@cindex presentació en front a contingut
@funindex \key
-@funindex key
@funindex \major
-@funindex major
@funindex \minor
-@funindex minor
Glossari musical:
@rglos{key signature},
@funindex \mf
@funindex \pp
@funindex \<
-@funindex <
@funindex \>
-@funindex >
@funindex \!
-@funindex !
Glossari musical:
@rglos{dynamics},
@cindex marcat
@funindex \markup
-@funindex markup
És possible afegir text a la partitura:
@funindex [
@funindex ]
@funindex \autoBeamOff
-@funindex autoBeamOff
@funindex \autoBeamOn
-@funindex autoBeamOn
Glossari musical:
@rglos{beam}.
@cindex compàs parcial
@funindex \partial
-@funindex partial
Glossari musical:
@rglos{anacrusis}.
@cindex tresets
@funindex \tuplet
-@funindex tuplet
Glossari musical:
@rglosnamed{note value,valor de la nota},
@cindex appoggiatura
@funindex \grace
-@funindex grace
@funindex \acciaccatura
-@funindex acciaccatura
@funindex \appoggiatura
@funindex acciaccatura
@cindex notació, context de
@funindex \new Staff
-@funindex new Staff
@funindex Staff
@funindex \new
-@funindex new
@funindex Score
@funindex Voice
@funindex Lyrics
@cindex cançons
@funindex \addlyrics
-@funindex addlyrics
Glossari musical:
@rglos{lyrics}.
@cindex bloc d'encapçalaments
@funindex \header
-@funindex header
La informació sobre el títol, autor, número d'Opus i altres
elements similars s'escriuen al bloc @code{\header}. Aquest bloc
constitueix un punt de partida útil.
@funindex \book
-@funindex book
@funindex \score
-@funindex score
@cindex book (llibre)
@cindex score (partitura)
@cindex llibre
@end example
@funindex \header
-@funindex header
@funindex \layout
-@funindex layout
@funindex \midi
-@funindex midi
@cindex midi
@cindex capçalera
@cindex disposició
@cindex book, bloc implícit
@cindex implícit, bloc book
@funindex \book
-@funindex book
Podem escriure diversos blocs @code{\score}. Cada un d'ells rebrà
el mateix tractament que una partitura independent, però es
@cindex musical, expressió, composta
@cindex expressió musical composta
@funindex \score
-@funindex score
En la secció anterior, @ref{Introducció a l'estructura dels
fitxers del LilyPond}, hem pogut veure l'organització general dels
@funindex \voiceOne
-@funindex voiceOne
@funindex \voiceTwo
-@funindex voiceTwo
@funindex \voiceThree
-@funindex voiceThree
@funindex \voiceFour
-@funindex voiceFour
@funindex \oneVoice
-@funindex oneVoice
@funindex \new Voice
@cindex contextos de veu, creació de
@cindex notes, col·lisions de
@cindex desplaçament, instruccions de
@funindex \shiftOff
-@funindex shiftOff
@funindex \shiftOn
-@funindex shiftOn
@funindex \shiftOnn
-@funindex shiftOnn
@funindex \shiftOnnn
-@funindex shiftOnnn
Les notes properes a un acord, o les notes que es produeixen al
mateix temps en diferents veus, es disposen en dos (i
@funindex \new Lyrics
@funindex \lyricsto
-@funindex lyricsto
@funindex Lyrics
@cindex Lyrics, creació d'un context
@cindex lletra, creació d'un context de
@cindex lletra i barrat
@cindex barrat i lletra
@funindex \autoBeamOff
-@funindex autoBeamOff
El barrat automàtic que el LilyPond usa de forma predeterminada
funciona bé per a la música instrumental, però no tan bé per a
@funindex \new ChoirStaff
@funindex ChoirStaff
@funindex \lyricmode
-@funindex lyricmode
@cindex vocal, estructura d'una partitura
@cindex cor, sistema de
@translationof Creating contexts
@funindex \new
-@funindex new
@cindex nous contextos
@cindex creació de contextos
@cindex contextos, creació de
@cindex context, propietats de, modificació
@cindex modificar les propietats de context
@funindex \set
-@funindex set
@funindex \unset
-@funindex unset
Els contextos es responsabilitzen de mantenir els valors d'un cert
nombre de @emph{properties} de context. Moltes d'elles es poden
@subsubheading Canviar les propietats d'un context amb @code{\with}
@funindex \with
-@funindex with
@cindex context, propietats de, establiment amb \with
El valor predeterminat de les propietats de context es pot
@cindex contextos, establir propietats de, amb \context
@funindex \context
-@funindex context
Els valors de propietat dels contextos es poden establir per a
@emph{tots} els contextos d'un tipus determinat, com per exemple
@cindex eliminació de gravadors
@funindex \consists
-@funindex consists
@funindex \remove
-@funindex remove
Hem vist que cada un dels contextos conté diversos gravadors, cada
u dels quals és al seu cop responsable de la producció d'una
@subsubheading Canviar tots els contextos del mateix tipus
@funindex \layout
-@funindex layout
Els exemples anteriors mostren la manera d'eliminar o afegir
gravadors als contextos individuals. També és possible eliminar o
@cindex relatiu, mode, alteracions i
@funindex \relative
-@funindex relative
@funindex '
@funindex ,
@cindex compàs, indicació de
@funindex \time
-@funindex time
Glossari musical:
@rglos{time signature}.
@cindex metrònom, indicacions
@funindex \tempo
-@funindex tempo
Glossari musical:
@rglos{tempo indication},
@cindex baix
@funindex \clef
-@funindex clef
Glossari musical:
@rglos{clef}.
@cindex override (sobreescriptura), sintaxi de
@funindex \override
-@funindex override
Ja hem vist les ordres @code{\set} i @code{\with}, que s'usen per
canviar les propietats dels @strong{contextos} i per treure i
@cindex revert, instrucción
@funindex \revert
-@funindex revert
Un cop sobreescrita, la propietat reté el seu nou valor fins que
se sobreescriu de o es troba una ordre @code{\revert}. L'ordre té
@translationof The once prefix
@funindex \once
-@funindex once
@code{\override}, @code{\revert}, @code{\set} i @code{\unset} es
poden fer precedir per @code{\once}. Això fa que l'ordre sigui
@cindex overrideProperty, ordre
@funindex \overrideProperty
-@funindex overrideProperty
Hi ha una altra forma per a l'ordre de sobreescriptura,
@code{\overrideProperty}, que ocasionalment és necessària. La
@cindex tweak, ordre
@funindex \tweak
-@funindex tweak
L'última ordre d'ajustament que està disponible és @code{\tweak}.
S'ha de fer servir quan diversos objectes s'usen en el mateix
@cindex once override
@funindex \once
-@funindex once
Com podeu veure, @emph{totes} les lligadures són més gruixudes a
l'últim exemple. Però, i si volguéssim que sols la primera
@cindex predeterminades, recuperar las propietats
@funindex \revert
-@funindex revert
Finalment, i si volguéssim que sols les dues primeres lligadures
fossin més gruixudes? Per acabar; podríem usar dues ordres,
@cindex octava alta y baixa, claudàtor de
@funindex \startTextSpan
-@funindex startTextSpan
@funindex \stopTextSpan
-@funindex stopTextSpan
@cindex TextSpanner, exemple de sobreescriptura
@cindex bound-details, propietat, exemple
@cindex notes, espaiar amb el text
@funindex \textLengthOn
-@funindex textLengthOn
@funindex \textLengthOff
-@funindex textLengthOff
De forma predeterminada, el text produït mitjançant marcatge no
ocupa cap espai horitzontal en quant es refereix a la disposició
@cindex col·lisions de notes
@cindex desplaçament, ordres de
@funindex \shiftOff
-@funindex shiftOff
@funindex \shiftOn
-@funindex shiftOn
@funindex \shiftOnn
-@funindex shiftOnn
@funindex \shiftOnnn
-@funindex shiftOnnn
Dins d'una veu, totes les notes que es produeixen al mateix moment
s'agrupen a una columna de notes, i es crea un objecte
@set txicodequoteundirected
@set txicodequotebacktick
+@set txiindexbackslashignore
@include cyrillic.itexi
@cindex Zobrazení a obsah
@funindex \key
-@funindex key
@funindex \major
-@funindex major
@funindex \minor
-@funindex minor
Slovníček: @rglos{key signature}, @rglos{major},
@rglos{minor}.
@funindex \mf
@funindex \pp
@funindex \<
-@funindex <
@funindex \>
-@funindex >
@funindex \!
-@funindex !
Slovníček:
@rglos{dynamics},
@funindex [
@funindex ]
@funindex \autoBeamOff
-@funindex autoBeamOff
@funindex \autoBeamOn
-@funindex autoBeamOn
Všechny @notation{trámce} se zapisují automaticky:
@cindex Předtaktí
@funindex \partial
-@funindex partial
@notation{Předtaktí} se zadává příkazem @code{\partial}.
Potom následuje délka předtaktí: @code{\partial 4}
@cindex Rytmická rozdělení
@funindex \times
-@funindex times
Slovníček: @rglos{note value}, @rglos{triplet}.
@cindex Prodleva
@funindex \grace
-@funindex grace
@funindex \acciaccatura
-@funindex acciaccatura
@funindex \appoggiatura
@funindex acciaccatura
@cindex Prostředí notového zápisu
@funindex \new Staff
-@funindex new Staff
@funindex Staff
@funindex \new
-@funindex new
@funindex Score
@funindex Voice
@funindex Lyrics
@cindex Text písně, zápis
@funindex \addlyrics
-@funindex addlyrics
V této kapitole je laskavý čtenář uveden do spojení not s textem
a je ukázáno, jak se vytváří jednodušší listy s písničkami.
@cindex Text písně
@funindex \addlyrics
-@funindex addlyrics
Slovníček: @rglos{lyrics}.
@cindex Úvodní stránka
@funindex \header
-@funindex header
Název, skladatel, číslo opusu a podobné údaje se vkládají
do prostředí @code{\header}. Toto prostředí se nachází mimo
@cindex Prostředí book, skryté
@cindex Skryté prostředí book
@funindex \book
-@funindex book
Váš LilyPondovský kód může obsahovat více bloků @code{\score}.
Každý z nich je vykládán jako samostatný notový zápis, ovšem
@translationof Score is a (single) compound musical expression
@funindex \score
-@funindex score
@cindex score
@cindex Notový zápis
@cindex Hudební kus
@translationof Explicitly instantiating voices
@funindex \voiceOne
-@funindex voiceOne
@funindex \voiceTwo
-@funindex voiceTwo
@funindex \voiceThree
-@funindex voiceThree
@funindex \voiceFour
-@funindex voiceFour
@funindex \oneVoice
-@funindex oneVoice
@funindex \new Voice
@cindex Vytvoření prostředí hlasu
@cindex Prostředí hlasu, vytvoření
@funindex \new Lyrics
@funindex \lyricsto
-@funindex lyricsto
@funindex Lyrics
@cindex Prostředí text písně, vytvoření
@cindex Text písně, spojení s notami
@cindex Text a trámce
@cindex Trámce a text
@funindex \autoBeamOff
-@funindex autoBeamOff
Automatické trámce, jež LilyPond používá ve výchozím nastavení, pracují
dobře pro instrumentální hudbu, ale ne tak dobře v případě hudby s textem,
@translationof Creating contexts
@funindex \new
-@funindex new
@cindex Neue Kontexte
@cindex Erstellen von Kontexten
@cindex Kontexte, Erstellen
@subsubheading Kontexteigenschaften mit @code{\with} setzen
@funindex \with
-@funindex with
@cindex Kontexteigenschaft, setzen mit \with
Die Standardwerte von Kontexteigenschaften können zu dem Zeitpunkt
@cindex Kontexteigenschaften, mit \context setzen
@cindex Eigenschaften von Kontexten, mit \context setzen
@funindex \context
-@funindex context
Die Werte von Kontext-Eigenschaften können in @emph{allen} Kontexten
eines bestimmten Typs (etwa alle @code{Staff}-Kontexte)
@cindex Vztažný režim a předznamenání
@funindex \relative
-@funindex relative
@funindex '
@funindex ,
@cindex Druh taktu
@funindex \time
-@funindex time
Slovníček: @rglos{time signature}.
@cindex Údaj metronomu
@funindex \tempo
-@funindex tempo
Slovníček: @rglos{tempo indication}, @rglos{metronome}.
@cindex Bas
@funindex \clef
-@funindex clef
Slovníček: @rglos{clef}.
@cindex override-Befehl
@funindex \override
-@funindex override
@strong{Der \override-Befehl}
@cindex revert-Befehl
@funindex \revert
-@funindex revert
Wenn eine Eigenschaft einmal überschrieben wurde, wird ihr
neuer Wert so lange bewahrt, bis er noch einmal überschrieben
@strong{\once-Präfix}
@funindex \once
-@funindex once
Sowohl der @code{\override}-Befehl als auch der @code{\set}-Befehl können mit
dem Präfix @code{\once} (@emph{einmal}) versehen werden. Dadurch wird
@cindex overrideProperty-Befehl
@funindex \overrideProperty
-@funindex overrideProperty
Es gibt eine andere Form des @code{override}-Befehls,
@code{\overrideProperty} (überschreibe Eigenschaft),
@cindex tweak-Befehl
@funindex \tweak
-@funindex tweak
Der letzte Optimierungsbefehl in LilyPond ist @code{\tweak}
(engl. optimieren). Er wird eingesetzt um Eigenschaften
@cindex Override nur einmal
@cindex once override
@funindex \once
-@funindex once
Im Beispiel oben wurden @emph{alle} Legatobögen dicker
gesetzt. Vielleicht wollen Sie aber nur den ersten Bogen
@cindex Wiederherstellen von Standardeinstellungen
@cindex Standardeinstellungen, Wiederherstellen
@funindex \revert
-@funindex revert
Eine weitere Möglichkeit: nur die beiden ersten Legatobögen sollen
dicker gesetzt werden. Gut, wir könnten jetzt zwei Befehle benutzen,
@cindex Noten, durch Text gespreizt
@funindex \textLengthOn
-@funindex textLengthOn
@funindex \textLengthOff
-@funindex textLengthOff
Standardmäßig wird Text, der mit dem Beschriftungsbefehl
@code{\markup} bzw. Äquivalenten erstellt wird, kein
@cindex Musikausdrücke anzeigen
@cindex Anzeigen von Musikausdrücken
-@funindex displayMusic
@funindex \displayMusic
Wenn man eine musikalische Funktion erstellt, ist es oft
@code{'pitch}-Eigenschaft umdefiniert:
@funindex \displayLilyMusic
-@funindex displayLilyMusic
@example
#(set! (ly:music-property (first (ly:music-property someNote 'elements))
@cindex Darstellung & Inhalt
@funindex \key
-@funindex key
@funindex \major
-@funindex major
@funindex \minor
-@funindex minor
Glossar: @rglos{key signature}, @rglos{major},
@rglos{minor}.
@funindex \mf
@funindex \pp
@funindex \<
-@funindex <
@funindex \>
-@funindex >
@funindex \!
-@funindex !
Glossar:
@rglos{dynamics},
@cindex markup
@funindex \markup
-@funindex markup
Text können Sie auf folgende Art in die Partitur einfügen:
@funindex [
@funindex ]
@funindex \autoBeamOff
-@funindex autoBeamOff
@funindex \autoBeamOn
-@funindex autoBeamOn
Alle @notation{Balken} werden automatisch gesetzt:
@cindex Auftakt
@funindex \partial
-@funindex partial
Ein @notation{Auftakt} wird mit dem Befehl @code{\partial}
eingegeben. Darauf folgt die Länge des Auftaktes: @code{\partial 4}
@cindex Rhythmische Aufteilungen
@funindex \tuplet
-@funindex tuplet
Glossar: @rglos{note value}, @rglos{triplet}.
@cindex Vorhalt
@funindex \grace
-@funindex grace
@funindex \acciaccatura
-@funindex acciaccatura
@funindex \appoggiatura
@funindex acciaccatura
@cindex Notationskontext
@funindex \new Staff
-@funindex new Staff
@funindex Staff
@funindex \new
-@funindex new
@funindex Score
@funindex Voice
@funindex Lyrics
@cindex Gesangstext, schreiben
@funindex \addlyrics
-@funindex addlyrics
Glossar: @rglos{lyrics}.
@cindex Kopf
@funindex \header
-@funindex header
Titel, Komponist, Opusnummern und ähnliche Information werden in
einer @code{\header}-Umgebung eingefügt. Diese Umgebung befindet sich
@cindex book-Abschnitte, implizit
@cindex implizite book-Umgebung
@funindex \book
-@funindex book
Ihr LilyPond Code kann auch mehrere @code{\score}-Blöcke enthalten.
Jeder davon wird als eigenständige Partitur interpretiert, die
@translationof Score is a (single) compound musical expression
@funindex \score
-@funindex score
@cindex score
@cindex Partitur
@cindex Musikstück
@translationof Explicitly instantiating voices
@funindex \voiceOne
-@funindex voiceOne
@funindex \voiceTwo
-@funindex voiceTwo
@funindex \voiceThree
-@funindex voiceThree
@funindex \voiceFour
-@funindex voiceFour
@funindex \oneVoice
-@funindex oneVoice
@funindex \new Voice
@cindex Voice context, erstellen von
@cindex Stimmenkontexte, erstellen von
@funindex \new Lyrics
@funindex \lyricsto
-@funindex lyricsto
@funindex Lyrics
@cindex Lyrics context, erstellen
@cindex Gesangstext, Verbindung mit Noten
@cindex Text und Balken
@cindex Balken und Text
@funindex \autoBeamOff
-@funindex autoBeamOff
Die automatischen Balken, die LilyPond in der Standardeinstellung
setzt, eignen sich sehr gut für instrumentale Musik, aber nicht
@translationof Creating contexts
@funindex \new
-@funindex new
@cindex Neue Kontexte
@cindex Erstellen von Kontexten
@cindex Kontexte, Erstellen
@subsubheading Kontexteigenschaften mit @code{\with} setzen
@funindex \with
-@funindex with
@cindex Kontexteigenschaft, setzen mit \with
Die Standardwerte von Kontexteigenschaften können zu dem Zeitpunkt
@cindex Kontexteigenschaften, mit \context setzen
@cindex Eigenschaften von Kontexten, mit \context setzen
@funindex \context
-@funindex context
Die Werte von Kontext-Eigenschaften können in @emph{allen} Kontexten
eines bestimmten Typs (etwa alle @code{Staff}-Kontexte)
@subsubheading Alle Kontexte des gleichen Typs verändern
@funindex \layout
-@funindex layout
Die vorigen Beispiele zeigen, wie man Engraver in einem
bestimmten Kontext hinzufügen oder entfernen kann. Es ist
@cindex relativer Modus und Versetzungszeichen
@funindex \relative
-@funindex relative
@funindex '
@funindex ,
@cindex Taktart
@funindex \time
-@funindex time
Glossar: @rglos{time signature}.
@cindex Metronom-Angabe
@funindex \tempo
-@funindex tempo
Glossar: @rglos{tempo indication}, @rglos{metronome}.
@cindex Bass
@funindex \clef
-@funindex clef
Glossar: @rglos{clef}.
@cindex override-Befehl
@funindex \override
-@funindex override
@strong{Der \override-Befehl}
@cindex revert-Befehl
@funindex \revert
-@funindex revert
Wenn eine Eigenschaft einmal überschrieben wurde, wird ihr
neuer Wert so lange bewahrt, bis er noch einmal überschrieben
@translationof The once prefix
@funindex \once
-@funindex once
Sowohl der @code{\override}-Befehl als auch der @code{\set}-Befehl können mit
dem Präfix @code{\once} (@emph{einmal}) versehen werden. Dadurch wird
@cindex overrideProperty-Befehl
@funindex \overrideProperty
-@funindex overrideProperty
Es gibt eine andere Form des @code{override}-Befehls,
@code{\overrideProperty} (überschreibe Eigenschaft),
@cindex tweak-Befehl
@funindex \tweak
-@funindex tweak
Der letzte Optimierungsbefehl in LilyPond ist @code{\tweak}
(engl. optimieren). Er wird eingesetzt um Eigenschaften
@cindex once override
@funindex \once
-@funindex once
Im Beispiel oben wurden @emph{alle} Legatobögen dicker
gesetzt. Vielleicht wollen Sie aber nur den ersten Bogen
@cindex Standardeinstellungen, Wiederherstellen
@funindex \revert
-@funindex revert
Eine weitere Möglichkeit: nur die beiden ersten Legatobögen sollen
dicker gesetzt werden. Gut, wir könnten jetzt zwei Befehle benutzen,
@cindex Noten, durch Text gespreizt
@funindex \textLengthOn
-@funindex textLengthOn
@funindex \textLengthOff
-@funindex textLengthOff
Standardmäßig wird Text, der mit dem Beschriftungsbefehl
@code{\markup} bzw. Äquivalenten erstellt wird, kein
@cindex Kollision, Noten
@cindex shift Befehl
@funindex \shiftOff
-@funindex shiftOff
@funindex \shiftOn
-@funindex shiftOn
@funindex \shiftOnn
-@funindex shiftOnn
@funindex \shiftOnnn
-@funindex shiftOnnn
Innerhalb einer Stimme werden alle Noten, die zeitgleich stattfinden,
zu einer Gruppe zusammen gefasst, einem sog. @code{NoteColumn} Objekt.
@code{\context} beginnt und ihn dann verändert:
@funindex \with
-@funindex with
@example
\new @var{context} \with @{
@cindex Engraver, in Kontexte einfügen
@funindex \alias
-@funindex alias
@funindex \name
-@funindex name
@funindex \type
-@funindex type
@funindex \consists
-@funindex consists
@funindex \accepts
-@funindex accepts
@funindex \denies
-@funindex denies
Bestimme Kontexte, wie @code{Staff} oder @code{Voice}, werden
erstellt, indem man sie mit einer Musikumgebung aufruft. Es ist
@end example
@funindex \accepts
-@funindex accepts
Kontexte sind hierarchisch. Wie wollen, dass @code{ImproVoice}
sich als Unterkontext von @code{Staff} erkennt, wie eine normale
@end example
@funindex \denies
-@funindex denies
Das Gegenteil von @code{\accepts} ist @code{\denies} (verbietet), was
manchmal gebraucht werden kann, wenn schon existierende Kontext-Definitionen
@cindex Verändern von Eigenschaften
@funindex \set
-@funindex set
Jeder Kontext kann unterschiedliche @emph{Eigenschaften} besitzen,
Variablen, die in diesem Kontext definiert sind. Sie können
Kontext enthalten sind.
@funindex \unset
-@funindex unset
Es gibt auch einen @code{\unset}-Befehl:
@code{Voice}-Kontext ist.
@funindex \once
-@funindex once
Einstellungen, die nur einmal vorgenommen werden sollen, können
mit @code{\once} notiert werden, etwa:
@cindex graphische Objekte, Eigenschaften
@funindex \override
-@funindex override
Es gibt eine besondere Art von Kontexteigenschaft: die Grob-Beschreibung.
Grob-Beschreibungen werden mit @code{GroßGroßbuchstabe} benannt. Sie
@cindex \override rückgängig machen
@funindex \revert
-@funindex revert
Die Auswirkungen von @code{\override} können mit @code{\revert} wieder
rückgängig gemacht werden:
@cindex \override, nur einmal
@funindex \once
-@funindex once
@code{\once} kann zusammen mit @code{\override} benutzt werden,
um nur den aktuellen Zeitwert zu verändern:
@cindex Veränderungen der Einstellungen
@cindex Einstellungen verändern
-@funindex override
@funindex \override
Viele Eigenschaften können unabhängig von der Art der Daten, die
@translationof The tweak command
@funindex \tweak
-@funindex tweak
@cindex Optimieren
@cindex Fingerwechsel
@cindex Griff: Fingersatz
@funindex \finger
-@funindex finger
Fingersatzanweisungen können folgenderweise notiert werden:
@samp{Note}-@var{Zahl}
@cindex thumb-script
@cindex Fingersatz: Daumen-Zeichen
@funindex \thumb
-@funindex thumb
Mit dem Daumen-Befehl (@code{\thumb}) können die Noten bezeichnet
werden, die mit dem
@cindex Noten, durchsichtig
@cindex transparent, Noten
@funindex \hideNotes
-@funindex hideNotes
@funindex \unHideNotes
-@funindex unHideNotes
Versteckte (oder unsichtbare oder transparente) Noten können sinnvoll sein,
wenn man Notation für den Theorieunterricht oder Kompositionsübungen
@cindex with-color
@funindex color
@funindex \with-color
-@funindex with-color
@funindex x11-color
Einzelnen Objekten können einfach eigene Farben zugewiesen werden.
@cindex Klammern um Noten
@cindex editorische Noten
@funindex \parenthesize
-@funindex parenthesize
Objekte können in Klammern gesetzt werden, indem vor ihnen der Befehl
@code{\parenthesize} geschrieben wird. Wenn ein Akkord in Klammern gesetzt
@cindex Musikanalyse
@funindex Horizontal_bracket_engraver
@funindex \startGroup
-@funindex startGroup
@funindex \stopGroup
-@funindex stopGroup
Klammern über dem System werden in der Musikanalyse benutzt, um
strukturelle Einheiten der Musik zu markieren. Einfache
@cindex absolute Lautstärke
@funindex \ppppp
-@funindex ppppp
@funindex \pppp
-@funindex pppp
@funindex \ppp
-@funindex ppp
@funindex \pp
-@funindex pp
@funindex \p
-@funindex p
@funindex \mp
-@funindex mp
@funindex \mf
-@funindex mf
@funindex \f
-@funindex f
@funindex \ff
-@funindex ff
@funindex \fff
-@funindex fff
@funindex \ffff
-@funindex ffff
@funindex \fffff
-@funindex fffff
@funindex \fp
-@funindex fp
@funindex \sf
-@funindex sf
@funindex \sff
-@funindex sff
@funindex \sp
-@funindex sp
@funindex \spp
-@funindex spp
@funindex \sfz
-@funindex sfz
@funindex \rfz
-@funindex rfz
Absolute Dynamikbezeichnung wird mit Befehlen nach den Noten
angezeigt, etwa @code{c4\ff}. Die vordefinierten Befehle lauten:
@funindex \>
@funindex \!
@funindex \cr
-@funindex cr
@funindex \decr
-@funindex decr
Eine @notation{Crescendo}-Klammer wird mit dem Befehl
@code{\<} begonnen und mit @code{\!}, einem absoluten Dynamikbefehl oder einer weiteren Crescendo- oder
@cindex Espressivo-Artikulation
@funindex \espressivo
-@funindex espressivo
Der @code{\espressivo}-Befehl kann eingesetzt werden, um crescendo
und decrescendo für die selbe Note anzuzeigen. Dieser Befehl ist
@end lilypond
@funindex \cresc
-@funindex cresc
@funindex \decresc
-@funindex decresc
@funindex \dim
-@funindex dim
Mit Text gesetzte Crescendo-Bezeichnungen beginnen mit @code{\cresc}.
Mit Text gesetzte Decrescendo-Bezeichnungen beginnen mit @code{\decresc}
oder @code{\dim}. Fortsetzungslinien werden gesetzt, wenn sie benötigt werden.
@funindex \crescTextCresc
-@funindex crescTextCresc
@funindex \dimTextDecresc
-@funindex dimTextDecresc
@funindex \dimTextDecr
-@funindex dimTextDecr
@funindex \dimTextDim
-@funindex dimTextDim
@funindex \crescHairpin
-@funindex crescHairpin
@funindex \dimHairpin
-@funindex dimHairpin
Als Text gesetzte Dynamik-Bezeichnungen können auch die Crescendo-Klammern
ersetzen:
Vertikale Position der Zeichen wird von der Funktion
@rinternals{DynamicLineSpanner} verwaltet.
@funindex \dynamicUp
-@funindex dynamicUp
@funindex \dynamicDown
-@funindex dynamicDown
@funindex \dynamicNeutral
-@funindex dynamicNeutral
Es gibt einen besonderen @code{Dynamics}-Kontext, um Crescendi und Decrescendi
auf einer eigenen Zeile zu notieren. Mit leeren Pausen (@code{s}) werden die
@cindex Dynamikzeichen, Klammer
@cindex editorische Dynamikzeichen
@funindex \bracket
-@funindex bracket
@funindex \dynamic
-@funindex dynamic
Mit einer Textbeschriftung können editorische Dynamikzeichen
(in runden oder eckigen Klammern) erstellt werden. Die Syntax
@cindex Bögen, unter Noten
@cindex Bögen, über Noten
@funindex \slurDown
-@funindex slurDown
@funindex \slurNeutral
-@funindex slurNeutral
Legatobögen können manuell ober- oder unterhalb des Notensystems
@cindex Legatobogen, gestrichelt
@cindex Stil von Legatobögen
@funindex \slurDashed
-@funindex slurDashed
@funindex \slurDotted
-@funindex slurDotted
@funindex \slurSolid
-@funindex slurSolid
Legatobögen können durchgehend, gepunktet oder gestrichelt dargestellt
werden. Standard ist der durchgehende Bogen:
@end lilypond
@funindex \slurHalfDashed
-@funindex slurHalfDashed
@funindex \slurHalfSolid
-@funindex slurHalfSolid
@cindex Bogen, halb gestrichelt, halb durchgehend
Bögen können auch halb gestrichelt (die erste Hälfte gestrichelt,
@end lilypond
@funindex \slurDashPattern
-@funindex slurDashPattern
@cindex Bogen, Strichelung definieren
Eigene Muster für die Strichelung können definiert werden:
@end lilypond
@funindex \slurUp
-@funindex slurUp
@predefined
@code{\slurUp},
@end lilypond
@funindex \phrasingSlurUp
-@funindex phrasingSlurUp
@funindex \phrasingSlurDown
-@funindex phrasingSlurDown
@funindex \phrasingSlurNeutral
-@funindex phrasingSlurNeutral
Im typographischen Sinne verhalten sich Phrasierungsbögen genauso wie
Legatobögen. Sie werden aber als eigene Objekte behandelt. Ein
Simultane oder überlappende Phrasierungsbögen sind nicht
erlaubt.
-@funindex phrasingSlurDashed
@funindex \phrasingSlurDashed
@funindex \phrasingSlurDotted
-@funindex phrasingSlurDotted
@funindex \phrasingSlurSolid
-@funindex phrasingSlurSolid
@cindex Phrasierungsbögen, gestrichelt
@cindex gestrichelter Phrasierungsbogen
@cindex Phrasierungsbögen, gepunktet
funindex phrasingSlurHalfDashed
@funindex \phrasingSlurHalfDashed
@funindex \phrasingSlurHalfSolid
-@funindex phrasingSlurHalfSolid
@cindex Phrasierungsbogen, halb durchgehend, halb gestrichelt
@cindex Bogen, halb durchgehend, halb gestrichelt
@end lilypond
@funindex \phrasingSlurDashPattern
-@funindex phrasingSlurDashPattern
@cindex Phrasierungsbogen, Strichelmuster definieren
Eigene Strichelmuster für Phrasierungsbögen können definiert werden:
@cindex Atemzeichen
@cindex Pausenzeichen
@funindex \breathe
-@funindex breathe
Atemzeichen werden mit dem Befehl @code{\breathe} eingegeben.
@cindex Glissando, nach unten
@cindex Gleiten nach oben/unten
@funindex \bendAfter
-@funindex bendAfter
Gleiten nach oben und unten kann mit dem Befehl @code{\bendAfter}
@cindex Glissando
@funindex \glissando
-@funindex glissando
Ein @notation{Glissando} wird
mit dem Befehl @code{\glissando} auf eine Note folgend notiert:
@cindex Gebrochene Akkorde
@cindex Akkord, gebrochen
@funindex \arpeggio
-@funindex arpeggio
@funindex \arpeggioArrowUp
-@funindex arpeggioArrowUp
@funindex \arpeggioArrowDown
-@funindex arpeggioArrowDown
@funindex \arpeggioNormal
-@funindex arpeggioNormal
Ein @notation{Arpeggio} als Zeichen, dass ein Akkord gebrochen gespielt werden soll,
kann mit dem Befehl @code{\arpeggio} hinter der
@cindex besondere Arpeggio-Symbole
@funindex \arpeggioBracket
-@funindex arpeggioBracket
@funindex \arpeggioParenthesis
-@funindex arpeggioParenthesis
@funindex \arpeggioParenthesisDashed
-@funindex arpeggioParenthesisDashed
Besondere Arpeggios mit Klammern können erstellt werden:
@cindex Triller
@funindex \trill
-@funindex trill
@funindex \startTrillSpan
-@funindex startTrillSpan
@funindex \stopTrillSpan
-@funindex stopTrillSpan
Kurze Triller ohne eine Dauer werden mit dem Befehl
@code{\trill} notiert, siehe auch
@cindex Triller mit Tonhöhe
@funindex \pitchedTrill
-@funindex pitchedTrill
Triller, die auf einer bestimmten Note ausgeführt werden sollen, können
mit dem Befehl @code{pitchedTrill} notiert werden. Das erste
@end lilypond
@funindex \tabFullNotation
-@funindex tabFullNotation
Wenn alle musikalischen Symbole, die in der traditionellen Notation
eingesetzt werden, auch in der Tabulatur gedruckt werden sollen, muss
@code{banjo-open-g-tuning}. Die vordefinierten Stimmungen finden
sich in @file{ly/string-tunings-init.ly}.
