilypond[verbatim,quote,relative=2]
-f4 g a b
-\set Score.repeatCommands = #'((volta "2, 5") end-repeat)
-g4 a g a
-c1
-\set Score.repeatCommands = #'((volta #f) (volta "95") end-repeat)
-b1
-\set Score.repeatCommands = #'((volta #f))
+@lilypond[verbatim,quote]
+\relative {
+ f''4 g a b
+ \set Score.repeatCommands = #'((volta "2, 5") end-repeat)
+ g4 a g a
+ c1
+ \set Score.repeatCommands = #'((volta #f) (volta "95") end-repeat)
+ b1
+ \set Score.repeatCommands = #'((volta #f))
+}
@end lilypond
@cindex volta bracket with text (テキストを持つ volta 囲み)
ここで、@code{@var{musicexpr}} は音楽表記であり、@code{@var{repeatcount}} は
@code{@var{musicexpr}} を繰り返す回数です。
-@lilypond[verbatim,quote,relative=2]
-\repeat unfold 2 { c4 d e f }
-c1
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 2 { c''4 d e f }
+ c1
+}
@end lilypond
いくつかのケースでは、特に @code{\relative} コンテキストの中では、@c
入れ替え部分がある繰り返しを展開することもできます。@c
-@lilypond[verbatim,quote,relative=2]
-\repeat unfold 2 { c4 d e f }
-\alternative {
- { c2 g' }
- { c,2 b }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 2 { c''4 d e f }
+ \alternative {
+ { c2 g' }
+ { c,2 b }
+ }
+ c1
}
-c1
@end lilypond
繰り返し回数が入れ替え部分の数よりも多い場合、@c
最初の入れ替え部分だけが適用されます。@c
残りの入れ替えは無視されて譜刻されません。
-@lilypond[verbatim,quote,relative=2]
-\repeat unfold 4 { c4 d e f }
-\alternative {
- { c2 g' }
- { c,2 b }
- { e2 d }
- }
-c1
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 4 { c''4 d e f }
+ \alternative {
+ { c2 g' }
+ { c,2 b }
+ { e2 d }
+ }
+ c1
+}
@end lilypond
入れ替え部分の数が繰り返し回数よりも多い場合、@c
最初の入れ替え部分が使用され、残りの繰り返し部分は無視され、譜刻されません。
-@lilypond[verbatim,quote,relative=2]
-\repeat unfold 2 { c4 d e f }
-\alternative {
- { c2 g' }
- { c,2 b }
- { e2 d }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 2 { c''4 d e f }
+ \alternative {
+ { c2 g' }
+ { c,2 b }
+ { e2 d }
+ }
+ c1
}
-c1
@end lilypond
複数の @code{unfold} 関数をネストすることも可能です。@c
(@code{unfold} は入れ替え部分を持っていても、持っていなくても構いません。)
-@lilypond[verbatim,quote,relative=2]
-\repeat unfold 2 {
- \repeat unfold 2 { c4 d e f }
- \alternative {
- { c2 g' }
- { c,2 b }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 2 {
+ \repeat unfold 2 { c''4 d e f }
+ \alternative {
+ { c2 g' }
+ { c,2 b }
+ }
}
+ c1
}
-c1
@end lilypond
和音構造は和音の繰り返し記号 @code{q} で繰り返すことができます。@c
1 小節よりも短いパターンはスラッシュで置き換えられます。
-@lilypond[verbatim,quote,relative=2]
-\repeat percent 4 { c128 d e f }
-\repeat percent 4 { c64 d e f }
-\repeat percent 5 { c32 d e f }
-\repeat percent 4 { c16 d e f }
-\repeat percent 4 { c8 d }
-\repeat percent 4 { c4 }
-\repeat percent 2 { c2 }
+@lilypond[verbatim,quote]
+\relative c'' {
+ \repeat percent 4 { c128 d e f }
+ \repeat percent 4 { c64 d e f }
+ \repeat percent 5 { c32 d e f }
+ \repeat percent 4 { c16 d e f }
+ \repeat percent 4 { c8 d }
+ \repeat percent 4 { c4 }
+ \repeat percent 2 { c2 }
+}
@end lilypond
1 または 2 小節のパターンはパーセントのような記号で置き換えられます。
-@lilypond[verbatim,quote,relative=2]
-\repeat percent 2 { c4 d e f }
-\repeat percent 2 { c2 d }
-\repeat percent 2 { c1 }
+@lilypond[verbatim,quote]
+\relative c'' {
+ \repeat percent 2 { c4 d e f }
+ \repeat percent 2 { c2 d }
+ \repeat percent 2 { c1 }
+}
@end lilypond
-@lilypond[verbatim,quote,relative=2]
-\repeat percent 3 { c4 d e f | c2 g' }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat percent 3 { c''4 d e f | c2 g' }
+}
@end lilypond
1 小節よりも短いけれども異なる演奏時間が含まれるパターンは@c
2 重線のパーセント記号を用います。
-@lilypond[verbatim,quote,relative=2]
-\repeat percent 4 { c8. <d f>16 }
-\repeat percent 2 { \tuplet 3/2 { r8 c d } e4 }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat percent 4 { c''8. <d f>16 }
+ \repeat percent 2 { \tuplet 3/2 { r8 c d } e4 }
+}
@end lilypond
@snippets
2 つの音符の間にトレモロ記号を配置するには、トレモロ スタイルの @code{\repeat}
を使用します:
-@lilypond[quote,verbatim,relative=2]
-\repeat tremolo 8 { c16 d }
-\repeat tremolo 6 { c16 d }
-\repeat tremolo 2 { c16 d }
+@lilypond[quote,verbatim]
+\relative c'' {
+ \repeat tremolo 8 { c16 d }
+ \repeat tremolo 6 { c16 d }
+ \repeat tremolo 2 { c16 d }
+}
@end lilypond
@code{\repeat tremolo} の構文では、@c
@code{@var{N}} が省略された場合、
最後の値 (@code{tremoloFlags} に保存されています) が使用されます:
-@lilypond[quote,verbatim,relative=2]
-c2:8 c:32
-c: c:
+@lilypond[quote,verbatim]
+\relative {
+ c''2:8 c:32
+ c: c:
+}
@end lilypond
@snippets
それよりも短い音価を指定することも可能ですが、必ず連桁付きの音符となります。
@c Two 64th notes are needed to obtain beams
-@lilypond[quote,verbatim,relative=2]
-\time 8/1
-c\longa c\breve c1 c2
-c4 c8 c16 c32 c64 c128 c128
+@lilypond[quote,verbatim]
+\relative {
+ \time 8/1
+ c''\longa c\breve c1 c2
+ c4 c8 c16 c32 c64 c128 c128
+}
@end lilypond
同じ例で自動連桁を off にしてみます。
@c not strictly "writing rhythms"; more of a "displaying" thing,
@c but it's ok here. -gp
-@lilypond[quote,verbatim,relative=2]
-\time 8/1
-\autoBeamOff
-c\longa c\breve c1 c2
-c4 c8 c16 c32 c64 c128 c128
+@lilypond[quote,verbatim]
+\relative {
+ \time 8/1
+ \autoBeamOff
+ c''\longa c\breve c1 c2
+ c4 c8 c16 c32 c64 c128 c128
+}
@end lilypond
全音符の 8 倍の演奏時間を持つ音符は
演奏時間を省略した場合、前に入力された演奏時間にセットされます。@c
最初の音符のデフォルト値は 4 分音符です。
-@lilypond[quote,verbatim,relative=2]
-a a a2 a a4 a a1 a
+@lilypond[quote,verbatim]
+\relative { a' a a2 a a4 a a1 a }
@end lilypond
@cindex notes, dotted (付点音符)
付点音符の演奏時間を得るには、演奏時間の後にドット (@code{.}) を置きます。@c
2 重付点音符は 2 つのドットを置き、3 重付点音符は 3 つのドットなどとなります。
-@lilypond[quote,verbatim,relative=2]
-a4 b c4. b8 a4. b4.. c8.
+@lilypond[quote,verbatim]
+\relative { a'4 b c4. b8 a4. b4.. c8. }
@end lilypond
演奏時間の中には 2の倍数の演奏時間とドットだけでは表せないものもあります。@c
連符はネストすることができます:
-@lilypond[quote,verbatim,relative=2]
-\autoBeamOff
-c4 \tuplet 5/4 { f8 e f \tuplet 3/2 { e[ f g] } } f4
+@lilypond[quote,verbatim]
+\relative {
+ \autoBeamOff
+ c''4 \tuplet 5/4 { f8 e f \tuplet 3/2 { e[ f g] } } f4
+}
@end lilypond
ネストされた連符の演奏開始点が同時である場合に、それらの連符を変更するには
ピアノ、ハープ、他の弦楽器、それに打楽器のための楽譜で使用されます。@c
L.v. タイは以下のように入力します:
-@lilypond[quote,verbatim,relative=1]
-<c f g>1\laissezVibrer
+@lilypond[quote,verbatim,fragment]
+<c' f' g'>1\laissezVibrer
@end lilypond
@cindex ties, placement (タイの配置)
@var{whiteout} レイアウト プロパティと @var{layer} レイアウト プロパティを@c
オーバライドしてください。
-@lilypond[verbatim,quote,ragged-right,relative=2]
-\override Tie.layer = #-2
-\override Staff.TimeSignature.layer = #-1
-\override Staff.KeySignature.layer = #-1
-\override Staff.TimeSignature.whiteout-box = ##t
-\override Staff.KeySignature.whiteout-box = ##t
-b2 b~
-\time 3/4
-\key a \major
-b r4
+@lilypond[verbatim,quote,ragged-right]
+\relative {
+ \override Tie.layer = #-2
+ \override Staff.TimeSignature.layer = #-1
+ \override Staff.KeySignature.layer = #-1
+ \override Staff.TimeSignature.whiteout = ##t
+ \override Staff.KeySignature.whiteout = ##t
+ b'2 b~
+ \time 3/4
+ \key a \major
+ b r4
+}
@end lilypond
@predefined
これは多声部音楽を手動で精密にフォーマットすることを考慮したものです。@c
なぜなら、自動休符フォーマットでは多声部音楽の休符の衝突を回避できないからです。
-@lilypond[quote,verbatim,relative=2]
-a4\rest d4\rest
+@lilypond[quote,verbatim]
+\relative { a'4\rest d4\rest }
@end lilypond
@snippets
不可視の休符 (@q{空白休符} とも呼ばれます) は音符名@tie{}@code{s} を@c
持つ音符として入力することができます:
-@lilypond[verbatim,quote,relative=2]
-c4 c s c
-s2 c
+@lilypond[verbatim,quote]
+\relative c'' {
+ c4 c s c |
+ s2 c |
+}
@end lilypond
@cindex lyrics, skip (歌詞をスキップする)
@code{\addlyrics} や @code{\lyricsto} を使っていて、@c
歌詞が関係するメロディーの音符から演奏時間を得ている場合は無視されます。
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
{
- a2 \skip2 a2 a2
+ a'2 \skip2 a'2 a'2
}
\new Lyrics {
\lyricmode {
@code{\skip} はコマンドであるため、@c
@code{s} とは異なり後に続く音符のデフォルト演奏時間には影響を与えません。
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
{
- \repeat unfold 8 { a4 }
+ \repeat unfold 8 { a'4 }
}
{
- a4 \skip 2 a |
- s2 a
+ a'4 \skip 2 a' |
+ s2 a'
}
>>
@end lilypond
1 小節分の休符は、拍子次第で全休符または二全休符のどちらかとして、@c
小節の中央に譜刻されます。
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\time 4/4
R1 |
\time 6/4
拍子は以下のようにセットします:
-@lilypond[quote,verbatim,relative=2]
-\time 2/4 c2
-\time 3/4 c2.
+@lilypond[quote,verbatim,fragment]
+\time 2/4 c''2
+\time 3/4 c''2.
@end lilypond
@cindex time signature, visibility of (拍子の可視性)
デフォルトの振る舞いを変更することができます。@c
@ref{Visibility of objects} を参照してください。
-@lilypond[quote,verbatim,relative=2]
-\time 2/4
-c2 c
-\break
-c c
-\break
-\time 4/4
-c c c c
+@lilypond[quote,verbatim]
+\relative c'' {
+ \time 2/4
+ c2 c
+ \break
+ c c
+ \break
+ \time 4/4
+ c c c c
+}
@end lilypond
@cindex time signature style (拍子スタイル)
基本的なメトロノーム記号は単純に以下のように記述します:
-@lilypond[verbatim,quote,relative=1]
-\tempo 4 = 120
-c2 d
-e4. d8 c2
+@lilypond[verbatim,quote]
+\relative {
+ \tempo 4 = 120
+ c'2 d
+ e4. d8 c2
+}
@end lilypond
メトロノーム記号を 2 つの数の範囲として譜刻することもできます:
-@lilypond[verbatim,quote,relative=1]
-\tempo 4 = 40 - 46
-c4. e8 a4 g
-b,2 d4 r
+@lilypond[verbatim,quote]
+\relative {
+ \tempo 4 = 40 - 46
+ c'4. e8 a4 g
+ b,2 d4 r
+}
@end lilypond
テキストを持つテンポ指示にすこともできます:
-@lilypond[verbatim,quote,relative=2]
-\tempo "Allegretto"
-c4 e d c
-b4. a16 b c4 r4
+@lilypond[verbatim,quote]
+\relative {
+ \tempo "Allegretto"
+ c''4 e d c
+ b4. a16 b c4 r4
+}
@end lilypond
メトロノーム記号とテキストを組み合わせると、@c
メトロノーム記号は自動的に括弧で囲まれます:
-@lilypond[verbatim,quote,relative=2]
-\tempo "Allegro" 4 = 160
-g4 c d e
-d4 b g2
+@lilypond[verbatim,quote]
+\relative {
+ \tempo "Allegro" 4 = 160
+ g'4 c d e
+ d4 b g2
+}
@end lilypond
一般に、テキストを任意のマークアップ オブジェクトにすることができます:
-@lilypond[verbatim,quote,relative=2]
-\tempo \markup { \italic Faster } 4 = 132
-a8-. r8 b-. r gis-. r a-. r
+@lilypond[verbatim,quote]
+\relative {
+ \tempo \markup { \italic Faster } 4 = 132
+ a'8-. r8 b-. r gis-. r a-. r
+}
@end lilypond
テキストを伴わないメトロノーム記号を括弧で囲むには、@c
空の文字列を含めて記述します:
-@lilypond[verbatim,quote,relative=2]
-\tempo "" 8 = 96
-d4 g e c
+@lilypond[verbatim,quote]
+\relative {
+ \tempo "" 8 = 96
+ d''4 g e c
+}
@end lilypond
@var{duration} は、完全な長さを持つ小節より短い演奏時間であれば、@c
任意の値を取ることができます:
-@lilypond[quote,verbatim,relative=1]
-\time 3/4
-\partial 4.
-r4 e8 | a4 c8 b c4 |
+@lilypond[quote,verbatim]
+\relative {
+ \time 3/4
+ \partial 4.