-@funindex stringTuning
@funindex \stringTuning
@cindex Tabulatur, eigene Saitenstimmung
@cindex Eigene Saitenstimmung, Tabulatur
@cindex fret (Bunddiagramme)
@cindex Ukulele
-@funindex fret-diagram
@funindex \fret-diagram
Die Größe des Bunddiagrammes und die Anzahl der Bünde im Diagramm
@cindex fret-diagram-terse-Markup
@cindex Bunddiagramme, knapper Stil
-@funindex fret-diagram-terse
@funindex \fret-diagram-terse
Die Beschriftungsfunktion @code{fret-diagram-terse} (knappe Version)
@cindex Kapo
@cindex Capo
-@funindex fret-diagram-verbose
@funindex \fret-diagram-verbose
Die Beschriftungsfunktion @code{fret-diagram-verbose}
@cindex Bunddiagramme und Akkordbezeichnungen
@funindex ChordNames
-@funindex chordmode
@funindex \chordmode
Oft wird sowohl eine Akkordbezeichnung als ein Bunddiagramm
@cindex Akkordformen für Bundinstrumente
@funindex \addChordShape
-@funindex addChordShape
-@funindex storePredefinedDiagram
@funindex \storePredefinedDiagram
Zusätzlich zu Bunddiagrammen speichert LilyPond auch eine interne
>>
@end lilypond
-@funindex predefinedFretboardsOff
@funindex \predefinedFretboardsOff
-@funindex predefinedFretboardsOn
@funindex \predefinedFretboardsOn
Da in den Standardeinstellungen keine vordefinierten Diagramme
@cindex rechte Hand, Fingersatz für bundierte Saiteninstrumente
@cindex rechte Hand, Fingersatz für Bundinstrumente
-@funindex rightHandFinger
@funindex \rightHandFinger
Fingersatz für die rechte Hand @var{p-i-m-a}
@unnumberedsubsubsec Powerakkorde anzeigen
@translationof Indicating power chords
-@funindex powerChords
@funindex \powerChords
@cindex Powerakkorde
@cindex Balken zwischen Systemen
@funindex \change
-@funindex change
Stimmen können mit dem Befehl
@cindex Wechsel des Systems, automatisch
@funindex \autochange
-@funindex autochange
@funindex PianoStaff
Stimmen können angewiesen werden, automatisch zwischen dem
@cindex automatischer Systemwechsel und relativer Modus
@funindex \relative
-@funindex relative
Ein @code{\relative}-Abschnitt, der sich außerhalb des
@code{\autochange}-Abschnittes befindet, hat keinen Einfluss auf die
@funindex followVoice
@funindex \showStaffSwitch
-@funindex showStaffSwitch
@funindex \hideStaffSwitch
-@funindex hideStaffSwitch
Immer, wenn eine Stimme von einem Klaviersystem zu dem anderen
wechselt, kann automatisch eine Linie zur Verdeutlichung des
@cindex U.C.
@funindex \sustainOn
-@funindex sustainOn
@funindex \sustainOff
-@funindex sustainOff
@funindex \sostenutoOn
-@funindex sostenutoOn
@funindex \sostenutoOff
-@funindex sostenutoOff
@funindex \unaCorda
-@funindex unaCorda
@funindex \treCorde
-@funindex treCorde
Klaviere (teilweise auch Vibraphone und Celesta) besitzen üblicherweise
drei Pedale, das linke oder Haltepedal, das rechte oder Una-corda-Pedal
@cindex Noteneingabe: relative Oktavbestimmung
@funindex \relative
-@funindex relative
Wenn Oktaven im absoluten Modus notiert, passiert es
schnell, eine Note auf der falschen Oktave zu notieren. Mit
@funindex =
@funindex \octaveCheck
-@funindex octaveCheck
@funindex controlpitch
Im relativen Modus geschieht es recht häufig, dass ein
@cindex Tonhöhen, transponieren
@funindex \transpose
-@funindex transpose
Ein musikalischer Ausdruck kann mit dem Befehl @code{\transpose}
transponiert werden. Die Syntax lautet:
@cindex Melodietransformation, Umkehrung
@funindex \inversion
-@funindex inversion
Ein musikalischer Ausdruck kann in seine Umkehrung transformiert und
gleichzeitig transponiert werden:
@cindex Melodietransformation, Krebs
@funindex \retrograde
-@funindex retrograde
Ein musikalischer Ausdruck kann umgekehrt werden, um im Krebsgang dargestellt
zu werden:
@cindex Melodietransposition, modal
@funindex \modalTranspose
-@funindex modalTranspose
Ein Motiv kann innerhalb einer Skala transponiert werden:
@cindex Melodieumkehrung, modal
@funindex \modalInversion
-@funindex modalInversion
Ein musikalischer Ausdruck kann innerhalb einer definierten Skala um
eine Referenznote umgekehrt werden und transponiert werden:
@cindex Schlüssel, F
@funindex \clef
-@funindex clef
Der Schlüssel kann verändert werden. Das eingestrichene
C wird in jedem Beispiel gezeigt:
@cindex Vorzeichen
@funindex \key
-@funindex key
@c duplicated in Key signature and Accidentals
@warning{Neue Benutzer sind manchmal verwirrt, wie
@funindex set-octavation
@funindex \ottava
-@funindex ottava
@notation{Oktavierungsklammern} zeigen eine zusätzliche
Transposition von einer Oktave an:
@cindex MIDI-Transposition
@funindex \transposition
-@funindex transposition
Wenn man Noten setzt, die von transponierenden Instrumenten
gespielt werden, sind oft einige Stimmen auf einer
@cindex Notenköpfe für Anfänger
@funindex \easyHeadsOn
-@funindex easyHeadsOn
@funindex \easyHeadsOff
-@funindex easyHeadsOff
Die @qq{einfachen Notenköpfe} haben die Bezeichnung der Note
im Kopf gedruckt. Das wird eingesetzt, um die Notation beizubringen.
@funindex aikenHeads
@funindex sacredHarpHeads
@funindex \southernHarmonyHeads
-@funindex southernHarmonyHeads
@funindex \funkHeads
-@funindex funkHeads
@funindex \walkerHeads
-@funindex walkerHeads
In dieser Notation haben die Notenköpfe eine Form, die ihrer
harmonischen Funktion innerhalb der Tonleiter entspricht. Die
@end lilypond
@funindex \key
-@funindex key
@funindex \aikenHeadsMinor
-@funindex aikenHeadsMinor
@funindex \sacredHarpHeadsMinor
-@funindex sacredHarpHeadsMinor
@funindex \southernHarmonyHeadsMinor
-@funindex southernHarmonyHeadsMinor
@funindex \funkHeadsMinor
-@funindex funkHeadsMinor
@funindex \walkerHeadsMinor
-@funindex walkerHeadsMinor
Die unterschiedlichen Formen richten sich nach der Stufe in der
Skala, wobei der Grundton der Skala aus dem @code{\key}-Befehl
@cindex Striche: Notenköpfe
@funindex \improvisationOn
-@funindex improvisationOn
@funindex \improvisationOff
-@funindex improvisationOff
Improvisation wird manchmal angezeigt, indem schräge Notenköpfe
gesetzt werden, wenn der Spieler eine beliebige Tonhöhe wählen kann
@cindex Triolen
@cindex Rhythmische Aufteilungen
-@funindex times
@funindex \times
Triolen und andere rhythmische Aufteilungen werden aus einem musikalischen
@cindex Ausdehnen von Noten
@cindex Dauern skalieren
-@funindex scaleDurations
@funindex \scaleDurations
Längere Notenabschnitte können auf die gleiche Art durch Multiplikation
@cindex Volta und Überbindung
@funindex \repeatTie
-@funindex repeatTie
Wenn die zweite Variante einer Wiederholung mit einer übergebundenen
Note anfängt, muss der Bindebogen wie folgt notiert werden:
@cindex Bögen, laissez vibrer
@cindex Ausklingen lassen
-@funindex laissezVibrer
@funindex \laissezVibrer
So genannte @notation{laissez vibrer}-Bögen werden verwendet um anzuzeigen, dass
@cindex Platzhalternoten
@funindex \skip
-@funindex skip
@funindex s
Eine unsichtbare Pause (auch als @qq{skip} oder Überspringung bezeichnet)
@cindex Mehrtaktpause mit Fermate
@funindex \fermataMarkup
-@funindex fermataMarkup
@funindex MultiMeasureRestText
Textbeschriftung kann Mehrtaktpausen mit @code{\markup}
Taktprüfungswarnungen nicht angezeigt.
@funindex \textLengthOn
-@funindex textLengthOn
@funindex \textLengthOff
-@funindex textLengthOff
@funindex \fermataMarkup
-@funindex fermataMarkup
@funindex \compressFullBarRests
-@funindex compressFullBarRests
@funindex \expandFullBarRests
-@funindex expandFullBarRests
@predefined
@code{\textLengthOn},
@cindex Taktangabe
@cindex Metrum
-@funindex time
@funindex \time
Taktangaben werden wie folgt erstellt.
@cindex Balken, Taktartstandard
@funindex \overrideTimeSignatureSettings
-@funindex overrideTimeSignatureSettings
Zusätzlich zu der gedruckten Taktart werden mit der Definition des
Befehls @code{\time} auch die Standardwerte fürt die Eigenschaften
@cindex Zurücksetzen von Taktart-Standardeigenschaften
@funindex \revertTimeSignatureSettings
-@funindex revertTimeSignatureSettings
Veränderte Werte der Taktart-Eigenschaften können wieder auf den
Standard zurückgesetzt werden:
@cindex Tempobezeichnung
@cindex Aufführungsanweisung: Tempo
-@funindex tempo
@funindex \tempo
Eine Metronomanweisung wird wie folgt erstellt:
@funindex measurePosition
@funindex \partial
-@funindex partial
Verkleinerte Takte, wie etwa ein Auftakt, werden mit dem
Befehl @code{\partial} notiert, dessen Syntax lautet:
@funindex timeSignatureFraction
@funindex \scaleDurations
-@funindex scaleDurations
@funindex \times
-@funindex times
Polymetrische Notation ist direkt unterstützt, oder
indem man das sichtbare Taktart-Symbol verändert und zusätzlich
@funindex Pitch_squash_engraver
@funindex \improvisationOn
-@funindex improvisationOn
@funindex \improvisationOff
-@funindex improvisationOff
Akkordnotation für Gitarren bezeichnet auch oft zusätzlich den
geschlagenen Rhythmus. Das kann notiert werden unter Verwendung
@cindex eigene Balkenregeln
@funindex \autoBeamOn
-@funindex autoBeamOn
@funindex \autoBeamOff
-@funindex autoBeamOff
@lilypond[quote,verbatim]
\relative c'' {
@funindex measureLength
@funindex baseMoment
@funindex \time
-@funindex time
@funindex \set
-@funindex set
Wenn die automatischen Balken angeschaltet sind, wird die Platzierung der
automatischen Balken von drei Kontexteigenschaften bestimmt:
@end lilypond
@funindex \noBeam
-@funindex noBeam
Einzelne Noten können mit dem Befehl @code{\noBeam} markiert werden,
damit sie nicht mit einem Balken versehen werden.
@cindex Balken, gespreizt
@cindex gespreizte Balken
-@funindex featherDurations
@funindex \featherDurations
@funindex grow-direction
@cindex Wiederholungszeichen
@funindex \bar
-@funindex bar
Taktstriche trennen Takte voneinander, werden aber auch verwendet,
um Wiederholungen anzuzeigen. Normalerweise werden sie automatisch
@funindex whichBar
@funindex defaultBarType
@funindex \bar
-@funindex bar
@funindex bartype
Der Befehl @code{\bar }@var{Taktart} ist eine Kurzform von:
@end lilypond
@funindex \barNumberCheck
-@funindex barNumberCheck
Wenn man größere Musikstücke kopiert, kann es hilfreich sein, wenn
LilyPond überprüft, ob die Taktnummer, in der Sie gerade kopieren,
@cindex Abschnitte markieren
@cindex Markieren von Abschnitten
-@funindex mark
@funindex \mark
Übungszeichen können mit dem @code{\mark}-Befehl ausgegeben werden:
@cindex Musikbuchstaben
@funindex \musicglyph
-@funindex musicglyph
Musikbuchstaben (wie etwa das Segno-Zeichen) können mit dem Befehl
@code{\musicglyph} als ein
@end lilypond
@funindex \afterGrace
-@funindex afterGrace
@cindex Verzierung, danach
@cindex Nachschlag
@cindex Notencluster
@funindex \makeClusters
-@funindex makeClusters
Ein Cluster zeigt an, dass alle Tonhöhen in einem Bereich gleichzeitig
gespielt werden sollen. Cluster können gedeutet werden als eine
@cindex Mehrstimmigkeit
@cindex Polyphonie
@funindex \voiceOne
-@funindex voiceOne
@funindex \voiceOne ... \voiceFour
@funindex Voice
@funindex \oneVoice
-@funindex oneVoice
@strong{@i{Stimmen explicit beginnen}}
@cindex Pausen verschieben, automatisch
@cindex Verschieben von Pausen, automatisch
@funindex \shiftOn
-@funindex shiftOn
@funindex \shiftOnn
-@funindex shiftOnn
@funindex \shiftOnnn
-@funindex shiftOnnn
@funindex \shiftOff
-@funindex shiftOff
@funindex \mergeDifferentlyDottedOn
-@funindex mergeDifferentlyDottedOn
@funindex \mergeDifferentlyDottedOff
-@funindex mergeDifferentlyDottedOff
@funindex \mergeDifferentlyHeadedOn
-@funindex mergeDifferentlyHeadedOn
@funindex \mergeDifferentlyHeadedOff
-@funindex mergeDifferentlyHeadedOff
Die Notenköpfe von Noten in unterschiedlichen Stimmen mit derselben
Tonhöhe, demselben Notenkopf und den Hälsen in entgegengesetzte
@cindex a due-Stellen
@cindex solo-Stellen
@funindex \partcombine
-@funindex partcombine
Automatische Kombination von Stimmen wird verwendet, um zwei
selbständige Stimmen auf einem Notensystem zu setzen. Es wird vor allem
die Tonhöhen von @code{@var{musikAusdr1}} oder @code{@var{musikAusdr2}}.
@funindex \partcombineChords
-@funindex partcombineChords
@funindex \partcombineApart
-@funindex partcombineApart
@funindex \partcombineUnisono
-@funindex partcombineUnisono
@funindex \partcombineSoloI
-@funindex partcombineSoloI
@funindex \partcombineSoloII
-@funindex partcombineSoloII
@funindex \partcombineAutomatic
-@funindex partcombineAutomatic
In professionellen Partituren werden Stimmen oft für lange Strecken auseinander
gehalten, auch wenn eine oder mehrere Noten tatsälich aufeinander treffen und
@cindex Eingabe von Noten parallel
@cindex Verschachtelte Musik
@funindex \parallelMusic
-@funindex parallelMusic
Noten für mehrere Stimmen können verschachtelt notiert werden.
Die Funktion @code{\parallelMusic} akzeptiert eine Liste mit
@cindex neues Notensystem
@funindex \drummode
-@funindex drummode
@funindex DrumStaff
@funindex RhythmicStaff
@funindex TabStaff
@funindex \startStaff
-@funindex startStaff
@funindex \stopStaff
-@funindex stopStaff
Die Befehle @code{\stopStaff} und @code{\startStaff} können
benutzt werden, um ein Notensystem zu stoppen oder (wieder)
@cindex Verschwinden von leeren Systemen
@funindex \RemoveEmptyStaves
-@funindex RemoveEmptyStaves
@funindex Staff_symbol_engraver
@funindex \stopStaff
-@funindex stopStaff
Die Notenlinien können entfernt werden, indem der
@code{Staff_symbol_engraver} aus dem @code{Staff}-Kontext
@cindex Verstecken von Rhythmus-Systemen
@funindex \RemoveEmptyStaves
-@funindex RemoveEmptyStaves
Der @code{\VaticanaStaff \RemoveEmptyStaves}-Befehl kann
benutzt werden, um leere Takte in Notation der Alten Musik
@cindex Wechsel von Instrument
@funindex \addInstrumentDefinition
-@funindex addInstrumentDefinition
@funindex \instrumentSwitch
-@funindex instrumentSwitch
Wenn das Instrument gewechselt werden soll, kann der Befehl
@code{\addInstrumentDefinition} in Begleitung von
@cindex Stimmen, zitieren
@funindex \addQuote
-@funindex addQuote
@funindex \quoteDuring
-@funindex quoteDuring
@funindex \transposition
-@funindex transposition
Es kommt sehr oft vor, dass eine Orchesterstimme die gleichen
Noten wie eine andere spielt. So können etwa die ersten und
@cindex Zitieren von anderen Stimmen
@funindex \cueDuring
-@funindex cueDuring
@funindex \cueClef
-@funindex cueClef
@funindex \cueDuringWithClef
-@funindex cueDuringWithClef
@funindex \quoteDuring
-@funindex quoteDuring
@cindex Noten, kleiner
@cindex kleinere Noten
@end lilypond
@funindex \transposedCueDuring
-@funindex transposedCueDuring
Genauso wie @code{\quoteDuring} berücksichtigt auch @code{\cueDuring}
Transpositionen. Stichnoten werden auf den Tonhöhen erstellt, die für
@cindex cue notes, removing
@funindex \killCues
-@funindex killCues
@funindex \addInstrumentDefinition
-@funindex addInstrumentDefinition
Der @code{\killCues}-Befehl entfernt Stichnoten aus einem
musikalischen Ausdruck, sodass derselbe musikalische Ausdruck
@cindex Symbole auf der Taktstrich
@funindex \mark
-@funindex mark
@funindex \markup
-@funindex markup
Verschiedene Textelemente können der Partitur hinzugefügt werden,
indem man die Syntax für Zeichen einsetzen, wie beschrieben in
@cindex oberste Ebene, Text
@funindex \markup
-@funindex markup
Eine @code{\markup}-Umgebung kann auch für sich alleine existieren,
außerhalb einer @code{\score}-Umgebung, als ein Ausdruck auf der
@cindex Beschriftung, Text
@cindex Setzen von Text
-@funindex markup
@funindex \markup
Eine @code{\markup}-Umgebung wird benutzt, um Text mit einer
@cindex tiefergestellt
@funindex \super
-@funindex super
@funindex \sub
-@funindex sub
@funindex \normal-size-super
-@funindex normal-size-super
Text kann auch hoch- bzw. tiefgestellt gesetzt werden. Die so markierten
Buchstaben werden automatisch in einer kleineren Schriftgröße gesetzt,
@end lilypond
@funindex \halign
-@funindex halign
Die horizontale Ausrichtung kann mit einer Zahl auf einen exakten
Wert festgelegt werden:
@cindex Beschriftung, Zentrieren auf der Seite
@funindex \fill-line
-@funindex fill-line
Eine Anzahl an Ausdrücken innerhalb von @code{\markup} kann auch
gestreckt werden, so dass die gesamte Seitenbreite benutzt wird. Wenn
@cindex mehrseitiger Text
@funindex \markuplist
-@funindex markuplist
@funindex \justified-lines
-@funindex justified-lines
@funindex \wordwrap-lines
-@funindex wordwrap-lines
Normale Textbeschriftungsobjekte können nicht getrennt werden, aber mit
einer spezifischen Umgebung ist es möglich, Text auch über mehrere Seiten
@rinternals{TextScript}.
@funindex \markuplist
-@funindex markuplist
@predefined
@code{\markuplist}.
@cindex rautenförmige Notenköpfe
@funindex \harmonic
-@funindex harmonic
Flageolett-Töne können auf verschiedene Arten notiert werden.
Üblicherweise werden sie mit einem Rautenkopf notiert, wenn
@cindex \lyricsto
@funindex \lyricsto
-@funindex lyricsto
Gesangstext kann an einer Melodie automatisch ausgerichtet werdne, indem
man den beannten @code{Voice}-Kontext mit der Melodie durch den Befehl
@subheading @code{\addlyrics} benutzen
-@funindex addlyrics
@funindex \addlyrics
Der @code{\addlyrics}-Befehl ist eigentlich nur eine Abkürzung für eine
@cindex Sackpfeife
@cindex Schottischer Dudelsack
@funindex \taor
-@funindex taor
@funindex \hideKeySignature
-@funindex hideKeySignature
@funindex \showKeySignature
-@funindex showKeySignature
LilyPond besitzt spezielle Definitionen, mit der die Musik
des schottischen Hochland-Dudelsacks notiert wird. Um sie
@cindex presentación frente a contenido
@funindex \key
-@funindex key
@funindex \major
-@funindex major
@funindex \minor
-@funindex minor
Glosario musical:
@rglos{key signature},
@funindex \mf
@funindex \pp
@funindex \<
-@funindex <
@funindex \>
-@funindex >
@funindex \!
-@funindex !
Glosario musical:
@rglos{dynamics},
@cindex marcado
@funindex \markup
-@funindex markup
Es posible añadir texto a la partitura:
@funindex [
@funindex ]
@funindex \autoBeamOff
-@funindex autoBeamOff
@funindex \autoBeamOn
-@funindex autoBeamOn
Glosario musical:
@rglos{beam}.
@cindex compás parcial
@funindex \partial
-@funindex partial
Glosario musical:
@rglos{anacrusis}.
@cindex tresillos
@funindex \tuplet
-@funindex tuplet
Glosario musical:
@rglos{note value},
@cindex appoggiatura
@funindex \grace
-@funindex grace
@funindex \acciaccatura
-@funindex acciaccatura
@funindex \appoggiatura
@funindex acciaccatura
@cindex notación, contexto de
@funindex \new Staff
-@funindex new Staff
@funindex Staff
@funindex \new
-@funindex new
@funindex Score
@funindex Voice
@funindex Lyrics
@cindex canciones
@funindex \addlyrics
-@funindex addlyrics
Glosario musical:
@rglos{lyrics}.
@cindex bloque de encabezamientos
@funindex \header
-@funindex header
La información sobre el título, autor, número de Opus y similares
se escriben en el bloque @code{\header}. Éste se encuentra fuera
ejemplo constituye un útil punto de partida.
@funindex \book
-@funindex book
@funindex \score
-@funindex score
@cindex book (libro)
@cindex score (partitura)
@cindex libro
@end example
@funindex \header
-@funindex header
@funindex \layout
-@funindex layout
@funindex \midi
-@funindex midi
@cindex midi
@cindex cabecera
@cindex disposición
@cindex book, bloque implícito
@cindex implícito, bloque book
@funindex \book
-@funindex book
Podemos escribir varios bloques @code{\score}. Cada uno de ellos
recibirá el mismo tratamiento que una partitura independiente,
@cindex musical, expresión, compuesta
@cindex expresión musical compuesta
@funindex \score
-@funindex score
En la sección anterior,
@ref{Introducción a la estructura de los archivos de LilyPond},
@funindex \voiceOne
-@funindex voiceOne
@funindex \voiceTwo
-@funindex voiceTwo
@funindex \voiceThree
-@funindex voiceThree
@funindex \voiceFour
-@funindex voiceFour
@funindex \oneVoice
-@funindex oneVoice
@funindex \new Voice
@cindex contextos de voz, creación de
@cindex notas, colisiones de
@cindex desplazamiento, instrucciones de
@funindex \shiftOff
-@funindex shiftOff
@funindex \shiftOn
-@funindex shiftOn
@funindex \shiftOnn
-@funindex shiftOnn
@funindex \shiftOnnn
-@funindex shiftOnnn
Las notas cercanas de un acorde, o las notas que se producen al
mismo tiempo en distintas voces, se disponen en dos (y
@funindex \new Lyrics
@funindex \lyricsto
-@funindex lyricsto
@funindex Lyrics
@cindex Lyrics, creación de un contexto
@cindex letra, creación de un contexto de
@cindex letra y barrado
@cindex barrado y letra
@funindex \autoBeamOff
-@funindex autoBeamOff
El barrado automático que LilyPond usa de forma predeterminada
funciona bien para la música instrumental, pero no tan bien para
@funindex \new ChoirStaff
@funindex ChoirStaff
@funindex \lyricmode
-@funindex lyricmode
@cindex vocal, estructura de una partitura
@cindex coro, sistema de
@translationof Creating contexts
@funindex \new
-@funindex new
@cindex nuevos contextos
@cindex creación de contextos
@cindex contextos, creación de
@cindex contexto, propiedades de, modificación
@cindex modificar las propiedades de contexto
@funindex \set
-@funindex set
@funindex \unset
-@funindex unset
Los contextos se responsabilizan de mantener los valores de un
cierto número de @emph{properties} de contexto. Muchas de ellas
@subsubheading Cambiar las propiedades de un contexto con @code{\with}
@funindex \with
-@funindex with
@cindex contexto, propiedades de, establecimiento con \with
El valor predeterminado de las propiedades de contexto se puede
@cindex contextos, establecer propiedades de, con \context
@funindex \context
-@funindex context
Los valores de propiedad de los contextos se pueden establecer
para @emph{todos} los contextos de un tipo determinado, como por
@cindex eliminación de grabadores
@funindex \consists
-@funindex consists
@funindex \remove
-@funindex remove
Hemos visto que cada uno de los contextos contiene varios
grabadores, cada uno de los cuales a su vez es responsable de la
@subsubheading Cambiar todos los contextos del mismo tipo
@funindex \layout
-@funindex layout
Los ejemplos anteriores muestran la manera de eliminar o añadir
grabadores a los contextos individuales. También es posible
@cindex relativo, modo, alteraciones y
@funindex \relative
-@funindex relative
@funindex '
@funindex ,
@cindex compás, indicación de
@funindex \time
-@funindex time
Glosario musical:
@rglos{time signature}.
@cindex metronómicas, indicaciones
@funindex \tempo
-@funindex tempo
Glosario musical:
@rglos{tempo indication},
@cindex bajo
@funindex \clef
-@funindex clef
Glosario musical:
@rglos{clef}.
@cindex override (sobreescritura), sintaxis de
@funindex \override
-@funindex override
Ya hemos visto las instrucciones @code{\set} y @code{\with}, que
se usan para cambiar las propiedades de los @strong{contextos} y
@cindex revert, instrucción
@funindex \revert
-@funindex revert
Una vez sobreescrita, la propiedad retiene su nuevo valor hasta
que se sobreescribe de nuevo o se encuentra una instrucción
@translationof The once prefix
@funindex \once
-@funindex once
@code{\override}, @code{\revert}, @code{\set} y @code{\unset} se
pueden hacer preceder por @code{\once}. Esto hace que la
@cindex overrideProperty, instrucción
@funindex \overrideProperty
-@funindex overrideProperty
Hay otra forma para la instrucción de sobreescritura,
@code{\overrideProperty}, que ocasionalmente es necesaria. La
@cindex tweak, instrucción
@funindex \tweak
-@funindex tweak
La última instrucción de trucaje que está disponible es
@code{\tweak}. Se debe utilizar cuando varios objetos tienen
@cindex once override
@funindex \once
-@funindex once
Como puede ver, @emph{todas} las ligaduras son más gruesas en el
último ejemplo. Pero ¿y si quisiéramos que solamente la primera
@cindex predeterminadas, recuperar las propiedades
@funindex \revert
-@funindex revert
Finalmente ¿y si quisiéramos que solamente las dos primeras
ligaduras fuesen más gruesas? En fin; podríamos usar dos
@cindex octava alta y baja, corchete de
@funindex \startTextSpan
-@funindex startTextSpan
@funindex \stopTextSpan
-@funindex stopTextSpan
@cindex TextSpanner, ejemplo de sobreescritura
@cindex bound-details, propiedad, ejemplo
@cindex notas, espaciar junto al texto
@funindex \textLengthOn
-@funindex textLengthOn
@funindex \textLengthOff
-@funindex textLengthOff
De forma predeterminada, el texto producido mediante marcado no
ocupa ningún espacio horizontal en cuanto se refiere a la
@cindex colisiones de notas
@cindex desplazamiento, instrucciones de
@funindex \shiftOff
-@funindex shiftOff
@funindex \shiftOn
-@funindex shiftOn
@funindex \shiftOnn
-@funindex shiftOnn
@funindex \shiftOnnn
-@funindex shiftOnnn
Dentro de una voz, todas las notas que se producen en el mismo
moemtno se agrupan en una columna de notas, y se crea un objeto
@unnumberedsubsubsec Incipits
@translationof Incipits
@funindex \incipit
-@funindex incipit
@cindex incipits, añadir
Al transcribir música mensural a la notación moderna, es costumbre
@cindex grabadores, incluir en contextos
@funindex \alias
-@funindex alias
@funindex \name
-@funindex name
@funindex \type
-@funindex type
@funindex \consists
-@funindex consists
@funindex \accepts
-@funindex accepts
@funindex \denies
-@funindex denies
Los contextos específicos, como @code{Staff} y @code{Voice}, están
construidos a partir de bloques sencillos. Es posible crear
@cindex cambio de dedo
@funindex \finger
-@funindex finger
Las instrucciones de digitación se pueden introducir usando
@samp{@var{nota}-@var{dígito}}:
@cindex thumb-script
@funindex \thumb
-@funindex thumb
Puede usar la articulación de pulgar para indicar que una nota se
debe tocar con el pulgar (p.ej. en música de violoncello).
@cindex notas transparentes
@funindex \hideNotes
-@funindex hideNotes
@funindex \unHideNotes
-@funindex unHideNotes
Las notas ocultas (o invisibles, o transparentes) pueden ser de
utilidad en la preparación de ejercicios de teoría o de
@funindex color
@funindex \with-color
-@funindex with-color
@funindex x11-color
Se pueden asignar colores a los objetos individuales. Los nombres
@cindex corchetes
@funindex \parenthesize
-@funindex parenthesize
Los objetos se pueden encerrar entre paréntesis anteponiendo
@code{\parenthesize} al evento musical. Si se aplica a un acorde,
@cindex plica neutral
@funindex \stemUp
-@funindex stemUp
@funindex \stemDown
-@funindex stemDown
@funindex \stemNeutral
-@funindex stemNeutral
Cuando se encuentra con una nota, se crea automáticamente un
objeto @code{Stem} (plica). Para las redondas y los silencios,
@funindex balloonGrobText
@funindex balloonText
@funindex \balloonLengthOn
-@funindex balloonLengthOn
@funindex \balloonLengthOff
-@funindex balloonLengthOff
Los elementos de notación se pueden marcar y nombrar con la ayuda
de un cartel o globo de ayuda rectangular. El propósito principal
@funindex Horizontal_bracket_engraver
@funindex \startGroup
-@funindex startGroup
@funindex \stopGroup
-@funindex stopGroup
Los corchetes se usan en análisis musical para indicar la
estructura de las piezas musicales. Están contemplados los
@cindex matices
@cindex absolutos, matices
@funindex \pppp
-@funindex pppp
@funindex \ppp
-@funindex ppp
@funindex \pp
-@funindex pp
@funindex \p
-@funindex p
@funindex \mp
-@funindex mp
@funindex \mf
-@funindex mf
@funindex \f
-@funindex f
@funindex \ff
-@funindex ff
@funindex \fff
-@funindex fff
@funindex \ffff
-@funindex ffff
@funindex \fffff
-@funindex fffff
@funindex \fp
-@funindex fp
@funindex \sf
-@funindex sf
@funindex \sff
-@funindex sff
@funindex \sp
-@funindex sp
@funindex \spp
-@funindex spp
@funindex \sfz
-@funindex sfz
@funindex \rfz
-@funindex rfz
Las marcas dinámicas de matiz absoluto se especifican usando una
instrucción después de una nota: @code{c4\ff}. Las marcas
@funindex \>
@funindex \!
@funindex \cr
-@funindex cr
@funindex \decr
-@funindex decr
Una indicación de @notation{crescendo} se comienza con @code{\<} y
se termina con @code{\!}, con un matiz absoluto o con otra
@cindex espressivo, articulación
@funindex \espressivo
-@funindex espressivo
Se puede usar la instrucción @code{\espressivo} para indicar un
crescendo y un decrescendo sobre la misma nota. Sin embargo,
@end lilypond
@funindex \cresc
-@funindex cresc
@funindex \decresc
-@funindex decresc
@funindex \dim
-@funindex dim
Las indicaciones de crescendo textuales se inician con
@code{\cresc}. Los decrescendos textuales se inician con
@end lilypond
@funindex \crescTextCresc
-@funindex crescTextCresc
@funindex \dimTextDecresc
-@funindex dimTextDecresc
@funindex \dimTextDecr
-@funindex dimTextDecr
@funindex \dimTextDim
-@funindex dimTextDim
@funindex \crescHairpin
-@funindex crescHairpin
@funindex \dimHairpin
-@funindex dimHairpin
También pueden sustituirse los reguladores gráficos
por cambios de dinámica textuales:
por parte de @rinternals{DynamicLineSpanner}.
@funindex \dynamicUp
-@funindex dynamicUp
@funindex \dynamicDown
-@funindex dynamicDown
@funindex \dynamicNeutral
-@funindex dynamicNeutral
Está disponible un contexto @code{Dynamics} para tipografiar las
indicaciones de matiz dinámico en su propia línea horizontal.
@cindex dinámicas, indicaciones entre paréntesis
@cindex editoriales, indicaciones dinámicas
@funindex \bracket
-@funindex bracket
@funindex \dynamic
-@funindex dynamic
En el modo de marcado se pueden crear indicaciones dinámicas
editoriales (entre paréntesis o corchetes). La sintaxis del modo
@cindex ligaduras de expresión, debajo de las notas
@cindex ligaduras de expresión, encima de las notas
@funindex \slurDown
-@funindex slurDown
@funindex \slurNeutral
-@funindex slurNeutral
Las ligaduras de expresión se pueden colocar manualmente por
encima o por debajo de las notas; véase
@cindex estilo de la ligadura
@funindex \slurDashed
-@funindex slurDashed
@funindex \slurDotted
-@funindex slurDotted
@funindex \slurSolid
-@funindex slurSolid
Las ligaduras de expresión pueden ser continuas, discontinuas o de
puntos. El estilo predeterminado de las ligaduras de expresión es
@cindex ligadura de expresión, mitad continua y mitad discontinua
@funindex \slurHalfDashed
-@funindex slurHalfDashed
@funindex \slurHalfSolid
-@funindex slurHalfSolid
También se puede hacer que las ligaduras de expresión sean
semi-discontinuas (la primera mitad discontinua y la segunda mitad
@cindex ligadura de expresión, definir patrones de discontinuidad
@funindex \slurDashPattern
-@funindex slurDashPattern
Se pueden definir patrones de discontinuidad para las ligaduras de
expresión:
@funindex \slurUp
-@funindex slurUp
@predefined
@end lilypond
@funindex \phrasingSlurUp
-@funindex phrasingSlurUp
@funindex \phrasingSlurDown
-@funindex phrasingSlurDown
@funindex \phrasingSlurNeutral
-@funindex phrasingSlurNeutral
Tipográficamente, la ligadura de fraseo se comporta casi
exactamente igual que una ligadura de expresión normal. Sin
@cindex ligaduras de fraseo discontinuas
@cindex ligaduras de fraseo punteadas
-@funindex phrasingSlurDashed
@funindex \phrasingSlurDashed
@funindex \phrasingSlurDotted
-@funindex phrasingSlurDotted
@funindex \phrasingSlurSolid
-@funindex phrasingSlurSolid
Las ligaduras de fraseo pueden ser continuas, de puntos o de
rayas. El estilo predeterminado para las ligaduras de fraseo es
@cindex fraseo, ligadura de, mitad continua y mitad discontinua
@cindex ligadura de fraseo mitad continua y mitad discontinua
-@funindex phrasingSlurHalfDashed
@funindex \phrasingSlurHalfDashed
@funindex \phrasingSlurHalfSolid
-@funindex phrasingSlurHalfSolid
Se puede hacer también que las ligaduras de fraseo sean
semi-discontinuas (la primera mitad discontinua y la segunda mitad
@cindex ligadura de fraseo, definir patrones de discontinuidad
@funindex \phrasingSlurDashPattern
-@funindex phrasingSlurDashPattern
Se pueden definir patrones de discontinuidad para las ligaduras de
fraseo:
@cindex respiraciones
@cindex pausa, marcas de
@funindex \breathe
-@funindex breathe
Las respiraciones se introducen utilizando @code{\breathe}:
@cindex caídas de tono (falls)
@cindex elevaciones de tono (doits)
@funindex \bendAfter
-@funindex bendAfter
Se pueden expresar @notation{caídas} y @notation{subidas} de tono
(falls y doits) añadidas a las notas mediante la instrucción
@cindex glissando
@funindex \glissando
-@funindex glissando
Se crea un @notation{glissando} añadiendo @code{\glissando}
después de la nota:
@cindex acorde arpegiado
@cindex quebrado, acorde
@funindex \arpeggio
-@funindex arpeggio
@funindex \arpeggioArrowUp
-@funindex arpeggioArrowUp
@funindex \arpeggioArrowDown
-@funindex arpeggioArrowDown
@funindex \arpeggioNormal
-@funindex arpeggioNormal
Un signo de @notation{acorde arpegiado} (conocido también como
acorde quebrado) sobre un acorde, se denota adjuntando
@cindex especial, símbolos de arpegio
@funindex \arpeggioBracket
-@funindex arpeggioBracket
@funindex \arpeggioParenthesis
-@funindex arpeggioParenthesis
@funindex \arpeggioParenthesisDashed
-@funindex arpeggioParenthesisDashed
Se pueden crear símbolos especiales de arpegio @emph{con corchete}:
@cindex trinos
@funindex \trill
-@funindex trill
@funindex \startTrillSpan
-@funindex startTrillSpan
@funindex \stopTrillSpan
-@funindex stopTrillSpan
Los trinos cortos sin línea extensora se imprimen con
@code{\trill}; véase @ref{Articulaciones y ornamentos}.
@cindex trinos de nota explícita
@cindex explícita, trinos de nota
@funindex \pitchedTrill
-@funindex pitchedTrill
Los trinos que se tienen que ejecutar sobre notas auxiliares
explícitas se pueden tipografiar con la instrucción
afinaciones predefinidas están en
@file{ly/string-tunings-init.ly}.
-@funindex stringTuning
@funindex \stringTuning
@cindex tablaturas, afinaciones personalizadas
@cindex personalizadas, afinaciones de cuerdas
@cindex fret-diagram, marcado con
@cindex ukelele
-@funindex fret-diagram
@funindex \fret-diagram
El tamaño del diagrama de trastes y el número de trastes del
@cindex fret-diagram-terse, marcado con
-@funindex fret-diagram-terse
@funindex \fret-diagram-terse
La cadena de marcado de diagrama de trastes escueta,
@cindex fret-diagram-verbose, marcado con
@cindex capo
-@funindex fret-diagram-verbose
@funindex \fret-diagram-verbose
La cadena de marcado prolija @code{fret-diagram-verbose} está en
@cindex trastes, diagramas de, con nombres de acorde
@funindex ChordNames
-@funindex chordmode
@funindex \chordmode
Es corriente que se impriman juntos los nombres de acorde y los
@cindex acordes, formas de, en instrumentos de trastes
@funindex \addChordShape
-@funindex addChordShape
-@funindex storePredefinedDiagram
@funindex \storePredefinedDiagram
Además de los diagramas de traste, LilyPond almacena una lista
>>
@end lilypond
-@funindex predefinedFretboardsOff
@funindex \predefinedFretboardsOff
-@funindex predefinedFretboardsOn
@funindex \predefinedFretboardsOn
Puesto que de forma predeterminada no se carga ningún diagrama
@cindex digitaciones de la mano derecha para instrumentos de trastes
@cindex derecha, mano, digitaciones para instrumentos de traste
-@funindex rightHandFinger
@funindex \rightHandFinger
Las digitaciones de la mano derecha @var{p-i-m-a} se deben introducir
@unnumberedsubsubsec Indicación de acordes de potencia o de quinta vacía
@translationof Indicating power chords
-@funindex powerChords
@funindex \powerChords
@cindex potencia, acordes de
@cindex cruzado, pentagrama, barras de
@funindex \change
-@funindex change
Las voces se pueden cambiar de pentagrama manualmente usando la
instrucción
@cindex pentagrama, cambio automático de
@funindex \autochange
-@funindex autochange
@funindex PianoStaff
Se puede hacer que las voces cambien automáticamente entre los
@cindex autocambiador y el modo relativo
@funindex \relative
-@funindex relative
Una sección marcada @code{\relative} que se encuentra fuera de
@code{\autochange} no tiene efecto sobre las notas de la música;
@funindex followVoice
@funindex \showStaffSwitch
-@funindex showStaffSwitch
@funindex \hideStaffSwitch
-@funindex hideStaffSwitch
Cuando una voz cambia a otro pentagrama, se puede imprimir
automáticamente una línea que conecte las notas:
@cindex U.C.
@funindex \sustainOn
-@funindex sustainOn
@funindex \sustainOff
-@funindex sustainOff
@funindex \sostenutoOn
-@funindex sostenutoOn
@funindex \sostenutoOff
-@funindex sostenutoOff
@funindex \unaCorda
-@funindex unaCorda
@funindex \treCorde
-@funindex treCorde
En general, los pianos tienen tres pedales que alteran la forma de
producir el sonido: el pedal de mantenimiento (pedal
}
@end lilypond
-@funindex fixed
@funindex \fixed
Las marcas de octava comunes se pueden escribir una sola vez sobre
una nota de referencia si se emplea @code{\fixed} antes de la
@cindex relativa, especificación de la octava
@cindex octava, especificación relativa
-@funindex relative
@funindex \relative
La entrada de octava absoluta requere que se especifique la octava
@cindex transposición y modo relativo
@funindex \transpose
-@funindex transpose
@funindex \chordmode
-@funindex chordmode
@funindex \relative
-@funindex relative
@node Alteraciones accidentales
@funindex =
@funindex \octaveCheck
-@funindex octaveCheck
@funindex controlpitch
En el modo relativo, es fácil olvidar una marca de cambio de
@cindex notas, transporte de
@funindex \transpose
-@funindex transpose
Una expresión musical se puede transportar mediante
@code{\transpose}. La sintaxis es
@rinternals{TransposedMusic}.
@funindex \transpose
-@funindex transpose
@funindex \chordmode
-@funindex chordmode
@funindex \relative
-@funindex relative
@knownissues
La conversión relativa no afecta a las secciones
@cindex transformación de retrogradación
@cindex operación de retrogradación
@funindex \retrograde
-@funindex retrograde
Se puede revertir una expresión musical para producir su
retrogradación:
@cindex transposición modal
@cindex operación de transposición
@funindex \modalTranspose
-@funindex modalTranspose
Se puede transportar un motivo dentro de una escala dada con:
@cindex inversión modal
@cindex operación de inversión modal
@funindex \modalInversion
-@funindex modalInversion
Se puede invertir un motivo dentro de una escala dada alrededor de
una nota pivote dada y transportada al mismo tiempo en una única
@cindex clave de contrabajo
@funindex \clef
-@funindex clef
Sin ninugna instrucción explícita, la clave predeterminada en
LilyPond es la clave @qq{treble} (o clave de @emph{Sol}).
@cindex Armadura de la tonalidad
@funindex \key
-@funindex key
@c duplicated in Key signature and Accidentals
@warning{Las alteraciones accidentales y las armaduras son una
@end example
@funindex \major
-@funindex major
@funindex \minor
-@funindex minor
@funindex \ionian
-@funindex ionian
@funindex \locrian
-@funindex locrian
@funindex \aeolian
-@funindex aeolian
@funindex \mixolydian
-@funindex mixolydian
@funindex \lydian
-@funindex lydian
@funindex \phrygian
-@funindex phrygian
@funindex \dorian
-@funindex dorian
@cindex modos eclesiásticos
@cindex modos
@funindex set-octavation
@funindex \ottava
-@funindex ottava
Los @notation{corchetes de Ottava} introducen un trasporte adicional
de una octava para el pentagrama.
@cindex MIDI, transposición
@funindex \transposition
-@funindex transposition
Al tipografiar partituras donde participan instrumentos
transpositores, ciertas partes se pueden tipografiar en un tono
@cindex simplificada, notación
@funindex \easyHeadsOn
-@funindex easyHeadsOn
@funindex \easyHeadsOff
-@funindex easyHeadsOff
Las notas con cabeza de @q{notación facilitada} tienen el nombre
de la nota (en inglés) dentro de la cabeza. Se usan en la música
@cindex notas, cabezas de, Walker
@funindex \aikenHeads
-@funindex aikenHeads
@funindex \sacredHarpHeads
-@funindex sacredHarpHeads
@funindex \southernHarmonyHeads
-@funindex southernHarmonyHeads
@funindex \funkHeads
-@funindex funkHeads
@funindex \walkerHeads
-@funindex walkerHeads
En la notación de cabezas con forma, la forma de la cabeza
corresponde a la función armónica de una nota dentro de la
@end lilypond
@funindex \key
-@funindex key
@funindex \aikenHeadsMinor
-@funindex aikenHeadsMinor
@funindex \sacredHarpHeadsMinor
-@funindex sacredHarpHeadsMinor
@funindex \southernHarmonyHeadsMinor
-@funindex southernHarmonyHeadsMinor
@funindex \funkHeadsMinor
-@funindex funkHeadsMinor
@funindex \walkerHeadsMinor
-@funindex walkerHeadsMinor
Las formas se determinan en función del grado de la escala, donde
la tónica está determinada por la instrucción @code{\key} Cuando
@cindex notas, cabezas de, barradas
@funindex \improvisationOn
-@funindex improvisationOn
@funindex \improvisationOff
-@funindex improvisationOff
La improvisación se denota a veces mediante cabezas de nota en
forma de barra inclinada, donde el ejecutante puede elegir
@cindex notas, longitud de
@funindex \longa
-@funindex longa
@funindex \breve
-@funindex breve
@funindex \maxima
-@funindex maxima
Las duraciones se designan mediante números y puntos. Las
duraciones se introducen como sus valores recíprocos respecto de
@ref{Notación proporcional}.
@funindex \dotsUp
-@funindex dotsUp
@funindex \dotsDown
-@funindex dotsDown
@funindex \dotsNeutral
-@funindex dotsNeutral
Normalmente los puntillos se desplazan hacia arriba para evitar
las líneas del pentagrama, excepto en situaciones de polifonía. Se
@cindex tresillos
@funindex \tuplet
-@funindex tuplet
Los grupos especiales se obtienen a partir de una expresión
musical con la instrucción @code{\tuplet}, multiplicando la
@cindex grupos de valoración especial, colocación del corchete
@funindex \tupletUp
-@funindex tupletUp
@funindex \tupletDown
-@funindex tupletDown
@funindex \tupletNeutral
-@funindex tupletNeutral
Se pueden colocar manualmente los corchetes de tresillo encima o
debajo de la pauta:
@cindex expansión de música
@funindex \scaleDurations
-@funindex scaleDurations
De la misma forma, se pueden comprimir por una fracción trozos de
música más largos, como si cada nota, acorde o silencio tuviera la
@cindex ligaduras de unión y corchetes de primera y segunda vez
@funindex \repeatTie
-@funindex repeatTie
Cuando la segunda vez de una repetición comienza con una nota ligada,
es necesario especificar la ligadura repetida como sigue:
@cindex ligaduras laissez vibrer
@funindex \laissezVibrer
-@funindex laissezVibrer
Las ligaduras @notation{L.v.} (@notation{laissez vibrer}, dejar
vibrar) indican que las notas no se deben apagar al final. Se
@cindex ligaduras, colocación
@funindex \tieUp
-@funindex tieUp
@funindex \tieDown
-@funindex tieDown
@funindex \tieNeutral
-@funindex tieNeutral
Es posible hacer manualmente que las ligaduras de unión se curven
hacia arriba o hacia abajo; véase @ref{Dirección y posición}.
@cindex puntos, ligaduras de
@funindex \tieDotted
-@funindex tieDotted
@funindex \tieDashed
-@funindex tieDashed
@funindex \tieSolid
-@funindex tieSolid
Se puede hacer que las ligaduras de expresión sean discontinuas,
punteadas o una combinación de continuas y discontinuas.
@cindex breve, silencio de
@funindex \rest
-@funindex rest
@funindex r
@funindex \maxima
-@funindex maxima
@funindex \longa
-@funindex longa
@funindex \breve
-@funindex breve
Los silencios se introducen como notas con el nombre @code{r}.
Las duraciones mayores que la redonda utilizan las instrucciones
@funindex s
@funindex \skip
-@funindex skip
Un silencio invisible (también conocido como @q{skip} o
desplazamiento) se puede introducir como una nota con el
@cindex redonda, silencios de, para un compás completo
@cindex silencios de redonda para un compás completo
-@funindex compressMMRests
@funindex \compressMMRests
@funindex R
@cindex multicompás, silencio, con marcados
@funindex \fermataMarkup
-@funindex fermataMarkup
@funindex MultiMeasureRestText
Se pueden añadir elementos de marcado a los silencios multicompás.
comprobación de compás.
@funindex \textLengthOn
-@funindex textLengthOn
@funindex \textLengthOff
-@funindex textLengthOff
@funindex \fermataMarkup
-@funindex fermataMarkup
@funindex \compressMMRests
-@funindex compressMMRests
@predefined
@code{\textLengthOn},
@cindex medida
@funindex \time
-@funindex time
La indicación de compás se establece como sigue:
@cindex metro, estilo de
@funindex \numericTimeSignature
-@funindex numericTimeSignature
@funindex \defaultTimeSignature
-@funindex defaultTimeSignature
El símbolo de compás que se usa en 2/2 y 4/4 se puede cambiar a un
estilo numérico:
@cindex metrónomo, indicación de, con texto
@funindex \tempo
-@funindex tempo
Es muy sencillo escribir una indicación metronómica básica:
@end lilypond
@funindex \markLengthOn
-@funindex markLengthOn
@funindex \markLengthOff
-@funindex markLengthOff
En una particella de un instrumento con períodos de silencio
largos, en ocasiones se suceden muy cerca distintas indicaciones
@funindex measurePosition
@funindex \partial
-@funindex partial
Los compases parciales como las @emph{anacrusas} o partes @emph{al
alzar} se escriben usando la instrucción @code{\partial}:
@cindex barras, música sin metro
@funindex \cadenzaOn
-@funindex cadenzaOn
@funindex \cadenzaOff
-@funindex cadenzaOff
En la música medida se insertan líneas divisorias y se calculan
los números de compás automáticamente. En música sin metro (es
@funindex timeSignatureFraction
@funindex \scaleDurations
-@funindex scaleDurations
@funindex \tuplet
-@funindex tuplet
Está contemplada la notación polimétrica, ya sea explícitamente o
mediante la modificación manual de la indicación visible del
@funindex Pitch_squash_engraver
@funindex \improvisationOn
-@funindex improvisationOn
@funindex \improvisationOff
-@funindex improvisationOff
Las tablas de acordes de guitarra ofrecen a menudo los ritmos de
rasgueado. Esto se puede hacer con el grabador
@cindex barras, reglas personalizadas
@funindex \autoBeamOn
-@funindex autoBeamOn
@funindex \autoBeamOff
-@funindex autoBeamOff
@lilypond[quote,verbatim]
\relative c'' {
@funindex autoBeaming
@funindex baseMoment
-@funindex beamExceptions
@funindex \beamExceptions
@funindex beatStructure
@funindex measureLength
@funindex \time
-@funindex time
@funindex \set
-@funindex set
Cuando está habilitado el barrado automático, la colocación de las
barras automáticas viene determinada por tres propiedades de
@end lilypond
@funindex \noBeam
-@funindex noBeam
Se pueden marcar notas individuales con @code{\noBeam} para evitar
que resulten unidas por una barra:
@cindex progresivas, barras
@funindex \featherDurations
-@funindex featherDurations
@funindex grow-direction
Las barras progresivas se usan para indicar que un pequeño grupo
@cindex repetición, barras de
@funindex \bar
-@funindex bar
Las líneas divisorias delimitan a los compases pero también se
pueden usar para indicar las repeticiones. Normalmente, las
@code{\repeat volta}, véase @ref{Repeticiones normales}.
@funindex \defineBarLine
-@funindex defineBarLine
@cindex compás, definir líneas de
@cindex definir líneas de compás
@funindex whichBar
@funindex defaultBarType
@funindex \bar
-@funindex bar
@funindex bartype
La instrucción @samp{\bar @var{tipo de barra}} es una forma corta
@end lilypond
@funindex \barNumberCheck
-@funindex barNumberCheck
Al copiar piezas musicales grandes puede servir de ayuda comprobar
que el número de compás de LilyPond corresponde al original desde
@cindex letras de ensayo
@funindex \mark
-@funindex mark
Para imprimir una letra de ensayo, utilice la orden @code{\mark}.
@cindex glifos musicales
@funindex \musicglyph
-@funindex musicglyph
Los glifos musicales (como el segno) se pueden imprimir dentro de
un elemento @code{\mark}
@cindex adorno, seguimiento de notas de
@funindex \afterGrace
-@funindex afterGrace
Si queremos terminar una nota con un adorno, usamos la instrucción
@code{\afterGrace}. Toma dos argumentos: la nota principal, y las
@cindex racimo (cluster)
@funindex \makeClusters
-@funindex makeClusters
Un «cluster» o racimo indica que se deben tocar simultáneamente un
conjunto de notas consecutivas. Se escriben aplicando la función
@cindex letra asignada a una voz
@funindex \voiceOne
-@funindex voiceOne
@funindex \voiceOne ... \voiceFour
@funindex Voice
@funindex \oneVoice
-@funindex oneVoice
@subsubsubheading Instanciar las voces explícitamente
@cindex desplazamiento, silencio automático de
@cindex desplazamiento de silencios, automático
@funindex \shiftOn
-@funindex shiftOn
@funindex \shiftOnn
-@funindex shiftOnn
@funindex \shiftOnnn
-@funindex shiftOnnn
@funindex \shiftOff
-@funindex shiftOff
@funindex \mergeDifferentlyDottedOn
-@funindex mergeDifferentlyDottedOn
@funindex \mergeDifferentlyDottedOff
-@funindex mergeDifferentlyDottedOff
@funindex \mergeDifferentlyHeadedOn
-@funindex mergeDifferentlyHeadedOn
@funindex \mergeDifferentlyHeadedOff
-@funindex mergeDifferentlyHeadedOff
Las cabezas de notas que están en diferentes voces y tienen la
misma altura, la misma forma de cabeza, y dirección opuesta de la
@cindex a due, partes
@cindex solo, partes
@funindex \partcombine
-@funindex partcombine
La combinación automática de particellas se usa para mezclar dos
partes musicales distintas sobre un pentagrama. Esto puede ser de
@code{@var{expresión_musical_2}}.
@funindex \partcombineChords
-@funindex partcombineChords
@funindex \partcombineApart
-@funindex partcombineApart
@funindex \partcombineUnisono
-@funindex partcombineUnisono
@funindex \partcombineSoloI
-@funindex partcombineSoloI
@funindex \partcombineSoloII
-@funindex partcombineSoloII
@funindex \partcombineAutomatic
-@funindex partcombineAutomatic
En las partituras profesionales, las voces con frecuencia se
mantienen separadas entre sí durante pasajes prolongados incluso
@cindex música intercalada
@cindex paralelo, música en
@funindex \parallelMusic
-@funindex parallelMusic
La música para varias partes se puede intercalar dentro del código
de entrada. La función @code{\parallelMusic} admite una lista que
@cindex tablatura, pauta de
@funindex \drummode
-@funindex drummode
@funindex DrumStaff
@funindex RhythmicStaff
@funindex TabStaff
@cindex líneas adicionales
@funindex \startStaff
-@funindex startStaff
@funindex \stopStaff
-@funindex stopStaff
Se pueden usar las instrucciones @code{\stopStaff} y
@code{\startStaff} para detener y (re)iniciar, respectivamente, la
@cindex escalado de pentagramas
@funindex \startStaff
-@funindex startStaff
@funindex \stopStaff
-@funindex stopStaff
Los pentagramas @notation{Ossia} se pueden preparar mediante la
creación de un pentagrama simultáneo nuevo en la posición
@funindex \RemoveAllEmptyStaves
@funindex Staff_symbol_engraver
@funindex \stopStaff
-@funindex stopStaff
Se pueden ocultar las líneas del pentagrama quitando el grabador
@code{Staff_symbol_engraver} del contexto de @code{Staff}. Como
@cindex notas guía
@funindex \addQuote
-@funindex addQuote
@funindex \quoteDuring
-@funindex quoteDuring
@funindex \transposition
-@funindex transposition
Es muy frecuente que una voz use las mismas notas que otra voz.
Por ejemplo, los violines primero y segundo tocando la misma frase
@funindex \cueDuring
-@funindex cueDuring
@funindex \cueClef
-@funindex cueClef
@funindex \cueDuringWithClef
-@funindex cueDuringWithClef
@funindex \quoteDuring
-@funindex quoteDuring
@cindex notas pequeñas
@cindex pequeñas, notas
@end lilypond
@funindex \transposedCueDuring
-@funindex transposedCueDuring
Como @code{\quoteDuring}, @code{\cueDuring} tiene en cuenta las
transposiciones instrumentales. Las notas guía se producen en las
@cindex cue notes, removing
@funindex \killCues
-@funindex killCues
La instrucción @code{\killCues} elimina las notas guía de una
expresión musical, de forma que la misma expresión musical pueda
@rlearning{Colocación de los objetos}.
@funindex \textLengthOn
-@funindex textLengthOn
@funindex \textLengthOff
-@funindex textLengthOff
@predefined
@code{\textLengthOn},
en @ref{Estilos de línea}.
@funindex \textSpannerUp
-@funindex textSpannerUp
@funindex \textSpannerDown
-@funindex textSpannerDown
@funindex \textSpannerNeutral
-@funindex textSpannerNeutral
@predefined
@cindex líneas divisorias, símbolos sobre las
@funindex \mark
-@funindex mark
@funindex \markup
-@funindex markup
Se pueden añadir a la partitura varios elementos de texto con la
sintaxis que se describe en @ref{Llamadas de ensayo}:
@end lilypond
@funindex \markLengthOn
-@funindex markLengthOn
@funindex \markLengthOff
-@funindex markLengthOff
@predefined
@code{\markLengthOn},
@cindex texto independiente
@funindex \markup
-@funindex markup
Un bloque @code{\markup} puede existir de forma independiente,
fuera de cualquier bloque @code{\score}, como una @qq{expresión de
@funindex \markup
-@funindex markup
@funindex \markuplist
-@funindex markuplist
@predefined
@code{\markup},
@cindex tipografiar texto
@funindex \markup
-@funindex markup
Se usa un bloque @code{\markup} para tipografiar texto con una
sintaxis ampliable que se denomina @qq{modo de marcado}.
@cindex cambio de la fuente tipográfica
@funindex \italic
-@funindex italic
@funindex \bold
-@funindex bold
@funindex \underline
-@funindex underline
Está contemplado de forma básica el cambio de la fuente
tipográfica en el modo de marcado:
@funindex \abs-fontsize
@funindex \fontsize
-@funindex fontsize
@funindex \smaller
-@funindex smaller
@funindex \larger
-@funindex larger
@funindex \magnify
-@funindex magnify
El tamaño de la fuente tipográfica se puede alterar en relación al
tamaño global del pentagrama, de una serie de formas como se ve a
@cindex superíndice
@funindex \super
-@funindex super
@funindex \sub
-@funindex sub
@funindex \normal-size-super
-@funindex normal-size-super
El texto se puede imprimir como subíndice o como superíndice. De
forma predeterminada se imprimen en un tamaño menor, pero también
tal y como se explica en @ref{Tipografías}.
@funindex \teeny
-@funindex teeny
@funindex \tiny
-@funindex tiny
@funindex \small
-@funindex small
@funindex \normalsize
-@funindex normalsize
@funindex \large
-@funindex large
@funindex \huge
-@funindex huge
@funindex \smaller
-@funindex smaller
@funindex \larger
-@funindex larger
@predefined
@cindex horizontal, alineación de texto
@funindex \left-align
-@funindex left-align
@funindex \center-align
-@funindex center-align
@funindex \right-align
-@funindex right-align
Los objetos de marcado se pueden alinear de distintas maneras. De
forma predeterminada, una indicación de texto se alinea sobre el
@end lilypond
@funindex \halign
-@funindex halign
Se puede realizar un ajuste fino de la alineación horizontal usando un
valor numérico:
@cindex vertical, alineación de texto
@funindex \raise
-@funindex raise
@funindex \lower
-@funindex lower
@funindex \null
-@funindex null
La alineación vertical es un poco más compleja. Como se ha dicho
más arriba, los objetos de marcado se pueden mover como un todo;
@end lilypond
@funindex \general-align
-@funindex general-align
@funindex \translate
-@funindex translate
@funindex \translate-scaled
-@funindex translate-scaled
Algunas instrucciones pueden afectar tanto a la alineación
horizontal como a la vertical de los objetos de texto en el modo
@cindex columnas, texto
@funindex \column
-@funindex column
@funindex \center-column
-@funindex center-column
Un objeto de marcado puede incluir varias líneas de texto. En el
ejemplo siguiente, cada elemento o expresión se sitúa en su propia
@cindex marcado, centrar en la página
@funindex \fill-line
-@funindex fill-line
De forma similar, una lista de elementos o expresiones se puede
repartir de forma que rellene por completo el ancho de la línea
@cindex ajuste de línea, texto con
@funindex \wordwrap
-@funindex wordwrap
@funindex \justify
-@funindex justify
Las indicaciones de texto largas se pueden también ajustar
@cindex decorar texto
@funindex \box
-@funindex box
@funindex \circle
-@funindex circle
@funindex \rounded-box
-@funindex rounded-box
@funindex \bracket
-@funindex bracket
@funindex \hbracket
-@funindex hbracket
Ciertas instrucciones de marcado permiten la decoración de
elementos de texto con gráficos, como se muestra en el ejemplo
@cindex marcado, relleno de textos de
@funindex \pad-markup
-@funindex pad-markup
@funindex \pad-x
-@funindex pad-x
@funindex \pad-to-box
-@funindex pad-to-box
@funindex \pad-around
-@funindex pad-around
Algunas instrucciones pueden requerir un aumento del relleno
alrededor del texto: esto se puede conseguir con algunas
@cindex notación gráfica
@funindex \combine
-@funindex combine
@funindex \draw-circle
-@funindex draw-circle
@funindex \filled-box
-@funindex filled-box
@funindex \triangle
-@funindex triangle
@funindex \draw-line
-@funindex draw-line
@funindex \arrow-head
-@funindex arrow-head
Se pueden imprimir otros símbolos o elementos gráficos sin que se
requiera ningún otro texto. De igual manera que en el caso de las
@cindex PostScript
@funindex \epsfile
-@funindex epsfile
@funindex \postscript
-@funindex postscript
Entre las funcionalidades gráficas avanzadas se encuentran la
posibilidad de incluir archivos de imagen externos convertidos al
@cindex texto que ocupa varias páginas
@funindex \markuplist
-@funindex markuplist
@funindex \justified-lines
-@funindex justified-lines
@funindex \wordwrap-lines
-@funindex wordwrap-lines
Aunque los objetos de marcado estándar no se pueden dividir, una
sintaxis específica hace posible la introducción de líneas de
@rinternals{TextScript}.
@funindex \markuplist
-@funindex markuplist
@predefined
@code{\markuplist}.
@cindex notas de adorno
@funindex \taor
-@funindex taor
@funindex \hideKeySignature
-@funindex hideKeySignature
@funindex \showKeySignature
-@funindex showKeySignature
LilyPond contiene definiciones especiales para la música de gaita
escocesa de las tierras altas; para usarlas, escriba
@cindex mineur
@funindex \key
-@funindex key
@funindex \major
-@funindex major
@funindex \minor
-@funindex minor
Glossaire musicologique :
@rglosnamed{key signature,armure}, @rglosnamed{major,majeur},
@funindex \mf
@funindex \pp
@funindex \<
-@funindex <
@funindex \>
-@funindex >
@funindex \!
-@funindex !
Glossaire musicologique :
@rglosnamed{dynamics,nuances},
@cindex étiquette
@funindex \markup
-@funindex markup
On peut ajouter du texte à une partition :
@funindex [
@funindex ]
@funindex \autoBeamOff
-@funindex autoBeamOff
@funindex \autoBeamOn
-@funindex autoBeamOn
Glossaire musicologique :
@rglosnamed{beam,ligature}.
@cindex mesure incomplète
@funindex \partial
-@funindex partial
Glossaire musicologique : @rglosnamed{anacrusis,anacrouse}.
@cindex triolets
@funindex \tuplet
-@funindex tuplet
Glossaire musicologique : @rglosnamed{note value,valeur d'une note},
@rglosnamed{triplet,triolet}.
@cindex acciaccature
@funindex \grace
-@funindex grace
@funindex \acciaccatura
-@funindex acciaccatura
@funindex \appoggiatura
@funindex acciaccatura
@cindex notation, contexte
@funindex \new Staff
-@funindex new Staff
@funindex Staff
@funindex \new
-@funindex new
@funindex Score
@funindex Voice
@funindex Lyrics
@cindex chansons
@funindex \addlyrics
-@funindex addlyrics
Glossaire musicologique : @rglos{lyrics}.
@cindex bloc d'en-tête
@funindex \header
-@funindex header
On indique les informations bibliographiques -- nom du morceau, du
compositeur, numéro d'opus@dots{} -- dans un bloc à part, le bloc
exemple est un préambule à notre propos.
@funindex \book
-@funindex book
@funindex \score
-@funindex score
@cindex book, livre, ouvrage
@cindex livre
@end example
@funindex \header
-@funindex header
@funindex \layout
-@funindex layout
@funindex \midi
-@funindex midi
@cindex header
@cindex en-tête
@cindex implicite, bloc book
@funindex \book
-@funindex book
Vous pouvez tout à fait mentionner plusieurs blocs @code{\score}. Ils
seront traités comme autant de partitions indépendantes qui seront
@translationof Score is a (single) compound musical expression
@funindex \score
-@funindex score
@cindex partition
@cindex bloc score, contenu
@translationof Explicitly instantiating voices
@funindex \voiceOne
-@funindex voiceOne
@funindex \voiceTwo
-@funindex voiceTwo
@funindex \voiceThree
-@funindex voiceThree
@funindex \voiceFour
-@funindex voiceFour
@funindex \oneVoice
-@funindex oneVoice
@funindex \new Voice
@cindex Voice, création de contextes
@cindex décalage, commandes
@funindex \shiftOff
-@funindex shiftOff
@funindex \shiftOn
-@funindex shiftOn
@funindex \shiftOnn
-@funindex shiftOnn
@funindex \shiftOnnn
-@funindex shiftOnnn
Les notes rapprochées d'un accord, ou des notes de différentes voix qui
tombent ensemble, seront rangées sur deux colonnes, voire plus, pour
@funindex \new Lyrics
@funindex \lyricsto
-@funindex lyricsto
@funindex Lyrics
@cindex Lyrics, création d'un contexte
@cindex ligatures et paroles
@funindex \autoBeamOff
-@funindex autoBeamOff
Si la ligature automatique que LilyPond applique par défaut est
pleinement adaptée en matière de musique instrumentale, il n'en va pas
@funindex \new ChoirStaff
@funindex ChoirStaff
@funindex \lyricmode
-@funindex lyricmode
@cindex structure d'une partition vocale
@cindex chœur, partie de
@translationof Creating contexts
@funindex \new
-@funindex new
@cindex nouveaux contextes
@cindex contextes, création de
@cindex modification des propriétés d'un contexte
@funindex \set
-@funindex set
@funindex \unset
-@funindex unset
Les contextes gèrent les différentes valeurs des nombreuses
@emph{propriétés} qui leur sont attachées. Beaucoup d'entre elles
@translationof Setting context properties with @code{\with}
@funindex \with
-@funindex with
@cindex propriétés d'un contexte, définition avec \with
@cindex propriétés d'un contexte, définition avec \context
@funindex \context
-@funindex context
Vous pouvez régler les valeurs des propriétés de contexte en une seule
fois pour tous les contextes d'un même type, par exemple tous les
@cindex graveurs, suppression
@funindex \consists
-@funindex consists
@funindex \remove
-@funindex remove
Nous avons vu que chaque contexte met en œuvre plusieurs graveurs, et
que chacun de ces graveurs est chargé de générer une composante
@translationof Changing all contexts of the same type
@funindex \layout
-@funindex layout
Les exemples ci-dessus nous ont montré comment ajouter ou retirer des
graveurs à des contextes individuels. Nous pourrions aussi ajouter ou
@cindex mode relatif et altérations
@funindex \relative
-@funindex relative
@funindex '
@funindex ,
@cindex chiffre de mesure
@funindex \time
-@funindex time
Glossaire musicologique : @rglosnamed{time signature,métrique}.