+ r4 e'8 | a4 c8 b c4 |
+}
@end lilypond
@code{\partial @var{duration}} を以下のように記述することもできます:
@code{\cadenzaOn} を用いて @q{スイッチ off} することができます。@c
@q{スイッチ on} に戻すには、適切な場所で @code{\cadenzaOff} を用います。
-@lilypond[verbatim,relative=2,quote]
-c4 d e d
-\cadenzaOn
-c4 c d8[ d d] f4 g4.
-\cadenzaOff
-\bar "|"
-d4 e d c
+@lilypond[verbatim,quote]
+\relative c'' {
+ c4 d e d
+ \cadenzaOn
+ c4 c d8[ d d] f4 g4.
+ \cadenzaOff
+ \bar "|"
+ d4 e d c
+}
@end lilypond
カデンツァが終わると、小節番号が再開されます。
そのため、カデンツァの中に連桁を挿入するには手動で行う必要があります。@c
@ref{Manual beams} を参照してください。
-@lilypond[verbatim,relative=2,quote]
-\repeat unfold 8 { c8 }
-\cadenzaOn
-cis8 c c c c
-\bar"|"
-c8 c c
-\cadenzaOff
-\repeat unfold 8 { c8 }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 8 { c''8 }
+ \cadenzaOn
+ cis8 c c c c
+ \bar"|"
+ c8 c c
+ \cadenzaOff
+ \repeat unfold 8 { c8 }
+}
@end lilypond
+These predefined commands affect all staves in the score, even when
以下の例では、小節線をまたがる音符と休符は分割され、@c
音符はされにタイで結ばれています。
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,verbatim]
\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
\remove "Rest_engraver"
\consists "Completion_rest_engraver"
}
-
-{ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2 }
+\relative {
+ c'2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2
+}
@end lilypond
これらのエングラーバは進行中の音符と休符をすべて小節線のところで分割して、@c
そのような譜上にある音符のピッチはすべて破棄され、その譜自体は 1 本の@c
線を持ちます:
-@lilypond[quote,relative=1,verbatim]
+@lilypond[quote,verbatim]
<<
\new RhythmicStaff {
- \new Voice = "myRhythm" {
+ \new Voice = "myRhythm" \relative {
\time 4/4
- c4 e8 f g2
+ c'4 e8 f g2
r4 g g f
g1
}
@funindex \autoBeamOff
@funindex autoBeamOff
-@lilypond[quote,verbatim,relative=2]
-\time 2/4 c8 c c c
-\time 6/8 c8 c c c8. c16 c8
+@lilypond[quote,verbatim]
+\relative c'' {
+ \time 2/4 c8 c c c
+ \time 6/8 c8 c c c8. c16 c8
+}
@end lilypond
自動的に決定される連桁が満足いかないものである場合、@c
@code{\autoBeamOff} で off にすることができ、@c
@code{\autoBeamOn} で on にすることができます:
-@lilypond[quote,relative=1,verbatim]
-c4 c8 c8. c16 c8. c16 c8
-\autoBeamOff
-c4 c8 c8. c16 c8.
-\autoBeamOn
-c16 c8
+@lilypond[quote,verbatim]
+\relative c' {
+ c4 c8 c8. c16 c8. c16 c8
+ \autoBeamOff
+ c4 c8 c8. c16 c8.
+ \autoBeamOn
+ c16 c8
+}
@end lilypond
@cindex melismata, with beams (メリスマの連桁)
この振る舞いはコンテキスト プロパティ @code{beamHalfMeasure} によって@c
制御されます -- これは分子が 3 の拍子記号の場合にのみ効果を持ちます:
-@lilypond[quote,verbatim,relative=2]
-\time 3/4
-r4. a8 a a |
-\set Timing.beamHalfMeasure = ##f
-r4. a8 a a |
+@lilypond[quote,verbatim]
+\relative a' {
+ \time 3/4
+ r4. a8 a a |
+ \set Timing.beamHalfMeasure = ##f
+ r4. a8 a a |
+}
@end lilypond
@i{@strong{自動連桁はどのように機能するのか}}
常にお望みの連桁を使うこともできます。@c
ある拍子に対する自動連桁設定を変更する方法は @ref{拍子} で説明しています。
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
\new Staff {
\overrideTimeSignatureSettings
#'(1 5) % beatStructure
#'() % beamExceptions
\time 3/4
- \repeat unfold 6 { a8 }
+ \repeat unfold 6 { a'8 }
}
\new Staff {
\time 3/4
- \repeat unfold 6 { a8 }
+ \repeat unfold 6 { a'8 }
}
>>
@end lilypond
そのような連桁は @code{[} と @code{]} で開始点と終了点を記すことによって@c
手動で指定することができます:
-@lilypond[quote,relative=1,verbatim]
-r4 r8[ g' a r] r g[ | a] r
+@lilypond[quote,verbatim]
+\relative { r4 r8[ g' a r] r g[ | a] r }
@end lilypond
@cindex manual beams, direction shorthand for (手動連桁の向きを指定する短縮記譜法)
方向指示子を用いることで、連桁の向きを手動で設定することができます:
-@lilypond[quote,relative=2,verbatim]
-c8^[ d e] c,_[ d e f g]
+@lilypond[quote,verbatim]
+\relative { c''8^[ d e] c,_[ d e f g] }
@end lilypond
@funindex \noBeam
連桁でつながれないようにするために、個々の音符には
@code{\noBeam} が記されるかもしれません:
-@lilypond[quote,verbatim,relative=2]
-\time 2/4
-c8 c\noBeam c c
+@lilypond[quote,verbatim]
+\relative {
+ \time 2/4
+ c''8 c\noBeam c c
+}
@end lilypond
装飾小音符の連桁と通常の音符の連桁は同時進行で発生します。@c
通常の音符の連桁の途中に、連桁でつながれない装飾小音符は配置されません。
-@lilypond[quote,verbatim,relative=2]
-c4 d8[
-\grace { e32 d c d }
-e8] e[ e
-\grace { f16 }
-e8 e]
+@lilypond[quote,verbatim]
+\relative {
+ c''4 d8[
+ \grace { e32 d c d }
+ e8] e[ e
+ \grace { f16 }
+ e8 e]
+}
@end lilypond
@funindex stemLeftBeamCount
-- すなわち、グループ全体をつなげている 8 分音符の連桁を持って --
譜刻されています。
-@lilypond[quote,relative=2,verbatim]
-a8[ r16 f g a]
-a8[ r16
-\set stemLeftBeamCount = #2
-\set stemRightBeamCount = #1
-f16
-\set stemLeftBeamCount = #1
-g16 a]
+@lilypond[quote,verbatim]
+\relative a' {
+ a8[ r16 f g a]
+ a8[ r16
+ \set stemLeftBeamCount = #2
+ \set stemRightBeamCount = #1
+ f16
+ \set stemLeftBeamCount = #1
+ g16 a]
+}
@end lilypond
最初の 4 つの 32 分音符は徐々にスピード アップしますが、@c
最後の 4 つの 32 分音符は一定のテンポです。
-@lilypond[relative=1,verbatim,quote]
-\override Beam.grow-direction = #LEFT
-\featherDurations #(ly:make-moment 2/1)
-{ c16[ c c c c c c c] }
-\override Beam.grow-direction = #RIGHT
-\featherDurations #(ly:make-moment 2/3)
-{ c32[ d e f] }
-% revert to non-feathered beams
-\override Beam.grow-direction = #'()
-{ g32[ a b c] }
+@lilypond[verbatim,quote]
+\relative c' {
+ \override Beam.grow-direction = #LEFT
+ \featherDurations #(ly:make-moment 2/1)
+ { c16[ c c c c c c c] }
+ \override Beam.grow-direction = #RIGHT
+ \featherDurations #(ly:make-moment 2/3)
+ { c32[ d e f] }
+ % revert to non-feathered beams
+ \override Beam.grow-direction = #'()
+ { g32[ a b c] }
+}
@end lilypond
@noindent
@code{\bar} コマンドで他のタイプに変更することができます。@c
例えば、通常、2 重線の閉じの小節線が楽曲の最後に配置されます:
-@lilypond[quote,relative=1,verbatim]
-e4 d c2 \bar "|."
+@lilypond[quote,verbatim]
+\relative { e'4 d c2 \bar "|." }
@end lilypond
ある小節の最後の音符が、自動的に挿入される小節線の所で終わっていなくても@c
手動で挿入できる小節線として、単線の小節線は 2 種類あり、@c
2 重線の小節線は 5 種類あります:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar "|"
-f1 \bar "."
-g1 \bar "||"
-a1 \bar ".|"
-b1 \bar ".."
-c1 \bar "|.|"
-d1 \bar "|."
-e1
+@lilypond[quote,verbatim]
+\relative {
+ f'1 \bar "|"
+ f1 \bar "."
+ g1 \bar "||"
+ a1 \bar ".|"
+ b1 \bar ".."
+ c1 \bar "|.|"
+ d1 \bar "|."
+ e1
+}
@end lilypond
@noindent
さらに、点線と破線の小節線があります:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar ";"
-g1 \bar "!"
-a1
+@lilypond[quote,verbatim]
+\relative {
+ f'1 \bar ";"
+ g1 \bar "!"
+ a1
+}
@end lilypond
@noindent
行内のセーニョ記号として、3 タイプの小節線があり、@c
改行での振る舞いがそれぞれ異なります:
-@lilypond[quote,relative=2,verbatim]
-c4 c c c
-\bar "S"
-c4 c c c \break
-\bar "S"
-c4 c c c
-\bar "S-|"
-c4 c c c \break
-\bar "S-|"
-c4 c c c
-\bar "S-S"
-c4 c c c \break
-\bar "S-S"
-c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ c4 c c c
+ \bar "S"
+ c4 c c c \break
+ \bar "S"
+ c4 c c c
+ \bar "S-|"
+ c4 c c c \break
+ \bar "S-|"
+ c4 c c c
+ \bar "S-S"
+ c4 c c c \break
+ \bar "S-S"
+ c1
+}
@end lilypond
@cindex repeats (繰り返し)
この小節線は行の終わりに 2 重線の小節線を置き、@c
次の行の始めに繰り返し開始の小節線を置きます。
-@lilypond[quote,relative=2,verbatim]
-c4 c c c
-\bar ".|:-||"
-c4 c c c \break
-\bar ".|:-||"
-c4 c c c
+@lilypond[quote,verbatim]
+\relative c'' {
+ c4 c c c
+ \bar ".|:-||"
+ c4 c c c \break
+ \bar ".|:-||"
+ c4 c c c
+}
@end lilypond
繰り返しとセーニョ記号の組み合わせは 6 種類あります:
-@lilypond[quote,relative=2,verbatim]
-c4 c c c
-\bar ":|.S"
-c4 c c c \break
-\bar ":|.S"
-c4 c c c
-\bar ":|.S-S"
-c4 c c c \break
-\bar ":|.S-S"
-c4 c c c
-\bar "S.|:-S"
-c4 c c c \break
-\bar "S.|:-S"
-c4 c c c
-\bar "S.|:"
-c4 c c c \break
-\bar "S.|:"
-c4 c c c
-\bar ":|.S.|:"
-c4 c c c \break
-\bar ":|.S.|:"
-c4 c c c
-\bar ":|.S.|:-S"
-c4 c c c \break
-\bar ":|.S.|:-S"
-c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ c4 c c c
+ \bar ":|.S"
+ c4 c c c \break
+ \bar ":|.S"
+ c4 c c c
+ \bar ":|.S-S"
+ c4 c c c \break
+ \bar ":|.S-S"
+ c4 c c c
+ \bar "S.|:-S"
+ c4 c c c \break
+ \bar "S.|:-S"
+ c4 c c c
+ \bar "S.|:"
+ c4 c c c \break
+ \bar "S.|:"
+ c4 c c c
+ \bar ":|.S.|:"
+ c4 c c c \break
+ \bar ":|.S.|:"
+ c4 c c c
+ \bar ":|.S.|:-S"
+ c4 c c c \break
+ \bar ":|.S.|:-S"
+ c1
+}
@end lilypond
さらに、@code{\inStaffSegno} コマンドがあります。@c
結果として、@code{StaffGroup}, @code{PianoStaff}, あるいは
@code{GrandStaff} では、小節線は譜をまたがって 1 本に接続されます。
-@lilypond[quote,relative=1,verbatim]
+@lilypond[quote,verbatim]
<<
\new StaffGroup <<
- \new Staff {
- e4 d
+ \new Staff \relative {
+ e'4 d
\bar "||"
f4 e
}
- \new Staff { \clef bass c4 g e g }
+ \new Staff \relative { \clef bass c'4 g e g }
>>
- \new Staff { \clef bass c2 c2 }
+ \new Staff \relative { \clef bass c'2 c2 }
>>
@end lilypond
リハーサル記号を譜刻するには、@code{\mark} コマンドを使用します:
-@lilypond[quote,verbatim,relative=2]
-c1 \mark \default
-c1 \mark \default
-c1 \mark \default
-c1 \mark \default
+@lilypond[quote,verbatim]
+\relative c'' {
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark \default
+}
@end lilypond
@noindent
手動で整数をリハーサル記号にセットすることもできます。@c
セットした値は @code{rehearsalMark} に保存されます。
-@lilypond[quote,verbatim,relative=2]
-c1 \mark \default
-c1 \mark \default
-c1 \mark #8
-c1 \mark \default
-c1 \mark \default
+@lilypond[quote,verbatim]
+\relative c'' {
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark #8
+ c1 \mark \default
+ c1 \mark \default
+}
@end lilypond
@noindent
\set Score.markFormatter = #format-mark-circle-alphabet
@end example
-@lilypond[quote,verbatim,relative=2]
-\set Score.markFormatter = #format-mark-box-alphabet
-c1 \mark \default
-c1 \mark \default
-c1 \mark #8
-c1 \mark \default
-c1 \mark \default
+@lilypond[quote,verbatim]
+\relative c'' {
+ \set Score.markFormatter = #format-mark-box-alphabet
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark #8
+ c1 \mark \default
+ c1 \mark \default
+}
@end lilypond
@cindex rehearsal mark format (リハーサル記号のフォーマット)
以下の例では、@code{markFormatter} には定義済みの手続きがセットされています。@c
数小節後では、四角で囲まれた番号を作り出す手続きがセットされています。
-@lilypond[quote,verbatim,relative=2]
-\set Score.markFormatter = #format-mark-numbers
-c1 \mark \default
-c1 \mark \default
-\set Score.markFormatter = #format-mark-box-numbers
-c1 \mark \default
-\set Score.markFormatter = #format-mark-circle-numbers
-c1 \mark \default
-\set Score.markFormatter = #format-mark-circle-letters
-c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ \set Score.markFormatter = #format-mark-numbers
+ c1 \mark \default
+ c1 \mark \default
+ \set Score.markFormatter = #format-mark-box-numbers
+ c1 \mark \default
+ \set Score.markFormatter = #format-mark-circle-numbers
+ c1 \mark \default
+ \set Score.markFormatter = #format-mark-circle-letters
+ c1
+}
@end lilypond
ファイル @file{scm/translation-functions.scm} は
音楽的図柄 (セーニョ記号など) を @code{\mark} の中に譜刻することができます:
-@lilypond[quote,verbatim,relative=1]
-c1 \mark \markup { \musicglyph #"scripts.segno" }
-c1 \mark \markup { \musicglyph #"scripts.coda" }
-c1 \mark \markup { \musicglyph #"scripts.ufermata" }
-c1
+@lilypond[quote,verbatim]
+\relative c' {
+ c1 \mark \markup { \musicglyph #"scripts.segno" }
+ c1 \mark \markup { \musicglyph #"scripts.coda" }
+ c1 \mark \markup { \musicglyph #"scripts.ufermata" }
+ c1
+}
@end lilypond
@noindent
装飾小音符は装飾の音であり、小さなフォントで表示され、@c
論理的には演奏時間を持ちません。
-@lilypond[quote,relative=2,verbatim]
-c4 \grace b16 a4(
-\grace { b16 c16 } a2)
+@lilypond[quote,verbatim]
+\relative {
+ c''4 \grace b16 a4(
+ \grace { b16 c16 } a2)
+}
@end lilypond
装飾音符には他にも 3 つのタイプがあります。@c
@emph{appoggiatura} (一定の比率で主音符から演奏時間をとり、@c
スラッシュを持たない小さな音符で譜刻されます) です。
-@lilypond[quote,relative=2,verbatim]
-\acciaccatura d8 c4
-\appoggiatura e8 d4
-\acciaccatura { g16 f } e2
-\slashedGrace a,8 g4
-\slashedGrace b16 a4(
-\slashedGrace b8 a2)
+@lilypond[quote,verbatim]
+\relative {
+ \acciaccatura d''8 c4
+ \appoggiatura e8 d4
+ \acciaccatura { g16 f } e2
+ \slashedGrace a,8 g4
+ \slashedGrace b16 a4(
+ \slashedGrace b8 a2)
+}
@end lilypond
装飾小音符の配置は他の譜と同期されます。@c
以下の例では、8 分の装飾小音符 1 つに対して 2 つの 16 分装飾小音符が@c
割り当てられています:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Staff { e2 \grace { c16 d e f } e2 }
- \new Staff { c2 \grace { g8 b } c2 }
+ \new Staff \relative { e''2 \grace { c16 d e f } e2 }
+ \new Staff \relative { c''2 \grace { g8 b } c2 }
>>
@end lilypond
このコマンドは 2 つの引数をとります:
主音符と主音符の後に続く装飾小音符です。
-@lilypond[quote,verbatim,relative=2]
-c1 \afterGrace d1 { c16[ d] } c1
+@lilypond[quote,verbatim]
+\relative { c''1 \afterGrace d1 { c16[ d] } c1 }
@end lilypond
これは主音符の長さの 3/4 のスペースをとった後に@c
以下の例では、スペースをデフォルト、主音符の 15/16、最後は 1/2 に@c
設定した結果を示しています。
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- \new Staff {
- c1 \afterGrace d1 { c16[ d] } c1
+ \new Staff \relative {
+ c''1 \afterGrace d1 { c16[ d] } c1
}
- \new Staff {
+ \new Staff \relative {
#(define afterGraceFraction (cons 15 16))
- c1 \afterGrace d1 { c16[ d] } c1
+ c''1 \afterGrace d1 { c16[ d] } c1
}
- \new Staff {
+ \new Staff \relative {
#(define afterGraceFraction (cons 1 2))
- c1 \afterGrace d1 { c16[ d] } c1
+ c''1 \afterGrace d1 { c16[ d] } c1
}
>>
@end lilypond
以下の例では、主音符の長さの 7/8 のスペースをとった後に装飾小音符を@c
配置しています。
-@lilypond[quote,verbatim,relative=2]
-\new Voice {
+@lilypond[quote,verbatim]
+\new Voice \relative {
<<
- { d1^\trill_( }
+ { d''1^\trill_( }
{ s2 s4. \grace { c16 d } }
>>
c1)
以下の例では、装飾小音符の符幹のデフォルトの向きがオーバライドされ、@c
それから元に戻されています。
-@lilypond[quote,verbatim,relative=2]
-\new Voice {
+@lilypond[quote,verbatim]
+\new Voice \relative {
\acciaccatura {
\stemDown
- f16->
+ f''16->
\stemNeutral
}
g4 e c2
装飾小音符を持つ譜と持たない譜を混在させる場合は気をつけて下さい。@c
例えば:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Staff { e4 \bar ".|:" \grace c16 d2. }
- \new Staff { c4 \bar ".|:" d2. }
+ \new Staff \relative { e''4 \bar ".|:" \grace c16 d2. }
+ \new Staff \relative { c''4 \bar ".|:" d2. }
>>
@end lilypond
装飾小音符を挿入することによって修正することができます。@c
上の例を以下のように修正します:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Staff { e4 \bar ".|:" \grace c16 d2. }
- \new Staff { c4 \bar ".|:" \grace s16 d2. }
+ \new Staff \relative { e''4 \bar ".|:" \grace c16 d2. }
+ \new Staff \relative { c''4 \bar ".|:" \grace s16 d2. }
>>
@end lilypond
和音は @code{<} と @code{>} で 1 組のピッチを囲むことによって形成されます。@c
和音の後には -- 普通の音符と同様に -- 演奏時間が続くかもしれません:
-@lilypond[verbatim,quote,relative=2]
-<a c e>1 <a c e>2 <f a c e>4 <a c>8. <g c e>16
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1 <a c e>2 <f a c e>4 <a c>8. <g c e>16
+}
@end lilypond
さらに、和音の後には -- 普通の音符と同様に -- アーティキュレーションが@c
続くかもしれません:
-@lilypond[verbatim,quote,relative=2]
-<a c e>1\fermata <a c e>2-> <f a c e>4\prall <a c>8.^! <g c e>16-.
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1\fermata <a c e>2-> <f a c e>4\prall <a c>8.^! <g c e>16-.
+}
@end lilypond
和音の中にある音符自体にもアーティキュレーションや装飾を付けることができます。
-@lilypond[verbatim,quote,relative=2]
-<a c\prall e>1 <a-> c-^ e>2 <f-. a c-. e-.>4
-<a-+ c-->8. <g\fermata c e\turn>16
+@lilypond[verbatim,quote]
+\relative {
+ <a' c\prall e>1 <a-> c-^ e>2 <f-. a c-. e-.>4
+ <a-+ c-->8. <g\fermata c e\turn>16
+}
@end lilypond
しかしながら、いくつかの記譜要素
は和音の中の音符ではなく、和音に付ける必要があります。@c
そうしなければ、譜刻されません。
-@lilypond[verbatim,quote,relative=2]
-<a\f c( e>1 <a c) e>\f <a\< c e>( <a\! c e>)
-<a c e>\< <a c e> <a c e>\!
+@lilypond[verbatim,quote]
+\relative {
+ <a'\f c( e>1 <a c) e>\f <a\< c e>( <a\! c e>)
+ <a c e>\< <a c e> <a c e>\!
+}
@end lilypond
@c ここから L2100
タイミングで発生して、組み合わされます (そのような要素の複雑な組み合わせ@c
については @ref{Simultaneous expressions} を参照してください):
-@lilypond[verbatim,quote,relative=2]
-\grace { g8( a b }
-<> ) \p \< -. -\markup \italic "sempre staccato"
-\repeat unfold 4 { c4 e } c1\f
+@lilypond[verbatim,quote]
+\relative {
+ \grace { g'8( a b }
+ <> ) \p \< -. -\markup \italic "sempre staccato"
+ \repeat unfold 4 { c4 e } c1\f
+}
@end lilypond
@cindex relative pitch, chords (和音と相対ピッチ)
和音の中にある残りの音符はすべて @emph{同じ和音の中にある}
前の音符との相対関係になります。
-@lilypond[verbatim,quote,relative=2]
-<a c e>1 <f a c> <a c e> <f' a c> <b, e b,>
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1 <f a c> <a c e> <f' a c> <b, e b,>
+}
@end lilypond
和音についての更なる情報は、@ref{Chord notation} を参照してください。
入力の手間を省くために、前の和音を繰り返すための短縮記法があります。@c
和音を繰り返すためのシンボルは @code{q} です:
-@lilypond[verbatim,quote,relative=2]
-<a c e>1 q <f a c>2 q
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1 q <f a c>2 q
+}
@end lilypond
前の和音のピッチが複製されているだけなので、
通常の和音と同様に、和音の繰り返しのシンボルにも演奏時間、@c
アーティキュレーション、マークアップ、スラー、連桁などを使うことができます。
-@lilypond[verbatim,quote,relative=2]
-<a c e>1\p^"text" q2\<( q8)[-! q8.]\! q16-1-2-3 q8\prall
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1\p^"text" q2\<( q8)[-! q8.]\! q16-1-2-3 q8\prall
+}
@end lilypond
和音繰り返しのシンボルは常に最後の和音を覚えているため、@c
最後の和音の後に和音ではない音符や休符があったとしても、@c
和音を繰り返すことができます。
-@lilypond[verbatim,quote,relative=2]
-<a c e>1 c'4 q2 r8 q8 |
-q2 c, |
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1 c'4 q2 r8 q8 |
+ q2 c, |
+}
@end lilypond
しかしながら、和音繰り返しのシンボルは前の和音の中にある、あるいは付属している@c
強弱記号、アーティキュレーション、あるいは装飾を持ち越しません。
-@lilypond[verbatim,quote,relative=2]
-<a-. c\prall e>1\sfz c'4 q2 r8 q8 |
-q2 c, |
+@lilypond[verbatim,quote]
+\relative {
+ <a'-. c\prall e>1\sfz c'4 q2 r8 q8 |
+ q2 c, |
+}
@end lilypond
それらのイベントを持ち越すには、@code{\chordRepeats} 関数を明示的に呼び出し、@c
以下の例は 1 つの譜の上にある同時進行表記を示しています:
@c KEEP LY
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\new Voice { % 明らかに単一のボイスです
- << { a4 b g2 } { d4 g c,2 } >>
+ << \relative { a'4 b g2 }
+ \relative { d'4 g c,2 } >>
}
@end lilypond
-@lilypond[quote,verbatim,relative=2]
-% 単一の音符で始まります
-a << {a4 b g} {d4 g c,} >>
+@lilypond[quote,verbatim]
+\relative {
+ % 単一の音符で始まります
+ a' << \relative { a'4 b g }
+ \relative { d'4 g c, } >>
+}
@end lilypond
これは同時進行するセクションが同一のリズムを持つ場合に役に立ちます。@c
@emph{単一の} @samp{Voice} の中にある音符、アーティキュレーション、@c
それにプロパティの変更は収集され、音楽的な順序で譜刻されます:
-@lilypond[quote,verbatim,relative=2]
-<a c>4-. <>-. << c a >> << { c-. <c a> } { a s-. } >>
+@lilypond[quote,verbatim]
+\relative {
+ <a' c>4-. <>-. << c a >> << { c-. <c a> } { a s-. } >>
+}
@end lilypond
同時に複数の符幹や連桁、あるいは異なる音符の演奏時間やプロパティが必要な@c
以下の例は、同時進行する表記が暗黙的に複数の譜を生成する様子を示しています:
@c KEEP LY
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
% 単一の音符で始まりません
-<< {a4 b g2} {d4 g2 c,4} >>
+<< \relative { a'4 b g2 }
+ \relative { d'4 g2 c,4 } >>
@end lilypond
ここでは、リズムが異なっていても問題ありません。@c
を適用することによって入力されます。@c
例えば以下のように:
-@lilypond[quote,relative=2,verbatim]
-\makeClusters { <g b>2 <c g'> }
+@lilypond[quote,verbatim]
+\relative \makeClusters { <g' b>2 <c g'> }
@end lilypond
通常の音符とクラスタを同じ譜に一緒にして配置することができます
単一の譜の中に複数の独立したボイスを配置するのに必要とされる基本的な構造が@c
以下の例で示されています:
-@lilypond[quote,relative=3,verbatim]
+@lilypond[quote,verbatim]
\new Staff <<
\new Voice = "first"
- { \voiceOne r8 r16 g e8. f16 g8[ c,] f e16 d }
+ \relative { \voiceOne r8 r16 g'' e8. f16 g8[ c,] f e16 d }
\new Voice= "second"
- { \voiceTwo d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
+ \relative { \voiceTwo d''16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
>>
@end lilypond
これと同様に、歌詞は多声セクションの前、最中、後に続いているボイスに@c
代入されます:
-@lilypond[quote, verbatim, relative=2]
-<<
+@lilypond[quote,verbatim]
+\relative <<
\new Voice = "melody" {
- a4
+ a'4
<<
{
\voiceOne
最初の例は以下のように書き換えることができます:
-@lilypond[quote,relative=3,verbatim]
+@lilypond[quote,verbatim]
<<
- { r8 r16 g e8. f16 g8[ c,] f e16 d }
+ \relative { r8 r16 g'' e8. f16 g8[ c,] f e16 d }
\\
- { d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
+ \relative { d''16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
>>
@end lilypond
しています。@c
休符が 2 重に譜刻されることを避けるために、空白休符を使用しています。
-@lilypond[quote,relative=3,verbatim]
+@lilypond[quote,verbatim]
<<
- { r8 g g g g f16 ees f8 d }
+ \relative { r8 g'' g g g f16 ees f8 d }
\\
- { ees,8 r ees r d r d r }
+ \relative { ees'8 r ees r d r d r }
\\
- { d'8 s c s bes s a s }
+ \relative { d''8 s c s bes s a s }
>>
@end lilypond
これを実現するには、並行する音楽を明示的にインスタンス化されたボイス内の@c
同時進行音楽構造の中に置きます:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
\new Voice <<
- { e4 f8 d e16 f g8 d4 }
- { c4 d8 b c16 d e8 b4 }
+ \relative { e''4 f8 d e16 f g8 d4 }
+ \relative { c''4 d8 b c16 d e8 b4 }
>>
@end lilypond
ボイス毎に異なる色と形を与えて、容易に見分けられるようにすることができます:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- { \voiceOneStyle d4 c2 b4 }
+ \relative { \voiceOneStyle d''4 c2 b4 }
\\
- { \voiceTwoStyle e,2 e }
+ \relative { \voiceTwoStyle e'2 e }
\\
- { \voiceThreeStyle b2. c4 }
+ \relative { \voiceThreeStyle b2. c4 }
\\
- { \voiceFourStyle g'2 g }
+ \relative { \voiceFourStyle g'2 g }
>>
@end lilypond
以下の例は 3 つの異なる状態を示しています
-- 第 1 小節の 1, 3 拍目、それに第 2 小節の 1 拍目で自動マージが失敗しています。
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- {
- c8 d e d c d c4
+ \relative {
+ c''8 d e d c d c4
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
-- 例外として、半音符と 4 分音符のマージはできません。@c
第 1 小節の 1 拍目の符頭がマージされました:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- {
+ \relative {
\mergeDifferentlyHeadedOn
- c8 d e d c d c4
+ c''8 d e d c d c4
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
第 1 小節の 3 拍目のように異なる付点を持つ符頭もマージすることができます:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- {
+ \relative {
\mergeDifferentlyHeadedOn
\mergeDifferentlyDottedOn
- c8 d e d c d c4
+ c''8 d e d c d c4
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
最上段にある @notation{g} を列から外し、@c
@code{\mergeDifferentlyHeadedOn} を正しく機能させています。
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- {
+ \relative {
\mergeDifferentlyHeadedOn
\mergeDifferentlyDottedOn
- c8 d e d c d c4
+ c''8 d e d c d c4
\shiftOn
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
@code{\override NoteColumn.ignore-collision = ##t} を使うと@c
異なるボイスにある符頭が異なる音符を不適切にマージします。
-@lilypond[quote,relative=1,verbatim]
+@lilypond[quote,verbatim,fragment]
\mergeDifferentlyHeadedOn
-<< { c16 a' b a } \\ { c,2 } >>
+<< \relative { c'16 a' b a } \\ \relative { c'2 } >>