@cindex indication métronomique
@funindex \tempo
-@funindex tempo
Glossaire musicologique :
@rglosnamed{tempo indication,indication de tempo},
@cindex fa, clef de
@funindex \clef
-@funindex clef
Glossaire musicologique : @rglos{clef}.
@cindex override, syntaxe
@funindex \override
-@funindex override
Dans @ref{Modification des propriétés d'un contexte} et dans
@ref{Ajout et suppression de graveurs}, nous avons déjà rencontré les
@cindex revert, commande
@funindex \revert
-@funindex revert
Une fois qu'elle a été modifiée, la propriété conserve sa nouvelle
valeur jusqu'à ce qu'elle soit à nouveau modifiée ou qu'elle rencontre
@translationof The once prefix
@funindex \once
-@funindex once
Les commandes @code{\override}, @code{\revert}, @code{\set} et
@code{\unset} peuvent supporter le préfixe @code{\once}. Celui-ci a
@cindex overrideProperty, commande
@funindex \overrideProperty
-@funindex overrideProperty
Il existe une autre forme de commande @code{\override},
@code{\overrideProperty}, qui est parfois utile. Nous la mentionnons
@cindex tweak, commande
@funindex \tweak
-@funindex tweak
La dernière commande disponible pour les retouches est
@code{\tweak}. Elle sert à changer les propriétés d'objets qui
@translationof The single prefix
@funindex \single
-@funindex single
@cindex tweak généré par override
@cindex usage unique, dérogation à
@funindex \once
-@funindex once
Dans le dernier exemple ci-dessus, @emph{toutes} les liaisons étaient
plus épaisses. Et si on veut épaissir uniquement la première liaison ?
@cindex défaut, retour aux propriétés par
@funindex \revert
-@funindex revert
Et si l'on voulait que les deux premières liaisons soient plus
épaisses ? On pourrait bien sûr utiliser deux commandes, chacune
-- à cet effet :
@funindex \omit
-@funindex omit
@lilypond[quote,ragged-right,verbatim]
\relative {
@cindex indication d'octaviation
@funindex \startTextSpan
-@funindex startTextSpan
@funindex \stopTextSpan
-@funindex stopTextSpan
@cindex TextSpanner, exemple de dérogation
@cindex bound-details, exemple d'utilisation de la propriété
@cindex notes, répartition selon le texte
@funindex \textLengthOn
-@funindex textLengthOn
@funindex \textLengthOff
-@funindex textLengthOff
Par défaut, l'espacement horizontal d'un texte produit sous forme de
@emph{markup} (ou d'étiquette) n'est pas pris en compte, dans la mesure
@cindex collisions de notes
@cindex shift, commandes
@funindex \shiftOff
-@funindex shiftOff
@funindex \shiftOn
-@funindex shiftOn
@funindex \shiftOnn
-@funindex shiftOnn
@funindex \shiftOnnn
-@funindex shiftOnnn
Au sein d'une même voix, toutes les notes intervenant au même instant
musical sont regroupées dans un empilement (une colonne) et est créé un
@cindex ajout d'incipit
@funindex \incipit
-@funindex incipit
Il est d'usage, lorsque l'on transcrit de la musique ancienne en
notation moderne, d'indiquer aussi comment apparaissaient les silences
@cindex graveur, affectation à un contexte
@funindex \alias
-@funindex alias
@funindex \name
-@funindex name
@funindex \type
-@funindex type
@funindex \consists
-@funindex consists
@funindex \accepts
-@funindex accepts
@funindex \denies
-@funindex denies
Les contextes tels que @code{Staff} ou @code{Voice} sont faits
de briques de construction empilées. En combinant divers graveurs,
@cindex substitution de doigt
@funindex \finger
-@funindex finger
Les doigtés peuvent être indiqués comme suit :
@var{note}-@var{chiffre_du_doigt}
@cindex pouce, doigté
@funindex \thumb
-@funindex thumb
La commande @code{\thumb} peut être utilisée pour indiquer, par exemple
dans une partition de violoncelle, si une note doit être jouée avec le
@cindex note masquée
@funindex \hideNotes
-@funindex hideNotes
@funindex \unHideNotes
-@funindex unHideNotes
Les notes masquées -- ou invisibles ou encore transparentes -- sont
utiles dans le cadre d'exercices de théorie ou de composition.
@funindex color
@funindex \with-color
-@funindex with-color
@funindex x11-color
Des objets peuvent être colorisés individuellement. Une listes des
@cindex crochets, notes entre
@funindex \parenthesize
-@funindex parenthesize
Des objets peuvent être mis entre parenthèses en saisissant
@code{\parenthesize} juste avant l'événement musical. Si l'instruction
@cindex hampe neutre
@funindex \stemUp
-@funindex stemUp
@funindex \stemDown
-@funindex stemDown
@funindex \stemNeutral
-@funindex stemNeutral
Dès qu'une note est rencontrée, un objet @code{Stem} se crée
automatiquement. Pour les rondes et les silences, ils sont aussi
@funindex balloonGrobText
@funindex balloonText
@funindex \balloonLengthOn
-@funindex balloonLengthOn
@funindex \balloonLengthOff
-@funindex balloonLengthOff
Vous pouvez marquer et nommer des éléments de notation à l'aide de
bulles. L'objectif premier de cette fonctionnalité est d'expliquer la
@funindex Horizontal_bracket_engraver
@funindex \startGroup
-@funindex startGroup
@funindex \stopGroup
-@funindex stopGroup
On utilise des crochets en analyse musicale, pour indiquer la
structure d'une pièce.
@cindex nuances
@funindex \ppppp
-@funindex ppppp
@funindex \pppp
-@funindex pppp
@funindex \ppp
-@funindex ppp
@funindex \pp
-@funindex pp
@funindex \p
-@funindex p
@funindex \mp
-@funindex mp
@funindex \mf
-@funindex mf
@funindex \f
-@funindex f
@funindex \ff
-@funindex ff
@funindex \fff
-@funindex fff
@funindex \ffff
-@funindex ffff
@funindex \fffff
-@funindex fffff
@funindex \fp
-@funindex fp
@funindex \sf
-@funindex sf
@funindex \sff
-@funindex sff
@funindex \sp
-@funindex sp
@funindex \spp
-@funindex spp
@funindex \sfz
-@funindex sfz
@funindex \rfz
-@funindex rfz
À chaque nuance absolue correspond une commande qui peut être indiquée
après une note : @code{c4\ff} par exemple. Les commandes de nuance
@funindex \>
@funindex \!
@funindex \cr
-@funindex cr
@funindex \decr
-@funindex decr
Un crescendo est délimité par @code{\<} et @code{\!}, ou peut se
terminer par une commande de nuance explicite, ou bien un decrescendo ou
@cindex espressivo
@funindex \espressivo
-@funindex espressivo
On peut avoir recours à l'indication @code{\espressivo} pour indiquer un
crescendo suivi d'un decrescendo sur une même note. Gardez à l'esprit
@end lilypond
@funindex \cresc
-@funindex cresc
@funindex \decresc
-@funindex decresc
@funindex \dim
-@funindex dim
La commande @code{\cresc} permet d'indiquer textuellement le début d'un
crescendo. @code{\decresc} ou @code{\dim} marquent le début d'un
@end lilypond
@funindex \crescTextCresc
-@funindex crescTextCresc
@funindex \dimTextDecresc
-@funindex dimTextDecresc
@funindex \dimTextDecr
-@funindex dimTextDecr
@funindex \dimTextDim
-@funindex dimTextDim
@funindex \crescHairpin
-@funindex crescHairpin
@funindex \dimHairpin
-@funindex dimHairpin
Une indication textuelle peut indiquer, au lieu d'un soufflet, un
changement de nuance :
@rinternals{DynamicLineSpanner}.
@funindex \dynamicUp
-@funindex dynamicUp
@funindex \dynamicDown
-@funindex dynamicDown
@funindex \dynamicNeutral
-@funindex dynamicNeutral
L'utilisation d'un contexte @code{Dynamics} permet de graver les nuances
sur leur propre ligne -- Il suffit de placer des silences invisibles
@cindex nuances suggérées
@funindex \bracket
-@funindex bracket
@funindex \dynamic
-@funindex dynamic
Vous pouvez créer des indications de nuance éditoriales (entre
parenthèses ou crochets) grâce aux étiquettes (@emph{mode markup}) ; la
@cindex liaison, au-dessus des notes
@funindex \slurDown
-@funindex slurDown
@funindex \slurNeutral
-@funindex slurNeutral
@funindex \=
Vous pouvez décider de l'orientation des liaisons par rapport à la
@cindex style de trait, liaison
@funindex \slurDashed
-@funindex slurDashed
@funindex \slurDotted
-@funindex slurDotted
@funindex \slurSolid
-@funindex slurSolid
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 :
@end lilypond
@funindex \slurHalfDashed
-@funindex slurHalfDashed
@funindex \slurHalfSolid
-@funindex slurHalfSolid
@cindex liaison, tirets et trait continu
@end lilypond
@funindex \slurDashPattern
-@funindex slurDashPattern
@cindex liaison, densité des tirets
@end lilypond
@funindex \slurUp
-@funindex slurUp
@predefined
@code{\slurUp},
@end lilypond
@funindex \phrasingSlurUp
-@funindex phrasingSlurUp
@funindex \phrasingSlurDown
-@funindex phrasingSlurDown
@funindex \phrasingSlurNeutral
-@funindex phrasingSlurNeutral
D'un point de vue typographique, rien ne distingue une liaison de phrasé
d'une liaison d'articulation. Cependant, LilyPond les considère comme
@cindex tiret, trait de liaison
@cindex style de trait, liaison
-@funindex phrasingSlurDashed
@funindex \phrasingSlurDashed
@funindex \phrasingSlurDotted
-@funindex phrasingSlurDotted
@funindex \phrasingSlurSolid
-@funindex phrasingSlurSolid
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 :
@cindex liaison, tirets et trait continu
-@funindex phrasingSlurHalfDashed
@funindex \phrasingSlurHalfDashed
@funindex \phrasingSlurHalfSolid
-@funindex phrasingSlurHalfSolid
En utilisant @code{\phrasingslurHalfDashed}, la première moitié de la
liaison aura un trait discontinu et continu pour la seconde. L'inverse
@end lilypond
@funindex \phrasingSlurDashPattern
-@funindex phrasingSlurDashPattern
@cindex liaison, densité des tirets
@cindex point d'arrêt
@funindex \breathe
-@funindex breathe
Les indications de respiration sont indiquées par la commande
@code{\breathe}.
@cindex sauts
@funindex \bendAfter
-@funindex bendAfter
Des indications de désinence peuvent être obtenues au moyen de la
commande @code{\bendAfter}. Leur direction s'indique au moyen des
@cindex glissando
@funindex \glissando
-@funindex glissando
Un glissando relie une hauteur à une autre en passant par chaque hauteur
intermédiaire. On l'obtient en accolant la commande @code{\glissando} à
@cindex accord arpégé
@funindex \arpeggio
-@funindex arpeggio
@funindex \arpeggioArrowUp
-@funindex arpeggioArrowUp
@funindex \arpeggioArrowDown
-@funindex arpeggioArrowDown
@funindex \arpeggioNormal
-@funindex arpeggioNormal
On peut indiquer qu'un accord doit être arpégé en lui accolant la
commande @code{\arpeggio} :
@cindex arpège, symboles spéciaux
@funindex \arpeggioBracket
-@funindex arpeggioBracket
@funindex \arpeggioParenthesis
-@funindex arpeggioParenthesis
@funindex \arpeggioParenthesisDashed
-@funindex arpeggioParenthesisDashed
Des crochets indiquent que l'accord devra être plaqué et non
arpégé :
@cindex trilles
@funindex \trill
-@funindex trill
@funindex \startTrillSpan
-@funindex startTrillSpan
@funindex \stopTrillSpan
-@funindex stopTrillSpan
Les trilles brefs s'indiquent comme n'importe quelle ponctuation, avec
un simple @code{\trill} ; voir @ref{Articulations et ornements}.
@cindex trilles avec hauteur explicite
@funindex \pitchedTrill
-@funindex pitchedTrill
Les trilles qui font intervenir une hauteur précise peuvent être
indiqués par la commande @code{pitchedTrill}. Le premier argument est
@cindex accordage personnalisé
-@funindex stringTuning
@funindex \stringTuning
LilyPond vous permet de créer n'importe quel accordage. L'accordage du
@cindex markup et fret-diagram
@cindex ukulele
-@funindex fret-diagram
@funindex \fret-diagram
La taille du diagramme d'accord ainsi que le nombre de cases
@cindex fret-diagram-terse markup
-@funindex fret-diagram-terse
@funindex \fret-diagram-terse
Dans l'interface @code{fret-diagram-terse}, les numéros de corde sont
@cindex fret-diagram-verbose markup
@cindex capo
-@funindex fret-diagram-verbose
@funindex \fret-diagram-verbose
L'interface @code{fret-diagram-verbose} est au format d'une liste
@cindex fret, diagrammes avec noms d'accord
@funindex ChordNames
-@funindex chordmode
@funindex \chordmode
Il est courant d'afficher simultanément le nom des accords et les
@cindex accord, carrures pour cordes frettées
@funindex \addChordShape
-@funindex addChordShape
-@funindex storePredefinedDiagram
@funindex \storePredefinedDiagram
En plus des diagrammes d'accord, LilyPond possède une liste interne de
>>
@end lilypond
-@funindex predefinedFretboardsOff
@funindex \predefinedFretboardsOff
-@funindex predefinedFretboardsOn
@funindex \predefinedFretboardsOn
Dans la mesure où aucun diagramme prédéfini n'est chargé par défaut, le
@cindex doigtés main droite et cordes frettées
@cindex main droite, doigtés pour cordes frettées
-@funindex rightHandFinger
@funindex \rightHandFinger
Les doigtés de main droite @var{p-i-m-a} doivent être entrés à l'aide de
@unnumberedsubsubsec Indication de @emph{power chord}
@translationof Indicating power chords
-@funindex powerChords
@funindex \powerChords
@cindex power chords
@cindex ligature inter-portée
@funindex \change
-@funindex change
Il est possible de passer d'une portée à l'autre de façon manuelle, au
moyen de la commande
@cindex Automatique, changement de portée
@funindex \autochange
-@funindex autochange
@funindex PianoStaff
Les voix peuvent passer automatiquement d'une portée à l'autre, au moyen
@cindex autochange et mode relatif
@funindex \relative
-@funindex relative
Une section en mode @code{\relative} se situant en dehors de la commande
@code{\autochange} n'aura pas d'effet sur les hauteurs de l'expression
@funindex followVoice
@funindex \showStaffSwitch
-@funindex showStaffSwitch
@funindex \hideStaffSwitch
-@funindex hideStaffSwitch
Lorsqu'une voix change de portée, il est possible d'imprimer
automatiquement une ligne reliant les notes, en faisant appel à la
@cindex U.C.
@funindex \sustainOn
-@funindex sustainOn
@funindex \sustainOff
-@funindex sustainOff
@funindex \sostenutoOn
-@funindex sostenutoOn
@funindex \sostenutoOff
-@funindex sostenutoOff
@funindex \unaCorda
-@funindex unaCorda
@funindex \treCorde
-@funindex treCorde
Le piano possède deux pédales, parfois trois, permettant de modifier
l'émission du son : une pédale de @notation{tenue} (@emph{sustain}), une
}
@end lilypond
-@funindex fixed
@funindex \fixed
Les indications d'octave communes peuvent ne se mentionner qu'une fois,
@cindex octave relative, indication
@funindex \relative
-@funindex relative
Le mode d'écriture en octave absolue requiert d'indiquer l'octave de
chaque note. Pour le mode d'écriture en octave relative, par contre,
@funindex =
@funindex \octaveCheck
-@funindex octaveCheck
@funindex controlpitch
Les tests d'octave rendent la correction d'erreurs d'octave plus facile
@cindex transposition des hauteurs
@funindex \transpose
-@funindex transpose
Une expression musicale peut être transposée avec @code{\transpose}.
En voici la syntaxe :
@rinternals{TransposedMusic}.
@funindex \transpose
-@funindex transpose
@funindex \chordmode
-@funindex chordmode
@funindex \relative
-@funindex relative
@knownissues
Si vous voulez utiliser en même temps @code{\transpose} et
@cindex transformation rétrograde
@funindex \retrograde
-@funindex retrograde
Une expression musicale peut se renverser et se présenter sous forme
rétrograde :
@cindex modale, transposition
@funindex \modalTranspose
-@funindex modalTranspose
Un motif peut se transposer selon une gamme donnée :
@cindex modale, inversion
@funindex \modalInversion
-@funindex modalInversion
Un motif peut s'inverser selon une certaine gamme et à partir d'un pivot
déterminé, puis transposé, le tout en une seule opération :
@cindex anciennes, clefs
@funindex \clef
-@funindex clef
La clef indique quelles lignes de la portée correspondent à quelles
hauteurs. En l'absence de commande explicite, LilyPond utilise
@cindex armure
@funindex \key
-@funindex key
@c duplicated in Key signature and in Accidentals
@warning{Les nouveaux utilisateurs sont parfois déroutés par la gestion
@end example
@funindex \major
-@funindex major
@funindex \minor
-@funindex minor
@funindex \ionian
-@funindex ionian
@funindex \locrian
-@funindex locrian
@funindex \aeolian
-@funindex aeolian
@funindex \mixolydian
-@funindex mixolydian
@funindex \lydian
-@funindex lydian
@funindex \phrygian
-@funindex phrygian
@funindex \dorian
-@funindex dorian
@cindex modes anciens
@cindex modes
@funindex set-octavation
@funindex \ottava
-@funindex ottava
Les marques d'octaviation, @emph{Ottava}, permettent d'introduire une
transposition spécifique d'une octave pour la portée en cours. C'est
@cindex transposition, instrument
@funindex \transposition
-@funindex transposition
Lorsque l'on saisit une partition d'ensemble incluant des instruments
transpositeurs, certaines parties peuvent être dans une autre tonalité
@cindex @emph{easy play}, têtes de note
@funindex \easyHeadsOn
-@funindex easyHeadsOn
@funindex \easyHeadsOff
-@funindex easyHeadsOff
Les notes « easy play » comportent le nom de la note à l'intérieur de
la tête. On l'utilise dans des partitions pour débutants. L'impression
@cindex tête de note, Walker
@funindex \key
-@funindex key
@funindex \aikenHeads
-@funindex aikenHeads
@funindex \aikenHeadsMinor
-@funindex aikenHeadsMinor
@funindex \sacredHarpHeads
-@funindex sacredHarpHeads
@funindex \sacredHarpHeadsMinor
-@funindex sacredHarpHeadsMinor
@funindex \southernHarmonyHeads
-@funindex southernHarmonyHeads
@funindex \southernHarmonyHeadsMinor
-@funindex southernHarmonyHeadsMinor
@funindex \funkHeads
-@funindex funkHeads
@funindex \walkerHeads
-@funindex walkerHeads
@funindex \funkHeadsMinor
-@funindex funkHeadsMinor
@funindex \walkerHeadsMinor
-@funindex walkerHeadsMinor
En notation profilée, le profil d'une tête de note correspond à la
fonction harmonique de cette note dans la gamme. Ce style de notation
@cindex tête de note allongée
@funindex \improvisationOn
-@funindex improvisationOn
@funindex \improvisationOff
-@funindex improvisationOff
L'improvisation peut quelquefois s'indiquer à l'aide de notes de forme
allongée (@emph{slash}). L'interprète jouera alors les notes qu'il
@cindex longueur de note
@funindex \longa
-@funindex longa
@funindex \breve
-@funindex breve
@funindex \maxima
-@funindex maxima
Dans les modes de notes, d'accords et de paroles, les durées sont
écrites avec des chiffres et des points : les durées sont indiquées
cette forme de notation, reportez vous à @ref{Notation proportionnelle}.
@funindex \dotsUp
-@funindex dotsUp
@funindex \dotsDown
-@funindex dotsDown
@funindex \dotsNeutral
-@funindex dotsNeutral
Les points sont normalement haussés pour éviter les lignes de portée,
sauf dans certaines polyphonies. Des commandes prédéfinies permettent
@cindex triolets
@funindex \tuplet
-@funindex tuplet
Les n-olets -- triolets, quintolets, etc. -- sont obtenus en multipliant
la vitesse d'une expression musicale par une fraction.
@cindex n-olet, positionnement du crochet
@funindex \tupletUp
-@funindex tupletUp
@funindex \tupletDown
-@funindex tupletDown
@funindex \tupletNeutral
-@funindex tupletNeutral
Des commandes prédéfinies permettent de déroger au positionnement
automatique du crochet en surplomb ou au-dessous des notes :
@cindex musique échelonnée
@funindex \scaleDurations
-@funindex scaleDurations
Il est tout à fait possible d'échelonner des fragments musicaux plus ou
moins longs à l'aide d'une simple fraction, comme si chaque note, accord
@cindex liaison de prolongation et reprise avec alternative
@funindex \repeatTie
-@funindex repeatTie
Lorsqu'une mesure « de seconde fois » après une reprise commence sur
une note liée, la liaison doit être répétée, comme ici :
@cindex liaison, laissez vibrer
@funindex \laissezVibrer
-@funindex laissezVibrer
Les liaisons « Laissez vibrer » (@notation{L.v.}) sont utilisées pour
le piano, la harpe et certains instruments de percussion. Elles
@cindex liaisons de prolongation, positionnement
@funindex \tieUp
-@funindex tieUp
@funindex \tieDown
-@funindex tieDown
@funindex \tieNeutral
-@funindex tieNeutral
Le positionnement vertical des liaisons de prolongation peut être affiné
-- voir à ce sujet les « commandes prédéfinies » et, pour de plus
@cindex liaison de prolongation, tirets
@funindex \tieDotted
-@funindex tieDotted
@funindex \tieDashed
-@funindex tieDashed
@funindex \tieSolid
-@funindex tieSolid
Les liaisons de prolongation peuvent s'imprimer sous la forme de ligne
continue, discontinue ou pointillée.
@cindex double pause
@funindex \rest
-@funindex rest
@funindex r
@funindex \maxima
-@funindex maxima
@funindex \longa
-@funindex longa
@funindex \breve
-@funindex breve
Les silences sont écrits comme des notes avec le nom de note @code{r} --
premier caractère du mot @emph{rest}. Les durées supérieures à la pause
@funindex s
@funindex \skip
-@funindex skip
Un silence invisible -- que l'on pourrait appeler un @qq{saut} --
peut être entré comme une note avec le nom de note @code{s} ou avec
@cindex silences, mesure entière
@cindex une pause par mesure
-@funindex compressMMRests
@funindex \compressMMRests
@funindex R
@cindex silence multimesure et point d'orgue
@funindex \fermataMarkup
-@funindex fermataMarkup
@funindex MultiMeasureRestText
Vous pouvez aussi ajouter du texte à un silence multimesure en
numéros de mesure.
@funindex \textLengthOn
-@funindex textLengthOn
@funindex \textLengthOff
@funindex textLenthOff
@funindex \fermataMarkup
-@funindex fermataMarkup
@funindex \compressMMRests
-@funindex compressMMRests
@predefined
@code{\textLengthOn},
@cindex métrique
@funindex \time
-@funindex time
Le chiffre de mesure indique le mètre d'une pièce : une alternance
régulière de temps forts et de temps faibles. Il est indiqué par une
@cindex styles de métrique
@funindex \numericTimeSignature
-@funindex numericTimeSignature
@funindex \defaultTimeSignature
-@funindex defaultTimeSignature
Le symbole de métrique utilisé pour les mesures à 2/2 et 4/4 peut être
changé pour un style numérique :
@cindex métronome, indication
@funindex \tempo
-@funindex tempo
Une indication métronomique s'insère tout simplement comme ceci :
@end lilypond
@funindex \markLengthOn
-@funindex markLengthOn
@funindex \markLengthOff
-@funindex markLengthOff
Dans le cas d'une partie où l'instrumentiste a de longs moments de
silence, les indications de tempo peuvent être fort rapprochées
@funindex measurePosition
@funindex \partial
-@funindex partial
Les mesures incomplètes, telles que les anacrouses ou levées, doivent
être entrées avec la commande @code{\partial}. La syntaxe de cette
@cindex musique non mesurée
@funindex \cadenzaOn
-@funindex cadenzaOn
@funindex \cadenzaOff
-@funindex cadenzaOff
En matière de musique mesurée, le positionnement des barres et la
numérotation sont calculés automatiquement. Ceci n'est pas souhaitable
@funindex timeSignatureFraction
@funindex \scaleDurations
-@funindex scaleDurations
@funindex \tuplet
-@funindex tuplet
LilyPond gère les métriques composites, aussi bien de manière explicite
que de manière détournée -- modification de l'indicateur de métrique
@funindex Pitch_squash_engraver
@funindex \improvisationOn
-@funindex improvisationOn
@funindex \improvisationOff
-@funindex improvisationOff
L'utilisation combinée du @code{Pitch_squash_engraver} et de
@code{\improvisationOn} permet d'afficher la structure rythmique d'une
@cindex ligatures, personnalisation
@funindex \autoBeamOn
-@funindex autoBeamOn
@funindex \autoBeamOff
-@funindex autoBeamOff
@lilypond[quote,verbatim]
\relative c'' {
@funindex beatStructure
@funindex measureLength
@funindex \time
-@funindex time
@funindex \set
-@funindex set
Lorsque la fonction de ligature automatique est active, le
positionnement des ligatures dépend des trois propriétés
@end lilypond
@funindex \noBeam
-@funindex noBeam
Le fait d'affubler une note particulière d'un @code{\noBeam} aura pour
effet de l'empêcher d'être ligaturée :
@cindex ligature en soufflet
@funindex \featherDurations
-@funindex featherDurations
@funindex grow-direction
Les ligatures en soufflet permettent d'indiquer qu'un petit groupe de
@cindex barres de reprise
@funindex \bar
-@funindex bar
Les barres de mesures délimitent les mesures, mais peuvent aussi
indiquer une reprise. En principe, elles sont insérées automatiquement
@cindex définition d'une barre de mesure
@funindex \defineBarLine
-@funindex defineBarLine
L'instruction @code{\defineBarLine} permet de définir ses propres
types de barre de mesure, en respectant la syntaxe :
@funindex whichBar
@funindex defaultBarType
@funindex \bar
-@funindex bar
@funindex bartype
La commande @samp{\bar @var{type_de_barre}} sert de raccourci pour
@end lilypond
@funindex \barNumberCheck
-@funindex barNumberCheck
Lorsque l'on recopie de longues pièces, il peut être utile de vérifier
que les numéros de mesure de LilyPond correspondent à l'original que
@cindex repère, indication de
@funindex \mark
-@funindex mark
Indiquer un repère s'obtient grâce à la commande @code{\mark}.
@cindex glyphes musicales
@funindex \musicglyph
-@funindex musicglyph
Un @code{\mark} peut contenir un glyphe musical tel que le signe
@emph{segno}.
@cindex notes d'ornement en fin de note
@funindex \afterGrace
-@funindex afterGrace
La commande @code{\afterGrace} sert à placer une petite note après une
note réelle -- et non @emph{avant} comme d'ordinaire. Cette commande
@cindex cluster
@funindex \makeClusters
-@funindex makeClusters
Un cluster indique un agrégat de sons. On peut le représenter par une
plage limitée par un @emph{ambitus} (notes extrêmes). On obtient une
@cindex paroles assignées à une voix
@funindex \voiceOne
-@funindex voiceOne
@funindex \voiceOne ... \voiceFour
@funindex Voice
@funindex \oneVoice
-@funindex oneVoice
@subsubsubheading Instanciation explicite des voix
@cindex silences, décalage automatique
@funindex \shiftOn
-@funindex shiftOn
@funindex \shiftOnn
-@funindex shiftOnn
@funindex \shiftOnnn
-@funindex shiftOnnn
@funindex \shiftOff
-@funindex shiftOff
@funindex \mergeDifferentlyDottedOn
-@funindex mergeDifferentlyDottedOn
@funindex \mergeDifferentlyDottedOff
-@funindex mergeDifferentlyDottedOff
@funindex \mergeDifferentlyHeadedOn
-@funindex mergeDifferentlyHeadedOn
@funindex \mergeDifferentlyHeadedOff
-@funindex mergeDifferentlyHeadedOff
Les notes de hauteur identique appartenant à des voix différentes, même
si leur hampe sont opposées, verront leur tête automatiquement
@cindex solo
@funindex \partcombine
-@funindex partcombine
Le regroupement automatique de parties vous permet de fusionner deux
pupitres sur une seule portée, ceci dans le but de créer des
@code{@var{expression_musicale_2}}.
@funindex \partcombineChords
-@funindex partcombineChords
@funindex \partcombineApart
-@funindex partcombineApart
@funindex \partcombineUnisono
-@funindex partcombineUnisono
@funindex \partcombineSoloI
-@funindex partcombineSoloI
@funindex \partcombineSoloII
-@funindex partcombineSoloII
@funindex \partcombineAutomatic
-@funindex partcombineAutomatic
En matière d'édition professionnelle, les voix sont souvent maintenues
séparément et sur une durée conséquente, bien que les notes des
@cindex musique entremêlée
@funindex \parallelMusic
-@funindex parallelMusic
On peut écrire plusieurs voix de façon entremêlée. La fonction
@code{\parallelMusic} prend en charge une liste des variables à créer,
@cindex tablature
@funindex \drummode
-@funindex drummode
@funindex DrumStaff
@funindex RhythmicStaff
@funindex TabStaff
@cindex ligne supplémentaire
@funindex \startStaff
-@funindex startStaff
@funindex \stopStaff
-@funindex stopStaff
Les commandes @code{\stopStaff} et @code{\startStaff} permettent
respectivement de clôturer et (re)démarrer une portée n'importe où dans
@cindex nombre de portées
@funindex \startStaff
-@funindex startStaff
@funindex \stopStaff
-@funindex stopStaff
Une portée d'@notation{ossia} -- ou de variante -- s'obtient en créant,
à l'endroit approprié, une nouvelle portée simultanée :
@funindex \RemoveAllEmptyStaves
@funindex Staff_symbol_engraver
@funindex \stopStaff
-@funindex stopStaff
Désactiver le graveur @code{Staff_symbol_engraver} dans un contexte
@code{Staff} permet de masquer des lignes. La commande
@cindex petites notes
@funindex \addQuote
-@funindex addQuote
@funindex \quoteDuring
-@funindex quoteDuring
@funindex \transposition
-@funindex transposition
Il est assez courant qu'une voix soit doublée par une autre. Par
exemple, les premiers et seconds violons peuvent jouer les mêmes notes
@cindex CueVoice
@funindex \cueDuring
-@funindex cueDuring
@funindex \cueClef
-@funindex cueClef
@funindex \cueDuringWithClef
-@funindex cueDuringWithClef
@funindex \quoteDuring
-@funindex quoteDuring
Le moyen le plus simple pour mettre en forme des notes provenant d'une
autre voix consiste à déclarer explicitement un contexte @code{CueVoice}
@end lilypond
@funindex \transposedCueDuring
-@funindex transposedCueDuring
L'instruction @code{\cueDuring}, à l'instar de la commande
@code{\quoteDuring}, tient compte des instruments transpositeurs. La
@cindex fin de réplique
@funindex \killCues
-@funindex killCues
La commande @code{killCues} permet de supprimer les notes d'une
citation. Ceci est utile lorsque cette citation n'est pas imprimée dans
@rlearning{Positionnement des objets}.
@funindex \textLengthOn
-@funindex textLengthOn
@funindex \textLengthOff
-@funindex textLengthOff
@predefined
@code{\textLengthOn},
@ref{Styles de ligne}.
@funindex \textSpannerUp
-@funindex textSpannerUp
@funindex \textSpannerDown
-@funindex textSpannerDown
@funindex \textSpannerNeutral
-@funindex textSpannerNeutral
@predefined
@code{\textSpannerUp},
@cindex barres de mesure, symboles au dessus de
@funindex \mark
-@funindex mark
@funindex \markup
-@funindex markup
La commande @code{\mark} est tout d'abord conçue pour les
@ref{Indications de repère}.
@end lilypond
@funindex \markLengthOn
-@funindex markLengthOn
@funindex \markLengthOff
-@funindex markLengthOff
@predefined
@code{\markLengthOn},
@cindex indépendant, texte
@funindex \markup
-@funindex markup
Un bloc @code{\markup} peut exister en lui-même, indépendamment de tout
bloc @code{\score}, et venir en préambule par exemple -- voir le
détail au chapitre @ref{Texte avec sauts de page}.
@funindex \markup
-@funindex markup
@funindex \markuplist
-@funindex markuplist
@predefined
@code{\markup},
@cindex annotation
@funindex \markup
-@funindex markup
La commande @code{\markup} permet d'ajouter du texte et dispose de sa
propre syntaxe que nous appellerons le @qq{mode @emph{markup}}.
@cindex souligné
@funindex \italic
-@funindex italic
@funindex \bold
-@funindex bold
@funindex \underline
-@funindex underline
Le mode @emph{markup} autorise des changements élémentaires de la
fonte :
@funindex \abs-fontsize
@funindex \fontsize
-@funindex fontsize
@funindex \smaller
-@funindex smaller
@funindex \larger
-@funindex larger
@funindex \magnify
-@funindex magnify
La taille des caractères se modifie, relativement à la taille globale
des portées, de différentes manières.