\override NoteColumn.ignore-collision = ##t
-<< { c16 a' b a } \\ { c,2 } >>
+<< \relative { c'16 a' b a } \\ \relative { c'2 } >>
@end lilypond
@ignore
小節線が引かれる場所で手動で強制的に改行を入れるには、@c
@code{\break} コマンドを使用します:
-@lilypond[quote,ragged-right,relative=2,verbatim]
-c4 c c c | \break
-c4 c c c |
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ c4 c c c | \break
+ c4 c c c |
+}
@end lilypond
デフォルトでは、小節の途中での @code{\break} は無視され、@c
小節の途中で強制的に改行を入れるには、@c
@w{@samp{\bar ""}} を用いて不可視の小節線を追加します:
-@lilypond[quote,ragged-right,relative=2,verbatim]
-c4 c c
-\bar "" \break
-c |
-c4 c c c |
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ c4 c c
+ \bar "" \break
+ c |
+ c4 c c c |
+}
@end lilypond
連符が開始する小節と終了する小節が異なる場合などのように、@c
この振る舞いは、@code{\override Beam.breakable = ##t} により、@c
変更することができます:
-@lilypond[quote,ragged-right,relative=2,verbatim]
-\override Beam.breakable = ##t
-c2. c8[ c | \break
-c8 c] c2. |
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ \override Beam.breakable = ##t
+ c2. c8[ c | \break
+ c8 c] c2. |
+}
@end lilypond
@code{\noBreak} コマンドは、コマンドが配置された小節線での改行を禁止します。
後半は修正を誇張しています:
@lilypond[quote,ragged-right]
-{
- c'4 e''4 e'4 b'4 |
- b'4 e''4 b'4 e''4 |
+\fixed c' {
+ c4 e'4 e4 b4 |
+ b4 e'4 b4 e'4 |
\override Staff.NoteSpacing.stem-spacing-correction = #1.5
\override Staff.StaffSpacing.stem-spacing-correction = #1.5
- c'4 e''4 e'4 b'4 |
- b'4 e''4 b'4 e''4 |
+ c4 e'4 e4 b4 |
+ b4 e'4 b4 e'4 |
}
@end lilypond
拍子記号が新たしいセクションを導入しています。@c
その結果、16 分音符の間隔が広くなっています。
-@lilypond[relative=1,verbatim,quote]
-\time 2/4
-c4 c8 c
-c8 c c4 c16[ c c8] c4
-\newSpacingSection
-\time 4/16
-c16[ c c8]
+@lilypond[verbatim,quote]
+\relative c' {
+ \time 2/4
+ c4 c8 c
+ c8 c c4 c16[ c c8] c4
+ \newSpacingSection
+ \time 4/16
+ c16[ c c8]
+}
@end lilypond
@code{\newSpacingSection} コマンドは新たに
基本的な譜コンテキストは @code{Staff} です:
-@lilypond[verbatim,quote,relative=2]
-\new Staff { c4 d e f }
+@lilypond[verbatim,quote]
+\new Staff \relative { c''4 d e f }
@end lilypond
@code{DrumStaff} コンテキストは、一般的なドラム セットのための 5 線譜を@c
(ピッチは無視されますが) 演奏時間が保持されます。@c
詳細は @ref{Showing melody rhythms} を参照してください。
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new RhythmicStaff { c4 d e f }
@end lilypond
@code{TabStaff} は、標準のギター チューニングの 6 弦のタブ譜を作成します。@c
詳細は @ref{Default tablatures} を参照してください。
-@lilypond[verbatim,quote,relative=2]
-\new TabStaff { c4 d e f }
+@lilypond[verbatim,quote]
+\new TabStaff \relative { c''4 d e f }
@end lilypond
古代音楽の記譜法のために 2 つの譜コンテキストが用意されています:
現代グレゴリア聖歌を記譜するための譜を作成します。@c
これは小節線を譜刻しません。
-@lilypond[verbatim,quote,relative=2]
-\new GregorianTranscriptionStaff { c4 d e f e d }
+@lilypond[verbatim,quote]
+\new GregorianTranscriptionStaff \relative { c''4 d e f e d }
@end lilypond
新たに単一譜コンテキストを定義する場合があります。@c
コンテキストが指定されていない場合、デフォルトのプロパティが使用されます:
グループは垂直の線で始まり、小節線はつながりません。
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
<<
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { c''1 c }
>>
@end lilypond
@code{StaffGroup} コンテキストでは、グループは角括弧で始まり、@c
小節線はすべての譜を貫いて刻譜されます。
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new StaffGroup <<
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { c''1 c }
>>
@end lilypond
@code{ChoirStaff} では、グループは角括弧で始まりますが、小節線はつながりません。
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new ChoirStaff <<
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { c''1 c }
>>
@end lilypond
@code{GrandStaff} では、グループは波括弧で始まり、小節線はすべての譜を貫きます。
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new GrandStaff <<
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { c''1 c }
>>
@end lilypond
例外として楽器名を刻譜することができます。@c
詳細は @ref{Instrument names} を参照してください。
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new PianoStaff <<
\set PianoStaff.instrumentName = #"Piano"
- \new Staff { c1 c }
- \new Staff { c1 c }
+ \new Staff \relative { c''1 c }
+ \new Staff \relative { \clef bass c1 c }
>>
@end lilypond
@code{\stopStaff} コマンドと @code{\startStaff} コマンドを使って、@c
楽譜内の任意の場所で譜線を停止あるいは (再) 開始させることができます。
-@lilypond[verbatim,quote,relative=2]
-\stopStaff f4 d \startStaff g, e
-f'4 d \stopStaff g, e
-f'4 d \startStaff g, e
+@lilypond[verbatim,quote]
+\relative {
+ \stopStaff f''4 d \startStaff g, e
+ f'4 d \stopStaff g, e
+ f'4 d \startStaff g, e
+}
@end lilypond
+
@predefined
譜線の本数を変更することができます:
-@lilypond[verbatim,quote,relative=2]
-f4 d \stopStaff
-\override Staff.StaffSymbol.line-count = #2
-\startStaff g, e |
+@lilypond[verbatim,quote]
+\relative {
+ f''4 d \stopStaff
+ \override Staff.StaffSymbol.line-count = #2
+ \startStaff g, e |
-f'4 d \stopStaff
-\revert Staff.StaffSymbol.line-count
-\startStaff g, e |
+ f'4 d \stopStaff
+ \revert Staff.StaffSymbol.line-count
+ \startStaff g, e |
+}
@end lilypond
各譜線の位置を変更することもできます。@c
1 つの値に対して 1 本の譜線が譜刻されるので、@c
1 つのオーバライドで譜線の位置と本数を変更することができます。
-@lilypond[verbatim,quote,relative=2]
-f4 d \stopStaff
-\override Staff.StaffSymbol.line-positions = #'(1 3 5 -1 -3)
-\startStaff g, e |
-f'4 d \stopStaff
-\override Staff.StaffSymbol.line-positions = #'(8 6.5 -6 -8 -0.5)
-\startStaff g, e
+@lilypond[verbatim,quote]
+\relative {
+ f''4 d \stopStaff
+ \override Staff.StaffSymbol.line-positions = #'(1 3 5 -1 -3)
+ \startStaff g, e |
+ f'4 d \stopStaff
+ \override Staff.StaffSymbol.line-positions = #'(8 6.5 -6 -8 -0.5)
+ \startStaff g, e |
+}
@end lilypond
新しい譜線に対応して、@c
デフォルトでは、加線 (訳者注: ledger line, 譜の上下に突き出た符頭と符幹に@c
付けられる短い譜線) と符幹の太さも影響を受けます。@c
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.thickness = #3
+} \relative {
+ f''4 d g, e
}
-{ f4 d g, e }
@end lilypond
しかしながら、加線の太さを譜線の太さから独立して設定することができます。@c
2 つの値は譜線の太さと譜線の間隔に掛け算され、@c
それらを加算した値が加線の太さになります。
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.thickness = #2
\override StaffSymbol.ledger-line-thickness = #'(0.5 . 0.4)
+} \relative {
+ f'''4 a, a,, f
}
-{ f'4 a, a,, f }
@end lilypond
加線の垂直方向の位置を変更することができます:
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.ledger-positions = #'(-3 -2 -1 2 5 6)
+} \relative {
+ f'''4 a, a,, f
}
-{ f'4 a, a,, f }
@end lilypond
符頭の位置と加線を持つ他の符頭との関係に応じて、@c
符頭の上または下に追加の加線を配置することできます。
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.ledger-extra = #4
+} \relative {
+ f'''4 a, d, f,
}
-{ f'4 a, d, f, }
@end lilypond
譜の内部に加線を表示させることもできます。@c
譜線の間隔を変えることができます。この設定は加線の間隔にも影響を与えます。
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
\override StaffSymbol.staff-space = #1.5
+} \relative {
+ f'''4 d, g, e,
}
-{ f'4 d, g, e, }
@end lilypond
@snippets
@code{shortInstrumentName} の値がそれに続くすべての@c
行の譜に対して使用されます。
-@lilypond[verbatim,quote,ragged-right,relative=1]
+@lilypond[verbatim,quote,ragged-right]
\new Staff \with {
instrumentName = #"Violin "
shortInstrumentName = #"Vln. "
+} \relative {
+ c'4.. g'16 c4.. g'16 \break | c1 |
}
-{ c4.. g'16 c4.. g'16 \break | c1 }
@end lilypond
@cindex instrument names, complex (複雑な楽器名)
@code{\markup} を用いて、より複雑な楽器名を作成することができます:
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote]
\new Staff \with {
instrumentName = \markup {
\column { "Clarinetti"
\line { "in B" \smaller \flat }
}
}
+} \relative {
+ c''4 c,16 d e f g2
}
-{ c4 c,16 d e f g2 }
@end lilypond
@cindex instrument names, centering (楽器名を中央揃えする)
複数行にわたる楽器名を中央揃えするには、@c
@code{\center-column} を用いる必要があります:
-@lilypond[verbatim,quote,indent=1.5\cm,relative=2]
+@lilypond[verbatim,quote,indent=1.5\cm]
<<
\new Staff \with {
instrumentName = #"Flute"
- }
- { f2 g4 f }
+ } \relative {
+ f''2 g4 f
+}
\new Staff \with {
instrumentName = \markup {
\center-column { "Clarinet"
\line { "in B" \smaller \flat }
}
}
- }
- { c4 b c2 }
+ } \relative { c''4 b c2 }
>>
@end lilypond
を参照してください。
@lilypond[verbatim,quote,ragged-right]
-\relative {
- <<
- \new Staff \with {
- instrumentName = #"Alto Flute in G"
- shortInstrumentName = #"Flt."
- }
- {
- f''2 g4 f \break
- g4 f g2
- }
- \new Staff \with {
- instrumentName = #"Clarinet"
- shortInstrumentName = #"Clar."
- }
- {
- c,4 b c2 \break
- c2 b4 c
- }
- >>
-}
+<<
+ \new Staff \with {
+ instrumentName = #"Alto Flute in G"
+ shortInstrumentName = #"Flt."
+ } \relative {
+ f''2 g4 f \break
+ g4 f g2
+ }
+ \new Staff \with {
+ instrumentName = #"Clarinet"
+ shortInstrumentName = #"Clar."
+ } \relative {
+ c''4 b c2 \break
+ c2 b4 c
+ }
+>>
\layout {
indent = 3.0\cm
合図音符をフォーマットする最も簡単な方法は、@c
パートの中で明示的に @code{CueVoice} コンテキストを作成することです。
-@lilypond[verbatim,relative=1]
-R1
-<<
- { e2\rest r4. e8 }
- \new CueVoice {
- \stemUp d'8^"flute" c d e fis2
- }
->>
-d,4 r a r
+@lilypond[verbatim]
+\relative {
+ R1
+ <<
+ { e'2\rest r4. e8 }
+ \new CueVoice {
+ \stemUp d'8^"flute" c d e fis2
+ }
+ >>
+ d,4 r a r
+}
@end lilypond
音部記号の変更が必要で、合図音符に適切なサイズの音部記号を譜刻する場合、@c
その後、@code{\cueClefUnset} コマンドを用いて、@c
オリジナルの音部記号 -- 再度、適切なサイズにされた -- に戻すことができます。
-@lilypond[verbatim,noragged-right,relative=1]
-\clef "bass"
-R1
-<<
- { e2\rest r4. \cueClefUnset e,8 }
- \new CueVoice {
- \cueClef "treble" \stemUp d''8^"flute" c d e fis2
- }
->>
-d,,4 r a r
+@lilypond[verbatim,noragged-right]
+\relative {
+ \clef "bass"
+ R1
+ <<
+ { e'2\rest r4. \cueClefUnset e,8 }
+ \new CueVoice {
+ \cueClef "treble" \stemUp d''8^"flute" c d e fis2
+ }
+ >>
+ d,,4 r a r
+}
@end lilypond
必要があれば、@code{CueVoice} 無しで
@code{\cueClef} コマンドと @code{\cueClefUnset} コマンドを用いることもできます。
-@lilypond[verbatim,noragged-right,relative=1]
-\clef "bass"
-R1
-\cueClef "treble"
-d'8^"flute" c d e fis2
-\cueClefUnset
-d,,4 r a r
+@lilypond[verbatim,noragged-right]
+\relative {
+ \clef "bass"
+ R1
+ \cueClef "treble"
+ d''8^"flute" c d e fis2
+ \cueClefUnset
+ d,,4 r a r
+}
@end lilypond
もっと複雑な合図音符
そのような指示は、@ref{Direction and placement} で説明する構文を用いて、@c
手動で譜の上または下に配置することができます。
-@lilypond[quote,verbatim,relative=2]
-a8^"pizz." g f e a4-"scherz." f
+@lilypond[quote,verbatim]
+\relative { a'8^"pizz." g f e a4-"scherz." f }
@end lilypond
この構文は実際には短縮記法です。@c
@code{\markup} ブロックを用いて明示的に、@c
より複雑なテキスト フォーマットを音符に付け加えることができます。
-@lilypond[quote,verbatim,relative=2]
-a8^\markup { \italic pizz. } g f e
-a4_\markup { \tiny scherz. \bold molto } f
+@lilypond[quote,verbatim]
+\relative {
+ a'8^\markup { \italic pizz. } g f e
+ a4_\markup { \tiny scherz. \bold molto } f }
@end lilypond
デフォルトでは、テキスト指示は音符の間隔に影響を与えません。@c
以下の例では、最初のテキスト文字列は音符の間隔に影響を与えていませんが、@c
2 番目のテキスト文字列は影響を与えています。
-@lilypond[quote,verbatim,relative=2]
-a8^"pizz." g f e
-\textLengthOn
-a4_"scherzando" f
+@lilypond[quote,verbatim]
+\relative {
+ a'8^"pizz." g f e
+ \textLengthOn
+ a4_"scherzando" f
+}
@end lilypond
テキスト スクリプトだけでなく、@c
以下の構文を用いることで、@c
ある音符から他の音符までの範囲に作成することができます:
-@lilypond[verbatim,quote,relative=2]
-\override TextSpanner.bound-details.left.text = "rit."
-b1\startTextSpan
-e,\stopTextSpan
+@lilypond[verbatim,quote]
+\relative {
+ \override TextSpanner.bound-details.left.text = "rit."
+ b'1\startTextSpan
+ e,\stopTextSpan
+}
@end lilypond
@noindent
しかしながら、@ref{テキストをフォーマットする} で記述されているように、@c
@code{\markup} ブロックを用いることで他の書体にすることができます。
-@lilypond[quote,relative=2,verbatim]
-\override TextSpanner.bound-details.left.text =
- \markup { \upright "rit." }
-b1\startTextSpan c
-e,\stopTextSpan
+@lilypond[quote,verbatim]
+\relative {
+ \override TextSpanner.bound-details.left.text =
+ \markup { \upright "rit." }
+ b'1\startTextSpan c
+ e,\stopTextSpan
+}
@end lilypond
テキスト文字列と同様に、@c
@c \mark needs to be placed on a separate line (it's not
@c attached to an object like \markup is). -vv
-@lilypond[verbatim,quote,relative=2]
-c4
-\mark "Allegro"
-c c c
+@lilypond[verbatim,quote]
+\relative {
+ c''4
+ \mark "Allegro"
+ c c c
+}
@end lilypond
この構文を用いることで、@c
@code{\markup} ブロックを用いてより複雑なテキスト フォーマットを@c
付け加えることもできます:
-@lilypond[quote,verbatim,relative=1]
-<c e>1
-\mark \markup { \italic { colla parte } }
-<d f>2 <e g>
-<c f aes>1
+@lilypond[quote,verbatim]
+\relative {
+ <c' e>1
+ \mark \markup { \italic { colla parte } }
+ <d f>2 <e g>
+ <c f aes>1
+}
@end lilypond
@noindent
この構文で適切なシンボル名を指定することによって、@c
特殊な記号 -- コーダ、セーニョ、フェルマータなど -- を譜刻することが可能です:
-@lilypond[quote,verbatim,relative=2]
-<bes f>2 <aes d>
-\mark \markup { \musicglyph #"scripts.ufermata" }
-<e g>1
+@lilypond[quote,verbatim]
+\relative {
+ <bes' f>2 <aes d>
+ \mark \markup { \musicglyph #"scripts.ufermata" }
+ <e g>1
+}
@end lilypond
@noindent
ダブル クォーテーション自体は、@c
それ自体の前にバックスラッシュを置くことによって譜刻されます。
-@lilypond[quote,verbatim,relative=2]
-a1^"\italic markup..."
-a_\markup { \italic "... prints \"italic\" letters!" }
-a a
+@lilypond[quote,verbatim]
+\relative {
+ a'1^"\italic markup..."
+ a_\markup { \italic "... prints \"italic\" letters!" }
+ a a
+}
@end lilypond
表記をばらばらなものとして扱うには、@c
以下の例では、@c
2 番目の @code{\markup} 表記は 1 番目の表記と同じように扱われています:
-@lilypond[quote,verbatim,relative=2]
-c1^\markup { \center-column { a bbb c } }
-c1^\markup { \center-column { a { bbb c } } }
-c1^\markup { \center-column { a \line { bbb c } } }
-c1^\markup { \center-column { a "bbb c" } }
+@lilypond[quote,verbatim]
+\relative c'' {
+ c1^\markup { \center-column { a bbb c } }
+ c1^\markup { \center-column { a { bbb c } } }
+ c1^\markup { \center-column { a \line { bbb c } } }
+ c1^\markup { \center-column { a "bbb c" } }
+}
@end lilypond
マークアップを変数に格納することができます。@c
フォント サイズをあらかじめ定義されているサイズに設定することができます:
-@lilypond[quote,verbatim,relative=2]
-b1_\markup { \huge Sinfonia }
-b1^\markup { \teeny da }
-b1-\markup { \normalsize camera }
+@lilypond[quote,verbatim]
+\relative b' {
+ b1_\markup { \huge Sinfonia }
+ b1^\markup { \teeny da }
+ b1-\markup { \normalsize camera }
+}
@end lilypond
フォント サイズを前の値との相対関係で設定することができます:
-@lilypond[quote,verbatim,relative=2]
-b1_\markup { \larger Sinfonia }
-b1^\markup { \smaller da }
-b1-\markup { \magnify #0.6 camera }
+@lilypond[quote,verbatim]
+\relative b' {
+ b1_\markup { \larger Sinfonia }
+ b1^\markup { \smaller da }
+ b1-\markup { \magnify #0.6 camera }
+}
@end lilypond
フォント サイズをグローバル譜サイズによって設定されている値で拡大あるいは縮小させる@c
ことができます:
-@lilypond[quote,verbatim,relative=2]
-b1_\markup { \fontsize #-2 Sinfonia }
-b1^\markup { \fontsize #1 da }
-b1-\markup { \fontsize #3 camera }
+@lilypond[quote,verbatim]
+\relative b' {
+ b1_\markup { \fontsize #-2 Sinfonia }
+ b1^\markup { \fontsize #1 da }
+ b1-\markup { \fontsize #3 camera }
+}
@end lilypond
さらに、フォント サイズをグローバル譜サイズとは無関係に、固定ポイント サイズに設定する@c
ことができます:
-@lilypond[quote,verbatim,relative=2]
-b1_\markup { \abs-fontsize #20 Sinfonia }
-b1^\markup { \abs-fontsize #8 da }
-b1-\markup { \abs-fontsize #14 camera }
+@lilypond[quote,verbatim]
+\relative b' {
+ b1_\markup { \abs-fontsize #20 Sinfonia }
+ b1^\markup { \abs-fontsize #8 da }
+ b1-\markup { \abs-fontsize #14 camera }
+}
@end lilypond
@cindex subscript (下付き文字)
以下の例では、@c
最初のマークアップと 2 番目のマークアップの揃えられ方はまったく同じです。
-@lilypond[quote,verbatim,relative=2]
-d1-\markup { poco }
-f
-d-\markup { \left-align poco }
-f
-d-\markup { \center-align { poco } }
-f
-d-\markup { \right-align poco }
+@lilypond[quote,verbatim]
+\relative {
+ d''1-\markup { poco }
+ f
+ d-\markup { \left-align poco }
+ f
+ d-\markup { \center-align { poco } }
+ f
+ d-\markup { \right-align poco }
+}
@end lilypond
@funindex \halign
水平方向の揃え方は、数値を使って、微調整することができます:
-@lilypond[quote,verbatim,relative=2]
-a1-\markup { \halign #-1 poco }
-e'
-a,-\markup { \halign #0 poco }
-e'
-a,-\markup { \halign #0.5 poco }
-e'
-a,-\markup { \halign #2 poco }
+@lilypond[quote,verbatim]
+\relative {
+ a'1-\markup { \halign #-1 poco }
+ e'
+ a,-\markup { \halign #0 poco }
+ e'
+ a,-\markup { \halign #0.5 poco }
+ e'
+ a,-\markup { \halign #2 poco }
+}
@end lilypond
@noindent
以下の例では 2 つのケースを示しています。@c
最後のマークアップはアンカ ポイントを持たず、それゆえ移動されません。
-@lilypond[quote,verbatim,relative=1]
-d2^\markup {
- Acte I
- \raise #2 { Scène 1 }
-}
-a'
-g_\markup {
- \null
- \lower #4 \bold { Très modéré }
-}
-a
-d,^\markup {
- \raise #4 \italic { Une forêt. }
+@lilypond[quote,verbatim]
+\relative {
+ d'2^\markup {
+ Acte I
+ \raise #2 { Scène 1 }
+ }
+ a'
+ g_\markup {
+ \null
+ \lower #4 \bold { Très modéré }
+ }
+ a
+ d,^\markup {
+ \raise #4 \italic { Une forêt. }
+ }
+ a'4 a g2 a
}
-a'4 a g2 a
@end lilypond
@funindex \general-align
そのようなコマンドで移動させるオブジェクトの前には@c
アンカ ポイントを置く必要があります:
-@lilypond[quote,verbatim,relative=1]
-d2^\markup {
- Acte I
- \translate #'(-1 . 2) "Scène 1"
-}
-a'
-g_\markup {
- \null
- \general-align #Y #3.2 \bold "Très modéré"
-}
-a
-d,^\markup {
- \null
- \translate-scaled #'(-1 . 2) \teeny "Une forêt."
+@lilypond[quote,verbatim]
+\relative {
+ d'2^\markup {
+ Acte I
+ \translate #'(-1 . 2) "Scène 1"
+ }
+ a'
+ g_\markup {
+ \null
+ \general-align #Y #3.2 \bold "Très modéré"
+ }
+ a
+ d,^\markup {
+ \null
+ \translate-scaled #'(-1 . 2) \teeny "Une forêt."
+ }
+ a'4 a g2 a
}
-a'4 a g2 a
@end lilypond
@cindex multi-line markup (複数行にわたるマークアップ)
このような機能を使う場合、以下で示すように、@c
描画サイズを明示的に指定することを推奨します:
-@lilypond[quote,verbatim,relative=1]
-c1^\markup {
+@lilypond[quote,verbatim,fragment]
+c'1^\markup {
\combine
\epsfile #X #10 #"./context-example.eps"
\with-dimensions #'(0 . 6) #'(0 . 10)
closepath
stroke"
}
-c
+c'
@end lilypond
@ref{Graphic} にグラフィック特有のコマンドの徹底したリストがあります。
音符と臨時記号はマークアップ コマンドを用いて入力することができます:
-@lilypond[quote,verbatim,relative=2]
-a2 a^\markup {
+@lilypond[quote,verbatim,fragment]
+a'2 a'^\markup {
\note #"4" #1
=
\note-by-number #1 #1 #1.5
}
-b1_\markup {
+b'1_\markup {
\natural \semiflat \flat
\sesquiflat \doubleflat
}
\glissando
-a1_\markup {
+a'1_\markup {
\natural \semisharp \sharp
\sesquisharp \doublesharp
}
-\glissando b
+\glissando b'
@end lilypond
他の記譜オブジェクトもマークアップ モードの中で譜刻することができます:
-@lilypond[quote,verbatim,relative=1]
-g1 bes
-ees\finger \markup \tied-lyric #"4~1"
-fis_\markup { \dynamic rf }
-bes^\markup {
- \beam #8 #0.1 #0.5
-}
-cis
-d-\markup {
- \markalphabet #8
- \markletter #8
+@lilypond[quote,verbatim]
+\relative {
+ g1 bes
+ ees\finger \markup \tied-lyric #"4~1"
+ fis_\markup { \dynamic rf }
+ bes^\markup {
+ \beam #8 #0.1 #0.5
+ }
+ cis
+ d-\markup {
+ \markalphabet #8
+ \markletter #8
+ }
}
@end lilypond
@ref{The Feta font} に、@c
音楽シンボルと音楽シンボル名の徹底したリストがあります。
-@lilypond[quote,verbatim,relative=2]
-c2
-c'^\markup { \musicglyph #"eight" }
-c,4
-c,8._\markup { \musicglyph #"clefs.G_change" }
-c16
-c2^\markup { \musicglyph #"timesig.neomensural94" }
+@lilypond[quote,verbatim]
+\relative {
+ c''2
+ c'^\markup { \musicglyph #"eight" }
+ c,4
+ c,8._\markup { \musicglyph #"clefs.G_change" }
+ c16
+ c2^\markup { \musicglyph #"timesig.neomensural94" }
+}
@end lilypond
@noindent
さらに、マークアップ モードは特定の楽器のためのダイアグラムをサポートします:
-@lilypond[quote,verbatim,relative=2]
-c1^\markup {
- \fret-diagram-terse #"x;x;o;2;3;2;"
-}
-c^\markup {
- \harp-pedal #"^-v|--ov^"
-}
-c
-c^\markup {
- \combine
- \musicglyph #"accordion.discant"
+@lilypond[quote,verbatim]
+\relative {
+ c''1^\markup {
+ \fret-diagram-terse #"x;x;o;2;3;2;"
+ }
+ c^\markup {
+ \harp-pedal #"^-v|--ov^"
+ }
+ c
+ c^\markup {
\combine
- \raise #0.5 \musicglyph #"accordion.dot"
- \raise #1.5 \musicglyph #"accordion.dot"
+ \musicglyph #"accordion.discant"
+ \combine
+ \raise #0.5 \musicglyph #"accordion.dot"
+ \raise #1.5 \musicglyph #"accordion.dot"
+ }
}
@end lilypond
ネストされる @code{\score} ブロックには
@code{\layout} ブロックを含める必要があります:
-@lilypond[quote,verbatim,relative=1]
-c4 d^\markup {
- \score {
- \relative { c'4 d e f }
- \layout { }
+@lilypond[quote,verbatim]
+\relative {
+ c'4 d^\markup {
+ \score {
+ \relative { c'4 d e f }
+ \layout { }
+ }
}
+ e f |
+ c d e f
}
-e f |
-c d e f
@end lilypond
@ref{Music} に、音楽記譜法関連のコマンドの徹底したリストがあります。
さまざまな LilyPond @code{feta} 非テキスト フォントを@c
マークアップ モードの中で直接使用することが可能になります:
-@lilypond[quote,verbatim,relative=2]
-a1^\markup {
+@lilypond[quote,verbatim,fragment]
+a'1^\markup {
\vcenter {
\override #'(font-encoding . fetaBraces)
\lookup #"brace120"
デフォルト サイズから変更する場合、@c
@code{font-size} に提供する値が必要となります。
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\override Score.RehearsalMark.font-family = #'typewriter
\mark \markup "Ouverture"
\override Voice.TextScript.font-shape = #'italic
\override Voice.TextScript.font-series = #'bold
-d2.^\markup "Allegro"
+d''2.^\markup "Allegro"
\override Voice.TextScript.font-size = #-3
-c4^smaller
+c''4^smaller
@end lilypond
@noindent
FontConfig に認識されている任意のフォントを@c
楽譜の中で使用することができます:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\override Staff.TimeSignature.font-name = #"Bitstream Charter"
\override Staff.TimeSignature.font-size = #2
\time 3/4
-a1_\markup {
+a'1_\markup {
\override #'(font-name . "Vera Bold")
{ Vera Bold }
}
-- @code{\upbow} と @code{\downbow} --
は、以下のようにスラーと一緒に用います:
-@lilypond[verbatim,quote,relative=2]
-c4(\downbow d) e(\upbow f)
+@lilypond[verbatim,quote]
+\relative { c''4(\downbow d) e(\upbow f) }
@end lilypond
@noindent
一般的に、ダイアモンド形の符頭は、@c
符頭がダイアモンド形ではない場合に押さえる弦に触れることを意味します。
-@lilypond[verbatim,quote,relative=2]
-d4 e4.