@cindex exposant
@funindex \super
-@funindex super
@funindex \sub
-@funindex sub
@funindex \normal-size-super
-@funindex normal-size-super
Vous pouvez imprimer du texte en indice ou en exposant. Celui-ci sera
dans une taille plus petite, mais rien ne s'oppose à ce que vous lui
@ref{Fontes}.
@funindex \teeny
-@funindex teeny
@funindex \tiny
-@funindex tiny
@funindex \small
-@funindex small
@funindex \normalsize
-@funindex normalsize
@funindex \large
-@funindex large
@funindex \huge
-@funindex huge
@funindex \smaller
-@funindex smaller
@funindex \larger
-@funindex larger
@predefined
@code{\teeny},
@cindex alignement horizontal du texte
@funindex \left-align
-@funindex left-align
@funindex \center-align
-@funindex center-align
@funindex \right-align
-@funindex right-align
Les objets de type @emph{markup} peuvent s'aligner de différentes
manières. Une indication textuelle est par défaut alignée sur son
@end lilypond
@funindex \halign
-@funindex halign
L'alignement horizontal peut être ajusté à l'aide d'une valeur
numérique :
@cindex alignement vertical du texte
@funindex \raise
-@funindex raise
@funindex \lower
-@funindex lower
@funindex \null
-@funindex null
@c QUERY Should the function of ``\null'' be clarified? rp
@end lilypond
@funindex \general-align
-@funindex general-align
@funindex \translate
-@funindex translate
@funindex \translate-scaled
-@funindex translate-scaled
Certaines commandes permettent de régler l'alignement des objets
textuels en mode @emph{markup}, tant au niveau horizontal que vertical.
@cindex colonnes de texte
@funindex \column
-@funindex column
@funindex \center-column
-@funindex center-column
Un objet de type @emph{markup} peut contenir plusieurs lignes de texte.
Dans l'exemple suivant, chaque élément ou expression ira se placer sur
@cindex markup, centrage sur la page
@funindex \fill-line
-@funindex fill-line
Pareillement, une liste d'éléments ou d'expressions sera répartie sur
une ligne entière, voire même centrée sur toute la page s'il n'y a qu'un
@cindex markup, texte justifié
@funindex \wordwrap
-@funindex wordwrap
@funindex \justify
-@funindex justify
Les indications textuelles, lorsqu'elles sont relativement longues,
peuvent se répartir sur plusieurs lignes en fonction de la largeur de
@cindex markup, encadrement du texte
@funindex \box
-@funindex box
@funindex \circle
-@funindex circle
@funindex \rounded-box
-@funindex rounded-box
@funindex \bracket
-@funindex bracket
@funindex \hbracket
-@funindex hbracket
Certaines commandes de @emph{markup} permettent d'ornementer des
éléments textuels avec des graphismes, à l'instar de l'exemple
@cindex markup, rembourrage du texte
@funindex \pad-markup
-@funindex pad-markup
@funindex \pad-x
-@funindex pad-x
@funindex \pad-to-box
-@funindex pad-to-box
@funindex \pad-around
-@funindex pad-around
Certaines directives peuvent nécessiter d'accroître l'espacement autour
du texte -- voir l'annexe @ref{Align} pour une liste des différentes
@cindex notation et graphisme
@funindex \combine
-@funindex combine
@funindex \draw-circle
-@funindex draw-circle
@funindex \filled-box
-@funindex filled-box
@funindex \triangle
-@funindex triangle
@funindex \draw-line
-@funindex draw-line
@funindex \arrow-head
-@funindex arrow-head
Vous pouvez imprimer certains graphismes ou symboles sans qu'il n'y
ait de texte. Ces objets peuvent même se combiner, à l'instar de
@cindex postscript
@funindex \epsfile
-@funindex epsfile
@funindex \postscript
-@funindex postscript
Des fonctionnalités graphiques avancées vous permettent même d'inclure
dans une partition un fichier image converti au format PostScript
@cindex plusieurs pages de texte
@funindex \markuplist
-@funindex markuplist
@funindex \justified-lines
-@funindex justified-lines
@funindex \wordwrap-lines
-@funindex wordwrap-lines
Alors que @code{\markup} s'utilise pour traiter un bloc de texte
insécable, @code{\markuplist} permet, employé en tête de partition,
@cindex Scottish highland bagpipe
@cindex petites notes
@funindex \taor
-@funindex taor
@funindex \hideKeySignature
-@funindex hideKeySignature
@funindex \showKeySignature
-@funindex showKeySignature
LilyPond inclut des définitions spécifiques destinées à la notation pour
cornemuse écossaise ; pour les utiliser, il suffit d'ajouter
@cindex lejegyzés és hangzás különbsége
@funindex \key
-@funindex key
@funindex \major
-@funindex major
@funindex \minor
-@funindex minor
Fogalomtár: @rglos{key signature}, @rglos{major},
@rglos{minor}.
@funindex \mf
@funindex \pp
@funindex \<
-@funindex <
@funindex \>
-@funindex >
@funindex \!
-@funindex !
Fogalomtár: @rglos{dynamics}, @rglos{crescendo},
@rglos{decrescendo}.
@cindex formázott szöveg
@funindex \markup
-@funindex markup
A hangokhoz a következő módon lehet szöveges jelzéseket rendelni:
@funindex [
@funindex ]
@funindex \autoBeamOff
-@funindex autoBeamOff
@funindex \autoBeamOn
-@funindex autoBeamOn
Fogalomtár: @rglos{beam}.
@cindex csonkaütem
@funindex \partial
-@funindex partial
Fogalomtár: @rglos{anacrusis}.
@cindex n-ola
@funindex \tuplet
-@funindex tuplet
Fogalomtár: @rglos{note value}, @rglos{triplet}.
@cindex appoggiatura
@funindex \grace
-@funindex grace
@funindex \acciaccatura
-@funindex acciaccatura
@funindex \appoggiatura
@funindex acciaccatura
@cindex kontextus
@funindex \new Staff
-@funindex new Staff
@funindex Staff
@funindex \new
-@funindex new
@funindex Score
@funindex Voice
@funindex Lyrics
@cindex dal
@funindex \addlyrics
-@funindex addlyrics
Fogalomtár: @rglos{lyrics}.
@cindex metaadatok
@funindex \header
-@funindex header
A címet, szerzőt, opus-számot és hasonló adatokat a @code{\header}
blokkban kell megadni. Ez a fő zenei kifejezésen kívül helyezendő el; a
kiindulási alapot jelent.
@funindex \book
-@funindex book
@funindex \score
-@funindex score
@cindex book
@cindex score
@end example
@funindex \header
-@funindex header
@funindex \layout
-@funindex layout
@funindex \midi
-@funindex midi
@cindex header
@cindex layout
@cindex midi
@cindex több kotta
@cindex implicit book blokk
@funindex \book
-@funindex book
Egy fájlban több @code{\score} blokk lehet. Mindegyik egy-egy zeneművet
vagy tételt jelöl, de ezek egy kimeneti fájlban fognak megjelenni. Nem
@translationof Score is a (single) compound musical expression
@funindex \score
-@funindex score
@cindex score
@cindex összetett zenei kifejezés
@funindex \voiceOne
-@funindex voiceOne
@funindex \voiceTwo
-@funindex voiceTwo
@funindex \voiceThree
-@funindex voiceThree
@funindex \voiceFour
-@funindex voiceFour
@funindex \oneVoice
-@funindex oneVoice
@funindex \new Voice
@cindex voice contexts, creating
@cindex collisions, notes
@cindex shift commands
@funindex \shiftOff
-@funindex shiftOff
@funindex \shiftOn
-@funindex shiftOn
@funindex \shiftOnn
-@funindex shiftOnn
@funindex \shiftOnnn
-@funindex shiftOnnn
Egymáshoz közel elhelyezkedő, különböző szólamban levő hangok esetén
@funindex \new Lyrics
@funindex \lyricsto
-@funindex lyricsto
@funindex Lyrics
@cindex Lyrics context, creating
@cindex lyrics, linking to voice
@cindex lyrics and beaming
@cindex beaming and lyrics
@funindex \autoBeamOff
-@funindex autoBeamOff
Az automatikus gerendázás -, amit a LilyPond használ - jól működik
a hangszeres zenére, de nem túl jó a dalszövegek esetén,
@funindex \new ChoirStaff
@funindex ChoirStaff
@funindex \lyricmode
-@funindex lyricmode
@cindex vocal score structure
@cindex choir staff
@cindex book, example of using
@funindex \book
-@funindex book
Habár ez egy érdekes és hasznos példa arra, hogy megértsük, hogyan működnek
az egymásutáni és egyidejű blokkok, gyakorlatban valószínűleg a többség ezt két
@funindex \new
-@funindex new
@cindex new contexts
@cindex creating contexts
@cindex contexts, creating
@cindex context properties, modifying
@cindex modifying context properties
@funindex \set
-@funindex set
@funindex \unset
-@funindex unset
Contexts are responsible for holding the values of a number of
context @emph{properties}. Many of them can be changed to
@subsubheading Setting context properties with @code{\with}
@funindex \with
-@funindex with
@cindex context properties, setting with \with
The default value of context properties may be set at the time the
@cindex context properties, setting with \context
@funindex \context
-@funindex context
The values of context properties may be set in @emph{all} contexts
of a particular type, such as all @code{Staff} contexts, with a single
@cindex removing engravers
@funindex \consists
-@funindex consists
@funindex \remove
-@funindex remove
We have seen that contexts each contain several engravers, each
of which is responsible for producing a particular part of the
@subsubheading Changing all contexts of the same type
@funindex \layout
-@funindex layout
The examples above show how to remove or add engravers to
individual contexts. It is also possible to remove or add
@cindex módosítójelek és relatív mód
@funindex \relative
-@funindex relative
@funindex '
@funindex ,
@cindex ütemmutató
@funindex \time
-@funindex time
Fogalomtár: @rglos{time signature}.
@cindex metronómjelzés
@funindex \tempo
-@funindex tempo
Fogalomtár: @rglos{tempo indication}, @rglos{metronome}.
@cindex basszuskulcs
@funindex \clef
-@funindex clef
Fogalomtár: @rglos{clef}.
"snappizzicato"
"open"
"halfopen"
+ "halfopenvertical"
"stopped"
"lheel"
"rheel"
@cindex layout vs. contenuto
@funindex \key
-@funindex key
@funindex \major
-@funindex major
@funindex \minor
-@funindex minor
Glossario musicale: @rglosnamed{key signature,armatura di chiave},
@rglosnamed{major,maggiore}, @rglosnamed{minor,minore}.
@funindex \mf
@funindex \pp
@funindex \<
-@funindex <
@funindex \>
-@funindex >
@funindex \!
-@funindex !
Glossario musicale: @rglosnamed{dynamics,dinamiche}, @rglos{crescendo},
@rglos{decrescendo}.
@cindex markup
@funindex \markup
-@funindex markup
Puoi aggiungere del testo nei tuoi spartiti:
@funindex [
@funindex ]
@funindex \autoBeamOff
-@funindex autoBeamOff
@funindex \autoBeamOn
-@funindex autoBeamOn
Glossario musicale: @rglosnamed{beam,travatura}.
@cindex battuta parziale
@funindex \partial
-@funindex partial
Glossario musicale: @rglos{anacrusis}.
@cindex terzine
@funindex \tuplet
-@funindex tuplet
Glossario musicale: @rglosnamed{note value,durata},
@rglosnamed{triplet,gruppo irregolare}.
@cindex appoggiatura
@funindex \grace
-@funindex grace
@funindex \acciaccatura
-@funindex acciaccatura
@funindex \appoggiatura
@funindex acciaccatura
@cindex contesto della notazione
@funindex \new Staff
-@funindex new Staff
@funindex Staff
@funindex \new
-@funindex new
@funindex Score
@funindex Voice
@funindex Lyrics
@cindex canzoni
@funindex \addlyrics
-@funindex addlyrics
Glossario musicale: @rglosnamed{lyrics,testo}.
@cindex blocco dell'intestazione
@funindex \header
-@funindex header
Titolo, compositore, numero di opus e informazioni simili vengono
inserite nel blocco @code{\header}. Questo si trova fuori dalla
serve da utile punto di partenza.
@funindex \book
-@funindex book
@funindex \score
-@funindex score
@cindex book (libro)
@cindex score (partitura)
@cindex libro
@end example
@funindex \header
-@funindex header
@funindex \layout
-@funindex layout
@funindex \midi
-@funindex midi
@cindex header
@cindex layout
@cindex midi
@cindex libro, blocco implicito
@cindex implicito, blocco del libro
@funindex \book
-@funindex book
Puoi scrivere molteplici blocchi @code{\score}. Ciascuno verrà
trattato come una partitura separata, ma saranno tutti combinati in
@translationof Score is a (single) compound musical expression
@funindex \score
-@funindex score
@cindex partitura
@cindex score
@cindex contenuto di un blocco score
@translationof Explicitly instantiating voices
@funindex \voiceOne
-@funindex voiceOne
@funindex \voiceTwo
-@funindex voiceTwo
@funindex \voiceThree
-@funindex voiceThree
@funindex \voiceFour
-@funindex voiceFour
@funindex \oneVoice
-@funindex oneVoice
@funindex \new Voice
@cindex contesti della voce, creazione dei
@cindex note, collisioni di
@cindex comandi di spostamento
@funindex \shiftOff
-@funindex shiftOff
@funindex \shiftOn
-@funindex shiftOn
@funindex \shiftOnn
-@funindex shiftOnn
@funindex \shiftOnnn
-@funindex shiftOnnn
Le note maggiormente ravvicinate all'interno di un accordo o quelle che
compaiono nello stesso momento in voci diverse sono disposte in due, e
@funindex \new Lyrics
@funindex \lyricsto
-@funindex lyricsto
@funindex Lyrics
@cindex Lyrics, creazione di un contesto
@cindex testo, creazione di un contesto
@cindex testo e travatura
@cindex travatura e testo
@funindex \autoBeamOff
-@funindex autoBeamOff
La disposizione automatica delle travature predefinita di LilyPond funziona
bene per la musica strumentale, ma non altrettanto per la musica con testi,
@funindex \new ChoirStaff
@funindex ChoirStaff
@funindex \lyricmode
-@funindex lyricmode
@cindex struttura di una partitura vocale
@cindex rigo per un coro
@translationof Creating contexts
@funindex \new
-@funindex new
@cindex nuovi contesti
@cindex creazione di contesti
@cindex contesti, creazione di
@cindex contesto, proprietà del, modificare
@cindex modificare le proprietà del contesto
@funindex \set
-@funindex set
@funindex \unset
-@funindex unset
I contesti si occupano di tenere i valori di un certo numero di
@emph{proprietà} del contesto. Molte di queste possono essere cambiate
@subsubheading Impostare le proprietà di contesto con @code{\with}
@funindex \with
-@funindex with
@cindex contesto, proprietà del, impostare con \with
Il valore predefinito delle proprietà di contesto possono essere impostate
@cindex contesto, proprietà del, impostare con \context
@funindex \context
-@funindex context
I valori delle proprietà di un contesto possono essere impostate in @emph{tutti}
i contesti di un particolare tipo, così come in tutti i contesti @code{Staff}, con un
@cindex rimuovere gli incisori
@funindex \consists
-@funindex consists
@funindex \remove
-@funindex remove
Abbiamo visto che ciascuno dei contesti contiene vari incisori, ognuno
dei quali ha il compito di produrre una parte specifica dell'output,
@subsubheading Modificare tutti i contesti dello stesso tipo
@funindex \layout
-@funindex layout
Gli esempi precedenti mostrano come rimuovere o aggiungere degli incisori
a contesti individuali. È anche possibile rimuovere o aggiungere gli
@cindex modo relativo, e alterazioni
@funindex \relative
-@funindex relative
@funindex '
@funindex ,
@cindex tempo, indicazione di
@funindex \time
-@funindex time
Glossario musicale: @rglosnamed{time signature,indicazione di tempo}.
@cindex indicazioni metronomiche
@funindex \tempo
-@funindex tempo
Glossario musicale: @rglosnamed{tempo indication,indicazione di tempo},
@rglosnamed{metronome,metronomo}.
@cindex basso
@funindex \clef
-@funindex clef
Glossario musicale: @rglosnamed{clef,chiave}.
@cindex override, sintassi
@funindex \override
-@funindex override
Abbiamo già incontrato i comandi @code{\set} e @code{\with}, che servono
a modificare le proprietà dei @strong{contesti} e a togliere o aggiungere
@cindex ripristino, comando \revert
@funindex \revert
-@funindex revert
Quando viene sovrascritta, la proprietà mantiene il suo nuovo valore finché
non viene sovrascritta di nuovo o non si incontra un comando @code{\revert}.
@translationof The once prefix
@funindex \once
-@funindex once
I comandi @code{\override}, @code{revert}, @code{\set} e @code{\unset} possono
essere preceduti da @code{\once}. Questo fa sì che tale comando sia operativo
@cindex overrideProperty, comando
@funindex \overrideProperty
-@funindex overrideProperty
Esiste un'altra forma di comando di sovrascrittura,
@code{\overrideProperty}, che si rende necessario raramente.
@cindex tweak, comando
@funindex \tweak
-@funindex tweak
L'ultimo comando di modifica a disposizione è @code{\tweak}. Si usa
quando vari oggetti compaiono nello stesso momento musicale,
@cindex \once \override
@funindex \once
-@funindex once
Come puoi vedere, @emph{tutte} le legature di portamento sono più spesse nell'ultimo
esempio. E se volessimo rendere più spessa solo la prima legatura di portamento?
@cindex proprietà predefinite, ripristinare le
@funindex \revert
-@funindex revert
E se volessimo che soltanto le prime due legature di portamento fossero
più spesse? Potremmo usare due comandi, ciascuno preceduto da
@cindex segno del cambio d'ottava
@funindex \startTextSpan
-@funindex startTextSpan
@funindex \stopTextSpan
-@funindex stopTextSpan
@cindex TextSpanner, esempio di sovrascrittura
@cindex proprietà bound-details, esempio
@cindex note, distanziarle insieme al testo
@funindex \textLengthOn
-@funindex textLengthOn
@funindex \textLengthOff
-@funindex textLengthOff
Per impostazione predefinita, finché si tratta di formattare la musica il
testo prodotto dal comando @code{\markup} non occupa uno spazio orizzontale.
@cindex note, collisioni
@cindex shift, comandi
@funindex \shiftOff
-@funindex shiftOff
@funindex \shiftOn
-@funindex shiftOn
@funindex \shiftOnn
-@funindex shiftOnn
@funindex \shiftOnnn
-@funindex shiftOnnn
All'interno di una voce, tutte le note che si trovano nello stesso momento
musicale sono raggruppate in una colonna di note, e viene creato un oggetto
@cindex incisori, includere nei contesti
@funindex \alias
-@funindex alias
@funindex \name
-@funindex name
@funindex \type
-@funindex type
@funindex \consists
-@funindex consists
@funindex \accepts
-@funindex accepts
@funindex \denies
-@funindex denies
Contesti specifici, come @code{Staff} e @code{Voice}, sono creati a partire
da semplici mattoncini. È possibile creare nuovi tipi di contesto con
@funindex tiny
@funindex teeny
@funindex \magnifyMusic
-@funindex magnifyMusic
@funindex magnification->font-size
@warning{@*
@cindex dita, cambio
@funindex \finger
-@funindex finger
Le indicazioni di diteggiatura si inseriscono con
@samp{@var{nota}-@var{numero}}:
@cindex pollice, indicazione
@funindex \thumb
-@funindex thumb
Si può aggiungere il simbolo del pollice per indicare che una nota deve essere
suonata col pollice (ad esempio, nella musica per violoncello).
@cindex trasparenti, note
@funindex \hideNotes
-@funindex hideNotes
@funindex \unHideNotes
-@funindex unHideNotes
Le note nascoste (o invisibili o trasparenti) possono essere utili nella
preparazione di esercizi di teoria e composizione.
@funindex color
@funindex \with-color
-@funindex with-color
@funindex x11-color
Si possono assegnare dei colori a ciascun oggetto. I nomi dei colori validi
@cindex parentesi quadre
@funindex \parenthesize
-@funindex parenthesize
Gli oggetti possono essere messi tra parentesi se si usa il comando @code{\parenthesize}
prima dell'evento musicale. Se precede un accordo, viene messa tra parentesi
@cindex invisibile, gambo
@funindex \stemUp
-@funindex stemUp
@funindex \stemDown
-@funindex stemDown
@funindex \stemNeutral
-@funindex stemNeutral
@cindex gambo, direzione
@cindex gambo, su
@cindex gambo, giù
@funindex balloonGrobText
@funindex balloonText
@funindex \balloonLengthOn
-@funindex balloonLengthOn
@funindex \balloonLengthOff
-@funindex balloonLengthOff
Si possono contrassegnare e nominare gli elementi della notazione tramite
una nuvoletta quadrata. La sua funzione principale è spiegare la notazione.
@funindex Horizontal_bracket_engraver
@funindex \startGroup
-@funindex startGroup
@funindex \stopGroup
-@funindex stopGroup
Nell'analisi musicale si usano le parentesi per indicare la struttura
dei brani musicali. Sono supportate delle semplici parentesi orizzontali.
@cindex dinamiche assolute
@funindex \ppppp
-@funindex ppppp
@funindex \pppp
-@funindex pppp
@funindex \ppp
-@funindex ppp
@funindex \pp
-@funindex pp
@funindex \p
-@funindex p
@funindex \mp
-@funindex mp
@funindex \mf
-@funindex mf
@funindex \f
-@funindex f
@funindex \ff
-@funindex ff
@funindex \fff
-@funindex fff
@funindex \ffff
-@funindex ffff
@funindex \fffff
-@funindex fffff
@funindex \fp
-@funindex fp
@funindex \sf
-@funindex sf
@funindex \sff
-@funindex sff
@funindex \sp
-@funindex sp
@funindex \spp
-@funindex spp
@funindex \sfz
-@funindex sfz
@funindex \rfz
-@funindex rfz
Le indicazioni dinamiche assolute si indicano con un comando che segue una
nota, come ad esempio @code{c4\ff}. Le indicazioni dinamiche disponibili
@funindex \>
@funindex \!
@funindex \cr
-@funindex cr
@funindex \decr
-@funindex decr
Un'indicazione di @notation{crescendo} inizia con @code{\<} e termina
con @code{\!}, un'indicazione dinamica assoluta o un'ulteriore indicazione
@cindex articolazione "espressivo"
@funindex \espressivo
-@funindex espressivo
Il comando @code{\espressivo} permette di indicare un crescendo e
un decrescendo sulla stessa nota. Tuttavia, si tenga presente che
@end lilypond
@funindex \cresc
-@funindex cresc
@funindex \decresc
-@funindex decresc
@funindex \dim
-@funindex dim
Le indicazioni di crescendo testuali iniziano con @code{\cresc}, quelle di
decrescendo con @code{\decresc} o @code{\dim}.
@end lilypond
@funindex \crescTextCresc
-@funindex crescTextCresc
@funindex \dimTextDecresc
-@funindex dimTextDecresc
@funindex \dimTextDecr
-@funindex dimTextDecr
@funindex \dimTextDim
-@funindex dimTextDim
@funindex \crescHairpin
-@funindex crescHairpin
@funindex \dimHairpin
-@funindex dimHairpin
Le indicazioni testuali per i cambi di dinamica possono essere impiegate anche per sostituire le forcelle:
@lilypond[verbatim,quote]
@rinternals{DynamicLineSpanner}.
@funindex \dynamicUp
-@funindex dynamicUp
@funindex \dynamicDown
-@funindex dynamicDown
@funindex \dynamicNeutral
-@funindex dynamicNeutral
Esiste un contesto @code{Dynamics} che permette di posizionare le indicazioni
dinamiche su un'apposita linea orizzontale. Si usano le pause spaziatrici
@cindex dinamiche, parentesi
@cindex editoriali, dinamiche
@funindex \bracket
-@funindex bracket
@funindex \dynamic
-@funindex dynamic
In modalità markup, si possono creare dinamiche editoriali (racchiuse tra
parentesi normali o quadrate). La sintassi della modalità markup è
@cindex legature di portamento, sotto le note
@cindex legature di portamento, sopra le note
@funindex \slurDown
-@funindex slurDown
@funindex \slurNeutral
-@funindex slurNeutral
Le legature di portamento possono essere posizionate manualmente sopra o
sotto il rigo, come è spiegato in @ref{Direction and placement}.
@cindex legatura di portamento tratteggiata
@cindex stile, legatura di portamento
@funindex \slurDashed
-@funindex slurDashed
@funindex \slurDotted
-@funindex slurDotted
@funindex \slurSolid
-@funindex slurSolid
Le legature di portamento possono essere continue, punteggiate o tratteggiate. Lo
stile predefinito è quello continuo:
@end lilypond
@funindex \slurHalfDashed
-@funindex slurHalfDashed
@funindex \slurHalfSolid
-@funindex slurHalfSolid
@cindex legatura di portamento, metà tratteggiata e metà continua
Le legature di portamento possono essere anche semitratteggiate (half-dashed),
@end lilypond
@funindex \slurDashPattern
-@funindex slurDashPattern
@cindex legatura di portamento, definizione del modello di tratteggio
Si possono definire modelli di tratteggio personalizzati per le legature di
@funindex \slurUp
-@funindex slurUp
@predefined
@end lilypond
@funindex \phrasingSlurUp
-@funindex phrasingSlurUp
@funindex \phrasingSlurDown
-@funindex phrasingSlurDown
@funindex \phrasingSlurNeutral
-@funindex phrasingSlurNeutral
A livello tipografico, una legatura di frase si comporta in modo pressoché
identico a una normale legatura di portamento. Sono però trattate
Per inserire più legature di frase simultanee o sovrapposte si usa @code{\=},
come per le normali legature di portamento (vedi @ref{Slurs}).
-@funindex phrasingSlurDashed
@funindex \phrasingSlurDashed
@funindex \phrasingSlurDotted
-@funindex phrasingSlurDotted
@funindex \phrasingSlurSolid
-@funindex phrasingSlurSolid
@cindex legatura di frase tratteggiata
@cindex legatura di frase puntata
@cindex legatura di portamento, frase tratteggiata
}
@end lilypond
-@funindex phrasingSlurHalfDashed
@funindex \phrasingSlurHalfDashed
@funindex \phrasingSlurHalfSolid
-@funindex phrasingSlurHalfSolid
@cindex legatura di frase, metà continua e metà tratteggiata
@cindex legatura di portamento, tratto metà continuo e metà tratteggiato
@end lilypond
@funindex \phrasingSlurDashPattern
-@funindex phrasingSlurDashPattern
@cindex legatura di frase, definizione dei modelli di tratteggio
@cindex legatura di portamento, fraseggio, definizione dei modelli di tratteggio
@cindex legatura di portamento, definizione dei modelli di tratteggio per il fraseggio
@cindex respiri
@cindex segno di pausa
@funindex \breathe
-@funindex breathe
I respiri si inseriscono col comando @code{\breathe}:
@cindex portamenti indeterminati verso il basso (cadute) e verso l'alto
@funindex \bendAfter
-@funindex bendAfter
I @notation{portamenti indeterminati verso il basso (cadute) e verso l'alto} possono
essere aggiunti alle note col comando @code{\bendAfter}. La direzione del
@cindex glissando
@funindex \glissando
-@funindex glissando
Un @notation{glissando} si crea attaccando @code{\glissando}
a una nota:
@cindex spezzato, arpeggio
@funindex \arpeggio
-@funindex arpeggio
@funindex \arpeggioArrowUp
-@funindex arpeggioArrowUp
@funindex \arpeggioArrowDown
-@funindex arpeggioArrowDown
@funindex \arpeggioNormal
-@funindex arpeggioNormal
Un @notation{arpeggio} su un accordo (detto anche accordo spezzato)
si ottiene aggiungendo @code{\arpeggio} all'accordo:
@cindex simboli speciali di arpeggio
@funindex \arpeggioBracket
-@funindex arpeggioBracket
@funindex \arpeggioParenthesis
-@funindex arpeggioParenthesis
@funindex \arpeggioParenthesisDashed
-@funindex arpeggioParenthesisDashed
Si possono creare simboli di arpeggio speciali @emph{in forma di parentesi}:
@cindex trilli
@funindex \trill
-@funindex trill
@funindex \startTrillSpan
-@funindex startTrillSpan
@funindex \stopTrillSpan
-@funindex stopTrillSpan
I trilli senza linea di estensione si ottengono col comando
@code{\trill}; si veda @ref{Articulations and ornamentations}.
@cindex trilli con altezza
@cindex trilli con notina
@funindex \pitchedTrill
-@funindex pitchedTrill
I trilli che richiedono una nota ausiliaria dall'altezza esplicita si
ottengono col comando @code{\pitchedTrill}. Il primo argomento è la nota
}
@end lilypond
-@funindex fixed
@funindex \fixed
I normali segni di ottava possono essere inseriti una sola volta se si
imposta un'altezza di riferimento dopo @code{\fixed} e prima della musica.
@cindex ottava relativa
@cindex relativa, ottava
-@funindex relative
@funindex \relative
L'inserimento delle note con l'ottava assoluta costringe a specificare
@cindex trasposizione e ottava relativa
@funindex \transpose
-@funindex transpose
@funindex \chordmode
-@funindex chordmode
@funindex \relative
-@funindex relative
@funindex =
@funindex \octaveCheck
-@funindex octaveCheck
@funindex controlpitch
In modalità relativa è facile dimenticare un segno di cambiamento d'ottava.
@cindex note, trasposizione delle
@funindex \transpose
-@funindex transpose
Un'espressione musicale può essere trasposta con @code{\transpose}. La
sintassi è
@rinternals{TransposedMusic}.
@funindex \transpose
-@funindex transpose
@funindex \chordmode
-@funindex chordmode
@funindex \relative
-@funindex relative
@knownissues
La conversione relativa non avrà effetto sulle sezioni @code{\transpose},
@cindex retrogradazione, trasformazione
@cindex operazione, retrogradazione
@funindex \retrograde
-@funindex retrograde
Un'espressione musicale può essere invertita in modo da produrre il proprio
retrogrado:
@cindex modale, trasposizione
@cindex operazione, trasposizione
@funindex \modalTranspose
-@funindex modalTranspose
Un motivo può essere trasposto entro una certa scala con:
@cindex modale, inversione
@cindex operazione, inversione modale
@funindex \modalInversion
-@funindex modalInversion
Una sequenza di note può essere invertita all'interno di una data scala intorno
a una determinata nota cardine e quindi trasposto, in un'unica operazione, con:
@funindex \clef
-@funindex clef
Senza un comando esplicito, la chiave predefinita in LilyPond è la chiave
di violino (o di @emph{Sol}).
@cindex armatura di chiave
@funindex \key
-@funindex key
@c duplicated in Key signature and Accidentals
@warning{I nuovi utenti sono talvolta confusi dalla gestione delle
@end example
@funindex \major
-@funindex major
@funindex \minor
-@funindex minor
@funindex \ionian
-@funindex ionian
@funindex \locrian
-@funindex locrian
@funindex \aeolian
-@funindex aeolian
@funindex \mixolydian
-@funindex mixolydian
@funindex \lydian
-@funindex lydian
@funindex \phrygian
-@funindex phrygian
@funindex \dorian
-@funindex dorian
@cindex modi ecclesiastici
@cindex modi
@funindex set-octavation
@funindex \ottava
-@funindex ottava
I @notation{segni di ottavazione} introducono un'ulteriore trasposizione di
ottava nel rigo:
@cindex trasposizione MIDI
@funindex \transposition
-@funindex transposition
Quando si scrivono partiture che comprendono strumenti traspositori, alcune
parti possono essere scritte a un'altezza diversa dall'@notation{intonazione reale}.
@cindex teste di nota facili da suonare
@funindex \easyHeadsOn
-@funindex easyHeadsOn
@funindex \easyHeadsOff
-@funindex easyHeadsOff
La nota @q{easy play} inserisce il nome della nota dentro la testa.
Viene usata nella musica per principianti. Per rendere le lettere
@cindex testa di nota, Walker
@funindex \aikenHeads
-@funindex aikenHeads
@funindex \sacredHarpHeads
-@funindex sacredHarpHeads
@funindex \southernHarmonyHeads
-@funindex southernHarmonyHeads
@funindex \funkHeads
-@funindex funkHeads
@funindex \walkerHeads
-@funindex walkerHeads
In alcune notazioni, la forma della testa della nota corrisponde
alla funzione armonica di una nota nella scala. Questa notazione
@end lilypond
@funindex \key
-@funindex key
@funindex \aikenHeadsMinor
-@funindex aikenHeadsMinor
@funindex \sacredHarpHeadsMinor
-@funindex sacredHarpHeadsMinor
@funindex \southernHarmonyHeadsMinor
-@funindex southernHarmonyHeadsMinor
@funindex \funkHeadsMinor
-@funindex funkHeadsMinor
@funindex \walkerHeadsMinor
-@funindex walkerHeadsMinor
Le forme variano in base al grado della scala; la
scala è determinata dal comando @code{\key}. Se si scrive in
@cindex tagliata, testa di nota
@funindex \improvisationOn
-@funindex improvisationOn
@funindex \improvisationOff
-@funindex improvisationOff
L'improvvisazione viene talvolta indicata con teste tagliate:
l'esecutore può scegliere qualsiasi nota ma deve seguire il ritmo
@cindex note, lunghezza delle
@funindex \longa
-@funindex longa
@funindex \breve
-@funindex breve
@funindex \maxima
-@funindex maxima
Le durate, indicate con numeri e punti, sono indicate con i
valori corrispondenti. Per esempio, una nota di un quarto si indica con un
della notazione proporzionale si trovano in @ref{Proportional notation}.