-\harmonicsOn
-d8 e e
-d4 e4.
-\harmonicsOff
-d8 e e
+@lilypond[verbatim,quote]
+\relative d'' {
+ d4 e4.
+ \harmonicsOn
+ d8 e e
+ d4 e4.
+ \harmonicsOff
+ d8 e e
+}
@end lilypond
一方、鳴らすピッチに通常の符頭を記譜すると共に、@c
小さな丸を付けることでハーモニクスとして演奏することを示す方法もあります:
-@lilypond[verbatim,quote,relative=2]
-d2^\flageolet d_\flageolet
+@lilypond[verbatim,quote,fragment]
+d''2^\flageolet d''_\flageolet
@end lilypond
より小さな丸を描くこともできます。@c
符点を付ける必要がある場合は、@c
コンテキスト プロパティ @code{harmonicDots} を設定します。
-@lilypond[verbatim,quote,relative=1]
-<e a\harmonic>2. <c g'\harmonic>4
-\set harmonicDots = ##t
-<e a\harmonic>2. <c g'\harmonic>4
+@lilypond[verbatim,quote]
+\relative e' {
+ <e a\harmonic>2. <c g'\harmonic>4
+ \set harmonicDots = ##t
+ <e a\harmonic>2. <c g'\harmonic>4
+}
@end lilypond
@warning{@code{@bs{}harmonic} は、単一の音符しかない場合であっても、@c
故意に弦を上 (フィンガーボードと垂直) に引いて、@c
弦をフィンガーボードにぶつけます。
-@lilypond[verbatim,quote,relative=1]
-c4\snappizzicato
-<c' e g>4\snappizzicato
-<c' e g>4^\snappizzicato
-<c, e g>4_\snappizzicato
+@lilypond[verbatim,quote]
+\relative {
+ c'4\snappizzicato
+ <c' e g>4\snappizzicato
+ <c' e g>4^\snappizzicato
+ <c, e g>4_\snappizzicato
+}
@end lilypond
ここで、2 つの例を挙げます:
-@lilypond[relative=1,verbatim,quote]
+@lilypond[verbatim,quote]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- c2 e4 g2 f
+ c'2 e4 g2 f
}
\new Lyrics \lyricmode {
play1 the4 game4
@item
タイで結ばれた音符には、自動的にメリスマが作成されます:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- f4 g2 ~ |
+ f''4 g2 ~ |
4 e2 ~ |
8
}
譜から自動的にメリスマを作成することができます。@c
これが歌詞を入力する通常の方法です:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- f4 g8 ( f e f )
+ f''4 g8 ( f e f )
e8 ( d e2 )
}
\new Lyrics \lyricsto "melody" {
自動連桁を off にして、手動で連桁を付けられた音符はメリスマと見なされます。@c
@ref{Setting automatic beam behavior} を参照してください。
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
\autoBeamOff
- f4 g8[ f e f]
+ f''4 g8[ f e f]
e2.
}
\new Lyrics \lyricsto "melody" {
スラーが付いていない音符でも、@c
@code{\melisma} と @code{\melismaEnd} で囲まれていればメリスマとして扱われます。
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- f4 g8
+ f''4 g8
\melisma
f e f
\melismaEnd
歌詞の中にアンダースコア @code{_} を記述することで、@c
メリスマを定義することができます。
-@lilypond[verbatim, quote, relative=2]
+@lilypond[verbatim, quote]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- f4 g8 f e f
+ f''4 g8 f e f
e8 d e2
}
\new Lyrics \lyricsto "melody" {
旋律の中のタイ、スラー、それに手動連桁をメリスマにしないことも可能です。@c
メリスマにしないためには、@code{melismaBusyProperties} を設定します:
-@lilypond[relative=1,verbatim,quote]
+@lilypond[verbatim,quote]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
\set melismaBusyProperties = #'()
- c4 d ( e )
+ c'4 d ( e )
g8 [ f ] f4 ~ 4
}
\new Lyrics \lyricsto "melody" {
メリスマを使う必要がある場合、@c
メリスマに含める各音符に対して歌詞の中にアンダースコアを記述します:
-@lilypond[relative=1,verbatim,quote]
+@lilypond[verbatim,quote]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
\set melismaBusyProperties = #'()
- c4 d ( e )
+ c'4 d ( e )
g8 [ f ] ~ 4 ~ f
}
\new Lyrics \lyricsto "melody" {
歌詞の間隔を広げるには
@code{LyricSpace} の @code{minimum-distance} プロパティを設定します。
-@lilypond[relative=1,verbatim,quote,ragged-right]
-{
+@lilypond[verbatim,quote,ragged-right]
+\relative c' {
c c c c
\override Lyrics.LyricSpace.minimum-distance = #1.0
c c c c
@code{stanza} を設定することにより、歌詞の節番号を追加することができます。@c
例を挙げます:
-@lilypond[quote,ragged-right,verbatim,relative=2]
-\new Voice {
- \time 3/4 g2 e4 a2 f4 g2.
+@lilypond[quote,ragged-right,verbatim]
+\new Voice \relative {
+ \time 3/4 g'2 e4 a2 f4 g2.
} \addlyrics {
\set stanza = #"1. "
Hi, my name is Bert.
@code{vocalName} を設定することにより、歌手名を作成します。@c
@code{shortVocalName} として短縮名を入力することができます。
-@lilypond[ragged-right,quote,verbatim,relative=2]
-\new Voice {
- \time 3/4 g2 e4 a2 f4 g2.
+@lilypond[ragged-right,quote,verbatim]
+\new Voice \relative {
+ \time 3/4 g'2 e4 a2 f4 g2.
} \addlyrics {
\set vocalName = #"Bert "
Hi, my name is Bert.
これは、マークアップで実現できます。@c
しばしば、この目的のために専用のフォントを用います。
-@lilypond[quote,verbatim,relative=1]
-\clef "G_8"
-c4^\markup \fontsize #1 \smallCaps Kaspar
-c c c
-\clef "bass"
-a4^\markup \fontsize #1 \smallCaps Melchior
-a a a
-\clef "G_8"
-c4^\markup \fontsize #1 \smallCaps Kaspar
-c c c
+@lilypond[quote,verbatim]
+\relative c' {
+ \clef "G_8"
+ c4^\markup \fontsize #1 \smallCaps Kaspar
+ c c c
+ \clef "bass"
+ a4^\markup \fontsize #1 \smallCaps Melchior
+ a a a
+ \clef "G_8"
+ c4^\markup \fontsize #1 \smallCaps Kaspar
+ c c c
+}
@end lilypond
役の入れ替えが頻繁にある場合、@c
短いフレーズであれば、単純なマークアップ接尾辞を用います。
-@lilypond[quote,verbatim,relative=2]
-a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
-a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
-a4 a a a
+@lilypond[quote,verbatim]
+\relative {
+ a'4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
+ a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
+ a4 a a a
+}
@end lilypond
長いフレーズの場合は、@c
改行位置を示すためにダミーの小節線 @code{\bar ""} を挿入する必要が@c
あるかもしれません。
-@lilypond[verbatim,quote,relative=2]
-a4 b c2 |
-\cadenzaOn
-a4 b c2
-a4 b c2
-\bar ""
-a4 b c2
-a4 b c2
-\cadenzaOff
-a4 b c2 |
-a4 b c2 |
+@lilypond[verbatim,quote]
+\relative a' {
+ a4 b c2 |
+ \cadenzaOn
+ a4 b c2
+ a4 b c2
+ \bar ""
+ a4 b c2
+ a4 b c2
+ \cadenzaOff
+ a4 b c2 |
+ a4 b c2 |
+}
@end lilypond
小節線を変更することによって、聖歌の休止や一時停止を示すことができます。
-@lilypond[verbatim, quote,relative=2]
-a4
-\cadenzaOn
-b c2
-a4 b c2
-\bar "'"
-a4 b c2
-a4 b c2
-\bar ";"
-a4 b c2
-\bar "!"
-a4 b c2
-\bar "||"
+@lilypond[verbatim, quote]
+\relative a' {
+ a4
+ \cadenzaOn
+ b c2
+ a4 b c2
+ \bar "'"
+ a4 b c2
+ a4 b c2
+ \bar ";"
+ a4 b c2
+ \bar "!"
+ a4 b c2
+ \bar "||"
+}
@end lilypond
現代の記譜法を用いながらも、@c
木管楽器のダイアグラムはマークアップとして作成します:
-@lilypond[verbatim,quote,relative=2]
-c1^\markup {
+@lilypond[verbatim,quote,fragment]
+c''1^\markup {
\woodwind-diagram #'piccolo #'((lh . (gis))
(cc . (one three))
(rh . (ees)))
できます:
@c KEEP LY
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote,fragment]
\textLengthOn
-c1^\markup {
+c''1^\markup {
\center-column {
"1/4 閉じる"
\woodwind-diagram #'flute #'((cc . (one1q))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"1/2閉じる"
\woodwind-diagram #'flute #'((cc . (one1h))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"3/4閉じる"
\woodwind-diagram #'flute #'((cc . (one3q))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"リング キーを閉じる"
\woodwind-diagram #'flute #'((cc . (oneR))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"完全に閉じる"
\woodwind-diagram #'flute #'((cc . (oneF two))
トリルはグレーで示します:
-@lilypond[verbatim,quote,relative=2]
-c1^\markup {
+@lilypond[verbatim,quote,fragment]
+c''1^\markup {
\woodwind-diagram #'bass-clarinet
#'((cc . (threeT four))
(lh . ())
様々なトリルを表示させることができます:
@c KEEP LY
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote,fragment]
\textLengthOn
-c1^\markup {
+c''1^\markup {
\center-column {
"1/4 閉じるとリング キーを閉じる"
\woodwind-diagram #'flute #'((cc . (one1qTR))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"リング キーを閉じると完全に閉じる"
\woodwind-diagram #'flute #'((cc . (oneTR))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"リング キーを閉じるとオープン"
\woodwind-diagram #'flute #'((cc . (oneRT))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"オープンと完全に閉じる"
\woodwind-diagram #'flute #'((cc . (oneT))
}
}
-c1^\markup {
+c''1^\markup {
\center-column {
"1/4 閉じると3/4 閉じる"
\woodwind-diagram #'flute #'((cc . (one1qT3q))
意図していますが、@c
結果は 2 つの譜が表示され、下の譜の符頭の色はデフォルトの黒のままとなります。
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\override Staff.NoteHead.color = #red
-\new Staff { a }
+\new Staff { a' }
@end lilypond
これは、(符頭色の) オーバライドが処理される時に
そこに音符が配置されます。@c
すべての符頭を赤にする正しいコードは以下のようになります:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\new Staff {
\override Staff.NoteHead.color = #red
- a
+ a'
}
@end lilypond
@ignore
Tutorial guidelines: (different from policy.txt!)
-- unless you have a really good reason, use either
+- unless you have a really good reason, use
@lilypond[verbatim,quote]
- or
- @lilypond[verbatim,quote,relative=2]
-
- Don't use any other relative=X commands.
- use "aes" and "ees" instead of "as" and "es". I know it's not
correct Dutch naming, but let's not confuse people with this
@notation{verplaatsingstekens}, zie @ruser{Note names in
other languages}.
-@lilypond[verbatim,quote,relative=2]
-cis4 ees fisis, aeses
+@lilypond[verbatim,quote]
+\relative { cis''4 ees fisis, aeses }
@end lilypond
@cindex toonsoort, zetten van
In dit voorbeeld:
-@lilypond[verbatim,quote,relative=2]
-\key d \major
-cis4 d e fis
+@lilypond[verbatim,quote]
+\relative {
+ \key d \major
+ cis''4 d e fis
+}
@end lilypond
@noindent
In de toonsoort van A-mol majeur, krijgt hij bij het printen
@emph{toch} een toevallig teken:
-@lilypond[verbatim,quote,relative=2]
-\key aes \major
-aes4 c b c
+@lilypond[verbatim,quote]
+\relative {
+ \key aes \major
+ aes'4 c b c
+}
@end lilypond
Als het bovenstaand voorbeeld verwarrend is, ga dan eens na:
een tilde @code{~} aan de eerste noot die overgebonden
wordt.
-@lilypond[verbatim,quote,relative=2]
-g4~ 4 c2~ | 4~ 8 a~ 2 |
+@lilypond[verbatim,quote]
+\relative { g'4~ 4 c2~ | 4~ 8 a~ 2 | }
@end lilypond
@subheading Legatobogen
aantal noten. De beginnoot en eindnoot worden gemarkeerd
met respectievelijk @code{(} en @code{)}.
-@lilypond[verbatim,quote,relative=2]
-d4( c16) cis( d e c cis d) e( d4)
+@lilypond[verbatim,quote]
+\relative { d''4( c16) cis( d e c cis d) e( d4) }
@end lilypond
@subheading Fraseringsbogen
tegelijkertijd gebruiken, maar je kunt geen gelijktijdige
legatobogen of gelijktijdige fraseringsbogen gebruiken.
-@lilypond[verbatim,quote,relative=2]
-g4\( g8( a) b( c) b4\)
+@lilypond[verbatim,quote]
+\relative { g'4\( g8( a) b( c) b4\) }
@end lilypond
@smallspace
gebruikt over grotere nootgroepen. Legatobogen en
overbindingen kunnen worden genest.
-@lilypond[verbatim,quote,relative=2]
-c4~( c8 d~ 4 e)
+@lilypond[verbatim,quote]
+\relative { c''4(~ c8 d~ 4 e) }
@end lilypond
aan een noot met een streepje @code{-} en een enkel
karakter:
-@lilypond[verbatim,quote,relative=2]
-c4-^ c-+ c-- c-!
-c4-> c-. c2-_
+@lilypond[verbatim,quote]
+\relative {
+ c''4-^ c-+ c-- c-!