@funindex \dotsUp
-@funindex dotsUp
@funindex \dotsDown
-@funindex dotsDown
@funindex \dotsNeutral
-@funindex dotsNeutral
Di norma i punti sono spostati in su per evitare le linee del rigo, fuorché all'interno
di passaggi polifonici. I punti possono essere orientati manualmente verso l'alto
@cindex terzine
@funindex \tuplet
-@funindex tuplet
I gruppi irregolari sono costituiti da un'espressione musicale
introdotta dal comando @code{\tuplet}, che moltiplica la velocità
@cindex gruppo irregolare, posizionamento della parentesi quadra
@funindex \tupletUp
-@funindex tupletUp
@funindex \tupletDown
-@funindex tupletDown
@funindex \tupletNeutral
-@funindex tupletNeutral
Le parentesi dei gruppi irregolari si possono posizionare manualmente sopra
o sotto il rigo:
@cindex espandere la musica
@funindex \scaleDurations
-@funindex scaleDurations
Frammenti musicali più lunghi possono essere compressi secondo la stessa proporzione, come
moltiplicando ogni nota, accordo o pausa per una medesima frazione.
@cindex legature di valore e parentesi della volta
@funindex \repeatTie
-@funindex repeatTie
Quando la battuta della "seconda volta" di un ritornello inizia con una nota
legata a quella precedente, occorre indicare la legatura nel modo seguente:
@cindex legatura di valore, laissez vibrer
@funindex \laissezVibrer
-@funindex laissezVibrer
Le legature @notation{L.v.}@: (@notation{laissez vibrer}) indicano che
le note non devono essere terminate nettamente. Si usa nella notazione per
@cindex legature di valore, posizionamento
@funindex \tieUp
-@funindex tieUp
@funindex \tieDown
-@funindex tieDown
@funindex \tieNeutral
-@funindex tieNeutral
Le legature di valore possono essere impostate manualmente per avere la
curva in su o in giù, come è spiegato in @ref{Direction and placement}.
@cindex legature di valore tratteggiate
@funindex \tieDotted
-@funindex tieDotted
@funindex \tieDashed
-@funindex tieDashed
@funindex \tieSolid
-@funindex tieSolid
Le legature di valore possono essere tratteggiate, punteggiate, oppure tracciate secondo una
successione di tratti continui e tratti interrotti.
@cindex pausa di breve
@funindex \rest
-@funindex rest
@funindex r
@funindex \maxima
-@funindex maxima
@funindex \longa
-@funindex longa
@funindex \breve
-@funindex breve
Le pause si inseriscono allo stesso modo delle note, ma con il carattere @code{r}.
Le durate più lunghe di un intero usano i seguenti comandi predefiniti:
@funindex s
@funindex \skip
-@funindex skip
Una pausa invisibile (chiamata anche @q{pausa spaziatrice}) si inserisce come
come una nota col nome@tie{}@code{s}:
@cindex pause d'intero
@cindex pausa intera per una misura intera
-@funindex compressMMRests
@funindex \compressMMRests
@funindex R
@cindex pausa multipla con testo a margine
@funindex \fermataMarkup
-@funindex fermataMarkup
@funindex MultiMeasureRestText
Si possono aggiungere delle annotazioni alle pause multiple. Il comando
@funindex \textLengthOn
-@funindex textLengthOn
@funindex \textLengthOff
-@funindex textLengthOff
@funindex \fermataMarkup
-@funindex fermataMarkup
@funindex \compressMMRests
-@funindex compressMMRests
@predefined
@code{\textLengthOn},
@cindex misura
@funindex \time
-@funindex time
L'indicazione di tempo si imposta così:
@cindex tempo, stile
@funindex \numericTimeSignature
-@funindex numericTimeSignature
@funindex \defaultTimeSignature
-@funindex defaultTimeSignature
Il simbolo di indicazione di tempo usato nei tempi 2/2 e 4/4 può essere
sostituito da un numero:
@cindex indicazione metronomica con testo
@funindex \tempo
-@funindex tempo
Un'indicazione metronomica è semplice da scrivere:
@end lilypond
@funindex \markLengthOn
-@funindex markLengthOn
@funindex \markLengthOff
-@funindex markLengthOff
In una parte per uno strumento che ha lunghi periodi pieni di pause,
le indicazioni di tempo sono talvolta molto ravvicinate. Il comando
@funindex measurePosition
@funindex \partial
-@funindex partial
Le misure parziali, come l'@emph{anacrusi} o la battuta
in levare, si inseriscono col comando @code{\partial}:
@cindex travature, musica in tempo libero
@funindex \cadenzaOn
-@funindex cadenzaOn
@funindex \cadenzaOff
-@funindex cadenzaOff
Nella musica in un tempo determinato l'inserimento delle stanghette e dei numeri di
battuta è calcolato automaticamente. Nella musica in tempo libero (per esempio,
@funindex timeSignatureFraction
@funindex \scaleDurations
-@funindex scaleDurations
@funindex \tuplet
-@funindex tuplet
La notazione polimetrica è supportata esplicitamente o tramite la modifica
manuale del simbolo d'indicazione di tempo (e la trasformazione della durata
@funindex Pitch_squash_engraver
@funindex \improvisationOn
-@funindex improvisationOn
@funindex \improvisationOff
-@funindex improvisationOff
I diagrammi degli accordi per chitarra di solito mostrano i ritmi di
accompagnamento. Si possono visualizzare usando l'incisore
@cindex travature, personalizzazione delle regole
@funindex \autoBeamOn
-@funindex autoBeamOn
@funindex \autoBeamOff
-@funindex autoBeamOff
@lilypond[quote,verbatim]
\relative c'' {
@funindex autoBeaming
@funindex baseMoment
-@funindex beamExceptions
@funindex \beamExceptions
@funindex beatStructure
@funindex measureLength
@funindex \time
-@funindex time
@funindex \set
-@funindex set
Quando la disposizione automatica delle travature è abilitata, la disposizione
delle travature è determinata da tre proprietà di contesto:
@end lilypond
@funindex \noBeam
-@funindex noBeam
Le note individuali possono essere contrassegnate con @code{\noBeam} per impedire
che vengano inserite in una travatura:
@cindex travature convergenti o divergenti
@funindex \featherDurations
-@funindex featherDurations
@funindex grow-direction
Le travature a raggiera servono a indicare che un gruppo di note determinato
@cindex battute dei ritornelli
@funindex \bar
-@funindex bar
Le stanghette delimitano le misure e sono usate anche per indicare
i ritornelli. Di norma, le stanghette semplici sono inserite
usata con un comando @code{\repeat volta}, vedi @ref{Normal repeats}..
@funindex \defineBarLine
-@funindex defineBarLine
@cindex stanghette, definire
@cindex definire le stanghette
@funindex whichBar
@funindex defaultBarType
@funindex \bar
-@funindex bar
@funindex bartype
Il comando @samp{\bar @var{tipo-stanghetta}} è una scorciatoia di
@end lilypond
@funindex \barNumberCheck
-@funindex barNumberCheck
Quando si copiano brani di una certa ampiezza, può essere d'aiuto verificare che i
numeri di battuta di LilyPond corrispondano all'originale a partire dal quale
@cindex segni di chiamata
@funindex \mark
-@funindex mark
Per creare un segno di chiamata si usa il comando @code{\mark}.
@cindex glifi musicali
@funindex \musicglyph
-@funindex musicglyph
I glifi musicali (come il Segno) possono essere posti dentro il
comando @code{\mark}
@cindex abbellimenti al termine di una nota
@funindex \afterGrace
-@funindex afterGrace
Se si desidera risolvere una nota su un abbellimento, si usa il
comando @code{\afterGrace}. Considera due argomenti: la nota principale e
@cindex cluster di note
@funindex \makeClusters
-@funindex makeClusters
Un cluster prescrive l'esecuzione simultanea di tutti i suoni compresi in un determinato intervallo. Può
essere rappresentato come un involucro che contiene le note che ne fanno parte. Si
@cindex testo assegnato a una voce
@funindex \voiceOne
-@funindex voiceOne
@funindex \voiceOne ... \voiceFour
@funindex Voice
@funindex \oneVoice
-@funindex oneVoice
@subsubsubheading Istanziare esplicitamente le voci
@cindex spostamento automatico della pausa
@cindex pausa, spostamento automatico
@funindex \shiftOn
-@funindex shiftOn
@funindex \shiftOnn
-@funindex shiftOnn
@funindex \shiftOnnn
-@funindex shiftOnnn
@funindex \shiftOff
-@funindex shiftOff
@funindex \mergeDifferentlyDottedOn
-@funindex mergeDifferentlyDottedOn
@funindex \mergeDifferentlyDottedOff
-@funindex mergeDifferentlyDottedOff
@funindex \mergeDifferentlyHeadedOn
-@funindex mergeDifferentlyHeadedOn
@funindex \mergeDifferentlyHeadedOff
-@funindex mergeDifferentlyHeadedOff
Le teste di note che si trovano in voci diverse ma hanno stessa altezza,
stessa testa e direzione del gambo opposta vengono unite automaticamente;
@cindex parte a due
@cindex parte solista
@funindex \partcombine
-@funindex partcombine
La combinazione automatica delle parti si usa per combinare in un unico rigo due
parti musicali separate. Ciò è utile soprattutto quando si scrivono partiture
@code{@var{espressione-musicale2}}.
@funindex \partcombineChords
-@funindex partcombineChords
@funindex \partcombineApart
-@funindex partcombineApart
@funindex \partcombineUnisono
-@funindex partcombineUnisono
@funindex \partcombineSoloI
-@funindex partcombineSoloI
@funindex \partcombineSoloII
-@funindex partcombineSoloII
@funindex \partcombineAutomatic
-@funindex partcombineAutomatic
Nelle partiture professionali, spesso le voci sono tenute separate per
lunghi passaggi anche se alcune note sono le stesse in entrambe le voci
@cindex musica parallela
@cindex parallela, musica
@funindex \parallelMusic
-@funindex parallelMusic
La musica che contiene parti diverse può essere messa in parallelo nel codice
di input. La funzione @code{\parallelMusic} accetta una lista contenente
@cindex tablatura
@funindex \drummode
-@funindex drummode
@funindex DrumStaff
@funindex RhythmicStaff
@funindex TabStaff
@cindex tagli addizionali, modificare
@funindex \startStaff
-@funindex startStaff
@funindex \stopStaff
-@funindex stopStaff
I comandi @code{\stopStaff} e @code{\startStaff} servono a fermare o
(ri)avviare le linee del rigo, per impedire che appaiano in un punto
@cindex ridimensionamento dei righi
@funindex \startStaff
-@funindex startStaff
@funindex \stopStaff
-@funindex stopStaff
I righi @notation{ossia} si possono creare aggiungendo un nuovo rigo
simultaneo nel punto giusto:
@funindex \RemoveAllEmptyStaves
@funindex Staff_symbol_engraver
@funindex \stopStaff
-@funindex stopStaff
Le linee del rigo si possono nascondere togliendo l'incisore
@cindex note in corpo più piccolo
@funindex \addQuote
-@funindex addQuote
@funindex \quoteDuring
-@funindex quoteDuring
@funindex \transposition
-@funindex transposition
È molto comune che una voce usi le stesse note di un'altra voce. Per esempio,
il primo e il secondo violino che suonano la stessa frase durante un particolare
@funindex \cueDuring
-@funindex cueDuring
@funindex \cueClef
-@funindex cueClef
@funindex \cueDuringWithClef
-@funindex cueDuringWithClef
@funindex \quoteDuring
-@funindex quoteDuring
@cindex note più piccole
@cindex CueVoice
@end lilypond
@funindex \transposedCueDuring
-@funindex transposedCueDuring
Come @code{\quoteDuring}, @code{\cueDuring} prende in considerazione la
trasposizione degli strumenti. Le citazioni in corpo più piccolo vengono mostrate nelle altezze
@cindex citazioni in corpo più piccolo, togliere le
@funindex \killCues
-@funindex killCues
Il comando @code{\killCues} toglie le citazioni in corpo più piccolo da un'espressione
musicale, in modo che la stessa espressione musicale possa essere
articolazioni si veda @rlearning{Posizionamento degli oggetti}.
@funindex \textLengthOn
-@funindex textLengthOn
@funindex \textLengthOff
-@funindex textLengthOff
@predefined
@code{\textLengthOn},
una proprietà dell'oggetto. Questa sintassi è descritta in @ref{Line styles}.
@funindex \textSpannerUp
-@funindex textSpannerUp
@funindex \textSpannerDown
-@funindex textSpannerDown
@funindex \textSpannerNeutral
-@funindex textSpannerNeutral
@predefined
@cindex stanghette, simboli sulle
@funindex \mark
-@funindex mark
@funindex \markup
-@funindex markup
Si possono aggiungere vari elementi testuali a una partitura tramite la
sintassi descritta in @ref{Rehearsal marks}:
@end lilypond
@funindex \markLengthOn
-@funindex markLengthOn
@funindex \markLengthOff
-@funindex markLengthOff
@predefined
@code{\markLengthOn},
@cindex testo al livello superiore
@funindex \markup
-@funindex markup
Un blocco @code{\markup} può esistere di per sé, fuori da qualsiasi
blocco @code{\score}, come un'@tie{@qq{espressione di livello superiore}}. Questa
in @ref{Multi-page markup}.
@funindex \markup
-@funindex markup
@funindex \markuplist
-@funindex markuplist
@predefined
@code{\markup},
@cindex annotazione
@funindex \markup
-@funindex markup
Un blocco @code{\markup} permette di comporre del testo con un'ampia
sintassi chiamata @qq{modalità markup}.
@cindex font, cambiare
@funindex \italic
-@funindex italic
@funindex \bold
-@funindex bold
@funindex \underline
-@funindex underline
La modalità markup permette di cambiare il tipo di carattere:
@funindex \abs-fontsize
@funindex \fontsize
-@funindex fontsize
@funindex \smaller
-@funindex smaller
@funindex \larger
-@funindex larger
@funindex \magnify
-@funindex magnify
Si può modificare la dimensione del tipo di carattere, rispetto alla
dimensione globale del rigo, in vari modi.
@cindex apice
@funindex \super
-@funindex super
@funindex \sub
-@funindex sub
@funindex \normal-size-super
-@funindex normal-size-super
È possibile stampare il testo come pedice o apice. Per impostazione
predefinita, questo appaiono in corpo più piccolo, ma si può usare
è spiegato in @ref{Fonts}.
@funindex \teeny
-@funindex teeny
@funindex \tiny
-@funindex tiny
@funindex \small
-@funindex small
@funindex \normalsize
-@funindex normalsize
@funindex \large
-@funindex large
@funindex \huge
-@funindex huge
@funindex \smaller
-@funindex smaller
@funindex \larger
-@funindex larger
@predefined
@cindex allineamento orizzontale del testo
@funindex \left-align
-@funindex left-align
@funindex \center-align
-@funindex center-align
@funindex \right-align
-@funindex right-align
Gli oggetti di markup possono essere allineati in vari modi. Per impostazione
predefinita, l'indicazione testuale è allineata rispetto al suo margine
@end lilypond
@funindex \halign
-@funindex halign
L'allineamento orizzontale può essere ritoccato usando un valore numerico:
@cindex allineamento verticale del testo
@funindex \raise
-@funindex raise
@funindex \lower
-@funindex lower
@funindex \null
-@funindex null
@c QUERY Should the function of ``\null'' be clarified? rp
@end lilypond
@funindex \general-align
-@funindex general-align
@funindex \translate
-@funindex translate
@funindex \translate-scaled
-@funindex translate-scaled
Alcuni comandi possono cambiare l'allineamento sia orizzontale che verticale
degli oggetti testuali in modalità markup. Qualsiasi oggetto interessato
@cindex colonne, testo
@funindex \column
-@funindex column
@funindex \center-column
-@funindex center-column
Un oggetto markup può includere varie linee di testo. Nell'esempio
seguente, ogni elemento o espressione viene posizionato sulla sua
@cindex markup, centrare sulla pagina
@funindex \fill-line
-@funindex fill-line
Analogalmente, una lista di elementi o espressioni può essere distesa
per riempire l'intera larghezza orizzontale della linea (se c'è un solo
@cindex markup, testo giustificato
@funindex \wordwrap
-@funindex wordwrap
@funindex \justify
-@funindex justify
Indicazioni testuali lunghe possono andare a capo automaticamente in base
alla larghezza della linea specificata. Possono essere allineate a
@cindex markup, incorniciatura
@funindex \box
-@funindex box
@funindex \circle
-@funindex circle
@funindex \rounded-box
-@funindex rounded-box
@funindex \bracket
-@funindex bracket
@funindex \hbracket
-@funindex hbracket
Alcuni comandi di markup consentono di decorare gli elementi testuali con
degli elementi grafici, come è illustrato nell'esempio seguente.
@cindex markup, padding
@funindex \pad-markup
-@funindex pad-markup
@funindex \pad-x
-@funindex pad-x
@funindex \pad-to-box
-@funindex pad-to-box
@funindex \pad-around
-@funindex pad-around
Alcuni comandi possono richiedere un aumento del padding intorno al
testo; per farlo si usano dei comandi di markup, descritti in modo
@cindex simboli non musicali
@funindex \combine
-@funindex combine
@funindex \draw-circle
-@funindex draw-circle
@funindex \filled-box
-@funindex filled-box
@funindex \triangle
-@funindex triangle
@funindex \draw-line
-@funindex draw-line
@funindex \arrow-head
-@funindex arrow-head
Si possono produrre altri elementi grafici o simboli che non richiedono
alcun testo. Come con qualsiasi espressione di markup, tali oggetti
@cindex postscript
@funindex \epsfile
-@funindex epsfile
@funindex \postscript
-@funindex postscript
Le funzionalità grafiche avanzate comprendono la possibilità di includere
file di immagini convertite nel formato Encapsulated PostScript
@cindex testo esteso su più pagine
@funindex \markuplist
-@funindex markuplist
@funindex \justified-lines
-@funindex justified-lines
@funindex \wordwrap-lines
-@funindex wordwrap-lines
Sebbene gli oggetti di markup standard non possano avere interruzioni, una
specifica sintassi permette di inserire linee di testo che possono estendersi
@rinternals{TextScript}.
@funindex \markuplist
-@funindex markuplist
@predefined
@code{\markuplist}.
@cindex layout vs. content (レイアウト vs. 内容)
@funindex \key
-@funindex key
@funindex \major
-@funindex major
@funindex \minor
-@funindex minor
音楽用語集: @rglos{key signature}, @rglos{major}, @rglos{minor}
@funindex \mf
@funindex \pp
@funindex \<
-@funindex <
@funindex \>
-@funindex >
@funindex \!
-@funindex !
音楽用語集: @rglos{dynamics}, @rglos{crescendo}
@rglos{decrescendo}
@cindex markup (マークアップ)
@funindex \markup
-@funindex markup
テキストをあなたの楽譜に追加することができます:
@funindex [
@funindex ]
@funindex \autoBeamOff
-@funindex autoBeamOff
@funindex \autoBeamOn
-@funindex autoBeamOn
音楽用語集: @rglos{beam}
@cindex partial measure (部分小節)
@funindex \partial
-@funindex partial
音楽用語集: @rglos{anacrusis}
@cindex triplets (3 連符)
@funindex \tuplet
-@funindex tuplet
音楽用語集: @rglos{note value}, @rglos{triplet}
@cindex appoggiatura (前打音)
@funindex \grace
-@funindex grace
@funindex \acciaccatura
-@funindex acciaccatura
@funindex \appoggiatura
@funindex acciaccatura
@cindex notation context (記譜コンテキスト)
@funindex \new Staff
-@funindex new Staff
@funindex Staff
@funindex \new
-@funindex new
@funindex Score
@funindex Voice
@funindex Lyrics
@cindex songs (歌)
@funindex \addlyrics
-@funindex addlyrics
音楽用語集: @rglos{lyrics}
@cindex header block (ヘッダ ブロック)
@funindex \header
-@funindex header
タイトル、作曲者、作品番号、それに類似の情報は
@code{\header} ブロックの中に挿入されます。@c
しかしながら、この例はスタート地点として役に立ちます。
@funindex \book
-@funindex book
@funindex \score
-@funindex score
@cindex book
@cindex score
@end example
@funindex \header
-@funindex header
@funindex \layout
-@funindex layout
@funindex \midi
-@funindex midi
@cindex header (ヘッダ)
@cindex layout (レイアウト)
@cindex midi
@cindex book block, implicit (暗黙の book ブロック)
@cindex implicit book block (暗黙の book ブロック)
@funindex \book
-@funindex book
あなたは複数の @code{\score} ブロックを記述するかもしれません。@c
それらはそれぞれ別々の楽譜として扱われますが、それらは結合されて@c
@translationof Score is a (single) compound musical expression
@funindex \score
-@funindex score
@cindex score
@cindex contents of a score block (score ブロックの内容)
@cindex score block, contents of (score ブロックの内容)
@translationof Explicitly instantiating voices
@funindex \voiceOne
-@funindex voiceOne
@funindex \voiceTwo
-@funindex voiceTwo
@funindex \voiceThree
-@funindex voiceThree
@funindex \voiceFour
-@funindex voiceFour
@funindex \oneVoice
-@funindex oneVoice
@funindex \new Voice
@cindex voice contexts, creating (ボイス コンテキストを作成する)
@cindex collisions, notes (音符の衝突)
@cindex shift commands (シフト コマンド)
@funindex \shiftOff
-@funindex shiftOff
@funindex \shiftOn
-@funindex shiftOn
@funindex \shiftOnn
-@funindex shiftOnn
@funindex \shiftOnnn
-@funindex shiftOnnn
和音の中で小さな間隔で置かれる音符、@c
あるいは異なるボイスで同時に発生する音符は、@c
@funindex \new Lyrics
@funindex \lyricsto
-@funindex lyricsto
@funindex Lyrics
@cindex Lyrics context, creating (歌詞コンテキストを作成する)
@cindex lyrics, linking to voice (歌詞をボイスにリンクさせる)
@cindex lyrics and beaming (歌詞と連桁)
@cindex beaming and lyrics (連桁と歌詞)
@funindex \autoBeamOff
-@funindex autoBeamOff
LilyPond がデフォルトで使用する自動連桁は楽器だけの音楽では@c
うまく機能しますが、歌詞を持つ音楽ではそれほどうまく機能しません。@c
@funindex \new ChoirStaff
@funindex ChoirStaff
@funindex \lyricmode
-@funindex lyricmode
@cindex vocal score structure (ボーカル譜構造)
@cindex choir staff
@translationof Creating contexts
@funindex \new
-@funindex new
@cindex new contexts (新しいコンテキスト)
@cindex creating contexts (コンテキストを作成する)
@cindex contexts, creating (コンテキストを作成する)
@cindex context properties, modifying (コンテキスト プロパティを変更する)
@cindex modifying context properties (コンテキスト プロパティを変更する)
@funindex \set
-@funindex set
@funindex \unset
-@funindex unset
コンテキストにはいくつかのコンテキスト プロパティを保持する責任があります。@c
それらプロパティの多くは変更可能であり、変更することで入力の構文解釈に影響を@c
@c Setting context properties with @code{\with}
@funindex \with
-@funindex with
@cindex context properties, setting with \with (\with でコンテキスト プロパティを設定する)
コンテキスト プロパティはコンテキストが作成されるときに@c
@cindex context properties, setting with \context (\context でコンテキスト プロパティを設定する)
@funindex \context
-@funindex context
コンテキスト プロパティの値は単一のコマンドによってある特定のタイプの@c
コンテキスト@emph{すべて} -- すべての @code{Staff} コンテキストなどのように
@cindex removing engravers (エングラーバを削除する)
@funindex \consists
-@funindex consists
@funindex \remove
-@funindex remove
これまでに、コンテキストはそれぞれにいくつかのエングラーバを保持し、@c
それぞれのエングラーバは出力のある特定部分
@c Changing all contexts of the same type
@funindex \layout
-@funindex layout
上の例では、個々のコンテキストにエングラーバを追加あるいは削除する方法を@c
示しました。@c
@cindex relative mode, and accidentals (臨時記号と相対モード)
@funindex \relative
-@funindex relative
@funindex '
@funindex ,
@cindex time signature (拍子記号)
@funindex \time
-@funindex time
音楽用語集: @rglos{time signature}
@c 拍子記号 (time signature)
@cindex metronome marks (メトロノーム記号)
@funindex \tempo
-@funindex tempo
音楽用語集: @rglos{tempo indication}, @rglos{metronome}
@cindex bass (バス)
@funindex \clef
-@funindex clef
音楽用語集: @rglos{clef}
@c : 音部記号 (clef)
@cindex override syntax (override 構文)
@funindex \override
-@funindex override
我々はすでに @ref{コンテキスト プロパティを変更する} と
@ref{エングラーバを追加 / 削除する} で @strong{コンテキスト} のプロパティを@c
@cindex revert command (revert コマンド)
@funindex \revert
-@funindex revert
一旦オーバライドされると、そのプロパティは再度オーバライドされるか
@code{\revert} コマンドに遭遇するまで新しい値のままでいます。@c
@translationof The \once prefix
@funindex \once
-@funindex once
@code{\override} コマンドと @code{\set} コマンドには両方とも@c
接頭辞 @code{\once} が付く可能性があります。@c
@cindex overrideProperty command (overrideProperty コマンド)
@funindex \overrideProperty
-@funindex overrideProperty
オーバライド コマンドには @code{\overrideProperty} という@c
もう 1 つのフォーマットがあり、時々必要となります。@c
@cindex tweak command (tweak コマンド)
@funindex \tweak
-@funindex tweak
利用可能な最後の調整コマンドは @code{\tweak} です。@c
これは同じ音楽タイミングで発生するいくつかのオブジェクトのうち、@c
@cindex once override (一度だけオーバライドする)
@funindex \once
-@funindex once
上記の最後の例では @emph{すべて} のスラーが太くなっています。@c
しかし、最初のスラーだけを太くしたい場合はどうでしょうか？@c
@cindex default properties, reverting to (デフォルトのプロパティに戻す)
@funindex \revert
-@funindex revert
最後に、最初の 2 つだけのスラーを太くしたい場合はどうでしょうか？@c
その場合、2 つのコマンド -- それぞれの前に @code{\once} を付けた --
@cindex ottava bracket (オッターバ囲み)
@funindex \startTextSpan
-@funindex startTextSpan
@funindex \stopTextSpan
-@funindex stopTextSpan
@cindex TextSpanner, example of overriding (TextSpanner をオーバライドする例)
@cindex bound-details property, example (bound-details プロパティの例)
@cindex notes, spreading out with text (テキストに合わせて音符の間隔を広げる)
@funindex \textLengthOn
-@funindex textLengthOn
@funindex \textLengthOff
-@funindex textLengthOff
デフォルトでは、音楽のレイアウトが考慮されている限り、@c
マークアップによって作り出されるテキストは水平方向のスペースと関係しません。@c
@cindex engravers, including in contexts (エングラーバをコンテキストに含める)
@funindex \alias
-@funindex alias
@funindex \name
-@funindex name
@funindex \type
-@funindex type
@funindex \consists
-@funindex consists
@funindex \accepts
-@funindex accepts
@funindex \denies
-@funindex denies
@code{Staff} や @code{Voice} のようなコンテキストは、@c
簡単なブロックの組み合わせで構成されています。
@cindex finger change (指を変える)
@funindex \finger
-@funindex finger
運指の指示は @var{音符}-@var{数字} を用いることで挿入することができます:
@cindex thumb-script (サム-スクリプト)
@funindex \thumb
-@funindex thumb
ある音符を親指で演奏するよう指示するために、@c
サム-スクリプト (thumb-script) を付け加えることができます
@cindex notes, transparent
@funindex \hideNotes
-@funindex hideNotes
@funindex \unHideNotes
-@funindex unHideNotes
@c 未訳
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
@funindex color
@funindex \with-color
-@funindex with-color
@funindex x11-color
個々のオブジェクトに色を割り振ることができます。@c
@cindex brackets (囲み)
@funindex \parenthesize
-@funindex parenthesize
音楽イベントの前に @code{\parenthesize} を置くことによって、@c
そのオブジェクトに括弧を付けることができます。@c
@cindex invisible stem (不可視の符幹)
@funindex \stemUp
-@funindex stemUp
@funindex \stemDown
-@funindex stemDown
@funindex \stemNeutral
-@funindex stemNeutral
@cindex stem, direction (符幹の向き)
@cindex stem, up (符幹を上向きにする)
@cindex stem, down (符幹を下向きにする)
@funindex balloonGrobText
@funindex balloonText
@funindex \balloonLengthOn
-@funindex balloonLengthOn
@funindex \balloonLengthOff
-@funindex balloonLengthOff
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。
@funindex Horizontal_bracket_engraver
@funindex \startGroup
-@funindex startGroup
@funindex \stopGroup
-@funindex stopGroup
音楽分析では、囲みを使って楽曲の構造を示します。@c
シンプルな水平な囲みがサポートされています。
@cindex dynamics, absolute (絶対強弱記号)
@funindex \ppppp
-@funindex ppppp
@funindex \pppp
-@funindex pppp
@funindex \ppp
-@funindex ppp
@funindex \pp
-@funindex pp
@funindex \p
-@funindex p
@funindex \mp
-@funindex mp
@funindex \mf
-@funindex mf
@funindex \f
-@funindex f
@funindex \ff
-@funindex ff
@funindex \fff
-@funindex fff
@funindex \ffff
-@funindex ffff
@funindex \fffff
-@funindex fffff
@funindex \fp
-@funindex fp
@funindex \sf
-@funindex sf
@funindex \sff
-@funindex sff
@funindex \sp
-@funindex sp
@funindex \spp
-@funindex spp
@funindex \sfz
-@funindex sfz
@funindex \rfz
-@funindex rfz
絶対強弱記号は音符の後にコマンドを用いて
-- @code{c4\ff} などのように
@funindex \>
@funindex \!
@funindex \cr
-@funindex cr
@funindex \decr
-@funindex decr
@notation{クレッシェンド} 記号は @code{\<} で始まり、@code{\!}、@c
絶対強弱記号あるいは追加のクレッシェンド記号またはデクレッシェンド記号で@c
@cindex espressivo articulation (表現的なアーティキュレーション)
@funindex \espressivo
-@funindex espressivo
@code{\espressivo} コマンドを用いて、同じ音符にクレッシェンドとデクレッシェンドを@c
付けることができます。@c
@funindex \cresc
-@funindex cresc
@funindex \decresc
-@funindex decresc
@funindex \dim
-@funindex dim
テキストのクレッシェンド記号は @code{\cresc} で開始します。@c
テキストのデクレッシェンド記号は @code{\decresc} または
@code{\dim} で開始します。@c
@end lilypond
@funindex \crescTextCresc
-@funindex crescTextCresc
@funindex \dimTextDecresc
-@funindex dimTextDecresc
@funindex \dimTextDecr
-@funindex dimTextDecr
@funindex \dimTextDim
-@funindex dimTextDim
@funindex \crescHairpin
-@funindex crescHairpin
@funindex \dimHairpin
-@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]
強弱記号の垂直方向の位置は
@rinternals{DynamicLineSpanner} によって処理されます。
@funindex \dynamicUp
-@funindex dynamicUp
@funindex \dynamicDown
-@funindex dynamicDown
@funindex \dynamicNeutral
-@funindex dynamicNeutral
@code{Dynamics} を用いて水平線上に強弱記号を譜刻することができます。@c
タイミングを示すために空白休符を使用します。@c
@cindex dynamics, parenthesis (括弧の強弱記号)
@cindex editorial dynamics (注釈の強弱記号)
@funindex \bracket
-@funindex bracket
@funindex \dynamic
-@funindex dynamic
マークアップ モードでは、@c
注釈の強弱記号 (括弧や角括弧で囲まれます) を作成することができます。@c
@cindex slurs, below notes (音符の下にスラーを配置する)
@cindex slurs, above notes (音符の上にスラーを配置する)
@funindex \slurDown
-@funindex slurDown
@funindex \slurNeutral
-@funindex slurNeutral
スラーを手動で音符の上または下に配置することができます。@c
@ref{Direction and placement} を参照してください。
@cindex slur, dashed (破線のスラー)
@cindex style, slur (スラーのスタイル)
@funindex \slurDashed
-@funindex slurDashed
@funindex \slurDotted
-@funindex slurDotted
@funindex \slurSolid
-@funindex slurSolid
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:
@end lilypond
@funindex \slurHalfDashed
-@funindex slurHalfDashed
@funindex \slurHalfSolid
-@funindex slurHalfSolid
@cindex slur, half dashed and half solid (半分が破線で半分が実線のスラー)
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
@end lilypond
@funindex \slurDashPattern
-@funindex slurDashPattern
@cindex slur, defining dash patterns (スラーの破線パターンを定義する)
スラーの破線パターンを定義することができます:
@funindex \slurUp
-@funindex slurUp
@predefined
@end lilypond
@funindex \phrasingSlurUp
-@funindex phrasingSlurUp
@funindex \phrasingSlurDown
-@funindex phrasingSlurDown
@funindex \phrasingSlurNeutral
-@funindex phrasingSlurNeutral
印刷の上では、フレージング スラーは通常のスラーとほとんど同じです。@c
しかしながら、それぞれ異なるオブジェクトとして取り扱われます。@c
同時進行あるいは重なり合うフレージング スラーは許可されません。
-@funindex phrasingSlurDashed
@funindex \phrasingSlurDashed
@funindex \phrasingSlurDotted
-@funindex phrasingSlurDotted
@funindex \phrasingSlurSolid
-@funindex phrasingSlurSolid
@cindex phrasing slur, dashed (破線のフレージング スラー)
@cindex dashed phrasing slur (破線のフレージング スラー)
@cindex phrasing slur, dotted (点線のフレージング スラー)
}
@end lilypond
-@funindex phrasingSlurHalfDashed
@funindex \phrasingSlurHalfDashed
@funindex \phrasingSlurHalfSolid
-@funindex phrasingSlurHalfSolid
@cindex phrasing slur, half solid and half dashed (半分が実線で半分が破線のフレージング スラー)
@cindex slur, half solid and half dashed phrasing (半分が実線で半分が破線のフレージング スラー)
@end lilypond
@funindex \phrasingSlurDashPattern
-@funindex phrasingSlurDashPattern
@cindex phrasing slur, defining dash patterns
@cindex slur, phrasing, defining dash patterns (フレージング スラーの破線パターンを定義する)
@cindex slur, defining dash patterns for phrasing (フレージング スラーの破線パターンを定義する)
@cindex breath marks (ブレス記号)
@cindex pause mark (休止記号)
@funindex \breathe
-@funindex breathe
ブレス記号は @code{\breathe} を用いて入力します:
@cindex falls (Fall)
@cindex doits (Doit)
@funindex \bendAfter
-@funindex bendAfter
@code{\bendAfter} コマンドを用いて、@c
@notation{Fall} と @notation{Doit} 音符にを付け加えることができます。@c
@cindex glissando (グリッサンド)
@funindex \glissando
-@funindex glissando
@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:
@cindex chord, broken (変則和音)
@funindex \arpeggio
-@funindex arpeggio
@funindex \arpeggioArrowUp
-@funindex arpeggioArrowUp
@funindex \arpeggioArrowDown
-@funindex arpeggioArrowDown
@funindex \arpeggioNormal
-@funindex arpeggioNormal
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:
@cindex special arpeggio symbols (特殊なアルペジオ シンボル)
@funindex \arpeggioBracket
-@funindex arpeggioBracket
@funindex \arpeggioParenthesis
-@funindex arpeggioParenthesis
@funindex \arpeggioParenthesisDashed
-@funindex arpeggioParenthesisDashed
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:
@cindex trills (トリル)
@funindex \trill
-@funindex trill
@funindex \startTrillSpan
-@funindex startTrillSpan
@funindex \stopTrillSpan
-@funindex stopTrillSpan
延長線を持たない短い @notation{トリル} は @code{\trill} で譜刻されます。@c
@ref{アーティキュレーションと装飾} を参照してください。
@cindex pitched trills (ピッチを持つトリル)
@cindex trills, pitched (ピッチを持つトリル)
@funindex \pitchedTrill
-@funindex pitchedTrill
明示的なピッチを持つ予備の音符を必要とするトリルは
@code{\pitchedTrill} コマンドを用いて譜刻することができます。@c
あらかじめ定義された弦チューニングは @file{ly/string-tunings-init.ly} の中に@c
あります。
-@funindex stringTunings
@funindex \stringTunings
@cindex tablature, custom string tunings (カスタム弦チューニングのタブ譜)
@cindex custom string tunings (カスタム弦チューニング)
@cindex fret-diagram markup (フレット ダイアグラムのマークアップ)
@cindex ukulele (ウクレレ)
-@funindex fret-diagram
@funindex \fret-diagram
フレット ダイアグラムのサイズ、それにダイアグラムの中のフレット数を@c
@cindex fret-diagram-terse markup (fret-diagram-terse マークアップ)
-@funindex fret-diagram-terse
@funindex \fret-diagram-terse
fret-diagram-terse マークアップ文字列は弦番号を省略します。@c
@cindex fret-diagram-verbose markup (fret-diagram-verbose マークアップ)
@cindex capo (カポ)
-@funindex fret-diagram-verbose
@funindex \fret-diagram-verbose
fret-diagram-verbose マークアップ文字列のフォーマットは Scheme リストです。@c
@cindex fret diagrams with chord names
@funindex ChordNames
-@funindex chordmode
@funindex \chordmode
コード ネームとフレット ダイアグラムを一緒に表示させることが@c
@cindex chord shapes for fretted instruments (フレットのある楽器のコード シェイプ)
@funindex \addChordShape
-@funindex addChordShape
-@funindex storePredefinedDiagram
@funindex \storePredefinedDiagram
@ignore
>>
@end lilypond
-@funindex predefinedFretboardsOff
@funindex \predefinedFretboardsOff
-@funindex predefinedFretboardsOn
@funindex \predefinedFretboardsOn
デフォルトではあらかじめ定義されたダイアグラムは読み込まれないため、@c
@cindex fingerings, right hand for fretted instruments (フレットのある楽器での右手の運指)
@cindex right hand fingerings for fretted instruments (フレットのある楽器での右手の運指)
-@funindex rightHandFinger
@funindex \rightHandFinger
右手の運指 @var{p-i-m-a} は後に数字が続く @code{\rightHandFinger} を用いて@c
@unnumberedsubsubsec パワー コードの指示
@translationof Indicating power chords
-@funindex powerChords
@funindex \powerChords
@cindex power chords (パワー コード)
@cindex beams, cross-staff (譜を跨ぐ連桁)
@funindex \change
-@funindex change
以下のコマンドを用いて、ボイスの譜を手動で切り換えることができます:
@cindex staff changes, automatic (譜の自動変更)
@funindex \autochange
-@funindex autochange
@funindex PianoStaff
譜の上端と下端の間で、ボイスを自動的に切り換えることができます。@c
@cindex autochange and relative music (自動変更と相対モード)
@funindex \relative
-@funindex relative
@code{\autochange} の外側にある @code{\relative} セクションは、@c
@code{\autochange} の内部にある音符のピッチに影響を与えません。@c
@funindex followVoice
@funindex \showStaffSwitch
-@funindex showStaffSwitch
@funindex \hideStaffSwitch
-@funindex hideStaffSwitch
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:
@cindex U.C.
@funindex \sustainOn
-@funindex sustainOn
@funindex \sustainOff
-@funindex sustainOff
@funindex \sostenutoOn
-@funindex sostenutoOn
@funindex \sostenutoOff
-@funindex sostenutoOff
@funindex \unaCorda
-@funindex unaCorda
@funindex \treCorde
-@funindex treCorde
一般的に、ピアノは音を変化させるために 3 本のペダルを持ちます:
@notation{サステイン}, @notation{ソステヌート} (@notation{sos.}),
@cindex relative octave specification (相対オクターブ指定)
@cindex ocatve specification, relative (相対オクターブ指定)
-@funindex relative
@funindex \relative
絶対オクターブ入力は、一つ一つの音符のオクターブを指定する必要があります。@c
@cindex transposition and relative octave entry (移調と相対オクターブ入力)
@funindex \transpose
-@funindex transpose
@funindex \chordmode
-@funindex chordmode
@funindex \relative
-@funindex relative
@node 臨時記号
@funindex =
@funindex \octaveCheck
-@funindex octaveCheck
@funindex controlpitch
相対モードでは、オクターブ変更記号を付け忘れることが容易に起こり得ます。@c
@cindex notes, transposition of (音符の移調)
@funindex \transpose
-@funindex transpose
音楽表記は @code{\transpose} で移調させることができます。@c
構文は以下の通りです:
@rinternals{TransposedMusic}
@funindex \transpose
-@funindex transpose
@funindex \chordmode
-@funindex chordmode
@funindex \relative
-@funindex relative
@knownissues
相対変換コマンドはその引数の中にある @code{\transpose}, @code{\chordmode},
@cindex transformation, retrograde (逆行変換)
@cindex operation, retrograde (逆行操作)
@funindex \retrograde
-@funindex retrograde
音楽表記を後ろから前に演奏する逆行を作り出すことができます:
@cindex transposition, modal (様式的な移調)
@cindex operation, transposition (移調操作)
@funindex \modalTranspose
-@funindex modalTranspose
以下により、与えられた音階でモチーフを移調させることができます:
@cindex inversion, modal (様式的な反転)
@cindex operation, modal inversion (様式的な反転操作)
@funindex \modalInversion
-@funindex modalInversion
モチーフを与えられた音階に従って与えられた旋回点 (音符) で反転させて、
移調させることを 1 つの操作でできます:
@cindex clef, subbass (低バス音部記号)
@funindex \clef
-@funindex clef
音部記号を変えることができます。@c
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
@cindex key signature (調号)
@funindex \key
-@funindex key
@c duplicated in Key signature and Accidentals
@warning{LilyPond を始めたばかりのユーザは@c
@end example
@funindex \major
-@funindex major
@funindex \minor
-@funindex minor
@funindex \ionian
-@funindex ionian
@funindex \locrian
-@funindex locrian
@funindex \aeolian
-@funindex aeolian
@funindex \mixolydian
-@funindex mixolydian
@funindex \lydian
-@funindex lydian
@funindex \phrygian
-@funindex phrygian
@funindex \dorian
-@funindex dorian
@cindex church modes (チャーチ モード)
@cindex modes (モード)
@funindex set-octavation
@funindex \ottava
-@funindex ottava
@notation{オッターバ囲み} は譜をオクターブ単位で移調します:
@cindex MIDI transposition (MIDI の移調)
@funindex \transposition
-@funindex transposition
楽器の移調を含む楽器を譜刻するとき、いくつかのパートは@c
@notation{コンサート ピッチ} とは異なるピッチで譜刻される可能性があります。@c
@cindex note heads, easy play (演奏を容易にする符頭)
@funindex \easyHeadsOn
-@funindex easyHeadsOn
@funindex \easyHeadsOff
-@funindex easyHeadsOff
@q{演奏を容易にする} 符頭は、符頭の中に音符名を含みます。@c
これは、初心者のための楽譜で使用されます。@c
@cindex note heads, Walker
@funindex \aikenHeads
-@funindex aikenHeads
@funindex \sacredHarpHeads
-@funindex sacredHarpHeads
@funindex \southernHarmonyHeads
-@funindex southernHarmonyHeads
@funindex \funkHeads
-@funindex funkHeads
@funindex \walkerHeads
-@funindex walkerHeads
シェイプ ノート記譜法では、@c
符頭の形状は音階の中での音符の位置付けに対応します。@c
@end lilypond
@funindex \key
-@funindex key
@funindex \aikenHeadsMinor
-@funindex aikenHeadsMinor
@funindex \sacredHarpHeadsMinor
-@funindex sacredHarpHeadsMinor
@funindex \southernHarmonyHeadsMinor
-@funindex southernHarmonyHeadsMinor
@funindex \funkHeadsMinor
-@funindex funkHeadsMinor
@funindex \walkerHeadsMinor
-@funindex walkerHeadsMinor
符頭の形状は音階の中での位置に対応し、@c
音階のベースは @code{\key} コマンドによって決まります。@c
@cindex note heads, slashed (スラッシュ形の符頭)
@funindex \improvisationOn
-@funindex improvisationOn
@funindex \improvisationOff
-@funindex improvisationOff
即興はしばしばスラッシュ形の符頭で記されます。@c
そのような表記では、演奏者は好みのピッチを選ぶことができますが、@c
@cindex note lengths (音符の長さ)
@funindex \longa
-@funindex longa
@funindex \breve
-@funindex breve
@funindex \maxima
-@funindex maxima
演奏時間は数とドットで指定されます。@c
演奏時間はその演奏時間の逆数で入力されます。@c
詳細は @ref{Proportional notation} を参照してください。
@funindex \dotsUp
-@funindex dotsUp
@funindex \dotsDown
-@funindex dotsDown
@funindex \dotsNeutral
-@funindex dotsNeutral
通常、多声でない限り、ドットは譜線を避けるために上に移動させられます。@c
ある特定のドットの移動方向を手動で指定するための定義済みコマンドがあります
@cindex triplets (3 連符)
@funindex \tuplet
-@funindex tuplet
連符は @code{\tuplet} を使った音楽表記から作られ、@c
音楽表記の速度に分数を掛け合わせます。
@cindex tuplet bracket placement (連符囲みの配置)
@funindex \tupletUp
-@funindex tupletUp
@funindex \tupletDown
-@funindex tupletDown
@funindex \tupletNeutral
-@funindex tupletNeutral
連符囲みは手動で譜の上または下に配置することができます:
@cindex expanding music (音楽を伸長する)
@funindex \scaleDurations
-@funindex scaleDurations
同様の方法で分数を使うことで、長く伸びた音楽を圧縮することができます。@c
それによりそれぞれの音符、和音、休符には@c
@cindex ties and volta brackets (タイと volta 囲み)
@funindex \repeatTie
-@funindex repeatTie
繰り返しの 2 回目の差し替え部分はタイで結ばれた音符で始まっています。@c
そのような繰り返し部分でのタイは以下のように指定する必要があります:
@cindex ties, laissez vibrer (レセ ヴィブレのタイ)
@funindex \laissezVibrer
-@funindex laissezVibrer
@notation{L.v.}@: タイ (@notation{レセ ヴィブレ: laissez vibrer}) は@c
音符を終端で途切れさせないということを示します。@c
@cindex ties, placement (タイの配置)
@funindex \tieUp
-@funindex tieUp
@funindex \tieDown
-@funindex tieDown
@funindex \tieNeutral
-@funindex tieNeutral
タイを手動で譜の上または下に配置することができます。
@ref{Direction and placement} を参照してください。
@cindex dotted ties (点線のタイ)
@funindex \tieDotted
-@funindex tieDotted
@funindex \tieDashed
-@funindex tieDashed
@funindex \tieSolid
-@funindex tieSolid
タイを破線、点線、実線と破線の組み合わせにすることができます。
@cindex breve rest (二全休符)
@funindex \rest
-@funindex rest
@funindex r
@funindex \maxima
-@funindex maxima
@funindex \longa
-@funindex longa
@funindex \breve
-@funindex breve
休符は音符名 @code{r} を持つ音符として入力されます。@c
全休符よりも長い演奏時間を持つ休符には以下に示す定義済みコマンドを使用します:
@funindex s
@funindex \skip
-@funindex skip
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:
@cindex multi-measure rest, contracting (複数小節にまたがる休符をまとめる)
@funindex \expandFullBarRests
-@funindex expandFullBarRests
@funindex \compressFullBarRests
-@funindex compressFullBarRests
デフォルトでは、複数小節にまたがる休符は@c
休みの小節すべてを明示的に示すように譜刻される楽譜に展開されます。@c
@cindex multi-measure rest with markup (マークアップを持つ複数小節にまたがる休符)
@funindex \fermataMarkup
-@funindex fermataMarkup
@funindex MultiMeasureRestText
マークアップを複数小節にまたがる休符に付け加えることができます。@c
@funindex \textLengthOn
-@funindex textLengthOn
@funindex \textLengthOff
@funindex textLenthOff
@funindex \fermataMarkup
-@funindex fermataMarkup
@funindex \compressFullBarRests
-@funindex compressFullBarRests
@funindex \expandFullBarRests
-@funindex expandFullBarRests
@predefined
@code{\textLengthOn},
@cindex meter (拍)
@funindex \time
-@funindex time
拍子は以下のようにセットします:
@cindex meter style (拍スタイル)
@funindex \numericTimeSignature
-@funindex numericTimeSignature
@funindex \defaultTimeSignature
-@funindex defaultTimeSignature
2/2 や 4/4 で使用される拍子は数字を使用するスタイルに変更することができます:
@cindex metronome marking with text (テキストを持つメトロノーム記号)
@funindex \tempo
-@funindex tempo
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:
@funindex measurePosition
@funindex \partial
-@funindex partial
@emph{弱拍} や @emph{上拍} などのような部分小節またはピックアップ小節は、@c
@code{\partial} コマンドを使って入力します:@c
@cindex beams, unmetered music (無韻律の音楽での連桁)
@funindex \cadenzaOn
-@funindex cadenzaOn
@funindex \cadenzaOff
-@funindex cadenzaOff
韻律のある音楽では、自動的に小節線が挿入され、小節番号が算出されます。@c
無韻律の音楽 (例えばカデンツァ) では、これは望ましくなく、コマンド
@funindex timeSignatureFraction
@funindex \scaleDurations
-@funindex scaleDurations
@funindex \times
-@funindex times
多拍子記譜法がサポートされます。
複合拍子記譜法がサポートされます。@c
@funindex Pitch_squash_engraver
@funindex \improvisationOn
-@funindex improvisationOn
@funindex \improvisationOff
-@funindex improvisationOff
ギター コード表はしばしばつま弾き (ストラム) のリズムを示します。@c
これは @code{Pitch_squash_engraver} と @code{\improvisationOn} を@c
@cindex beams, customizing rules (連桁の規則をカスタマイズする)
@funindex \autoBeamOn
-@funindex autoBeamOn
@funindex \autoBeamOff
-@funindex autoBeamOff
@lilypond[quote,verbatim]
\relative c'' {
@funindex beatStructure
@funindex measureLength
@funindex \time
-@funindex time
@funindex \set
-@funindex set
たいていの場合、自動連桁は拍の終わりで終了します。@c
拍の終了点はコンテキスト プロパティ @code{baseMoment} と
@end lilypond
@funindex \noBeam
-@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:
@cindex feathered beams (羽状の連桁)
@funindex \featherDurations
-@funindex featherDurations
@funindex grow-direction
羽状の連桁は、楽曲全体のテンポを変えることなく、音符の小さなグループを@c
@cindex repeat bars (繰り返しの小節線)
@funindex \bar
-@funindex bar
小節線は小節を区切り、繰り返しを示すためにも使用されます。@c
通常、単線の小節線が拍子に基づいて出力に自動的に挿入されます。
@funindex whichBar
@funindex defaultBarType
@funindex \bar
-@funindex bar
@funindex bartype
コマンド @code{\bar }@var{bartype} は
@end lilypond
@funindex \barNumberCheck
-@funindex barNumberCheck
大きな楽曲をコピーしている場合、LilyPond の小節番号と@c
コピー元のオリジナルの小節番号の対応をチェックすると役に立ちます。@c
@cindex mark, rehearsal (リハーサル記号)
@funindex \mark
-@funindex mark
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:
@cindex glyphs, music (音楽的図柄)
@funindex \musicglyph
-@funindex musicglyph
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:
@cindex grace notes, following (装飾小音符を後ろに配置する)
@funindex \afterGrace
-@funindex afterGrace
装飾小音符で記譜を終えたいのならば、@c
@code{\afterGrace} コマンドを使用します。@c
@cindex note cluster (音符のクラスタ)
@funindex \makeClusters
-@funindex makeClusters
クラスタは演奏すべき連続したピッチの範囲を示します。@c
クラスタは 1 組の音符の範囲 (envelope) として表されます。@c
@cindex lyrics assigned to one voice (1 つのボイスに代入される歌詞)
@funindex \voiceOne
-@funindex voiceOne
@funindex \voiceOne ... \voiceFour
@funindex Voice
@funindex \oneVoice
-@funindex oneVoice
@subsubsubheading 明示的にボイスをインスタンス化する
@cindex voices, multiple (複数のボイス)
@cindex shift rest, automatic (自動的な休符のシフト)
@funindex \shiftOn
-@funindex shiftOn
@funindex \shiftOnn
-@funindex shiftOnn
@funindex \shiftOnnn
-@funindex shiftOnnn
@funindex \shiftOff
-@funindex shiftOff
@funindex \mergeDifferentlyDottedOn
-@funindex mergeDifferentlyDottedOn
@funindex \mergeDifferentlyDottedOff
-@funindex mergeDifferentlyDottedOff
@funindex \mergeDifferentlyHeadedOn
-@funindex mergeDifferentlyHeadedOn
@funindex \mergeDifferentlyHeadedOff
-@funindex mergeDifferentlyHeadedOff
同じピッチ、同じ符頭を持ち、符幹の方向が逆で異なるボイスの中にある符頭は@c
自動的に 1 つの符頭にまとめられます -- マージされます。@c
@cindex a due part (二重奏パート)
@cindex solo part (ソロ パート)
@funindex \partcombine
-@funindex partcombine
自動パート結合は 2 つのパートに分かれた音楽を単一の譜にマージします。@c
これはオーケストラ譜を譜刻する時に特に有用です。@c
と @var{musicexpr2} のピッチには影響を与えません。
@funindex \partcombineChords
-@funindex partcombineChords
@funindex \partcombineApart
-@funindex partcombineApart
@funindex \partcombineUnisono
-@funindex partcombineUnisono
@funindex \partcombineSoloI
-@funindex partcombineSoloI
@funindex \partcombineSoloII
-@funindex partcombineSoloII
@funindex \partcombineAutomatic
-@funindex partcombineAutomatic
プロの楽譜では長いパッセージで、@c
2 つのボイスの音符のいくつかが同じでユニゾンとして譜刻できる場合であっても、@c
@cindex interleaved music (間奏)
@cindex parallel music (並列な音楽)
@funindex \parallelMusic
-@funindex parallelMusic
複数のパートを持つ音楽を入力コードの途中に挿入することができます。@c
関数 @code{\parallelMusic} は、@c
@cindex tablature (タブ譜)
@funindex \drummode
-@funindex drummode
@funindex DrumStaff
@funindex RhythmicStaff
@funindex TabStaff
@cindex ledger lines, modifying (加線を変更する)
@funindex \startStaff
-@funindex startStaff
@funindex \stopStaff
-@funindex stopStaff
@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。
@cindex resizing of staves (譜をリサイズする)
@funindex \startStaff
-@funindex startStaff
@funindex \stopStaff
-@funindex stopStaff
適切な位置で新しく同時進行の譜を作成することによって、@c
@notation{オッシア} 譜をセットすることができます:
@funindex \RemoveEmptyStaves
@funindex Staff_symbol_engraver
@funindex \stopStaff
-@funindex stopStaff
@code{Staff} コンテキストから @code{Staff_symbol_engraver} を@c
削除することによって、譜線を隠すことができます。@c
@cindex switching instruments (楽器を切り換える)
@funindex \addInstrumentDefinition
-@funindex addInstrumentDefinition
@funindex \instrumentSwitch
-@funindex instrumentSwitch
楽器の @emph{切り替え} が必要な場合、切り替えのために必要とされる@c
変更の詳細なリストを作成するために、@code{\addInstrumentDefinition} を
@cindex cue notes (演奏指示音符)
@funindex \addQuote
-@funindex addQuote
@funindex \quoteDuring
-@funindex quoteDuring
@funindex \transposition
-@funindex transposition
あるボイスが他のボイスと同じ音符を演奏することはごく一般的なことです。@c
例えば、第 1 バイオリンと第2バイオリンがあるパッセージで同じフレーズを@c
@cindex voices, quoting(ボイスを引用する)
@funindex \cueDuring
-@funindex cueDuring
@funindex \cueClef
-@funindex cueClef
@funindex \cueDuringWithClef
-@funindex cueDuringWithClef
@funindex \quoteDuring
-@funindex quoteDuring
@cindex notes, smaller (小さな音符)
@cindex smaller notes (小さな音符)
@end lilypond
@funindex \transposedCueDuring
-@funindex transposedCueDuring
@code{\quoteDuring} と同様に、@code{\cueDuring} は楽器の移調を考慮します。@c
合図音符は合図を受け取る楽器のピッチで作り出され、@c
@cindex cue notes, removing (合図音符を削除する)
@funindex \killCues
-@funindex killCues
@funindex \addInstrumentDefinition
-@funindex addInstrumentDefinition
@code{\killCues} コマンドは音楽表記から合図音符を削除します。@c
これにより、同じ音楽表記を使って合図を持つ楽器パートと楽譜を作り出すことが@c
@rlearning{オブジェクトの配置} を参照してください。
@funindex \textLengthOn
-@funindex textLengthOn
@funindex \textLengthOff
-@funindex textLengthOff
@predefined
@code{\textLengthOn},
線スタイルの構文は @ref{Line styles} で記述されています。
@funindex \textSpannerUp
-@funindex textSpannerUp
@funindex \textSpannerDown
-@funindex textSpannerDown
@funindex \textSpannerNeutral
-@funindex textSpannerNeutral
@predefined
@cindex bar lines, symbols on (小節線上のシンボル)
@funindex \mark
-@funindex mark
@funindex \markup
-@funindex markup
@ref{リハーサル記号} で記述されている構文を用いて、@c
さまざまなテキスト要素を楽譜に付け加えることができます:
@end lilypond
@funindex \markLengthOn
-@funindex markLengthOn
@funindex \markLengthOff
-@funindex markLengthOff
@predefined
@code{\markLengthOn},
@cindex text, top-level (最上位レベルのテキスト)
@funindex \markup
-@funindex markup
@code{\markup} ブロックはそれ自体で、@c
すべての @code{\score} ブロックの外側に、@c
@funindex \markup
-@funindex markup
@funindex \markuplist
-@funindex markuplist
@predefined
@code{\markup},
@cindex typeset text (テキストの譜刻)
@funindex \markup
-@funindex markup
@code{\markup} ブロックは @qq{マークアップ モード} と呼ばれる@c
拡張可能な構文でテキストを譜刻するために用いられます。
@cindex switching fonts (フォントを切り換える)
@funindex \italic
-@funindex italic
@funindex \bold
-@funindex bold
@funindex \underline
-@funindex underline
マークアップ モードでは、基本的なフォント切り替えがサポートされています:
@funindex \abs-fontsize
@funindex \fontsize
-@funindex fontsize
@funindex \smaller
-@funindex smaller
@funindex \larger
-@funindex larger
@funindex \magnify
-@funindex magnify
フォント サイズをいくつかの方法でグローバル譜サイズとの相対値で変更することができます。
@cindex superscript (上付き文字)
@funindex \super
-@funindex super
@funindex \sub
-@funindex sub
@funindex \normal-size-super
-@funindex normal-size-super
テキストを下付き文字あるいは上付き文字として譜刻することができます。@c
デフォルトでは、それらは小さなサイズで譜刻されますが、@c
カスタム フォント セットを定義することも可能です。
@funindex \teeny
-@funindex teeny
@funindex \tiny
-@funindex tiny
@funindex \small
-@funindex small
@funindex \normalsize
-@funindex normalsize
@funindex \large
-@funindex large
@funindex \huge
-@funindex huge
@funindex \smaller
-@funindex smaller
@funindex \larger
-@funindex larger
@predefined
@code{\teeny},
@cindex horizontal text alignment (テキストを水平方向に揃える)
@funindex \left-align
-@funindex left-align
@funindex \center-align
-@funindex center-align
@funindex \right-align
-@funindex right-align
マークアップ オブジェクトの揃え方はいくつかあります。@c
デフォルトでは、テキスト指示はそのテキストの左端で揃えられます:
@end lilypond
@funindex \halign
-@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:
@cindex vertical text alignment (テキストを垂直方向に揃える)
@funindex \raise
-@funindex raise
@funindex \lower
-@funindex lower
@funindex \null
-@funindex null
@c QUERY Should the function of ``\null'' be clarified? rp
@end lilypond
@funindex \general-align
-@funindex general-align
@funindex \translate
-@funindex translate
@funindex \translate-scaled
-@funindex translate-scaled
コマンドの中にはマークアップ モードの中にあるテキスト オブジェクトの@c
水平方向と垂直方向の両方の揃え方に影響を与えることができるものもあります。@c
@cindex columns, text (縦に積み重ねたテキスト)
@funindex \column
-@funindex column
@funindex \center-column
-@funindex center-column
マークアップ オブジェクトに何行かのテキストが含まれる場合もあります。@c
以下の例では、それぞれの要素あるいは表記はそれ自体の行に配置され、@c
@cindex markup, centering on the page (マークアップをページの中央に揃える)
@funindex \fill-line
-@funindex fill-line
同様に、要素あるいは表記のリストの広がりが水平の行幅いっぱいを占める@c
ことがあります (要素が 1 つだけの場合、その要素はページの中央に揃えられます)。@c
@cindex markup text, justified (両端揃えのマークアップ テキスト)
@funindex \wordwrap
-@funindex wordwrap
@funindex \justify
-@funindex justify
さらに、長いテキスト指示を自動的に行幅に合わせて折り返すことができます。@c
そのようなテキスト指示は、以下の例で示すように、左揃えされるか両端揃えされます。
@cindex markup text, framing (マークアップ テキストにフレームを付ける)
@funindex \box
-@funindex box
@funindex \circle
-@funindex circle
@funindex \rounded-box
-@funindex rounded-box
@funindex \bracket
-@funindex bracket
@funindex \hbracket
-@funindex hbracket
以下の例で示すように、@c
マークアップ コマンドの中にはテキスト要素を@c
@cindex markup text padding (マークアップ テキスト パディング)
@funindex \pad-markup
-@funindex pad-markup
@funindex \pad-x
-@funindex pad-x
@funindex \pad-to-box
-@funindex pad-to-box
@funindex \pad-around
-@funindex pad-around
コマンドの中にはテキストの周りのパディングを増やすことを必要とするものも@c
あります。@c
@cindex notation, graphic (グラフィック記譜法)
@funindex \combine
-@funindex combine
@funindex \draw-circle
-@funindex draw-circle
@funindex \filled-box
-@funindex filled-box
@funindex \triangle
-@funindex triangle
@funindex \draw-line
-@funindex draw-line
@funindex \arrow-head
-@funindex arrow-head
テキストを持たないグラフィック要素やシンボルを譜刻することもできます。@c
他のマークアップ表記と同様に、@c
@cindex postscript
@funindex \epsfile
-@funindex epsfile
@funindex \postscript
-@funindex postscript
高度なグラフィック機能として、@c
外部画像ファイルを Encapsulated PostScript フォーマット (@emph{eps})
@cindex text spread over multiple pages (複数ページに広がるテキスト)
@funindex \markuplist
-@funindex markuplist
@funindex \justified-lines
-@funindex justified-lines
@funindex \wordwrap-lines
-@funindex wordwrap-lines
標準のマークアップ オブジェクトは分割することができません。@c
しかしながら、
@rinternals{TextScript}
@funindex \markuplist
-@funindex markuplist
@predefined
@code{\markuplist}
@cindex Scottish highland bagpipe (スコティッシュ ハイランド バグパイプ)
@cindex grace notes (装飾小音符)
@funindex \taor
-@funindex taor
@funindex \hideKeySignature
-@funindex hideKeySignature
@funindex \showKeySignature
-@funindex showKeySignature
LilyPond はスコティッシュ、ハイランド バグパイプ音楽のための特殊な定義を@c
保持しています。@c
@cindex layout vs. content
@funindex \key
-@funindex key
@funindex \major
-@funindex major
@funindex \minor
-@funindex minor
Music Glossary: @rglos{key signature}, @rglos{major},
@rglos{minor}.
@funindex \mf
@funindex \pp
@funindex \<
-@funindex <
@funindex \>
-@funindex >
@funindex \!
-@funindex !
Music Glossary: @rglos{dynamics}, @rglos{crescendo},
@rglos{decrescendo}.
@cindex markup
@funindex \markup
-@funindex markup
Text may be added to your scores:
@funindex [
@funindex ]
@funindex \autoBeamOff
-@funindex autoBeamOff
@funindex \autoBeamOn
-@funindex autoBeamOn
Music Glossary: @rglos{beam}.
@cindex partial measure
@funindex \partial
-@funindex partial
Music Glossary: @rglos{anacrusis}.
@cindex triplets
@funindex \tuplet
-@funindex tuplet
Music Glossary: @rglos{note value}, @rglos{triplet}.
@cindex appoggiatura
@funindex \grace
-@funindex grace
@funindex \acciaccatura
-@funindex acciaccatura
@funindex \appoggiatura
@funindex acciaccatura
@cindex notation context
@funindex \new Staff
-@funindex new Staff
@funindex Staff
@funindex \new
-@funindex new
@funindex Score
@funindex Voice
@funindex Lyrics
@cindex songs
@funindex \addlyrics
-@funindex addlyrics
Music Glossary: @rglos{lyrics}.
@cindex header block
@funindex \header
-@funindex header
The title, composer, opus number, and similar information are
entered in the @code{\header} block. This exists outside of the
example serves as a useful starting place.
@funindex \book
-@funindex book
@funindex \score
-@funindex score
@cindex book
@cindex score
@end example
@funindex \header
-@funindex header
@funindex \layout
-@funindex layout
@funindex \midi
-@funindex midi
@cindex header
@cindex layout
@cindex midi
@cindex book block, implicit
@cindex implicit book block
@funindex \book
-@funindex book
You may code multiple @code{\score} blocks. Each will be
treated as a separate score, but they will be all combined into
@subsection Score is a (single) compound musical expression
@funindex \score
-@funindex score
@cindex score
@cindex contents of a score block
@cindex score block, contents of
@subsection Explicitly instantiating voices
@funindex \voiceOne
-@funindex voiceOne
@funindex \voiceTwo
-@funindex voiceTwo
@funindex \voiceThree
-@funindex voiceThree
@funindex \voiceFour
-@funindex voiceFour
@funindex \oneVoice
-@funindex oneVoice
@funindex \new Voice
@cindex voice contexts, creating
@cindex collisions, notes
@cindex shift commands
@funindex \shiftOff
-@funindex shiftOff
@funindex \shiftOn
-@funindex shiftOn
@funindex \shiftOnn
-@funindex shiftOnn
@funindex \shiftOnnn
-@funindex shiftOnnn
Closely spaced notes in a chord, or notes occurring at the same
time in different voices, are arranged in two, occasionally more,
@funindex \new Lyrics
@funindex \lyricsto
-@funindex lyricsto
@funindex Lyrics
@cindex Lyrics context, creating
@cindex lyrics, linking to voice
@cindex lyrics and beaming
@cindex beaming and lyrics
@funindex \autoBeamOff
-@funindex autoBeamOff
The automatic beaming which LilyPond uses by default works well
for instrumental music, but not so well for music with lyrics,
@funindex \new ChoirStaff
@funindex ChoirStaff
@funindex \lyricmode
-@funindex lyricmode
@cindex vocal score structure
@cindex choir staff
@subsection Creating contexts
@funindex \new
-@funindex new
@cindex new contexts
@cindex creating contexts
@cindex contexts, creating
@cindex context properties, modifying
@cindex modifying context properties
@funindex \set
-@funindex set
@funindex \unset
-@funindex unset
Contexts are responsible for holding the values of a number of
context @emph{properties}. Many of them can be changed to
@subsubheading Setting context properties with @code{\with}
@funindex \with
-@funindex with
@cindex context properties, setting with \with
The default value of context properties may be set at the time the
@cindex context properties, setting with \context
@funindex \context
-@funindex context
The values of context properties may be set in @emph{all} contexts
of a particular type, such as all @code{Staff} contexts, with a single
@cindex removing engravers
@funindex \consists
-@funindex consists
@funindex \remove
-@funindex remove
We have seen that contexts each contain several engravers, each
of which is responsible for producing a particular part of the
@subsubheading Changing all contexts of the same type
@funindex \layout
-@funindex layout
The examples above show how to remove or add engravers to
individual contexts. It is also possible to remove or add
@cindex relative mode, and accidentals
@funindex \relative
-@funindex relative
@funindex '
@funindex ,
@cindex time signature
@funindex \time
-@funindex time
Music Glossary: @rglos{time signature}.