+ c4-> c-. c2-_
+}
@end lilypond
@subheading Vingerzetting
aan een noot toegevoegd met een streepje (@code{-}) en het
cijfer dat moet worden geprint:
-@lilypond[verbatim,quote,relative=2]
-c4-3 e-5 b-2 a-1
+@lilypond[verbatim,quote]
+\relative { c''4-3 e-5 b-2 a-1 }
@end lilypond
Je kunt meerdere articulaties bij dezelfde noot gebruiken.
beter om LilyPond de richting van de articulaties te laten
uitzoeken.
-@lilypond[verbatim,quote,relative=2]
-c4_-^1 d^. f^4_2-> e^-_+
+@lilypond[verbatim,quote]
+\relative { c''4_-^1 d^. f^4_2-> e^-_+ }
@end lilypond
@subheading Dynamiek
@notation{Dynamische} tekens maak je door het teken (met een
backslash) aan de noot toe te voegen:
-@lilypond[verbatim,quote,relative=2]
-c4\ff c\mf c\p c\pp
+@lilypond[verbatim,quote]
+\relative { c''4\ff c\mf c\p c\pp }
@end lilypond
(de)crescendo maar je kunt ook het commando @code{\!}
gebruiken:
-@lilypond[verbatim,quote,relative=2]
-c4\< c\ff\> c c\!
+@lilypond[verbatim,quote]
+\relative { c''4\< c\ff\> c c\! }
@end lilypond
Je kunt tekst aan je muziek toevoegen door:
-@lilypond[verbatim,quote,relative=2]
-c2^"espr" a_"legato"
+@lilypond[verbatim,quote,fragment]
+c''2^"espr" a'_"legato"
@end lilypond
Extra formattering kan worden toegevoegd met het
@code{\markup}-commando:
-@lilypond[verbatim,quote,relative=2]
-c2^\markup { \bold espr }
-a2_\markup {
+@lilypond[verbatim,quote,fragment]
+c''2^\markup { \bold espr }
+a'2_\markup {
\dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
}
@end lilypond
Alle @notation{waardestrepen} worden automatisch getekend:
-@lilypond[verbatim,quote,relative=2]
-a8[ ais] d[ ees r d] c16 b a8
+@lilypond[verbatim,quote]
+\relative { a'8[ ais] d[ ees r d] c16 b a8 }
@end lilypond
Als de automatische waardestrepen je niet bevallen, kun je
@code{\autoBeamOff} om de automatische waardestrepen uit te
zetten en @code{\autoBeamOn} om ze weer aan te zetten.
-@lilypond[verbatim,quote,relative=2]
-\autoBeamOff
-a8 c b4 d8. c16 b4 |
-\autoBeamOn
-a8 c b4 d8. c16 b4 |
+@lilypond[verbatim,quote]
+\relative {
+ \autoBeamOff
+ a'8 c b4 d8. c16 b4 |
+ \autoBeamOn
+ a8 c b4 d8. c16 b4 |
+}
@end lilypond
nootlengte: @code{\partial 4} is een opmaat van een kwart en
@code{\partial 8} een achtste.
-@lilypond[verbatim,quote,relative=2]
-\partial 8 f8 |
-c2 d |
+@lilypond[verbatim,quote]
+\relative {
+ \partial 8 f''8 |
+ c2 d |
+}
@end lilypond
@c Note bene: duolen, triolen, kwartolen etc. worden anti-metrische
maakt dat de noten 2/3 van hun lengte duren, dus een
@notation{triool} heeft als fractie 2/3
-@lilypond[verbatim,quote,relative=2]
-\tuplet 3/2 { f8 g a }
-\tuplet 3/2 { c8 r c }
-\tuplet 3/2 { f,8 g16[ a g a] }
-\tuplet 3/2 { d4 a8 }
+@lilypond[verbatim,quote]
+\relative {
+ \tuplet 3/2 { f''8 g a }
+ \tuplet 3/2 { c8 r c }
+ \tuplet 3/2 { f,8 g16[ a g a] }
+ \tuplet 3/2 { d4 a8 }
+}
@end lilypond
@subheading Versieringen
sleutelwoord @code{\appoggiatura} of @code{\acciaccatura}
voor een muziekuitdrukking te zetten
-@lilypond[verbatim,quote,relative=2]
-c2 \grace { a32 b } c2 |
-c2 \appoggiatura b16 c2 |
-c2 \acciaccatura b16 c2 |
+@lilypond[verbatim,quote]
+\relative {
+ c''2 \grace { a32 b } c2 |
+ c2 \appoggiatura b16 c2 |
+ c2 \acciaccatura b16 c2 |
+}
@end lilypond
een samengestelde muziekuitdrukking gemaakt die twee noten
bevat:
-@lilypond[verbatim,quote,relative=2]
-{ a4 g4 }
+@lilypond[verbatim,quote]
+\relative { a'4 g4 }
@end lilypond
Een groep muziekuitdrukkingen (bijv. noten) tussen accolades
volgt op de vorige). Het resultaat is een nieuwe
muziekuitdrukking:
-@lilypond[verbatim,quote,relative=2]
-{ { a4 g } f4 g }
+@lilypond[verbatim,quote]
+\relative { { a'4 g } f4 g }
@end lilypond
@subheading Analogie: wiskundige uitdrukkingen
samengesteld:
@lilypond[verbatim,quote]
-\relative {
- <<
- { a'2 g }
- { f2 e }
- { d2 b }
- >>
-}
+<<
+ \relative { a'2 g }
+ \relative { f'2 e }
+ \relative { d'2 b }
+>>
@end lilypond
Merk op dat we elk niveau van de invoer met een ander aantal
met @code{<<} en @code{>>}:
@lilypond[verbatim,quote]
-\relative {
- <<
- \new Staff { \clef "treble" c''4 }
- \new Staff { \clef "bass" c,,4 }
- >>
-}
+<<
+ \new Staff { \clef "treble" c''4 }
+ \new Staff { \clef "bass" c4 }
+>>
@end lilypond
Het commando @code{\new} opent een @q{notatiecontext.} Een
partituren.
@lilypond[verbatim,quote]
-\relative {
- <<
- \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
- \new Staff { \clef "bass" c,,4 }
- >>
-}
+<<
+ \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
+ \new Staff { \clef "bass" c4 }
+>>
@end lilypond
lengte moeten hebben, en dat die lengte na de afsluitende
haak komt.
-@lilypond[verbatim,quote,relative=2]
-r4 <c e g> <c f a>2
+@lilypond[verbatim,quote]
+\relative { r4 <c'' e g> <c f a>2 }
@end lilypond
Beschouw accoorden als vrijwel identiek aan enkele noten:
inserted beam and end before the end of the beam -- not very
musical, perhaps, but possible:
-@lilypond[quote,verbatim,ragged-right,relative=2]
-g8\( a b[ c b\) a] g4
+@lilypond[quote,verbatim,ragged-right]
+\relative { g'8\( a b[ c b\) a] g4 }
@end lilypond
In general, different kinds of brackets, bracket-like constructs,
extending into a tuplet, a tie crossing two tuplets, and a
phrasing slur extending out of a tuplet (lines 3 and 4).
-@lilypond[quote,verbatim,ragged-right,relative=1]
-r16[ g \tuplet 3/2 { r16 e'8] }
-g,16( a \tuplet 3/2 { b16 d) e }
-g,8[( a \tuplet 3/2 { b8 d) e~] } |
-\tuplet 5/4 { e32\( a, b d e } a4.\)
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ r16[ g' \tuplet 3/2 { r16 e'8] }
+ g,16( a \tuplet 3/2 { b16 d) e }
+ g,8[( a \tuplet 3/2 { b8 d) e~] } |
+ \tuplet 5/4 { e32\( a, b d e } a4.\)
+}
@end lilypond
so when exactly are multiple voices needed? Look first at
this example of four chords:
-@lilypond[quote,verbatim,ragged-right,relative=1]
-\key g \major
-<d g>4 <d fis> <d a'> <d g>
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ <d' g>4 <d fis> <d a'> <d g>
+}
@end lilypond
This can be expressed using just the single angle bracket chord
Here's how we split the chords above into two voices and add both
the passing note and a slur:
-@lilypond[quote,verbatim,ragged-right,relative=2]
-\key g \major
-% Voice "1" Voice "2"
-<< { g4 fis8( g) a4 g } \\ { d4 d d d } >>
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key g \major
+ % Voice "1" Voice "2"
+ << { g'4 fis8( g) a4 g } \\ { d4 d d d } >>
+}
@end lilypond
Notice how the stems of the second voice now point down.
Here's another simple example:
-@lilypond[quote,verbatim,ragged-right,relative=2]
-\key d \minor
-% Voice "1" Voice "2"
-<< { r4 g g4. a8 } \\ { d,2 d4 g } >> |
-<< { bes4 bes c bes } \\ { g4 g g8( a) g4 } >> |
-<< { a2. r4 } \\ { fis2. s4 } >> |
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ \key d \minor
+ % Voice "1" Voice "2"
+ << { r4 g' g4. a8 } \\ { d,2 d4 g } >> |
+ << { bes4 bes c bes } \\ { g4 g g8( a) g4 } >> |
+ << { a2. r4 } \\ { fis2. s4 } >> |
+}
@end lilypond
It is not necessary to use a separate @code{<< \\ >>} construct
notes in each bar it may be better to split out each voice
separately, like this:
-@lilypond[quote,verbatim,ragged-right,relative=2]
-\key d \minor
-<< {
- % Voice "1"
- r4 g g4. a8 |
- bes4 bes c bes |
- a2. r4 |
-} \\ {
- % Voice "2"
- d,2 d4 g |
- g4 g g8( a) g4 |
- fis2. s4 |
-} >>
+@lilypond[quote,verbatim,ragged-right]
+<<
+ \key d \minor
+ \relative { % Voice "1"
+ r4 g' g4. a8 |
+ bes4 bes c bes |
+ a2. r4 |
+ } \\
+ \relative { % Voice "2"
+ d'2 d4 g |
+ g4 g g8( a) g4 |
+ fis2. s4 |
+ }
+>>
@end lilypond
output. For example, compare the input and output of the
following example:
-@lilypond[quote,verbatim,relative=2]
-cis4 cis2. | a4 a2. |
+@lilypond[quote,verbatim]
+\relative { cis''4 cis2. | a4 a2. | }
@end lilypond
The input is rather sparse, but in the output, bar lines,
other things) several times. The change is from the default
value, not the most recently set value.
-@lilypond[quote,verbatim,ragged-right,relative=1]
-c4 d
-% make note heads smaller
-\set fontSize = #-4
-e4 f |
-% make note heads larger
-\set fontSize = #2.5
-g4 a
-% return to default size
-\unset fontSize
-b4 c |
+@lilypond[quote,verbatim,ragged-right]
+\relative {
+ c'4 d
+ % make note heads smaller
+ \set fontSize = #-4
+ e4 f |
+ % make note heads larger
+ \set fontSize = #2.5
+ g4 a
+ % return to default size
+ \unset fontSize
+ b4 c |
+}
@end lilypond
We have now seen how to set the values of several different types of
@cindex color property, example
@cindex NoteHead, example of overriding
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-c4 d
-\override NoteHead.color = #red
-e4 f |
-\override NoteHead.color = #green
-g4 a b c |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ c'4 d
+ \override NoteHead.color = #red
+ e4 f |
+ \override NoteHead.color = #green
+ g4 a b c |
+}
@end lilypond
@cindex color property, example
@cindex NoteHead, example of overriding
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-c4 d
-\override NoteHead.color = #red
-e4 f |
-\override NoteHead.color = #green
-g4 a
-\revert NoteHead.color
-b4 c |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ c'4 d
+ \override NoteHead.color = #red
+ e4 f |
+ \override NoteHead.color = #green
+ g4 a
+ \revert NoteHead.color
+ b4 c |
+}
@end lilypond
@cindex font-size property, example
@cindex NoteHead, example of overriding
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-<c e g>4
-\once \override NoteHead.font-size = #-3
-<c e g>4
-<c e g>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ <c' e g>4
+ \once \override NoteHead.font-size = #-3
+ <c e g>4
+ <c e g>4
+}
@end lilypond
We see the override affects @emph{all} the note heads in the chord.
@cindex font-size property, example
@cindex @code{\tweak}, example
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-<c e g>4
-<c \tweak font-size #-3 e g>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ <c' e g>4
+ <c \tweak font-size #-3 e g>4
+}
@end lilypond
Note that the syntax of @code{\tweak} is different from that of the
@cindex color property, example
@cindex @code{\tweak}, example
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-a4^"Black"
+@lilypond[quote,fragment,ragged-right,verbatim]
+a'4^"Black"
-\tweak color #red ^"Red"
-\tweak color #green _"Green"
@end lilypond
the layout object, provided that LilyPond can trace its origin back to
the original event:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-<\tweak Accidental.color #red cis4
- \tweak Accidental.color #green es
- g>
+@lilypond[quote,fragment,ragged-right,verbatim]
+<\tweak Accidental.color #red cis''4
+ \tweak Accidental.color #green es''
+ g''>
@end lilypond
This long form of the @code{\tweak} command can be described as
@cindex direction property, example
@cindex color property, example
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
-\tweak direction #up
-\tuplet 3/4 {
- \tweak color #red
- \tuplet 3/2 { c8[ c c] }
- \tuplet 3/2 { c8[ c c] }
- \tuplet 3/2 { c8[ c c] }
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ \tweak direction #up
+ \tuplet 3/4 {
+ \tweak color #red
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ }
}
@end lilypond
@cindex transparent property, example
@cindex TupletNumber, example of overriding
-@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
-\tuplet 3/2 { c8[ c c] }
-\once \override TupletNumber.text = #tuplet-number::calc-fraction-text
-\tuplet 3/2 {
- c8[ c]
- c8[ c]
- \once \override TupletNumber.transparent = ##t
- \tuplet 3/2 { c8[ c c] }
- \tuplet 3/2 { c8[ c c] }
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \tuplet 3/2 { c'8[ c c] }
+ \once \override TupletNumber.text = #tuplet-number::calc-fraction-text
+ \tuplet 3/2 {
+ c8[ c]
+ c8[ c]
+ \once \override TupletNumber.transparent = ##t
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ }
}
@end lilypond
@c Mozart, Die Zauberflöte Nr.7 Duett
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8 bes[( g]) g |
+ \relative {
+ r4 bes'8 bes[( g]) g |
g8[( es]) es d[( f]) as |
as8 g
}
@cindex Slur example of overriding
@cindex thickness property, example
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
+ \relative {
% Increase thickness of all following slurs from 1.2 to 5.0
\override Slur.thickness = #5.0
- r4 bes8 bes[( g]) g |
+ r4 bes'8 bes[( g]) g |
g8[( es]) es d[( f]) as |
as8 g
}
@cindex Slur, example of overriding
@cindex thickness property, example
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8
+ \relative {
+ r4 bes'8
% Increase thickness of immediately following slur only
\once \override Slur.thickness = #5.0
bes8[( g]) g |
@cindex Slur, example of overriding
@cindex thickness property, example
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8
+ \relative {
+ r4 bes'8
% Increase thickness of immediately following slur only
\once \override Slur.thickness = #5.0
bes[( g]) g |
@cindex Slur, example of overriding
@cindex thickness property, example
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8
+ \relative {
+ r4 bes'8
% Increase thickness of all following slurs from 1.2 to 5.0
\override Slur.thickness = #5.0
bes[( g]) g |
@cindex LyricText, example of overriding
@cindex @code{\addlyrics}, example
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
{
\key es \major
\time 6/8
- {
- r4 bes8 bes[( g]) g |
+ \relative {
+ r4 bes'8 bes[( g]) g |
g8[( es]) es d[( f]) as |
as8 g
}
@cindex BarLine, example of overriding
@cindex stencil property, example
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override BarLine.stencil = ##f
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex BarLine, example of overriding
@cindex stencil property, example
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.stencil = ##f
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
shorthand for it called @code{\omit}:
@funindex \omit
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\omit Staff.BarLine
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@code{point-stencil} function, which sets the stencil to an object
with zero size:
-@lilypond[quote,verbatim,relative=2]
-{
- c4 c
+@lilypond[quote,verbatim]
+\relative {
+ c''4 c
\once \override NoteHead.stencil = #point-stencil
c4 c
}
@cindex BarLine, example of overriding
@cindex break-visibility property, example
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.break-visibility = ##(#f #f #f)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex TimeSignature, example of overriding
@cindex transparent property, example
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.TimeSignature.transparent = ##t
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@code{\hide}:
@funindex \hide
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\hide Staff.TimeSignature
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex TimeSignature, example of overriding
@cindex stencil property, example
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\omit Staff.TimeSignature
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex BarLine, example of overriding
@cindex color property, example
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.color = #white
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex BarLine, example of overriding
@cindex color property, example
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.color = #(x11-color 'white)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex BarLine, example of overriding
@cindex color property, example
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.BarLine.color = #(rgb-color 1 1 1)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex color property, example
@cindex x11-color, example of using
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-{
+@lilypond[quote,ragged-right,verbatim]
+\relative {
\time 12/16
\override Staff.StaffSymbol.color = #(x11-color 'grey30)
\override Staff.TimeSignature.color = #(x11-color 'grey60)
\override Voice.NoteHead.color = #(x11-color 'grey85)
\override Voice.Stem.color = #(x11-color 'grey85)
\override Staff.BarLine.color = #(x11-color 'grey10)
- c4 b8 c d16 c d8 |
+ c''4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
}
@cindex alignAboveContext property, example
@cindex @code{\with}, example
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex Clef, example of overriding
@cindex TimeSignature, example of overriding
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex Clef, example of overriding
@cindex TimeSignature, example of overriding
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
and @code{\omit} for setting the @code{transparent} property and
clearing the @code{stencil} here, leading to the result
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex TimeSignature, example of overriding
@cindex fontSize property, example
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex staff-space property, example
@cindex stencil property, example
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim]
\new Staff ="main" {
\relative {
r4 g'8 g c4 c8 d |
@cindex markup example
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-c2^"Text1"
-c2^"Text2" |
-c2^"Text3"
-c2^"Text4" |
+@lilypond[quote,fragment,ragged-right,verbatim]
+c''2^"Text1"
+c''2^"Text2" |
+c''2^"Text3"
+c''2^"Text4" |
@end lilypond
Staves are also positioned, by default, as closely together as
@cindex Fingering, example of overriding
@cindex direction property, example
-@lilypond[quote,verbatim,relative=2]
-c4-5 a-3 f-1 c'-5 |
-\override Fingering.direction = #DOWN
-c4-5 a-3 f-1 c'-5 |
-\override Fingering.direction = #UP
-c4-5 a-3 f-1 c'-5 |
+@lilypond[quote,verbatim]
+\relative {
+ c''4-5 a-3 f-1 c'-5 |
+ \override Fingering.direction = #DOWN
+ c4-5 a-3 f-1 c'-5 |
+ \override Fingering.direction = #UP
+ c4-5 a-3 f-1 c'-5 |
+}
@end lilypond
However, overriding the @code{direction} property is not the
@cindex fingering example
-@lilypond[quote,verbatim,relative=2]
-c4-5 a-3 f-1 c'-5 |
-c4_5 a_3 f_1 c'_5 |
-c4^5 a^3 f^1 c'^5 |
+@lilypond[quote,verbatim]
+\relative {
+ c''4-5 a-3 f-1 c'-5 |
+ c4_5 a_3 f_1 c'_5 |
+ c4^5 a^3 f^1 c'^5 |
+}
@end lilypond
The @code{direction} property is ignored for chords, but the
@cindex fingering example
-@lilypond[quote,verbatim,relative=2]
-<c-5 g-3>4
-<c-5 g-3 e-2>4
-<c-5 g-3 e-2 c-1>4
+@lilypond[quote,verbatim]
+\relative {
+ <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 fingering example
-@lilypond[quote,verbatim,relative=2]
-<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
+@lilypond[quote,verbatim]
+\relative {
+ <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
Even greater control over the placement of fingering of the
@cindex @code{\set}, example of using
@cindex fingeringOrientations property, example
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-\set fingeringOrientations = #'(left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
-\set fingeringOrientations = #'(left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4 |
-\set fingeringOrientations = #'(up left down)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
-\set fingeringOrientations = #'(up left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4 |
-\set fingeringOrientations = #'(right)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \set fingeringOrientations = #'(left)
+ <f'-2>4
+ <c-1 e-2 g-3 b-5>4
+ \set fingeringOrientations = #'(left)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4 |
+ \set fingeringOrientations = #'(up left down)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4
+ \set fingeringOrientations = #'(up left)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4 |
+ \set fingeringOrientations = #'(right)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4
+}
@end lilypond
@noindent
@code{Fingering} object in the IR to be @w{@code{-5}}, so let's
try @w{@code{-7}}:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-\override Fingering.font-size = #-7
-\set fingeringOrientations = #'(left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
-\set fingeringOrientations = #'(left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4 |
-\set fingeringOrientations = #'(up left down)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
-\set fingeringOrientations = #'(up left)
-<f-2>4
-<c-1 e-2 g-3 b-5>4 |
-\set fingeringOrientations = #'(right)
-<f-2>4
-<c-1 e-2 g-3 b-5>4
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \override Fingering.font-size = #-7
+ \set fingeringOrientations = #'(left)
+ <f'-2>4
+ <c-1 e-2 g-3 b-5>4
+ \set fingeringOrientations = #'(left)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4 |
+ \set fingeringOrientations = #'(up left down)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4
+ \set fingeringOrientations = #'(up left)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4 |
+ \set fingeringOrientations = #'(right)
+ <f-2>4
+ <c-1 e-2 g-3 b-5>4
+}
@end lilypond
@node Outside-staff objects
@cindex TextSpanner, example of overriding
@cindex bound-details property, example
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
+@lilypond[quote,fragment,ragged-right,verbatim]
% Set details for later Text Spanner
\override TextSpanner.bound-details.left.text
= \markup { \small \bold Slower }
\dynamicUp
% Start Ottava Bracket
\ottava #1
-c'4 \startTextSpan
+c''4 \startTextSpan
% Add Dynamic Text and hairpin
-c4\pp\<
-c4
+c''4\pp\<
+c''4
% Add Text Script
-c4^Text |
-c4 c
+c''4^Text |
+c''4 c''
% Add Dynamic Text and terminate hairpin
-c4\ff c \stopTextSpan |
+c''4\ff c'' \stopTextSpan |
% Stop Ottava Bracket
\ottava #0
-c,4 c c c |
+c'4 c' c' c' |
@end lilypond
This example also shows how to create Text Spanners --
@cindex TextSpanner, example of overriding
@cindex bound-details property, example
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
+@lilypond[quote,fragment,ragged-right,verbatim]
% Set details for later Text Spanner
\override TextSpanner.bound-details.left.text
= \markup { \small \bold Slower }
\once \override Staff.OttavaBracket.outside-staff-priority = #340
% Start Ottava Bracket
\ottava #1
-c'4 \startTextSpan
+c''4 \startTextSpan
% Add Dynamic Text
-c4\pp
+c''4\pp
% Add Dynamic Line Spanner
-c4\<
+c''4\<
% Add Text Script
-c4^Text |
-c4 c
+c''4^Text |
+c''4 c''
% Add Dynamic Text
-c4\ff c \stopTextSpan |
+c''4\ff c'' \stopTextSpan |
% Stop Ottava Bracket
\ottava #0
-c,4 c c c |
+c'4 c' c' c' |
@end lilypond
Note that some of these objects, in particular bar numbers,
other outside-staff objects according to that value. Here's an
example showing the effect of the two methods:
-@lilypond[quote,verbatim,relative=2]
-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 |
-\once \override Slur.outside-staff-priority = #500
-c4( c^\markup { \tiny \sharp } d4.) c8 |
+@lilypond[quote,verbatim]
+\relative c'' {
+ 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 |
+ \once \override Slur.outside-staff-priority = #500
+ c4( c^\markup { \tiny \sharp } d4.) c8 |
+}
@end lilypond
Changing the @code{outside-staff-priority} can also be used to
@cindex TextScript, example of overriding
@cindex outside-staff-priority property, example
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-c2^"Text1"
-c2^"Text2" |
+@lilypond[quote,fragment,ragged-right,verbatim]
+c''2^"Text1"
+c''2^"Text2" |
\once \override TextScript.outside-staff-priority = #500
-c2^"Text3"
-c2^"Text4" |
+c''2^"Text3"
+c''2^"Text4" |
@end lilypond
This certainly lifts @qq{Text3} above @qq{Text4} but it also lifts it
command reverses this behavior, causing the notes to be spaced
out as far as is necessary to accommodate the text:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,verbatim]
\textLengthOn % Cause notes to space out to accommodate text
-c2^"Text1"
-c2^"Text2" |
-c2^"Text3"
-c2^"Text4" |
+c''2^"Text1"
+c''2^"Text2" |
+c''2^"Text3"
+c''2^"Text4" |
@end lilypond
The command to revert to the default behavior is
@cindex TextScript, example of overriding
@cindex outside-staff-priority property, example
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-% This markup is short enough to fit without collision
-c2^"Tex" c'' |
-R1 |
-
-% This is too long to fit, so it is displaced upwards
-c,,2^"Text" c'' |
-R1 |
-
-% Turn off collision avoidance
-\once \override TextScript.outside-staff-priority = ##f
-c,,2^"Long Text " c'' |
-R1 |
-
-% Turn off collision avoidance
-\once \override TextScript.outside-staff-priority = ##f
-\textLengthOn % and turn on textLengthOn
-c,,2^"Long Text " % Spaces at end are honored
-c''2 |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ % This markup is short enough to fit without collision
+ c''2^"Tex" c'' |
+ R1 |
+
+ % This is too long to fit, so it is displaced upwards
+ c,,2^"Text" c'' |
+ R1 |
+
+ % Turn off collision avoidance
+ \once \override TextScript.outside-staff-priority = ##f
+ c,,2^"Long Text " c'' |
+ R1 |
+
+ % Turn off collision avoidance
+ \once \override TextScript.outside-staff-priority = ##f
+ \textLengthOn % and turn on textLengthOn
+ c,,2^"Long Text " % Spaces at end are honored
+ c''2 |
+}
@end lilypond
@node Dynamics placement
This can give quite acceptable results, as this example
shows:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-\clef "bass"
-\key aes \major
-\time 9/8
-\dynamicUp
-bes4.~\f\< \( bes4 bes8 des4\ff\> c16 bes\! |
-ees,2.~\)\mf ees4 r8 |
+@lilypond[quote,ragged-right,verbatim]
+\relative {
+ \clef "bass"
+ \key aes \major
+ \time 9/8
+ \dynamicUp
+ bes4.~\f\< \( bes4 bes8 des4\ff\> c16 bes\! |
+ ees,2.~\)\mf ees4 r8 |
+}
@end lilypond
However, if the notes and attached dynamics are close
@cindex Script, example of overriding
@cindex padding property, example
-@lilypond[quote,fragment,relative=1,verbatim]
-c2\fermata
+@lilypond[quote,fragment,verbatim]
+c'2\fermata
\override Script.padding = #3
b2\fermata
@end lilypond
@cindex MetronomeMark, example of overriding
@cindex padding property, example
-@lilypond[quote,fragment,relative=1,verbatim]
+@lilypond[quote,fragment,verbatim]
% This will not work, see below
\override MetronomeMark.padding = #3
\tempo 4 = 120
-c1 |
+c'1 |
% This works
\override Score.MetronomeMark.padding = #3
\tempo 4 = 80
-d1 |
+d'1 |
@end lilypond
Note in the second example how important it is to figure out what
@cindex StringNumber, example of overriding
@cindex self-alignment-X property, example
-@lilypond[quote,fragment,ragged-right,verbatim,relative=3]
+@lilypond[quote,fragment,ragged-right,verbatim]
\voiceOne
-<a\2>
+<a''\2>
\once \override StringNumber.self-alignment-X = #RIGHT
-<a\2>
+<a''\2>
@end lilypond
@node The staff-position property
for notes and rests that occur at the same time. Here's an
example of a collision of this type:
-@lilypond[quote,verbatim,fragment,ragged-right, relative=1]
-<< { c4 c c c } \\ { R1 } >>
+@lilypond[quote,verbatim,ragged-right]
+<< \relative { c'4 c c c } \\ { R1 } >>
@end lilypond
The best solution here is to move the multimeasure rest down, since
@cindex MultiMeasureRest, example of overriding
@cindex staff-position property, example
-@lilypond[quote,verbatim,fragment,ragged-right, relative=1]
+@lilypond[quote,verbatim,ragged-right]
<<
- { c4 c c c }
+ \relative { c'4 c c c }
\\
\override MultiMeasureRest.staff-position = #-8
{ R1 }
Here's an example in which the phrasing slur and slur collide:
-@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
-a8 \( ( a'16 ) a \)
+@lilypond[quote,verbatim,ragged-right]
+\relative { a'8 \( ( a'16 ) a \) }
@end lilypond
@cindex PhrasingSlur, example of overriding
select the phrasing slur from the candidates it has found with its
end points closest to these:
-@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+@lilypond[quote,verbatim,fragment,ragged-right]
\once \override PhrasingSlur.positions = #'(2.5 . 4.5)
-a8 \( ( a'16 ) a \)
+a'8 \( ( a''16 ) a'' \)
@end lilypond
This is an improvement, but why not lower the right end of the slur
same voice can be connected with ties. By using two voices,
with the tied notes in one of them
-@lilypond[quote,fragment,relative=2]
-<< { b8~ 8\noBeam } \\ { b8[ g] } >>
+@lilypond[quote]
+<< { b'8~ 8\noBeam } \\ { b'8[ g'] } >>
@end lilypond
@noindent
}
\new Staff \relative {
d''4 d
-}
+ }
>>
@end lilypond
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