@cindex metronome marks
@funindex \tempo
-@funindex tempo
Music Glossary: @rglos{tempo indication}, @rglos{metronome}.
@cindex bass
@funindex \clef
-@funindex clef
Music Glossary: @rglos{clef}.
@cindex override syntax
@funindex \override
-@funindex override
We have already met the commands @code{\set} and @code{\with}, used to
change the properties of @strong{contexts} and to remove and add
@cindex revert command
@funindex \revert
-@funindex revert
Once overridden, the property retains its new value until it is
overridden again or a @code{\revert} command is encountered.
@unnumberedsubsubsec The @code{@bs{}once} prefix
@funindex \once
-@funindex once
@code{\override}, @code{\revert}, @code{\set}, and @code{\unset}
commands may be prefixed with @code{\once}. This causes such a
@cindex overrideProperty command
@funindex \overrideProperty
-@funindex overrideProperty
There is another form of the override command,
@code{\overrideProperty}, which is occasionally required.
@cindex tweak command
@funindex \tweak
-@funindex tweak
The final tweaking command which is available is @code{\tweak}. This
should be used when several objects occur at the same musical moment,
@cindex once override
@funindex \once
-@funindex once
As you can see, @emph{all} the slurs are thicker in the final example
above. But what if we wanted just the first slur to be thicker? This
@cindex default properties, reverting to
@funindex \revert
-@funindex revert
Finally, what if we wanted just the first two slurs to be
heavier? Well, we could use two commands, each preceded by
@cindex ottava bracket
@funindex \startTextSpan
-@funindex startTextSpan
@funindex \stopTextSpan
-@funindex stopTextSpan
@cindex TextSpanner, example of overriding
@cindex bound-details property, example
@cindex notes, spreading out with text
@funindex \textLengthOn
-@funindex textLengthOn
@funindex \textLengthOff
-@funindex textLengthOff
By default, text produced by markup takes up no horizontal space
as far as laying out the music is concerned. The @code{\textLengthOn}
@cindex collisions, notes
@cindex shift commands
@funindex \shiftOff
-@funindex shiftOff
@funindex \shiftOn
-@funindex shiftOn
@funindex \shiftOnn
-@funindex shiftOnn
@funindex \shiftOnnn
-@funindex shiftOnnn
Within a voice, all the notes occuring at the same musical moment are
grouped into a note column, and a @code{NoteColumn} object is created
@cindex layout versus invoer
@funindex \key
-@funindex key
@funindex \major
-@funindex major
@funindex \minor
-@funindex minor
Terminologie: @rglos{key signature}, @rglos{major},
@rglos{minor}.
@funindex \mf
@funindex \pp
@funindex \<
-@funindex <
@funindex \>
-@funindex >
@funindex \!
-@funindex !
Terminologie: @rglos{dynamics}, @rglos{crescendo},
@rglos{decrescendo}.
@cindex markup
@funindex \markup
-@funindex markup
Je kunt tekst aan je muziek toevoegen door:
@funindex [
@funindex ]
@funindex \autoBeamOff
-@funindex autoBeamOff
@funindex \autoBeamOn
-@funindex autoBeamOn
Terminologie: @rglos{beam}.
@cindex onvolledige maat
@funindex \partial
-@funindex partial
Terminologie: @rglos{anacrusis}.
@cindex triolen
@funindex \times
-@funindex times
Terminologie: @rglos{note value}, @rglos{triplet}.
@cindex appoggiatura
@funindex \grace
-@funindex grace
@funindex \acciaccatura
-@funindex acciaccatura
@funindex \appoggiatura
@funindex acciaccatura
@cindex notatiecontext
@funindex \new Staff
-@funindex new Staff
@funindex Staff
@funindex \new
-@funindex new
@funindex Score
@funindex Voice
@funindex Lyrics
@cindex liedjes
@funindex \addlyrics
-@funindex addlyrics
Terminologie: @rglos{lyrics}.
@cindex titelblok
@funindex \header
-@funindex header
De titel, componist, opusnummer, en soortgelijke informatie
worden ingevoerd in het @code{\header}-blok. Deze bevindt
@funindex \header
@funindex kop
@funindex \layout
-@funindex layout
@funindex \midi
-@funindex midi
@cindex kop
@cindex opmaak
@cindex midi
@subsection Score is a (single) compound musical expression
@funindex \score
-@funindex score
@cindex score
@cindex contents of a score block
@cindex score block, contents of
@subsection Explicitly instantiating voices
@funindex \voiceOne
-@funindex voiceOne
@funindex \voiceTwo
-@funindex voiceTwo
@funindex \voiceThree
-@funindex voiceThree
@funindex \voiceFour
-@funindex voiceFour
@funindex \oneVoice
-@funindex oneVoice
@funindex \new Voice
@cindex voice contexts, creating
@cindex collisions, notes
@cindex shift commands
@funindex \shiftOff
-@funindex shiftOff
@funindex \shiftOn
-@funindex shiftOn
@funindex \shiftOnn
-@funindex shiftOnn
@funindex \shiftOnnn
-@funindex shiftOnnn
Closely spaced notes in a chord, or notes occurring at the same
time in different voices, are arranged in two, occasionally more,
@funindex \new Lyrics
@funindex \lyricsto
-@funindex lyricsto
@funindex Lyrics
@cindex Lyrics context, creating
@cindex lyrics, linking to voice
@cindex lyrics and beaming
@cindex beaming and lyrics
@funindex \autoBeamOff
-@funindex autoBeamOff
The automatic beaming which LilyPond uses by default works well
for instrumental music, but not so well for music with lyrics,
@funindex \new ChoirStaff
@funindex ChoirStaff
@funindex \lyricmode
-@funindex lyricmode
@cindex vocal score structure
@cindex choir staff
@subsection Creating contexts
@funindex \new
-@funindex new
@cindex new contexts
@cindex creating contexts
@cindex contexts, creating
@cindex context properties, modifying
@cindex modifying context properties
@funindex \set
-@funindex set
@funindex \unset
-@funindex unset
Contexts are responsible for holding the values of a number of
context @emph{properties}. Many of them can be changed to
@subsubheading Setting context properties with @code{\with}
@funindex \with
-@funindex with
@cindex context properties, setting with \with
The default value of context properties may be set at the time the
@cindex context properties, setting with \context
@funindex \context
-@funindex context
The values of context properties may be set in @emph{all} contexts
of a particular type, such as all @code{Staff} contexts, with a single
@cindex removing engravers
@funindex \consists
-@funindex consists
@funindex \remove
-@funindex remove
We have seen that contexts each contain several engravers, each
of which is responsible for producing a particular part of the
@subsubheading Changing all contexts of the same type
@funindex \layout
-@funindex layout
The examples above show how to remove or add engravers to
individual contexts. It is also possible to remove or add
@cindex relatieve modus, en toevallige tekens
@funindex \relative
-@funindex relative
@funindex '
@funindex ,
@cindex maatsoort
@funindex \time
-@funindex time
Terminologie: @rglos{time signature}.
@cindex metronome marks
@funindex \tempo
-@funindex tempo
Terminologie: @rglos{tempo indication}, @rglos{metronome}.
@cindex bas
@funindex \clef
-@funindex clef
Terminologie: @rglos{clef}.
@cindex override syntax
@funindex \override
-@funindex override
We have already met the commands @code{\set} and @code{\with}, used to
change the properties of @strong{contexts} and to remove and add
@cindex revert command
@funindex \revert
-@funindex revert
Once overridden, the property retains its new value until it is
overridden again or a @code{\revert} command is encountered.
@unnumberedsubsubsec The @code{\once} prefix
@funindex \once
-@funindex once
Both the @code{\override} and the @code{\set} commands may be prefixed
by @code{\once}. This causes the following @code{\override} or
@cindex overrideProperty command
@funindex \overrideProperty
-@funindex overrideProperty
There is another form of the override command,
@code{\overrideProperty}, which is occasionally required.
@cindex tweak command
@funindex \tweak
-@funindex tweak
The final tweaking command which is available is @code{\tweak}. This
should be used when several objects occur at the same musical moment,
@cindex once override
@funindex \once
-@funindex once
As you can see, @emph{all} the slurs are thicker in the final example
above. But what if we wanted just the first slur to be thicker? This
@cindex default properties, reverting to
@funindex \revert
-@funindex revert
Finally, what if we wanted just the first two slurs to be
heavier? Well, we could use two commands, each preceded by
@cindex ottava bracket
@funindex \startTextSpan
-@funindex startTextSpan
@funindex \stopTextSpan
-@funindex stopTextSpan
@cindex TextSpanner, example of overriding
@cindex bound-details property, example
@cindex notes, spreading out with text
@funindex \textLengthOn
-@funindex textLengthOn
@funindex \textLengthOff
-@funindex textLengthOff
By default, text produced by markup takes up no horizontal space
as far as laying out the music is concerned. The @code{\textLengthOn}
@node Incipits
@unnumberedsubsubsec Incipits
@funindex \incipit
-@funindex incipit
@cindex incipits, adding
It is customary when transcribing mensural music into modern notation to place
@cindex engravers, including in contexts
@funindex \alias
-@funindex alias
@funindex \name
-@funindex name
@funindex \type
-@funindex type
@funindex \consists
-@funindex consists
@funindex \accepts
-@funindex accepts
@funindex \denies
-@funindex denies
Specific contexts, like @code{Staff} and @code{Voice}, are made from
simple building blocks. It is possible to create new types of
@cindex finger change
@funindex \finger
-@funindex finger
Fingering instructions can be entered using
@samp{@var{note}-@var{digit}}:
@cindex thumb-script
@funindex \thumb
-@funindex thumb
A thumb-script can be added (e.g. cello music) to indicate
that a note should be played with the thumb.
@cindex notes, transparent
@funindex \hideNotes
-@funindex hideNotes
@funindex \unHideNotes
-@funindex unHideNotes
Hidden (or invisible or transparent) notes can be useful in
preparing theory or composition exercises.
@funindex color
@funindex \with-color
-@funindex with-color
@funindex x11-color
Individual objects may be assigned colors. Valid color names
@cindex brackets
@funindex \parenthesize
-@funindex parenthesize
Objects may be parenthesized by prefixing @code{\parenthesize} to
the music event. When prefixed to a chord, it parenthesizes every
@cindex invisible stem
@funindex \stemUp
-@funindex stemUp
@funindex \stemDown
-@funindex stemDown
@funindex \stemNeutral
-@funindex stemNeutral
@cindex stem, direction
@cindex stem, up
@cindex stem, down
@funindex balloonGrobText
@funindex balloonText
@funindex \balloonLengthOn
-@funindex balloonLengthOn
@funindex \balloonLengthOff
-@funindex balloonLengthOff
Elements of notation can be marked and named with the help of a
square balloon. The primary purpose of this feature is to explain
@funindex Horizontal_bracket_engraver
@funindex \startGroup
-@funindex startGroup
@funindex \stopGroup
-@funindex stopGroup
Brackets are used in musical analysis to indicate structure in musical
pieces. Simple horizontal brackets are supported.
@cindex dynamics, absolute
@funindex \ppppp
-@funindex ppppp
@funindex \pppp
-@funindex pppp
@funindex \ppp
-@funindex ppp
@funindex \pp
-@funindex pp
@funindex \p
-@funindex p
@funindex \mp
-@funindex mp
@funindex \mf
-@funindex mf
@funindex \f
-@funindex f
@funindex \ff
-@funindex ff
@funindex \fff
-@funindex fff
@funindex \ffff
-@funindex ffff
@funindex \fffff
-@funindex fffff
@funindex \fp
-@funindex fp
@funindex \sf
-@funindex sf
@funindex \sff
-@funindex sff
@funindex \sp
-@funindex sp
@funindex \spp
-@funindex spp
@funindex \sfz
-@funindex sfz
@funindex \rfz
-@funindex rfz
Absolute dynamic marks are specified using a command after a note,
such as @code{c4\ff}. The available dynamic marks are
@funindex \>
@funindex \!
@funindex \cr
-@funindex cr
@funindex \decr
-@funindex decr
A @notation{crescendo} mark is started with @code{\<} and
terminated with @code{\!}, an absolute dynamic, or an additional
@cindex espressivo articulation
@funindex \espressivo
-@funindex espressivo
The @code{\espressivo} command can be used to indicate a crescendo
and decrescendo on the same note. However, be warned that this is
@end lilypond
@funindex \cresc
-@funindex cresc
@funindex \decresc
-@funindex decresc
@funindex \dim
-@funindex dim
Textual crescendo marks begin with @code{\cresc}.
Textual decrescendos begin with @code{\decresc} or @code{\dim}.
Extender lines are engraved as required.
@end lilypond
@funindex \crescTextCresc
-@funindex crescTextCresc
@funindex \dimTextDecresc
-@funindex dimTextDecresc
@funindex \dimTextDecr
-@funindex dimTextDecr
@funindex \dimTextDim
-@funindex dimTextDim
@funindex \crescHairpin
-@funindex crescHairpin
@funindex \dimHairpin
-@funindex dimHairpin
Textual marks for dynamic changes can also replace hairpins:
@lilypond[verbatim,quote]
Vertical positioning of dynamics is handled by
@rinternals{DynamicLineSpanner}.
@funindex \dynamicUp
-@funindex dynamicUp
@funindex \dynamicDown
-@funindex dynamicDown
@funindex \dynamicNeutral
-@funindex dynamicNeutral
A @code{Dynamics} context is available to engrave dynamics on
their own horizontal line. Use spacer rests to indicate timing.
@cindex dynamics, parenthesis
@cindex editorial dynamics
@funindex \bracket
-@funindex bracket
@funindex \dynamic
-@funindex dynamic
In markup mode, editorial dynamics (within parentheses or square
brackets) can be created. The syntax for markup mode is described
@cindex slurs, below notes
@cindex slurs, above notes
@funindex \slurDown
-@funindex slurDown
@funindex \slurNeutral
-@funindex slurNeutral
Slurs may be manually placed above or below the staff; see
@ref{Direction and placement}.
@cindex dashed slur
@cindex style, slur
@funindex \slurDashed
-@funindex slurDashed
@funindex \slurDotted
-@funindex slurDotted
@funindex \slurSolid
-@funindex slurSolid
Slurs can be solid, dotted, or dashed. Solid is the default slur
style:
@end lilypond
@funindex \slurHalfDashed
-@funindex slurHalfDashed
@funindex \slurHalfSolid
-@funindex slurHalfSolid
@cindex slur, half dashed and half solid
Slurs can also be made half-dashed (the first half dashed, the
@end lilypond
@funindex \slurDashPattern
-@funindex slurDashPattern
@cindex slur, defining dash patterns
Custom dash patterns for slurs can be defined:
@funindex \slurUp
-@funindex slurUp
@predefined
@end lilypond
@funindex \phrasingSlurUp
-@funindex phrasingSlurUp
@funindex \phrasingSlurDown
-@funindex phrasingSlurDown
@funindex \phrasingSlurNeutral
-@funindex phrasingSlurNeutral
Typographically, a phrasing slur behaves almost exactly like a
normal slur. However, they are treated as different objects; a
Simultaneous or overlapping phrasing slurs are entered using
@code{\=} as with regular slurs, see @ref{Slurs}.
-@funindex phrasingSlurDashed
@funindex \phrasingSlurDashed
@funindex \phrasingSlurDotted
-@funindex phrasingSlurDotted
@funindex \phrasingSlurSolid
-@funindex phrasingSlurSolid
@cindex phrasing slur, dashed
@cindex dashed phrasing slur
@cindex phrasing slur, dotted
}
@end lilypond
-@funindex phrasingSlurHalfDashed
@funindex \phrasingSlurHalfDashed
@funindex \phrasingSlurHalfSolid
-@funindex phrasingSlurHalfSolid
@cindex phrasing slur, half solid and half dashed
@cindex slur, half solid and half dashed phrasing
@end lilypond
@funindex \phrasingSlurDashPattern
-@funindex phrasingSlurDashPattern
@cindex phrasing slur, defining dash patterns
@cindex slur, phrasing, defining dash patterns
@cindex slur, defining dash patterns for phrasing
@cindex breath marks
@cindex pause mark
@funindex \breathe
-@funindex breathe
Breath marks are entered using @code{\breathe}:
@cindex falls
@cindex doits
@funindex \bendAfter
-@funindex bendAfter
@notation{Falls} and @notation{doits} can be added to notes using
the @code{\bendAfter} command. The direction of the fall or doit
@cindex glissando
@funindex \glissando
-@funindex glissando
A @notation{glissando} is created by appending @code{\glissando}
to a note:
@cindex chord, broken
@funindex \arpeggio
-@funindex arpeggio
@funindex \arpeggioArrowUp
-@funindex arpeggioArrowUp
@funindex \arpeggioArrowDown
-@funindex arpeggioArrowDown
@funindex \arpeggioNormal
-@funindex arpeggioNormal
An @notation{arpeggio} on a chord (also known as a broken chord)
is denoted by appending @code{\arpeggio} to the chord construct:
@cindex special arpeggio symbols
@funindex \arpeggioBracket
-@funindex arpeggioBracket
@funindex \arpeggioParenthesis
-@funindex arpeggioParenthesis
@funindex \arpeggioParenthesisDashed
-@funindex arpeggioParenthesisDashed
Special @emph{bracketed} arpeggio symbols can be created:
@cindex trills
@funindex \trill
-@funindex trill
@funindex \startTrillSpan
-@funindex startTrillSpan
@funindex \stopTrillSpan
-@funindex stopTrillSpan
Short trills without an extender line are printed with
@code{\trill}; see @ref{Articulations and ornamentations}.
@cindex pitched trills
@cindex trills, pitched
@funindex \pitchedTrill
-@funindex pitchedTrill
Trills that require an auxiliary note with an explicit pitch can
be typeset with the @code{\pitchedTrill} command. The first
@code{banjo-open-g-tuning}. The predefined string tunings
are found in @file{ly/string-tunings-init.ly}.
-@funindex stringTuning
@funindex \stringTuning
@cindex tablature, custom string tunings
@cindex custom string tunings
@cindex fret-diagram markup
@cindex ukulele
-@funindex fret-diagram
@funindex \fret-diagram
The size of the fret diagram, and the number of frets in the diagram
@cindex fret-diagram-terse markup
-@funindex fret-diagram-terse
@funindex \fret-diagram-terse
The fret-diagram-terse markup string omits string numbers; the string
@cindex fret-diagram-verbose markup
@cindex capo
-@funindex fret-diagram-verbose
@funindex \fret-diagram-verbose
The fret-diagram-verbose markup string is in the format of a Scheme list. Each
@cindex fret diagrams with chord names
@funindex ChordNames
-@funindex chordmode
@funindex \chordmode
It is common that both chord names and fret diagrams are displayed together.
@cindex chord shapes for fretted instruments
@funindex \addChordShape
-@funindex addChordShape
-@funindex storePredefinedDiagram
@funindex \storePredefinedDiagram
In addition to fret diagrams, LilyPond stores an internal list of chord
>>
@end lilypond
-@funindex predefinedFretboardsOff
@funindex \predefinedFretboardsOff
-@funindex predefinedFretboardsOn
@funindex \predefinedFretboardsOn
As no predefined diagrams are loaded by default, automatic calculation
@cindex fingerings, right hand for fretted instruments
@cindex right hand fingerings for fretted instruments
-@funindex rightHandFinger
@funindex \rightHandFinger
Right-hand fingerings @var{p-i-m-a} must be entered using
@node Indicating power chords
@unnumberedsubsubsec Indicating power chords
-@funindex powerChords
@funindex \powerChords
@cindex power chords
@cindex beams, cross-staff
@funindex \change
-@funindex change
Voices can be switched between staves manually, using the command
@cindex staff changes, automatic
@funindex \autochange
-@funindex autochange
@funindex PianoStaff
Voices can be made to switch automatically between the top and the
@cindex autochange and relative music
@funindex \relative
-@funindex relative
A @code{\relative} section that is outside of @code{\autochange}
has no effect on the pitches of the music, so if necessary, put
@funindex followVoice
@funindex \showStaffSwitch
-@funindex showStaffSwitch
@funindex \hideStaffSwitch
-@funindex hideStaffSwitch
Whenever a voice switches to another staff, a line connecting the
notes can be printed automatically:
@cindex U.C.
@funindex \sustainOn
-@funindex sustainOn
@funindex \sustainOff
-@funindex sustainOff
@funindex \sostenutoOn
-@funindex sostenutoOn
@funindex \sostenutoOff
-@funindex sostenutoOff
@funindex \unaCorda
-@funindex unaCorda
@funindex \treCorde
-@funindex treCorde
Pianos generally have three pedals that alter the way sound is
produced: @notation{sustain}, @notation{sostenuto}
}
@end lilypond
-@funindex fixed
@funindex \fixed
Common octave marks can be entered just once on a reference pitch
after @code{\fixed} placed before the music. Pitches inside
@cindex relative octave specification
@cindex octave specification, relative
-@funindex relative
@funindex \relative
Absolute octave entry requires specifying the octave for every
@cindex transposition and relative octave entry
@funindex \transpose
-@funindex transpose
@funindex \chordmode
-@funindex chordmode
@funindex \relative
-@funindex relative
@node Accidentals
@funindex =
@funindex \octaveCheck
-@funindex octaveCheck
@funindex controlpitch
In relative mode, it is easy to forget an octave changing mark.
@cindex notes, transposition of
@funindex \transpose
-@funindex transpose
A music expression can be transposed with @code{\transpose}. The
syntax is
@rinternals{TransposedMusic}.
@funindex \transpose
-@funindex transpose
@funindex \chordmode
-@funindex chordmode
@funindex \relative
-@funindex relative
@knownissues
The relative conversion will not affect @code{\transpose},
@cindex transformation, retrograde
@cindex operation, retrograde
@funindex \retrograde
-@funindex retrograde
A music expression can be reversed to produce its retrograde:
@cindex transposition, modal
@cindex operation, transposition
@funindex \modalTranspose
-@funindex modalTranspose
A motif can be transposed within a given scale with:
@cindex inversion, modal
@cindex operation, modal inversion
@funindex \modalInversion
-@funindex modalInversion
A motif can be inverted within a given scale around a given pivot
note and transposed in a single operation with:
@funindex \clef
-@funindex clef
Without any explicit command, the default clef for LilyPond is the
treble (or @emph{G}) clef.
@cindex key signature
@funindex \key
-@funindex key
@c duplicated in Key signature and Accidentals
@warning{New users are sometimes confused about accidentals and
@end example
@funindex \major
-@funindex major
@funindex \minor
-@funindex minor
@funindex \ionian
-@funindex ionian
@funindex \locrian
-@funindex locrian
@funindex \aeolian
-@funindex aeolian
@funindex \mixolydian
-@funindex mixolydian
@funindex \lydian
-@funindex lydian
@funindex \phrygian
-@funindex phrygian
@funindex \dorian
-@funindex dorian
@cindex church modes
@cindex modes
@funindex set-octavation
@funindex \ottava
-@funindex ottava
@notation{Ottava brackets} introduce an extra transposition of an
octave for the staff:
@cindex MIDI transposition
@funindex \transposition
-@funindex transposition
When typesetting scores that involve transposing instruments, some
parts can be typeset in a different pitch than the
@cindex note heads, easy play
@funindex \easyHeadsOn
-@funindex easyHeadsOn
@funindex \easyHeadsOff
-@funindex easyHeadsOff
The @q{easy play} note head includes a note name inside the head.
It is used in music for beginners. To make the letters readable,
@cindex note heads, Walker
@funindex \aikenHeads
-@funindex aikenHeads
@funindex \sacredHarpHeads
-@funindex sacredHarpHeads
@funindex \southernHarmonyHeads
-@funindex southernHarmonyHeads
@funindex \funkHeads
-@funindex funkHeads
@funindex \walkerHeads
-@funindex walkerHeads
In shape note head notation, the shape of the note head
corresponds to the harmonic function of a note in the scale. This
@end lilypond
@funindex \key
-@funindex key
@funindex \aikenHeadsMinor
-@funindex aikenHeadsMinor
@funindex \sacredHarpHeadsMinor
-@funindex sacredHarpHeadsMinor
@funindex \southernHarmonyHeadsMinor
-@funindex southernHarmonyHeadsMinor
@funindex \funkHeadsMinor
-@funindex funkHeadsMinor
@funindex \walkerHeadsMinor
-@funindex walkerHeadsMinor
Shapes are typeset according to the step in the scale, where the base
of the scale is determined by the @code{\key} command. When writing
@cindex note heads, slashed
@funindex \improvisationOn
-@funindex improvisationOn
@funindex \improvisationOff
-@funindex improvisationOff
Improvisation is sometimes denoted with slashed note heads, where
the performer may choose any pitch but should play the specified
@cindex note lengths
@funindex \longa
-@funindex longa
@funindex \breve
-@funindex breve
@funindex \maxima
-@funindex maxima
Durations are designated by numbers and dots. Durations are entered
as their reciprocal values. For example, a quarter note is entered
proportional notation, see @ref{Proportional notation}.
@funindex \dotsUp
-@funindex dotsUp
@funindex \dotsDown
-@funindex dotsDown
@funindex \dotsNeutral
-@funindex dotsNeutral
Dots are normally moved up to avoid staff lines, except in
polyphonic situations. Dots may be manually placed above or below
@cindex triplets
@funindex \tuplet
-@funindex tuplet
Tuplets are made from a music expression with the @code{\tuplet}
command, multiplying the speed of the music expression by a fraction:
@cindex tuplet bracket placement
@funindex \tupletUp
-@funindex tupletUp
@funindex \tupletDown
-@funindex tupletDown
@funindex \tupletNeutral
-@funindex tupletNeutral
Tuplet brackets may be manually placed above or below the staff:
@cindex expanding music
@funindex \scaleDurations
-@funindex scaleDurations
Longer stretches of music may be compressed by a fraction in the
same way, as if every note, chord or rest had the fraction as a
@cindex ties and volta brackets
@funindex \repeatTie
-@funindex repeatTie
When a second alternative of a repeat starts with a tied note, you
have to specify the repeated tie as follows:
@cindex ties, laissez vibrer
@funindex \laissezVibrer
-@funindex laissezVibrer
@notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
notes must not be damped at the end. It is used in notation for
@cindex ties, placement
@funindex \tieUp
-@funindex tieUp
@funindex \tieDown
-@funindex tieDown
@funindex \tieNeutral
-@funindex tieNeutral
Ties may be made to curve up or down manually; see
@ref{Direction and placement}.
@cindex dotted ties
@funindex \tieDotted
-@funindex tieDotted
@funindex \tieDashed
-@funindex tieDashed
@funindex \tieSolid
-@funindex tieSolid
Ties may be made dashed, dotted, or a combination of solid and
dashed.
@cindex breve rest
@funindex \rest
-@funindex rest
@funindex r
@funindex \maxima
-@funindex maxima
@funindex \longa
-@funindex longa
@funindex \breve
-@funindex breve
Rests are entered like notes with the note name @code{r}.
Durations longer than a whole rest use the following predefined
@funindex s
@funindex \skip
-@funindex skip
An invisible rest (also called a @q{spacer rest}) can be entered
like a note with the note name@tie{}@code{s}:
@cindex whole rest for a full measure
@cindex rest, whole for a full measure
-@funindex compressMMRests
@funindex \compressMMRests
@funindex R
@cindex multi-measure rest with markup
@funindex \fermataMarkup
-@funindex fermataMarkup
@funindex MultiMeasureRestText
Markups can be added to multi-measure rests.
@funindex \textLengthOn
-@funindex textLengthOn
@funindex \textLengthOff
-@funindex textLengthOff
@funindex \fermataMarkup
-@funindex fermataMarkup
@funindex \compressMMRests
-@funindex compressMMRests
@predefined
@code{\textLengthOn},
@cindex meter
@funindex \time
-@funindex time
The time signature is set as follows:
@cindex meter style
@funindex \numericTimeSignature
-@funindex numericTimeSignature
@funindex \defaultTimeSignature
-@funindex defaultTimeSignature
The time signature symbol that is used in 2/2 and 4/4 time can be
changed to a numeric style:
@cindex metronome marking with text
@funindex \tempo
-@funindex tempo
A basic metronome mark is simple to write:
@end lilypond
@funindex \markLengthOn
-@funindex markLengthOn
@funindex \markLengthOff
-@funindex markLengthOff
In a part for an instrument with long periods of rests,
tempo indications sometimes follow each other closely.
@funindex measurePosition
@funindex \partial
-@funindex partial
Partial or pick-up measures, such as an @emph{anacrusis} or an
@emph{upbeat}, are entered using the @code{\partial} command:
@cindex beams, unmetered music
@funindex \cadenzaOn
-@funindex cadenzaOn
@funindex \cadenzaOff
-@funindex cadenzaOff
In metered music bar lines are inserted and bar numbers are calculated
automatically. In unmetered music (i.e. cadenzas), this is not
@funindex timeSignatureFraction
@funindex \scaleDurations
-@funindex scaleDurations
@funindex \tuplet
-@funindex tuplet
Polymetric notation is supported explicitly or by manually modifying the
visible time signature symbol and/or scaling note durations.
@funindex Pitch_squash_engraver
@funindex \improvisationOn
-@funindex improvisationOn
@funindex \improvisationOff
-@funindex improvisationOff
Guitar chord charts often show the strumming rhythms. This can
be done with the @code{Pitch_squash_engraver} and
@cindex beams, customizing rules
@funindex \autoBeamOn
-@funindex autoBeamOn
@funindex \autoBeamOff
-@funindex autoBeamOff
@lilypond[quote,verbatim]
\relative c'' {
@funindex autoBeaming
@funindex baseMoment
-@funindex beamExceptions
@funindex \beamExceptions
@funindex beatStructure
@funindex measureLength
@funindex \time
-@funindex time
@funindex \set
-@funindex set
When automatic beaming is enabled, the placement of automatic beams
is determined by three context properties:
@end lilypond
@funindex \noBeam
-@funindex noBeam
Individual notes may be marked with @code{\noBeam} to prevent them
from being beamed:
@cindex feathered beams
@funindex \featherDurations
-@funindex featherDurations
@funindex grow-direction
Feathered beams are used to indicate that a small group of notes
@cindex repeat bars
@funindex \bar
-@funindex bar
Bar lines delimit measures, and are also used to indicate
repeats. Normally, simple bar lines are automatically inserted
@ref{Normal repeats}.
@funindex \defineBarLine
-@funindex defineBarLine
@cindex bar lines, defining
@cindex defining bar lines
@funindex whichBar
@funindex defaultBarType
@funindex \bar
-@funindex bar
@funindex bartype
The command @samp{\bar @var{bartype}} is a shortcut for
@end lilypond
@funindex \barNumberCheck
-@funindex barNumberCheck
When copying large pieces of music, it can be helpful to check that
the LilyPond bar number corresponds to the original that you are
@cindex mark, rehearsal
@funindex \mark
-@funindex mark
To print a rehearsal mark, use the @code{\mark} command.
@cindex glyphs, music
@funindex \musicglyph
-@funindex musicglyph
Music glyphs (such as the segno sign) may be printed inside a
@code{\mark}
@cindex grace notes, following
@funindex \afterGrace
-@funindex afterGrace
If you want to end a note with a grace, use the @code{\afterGrace}
command. It takes two arguments: the main note, and the grace
@cindex note cluster
@funindex \makeClusters
-@funindex makeClusters
A cluster indicates a continuous range of pitches to be played.
They can be denoted as the envelope of a set of notes. They are
@cindex lyrics assigned to one voice
@funindex \voiceOne
-@funindex voiceOne
@funindex \voiceOne ... \voiceFour
@funindex Voice
@funindex \oneVoice
-@funindex oneVoice
@subsubsubheading Explicitly instantiating voices
@cindex voices, multiple
@cindex shift rest, automatic
@funindex \shiftOn
-@funindex shiftOn
@funindex \shiftOnn
-@funindex shiftOnn
@funindex \shiftOnnn
-@funindex shiftOnnn
@funindex \shiftOff
-@funindex shiftOff
@funindex \mergeDifferentlyDottedOn
-@funindex mergeDifferentlyDottedOn
@funindex \mergeDifferentlyDottedOff
-@funindex mergeDifferentlyDottedOff
@funindex \mergeDifferentlyHeadedOn
-@funindex mergeDifferentlyHeadedOn
@funindex \mergeDifferentlyHeadedOff
-@funindex mergeDifferentlyHeadedOff
The note heads of notes in different voices with the same pitch,
same note head and opposite stem direction are automatically
@cindex a due part
@cindex solo part
@funindex \partcombine
-@funindex partcombine
Automatic part combining is used to merge two separate parts of music
onto a single staff. This can be especially helpful when typesetting
@code{@var{musicexpr2}}.
@funindex \partcombineChords
-@funindex partcombineChords
@funindex \partcombineApart
-@funindex partcombineApart
@funindex \partcombineUnisono
-@funindex partcombineUnisono
@funindex \partcombineSoloI
-@funindex partcombineSoloI
@funindex \partcombineSoloII
-@funindex partcombineSoloII
@funindex \partcombineAutomatic
-@funindex partcombineAutomatic
In professional scores, voices are often kept apart from each other for
long passages of music even if some of the notes are the same in both
@cindex interleaved music
@cindex parallel music
@funindex \parallelMusic
-@funindex parallelMusic
Music for multiple parts can be interleaved in input code. The
function @code{\parallelMusic} accepts a list with the names of a
@cindex tablature
@funindex \drummode
-@funindex drummode
@funindex DrumStaff
@funindex RhythmicStaff
@funindex TabStaff
@cindex ledger lines, modifying
@funindex \startStaff
-@funindex startStaff
@funindex \stopStaff
-@funindex stopStaff
The @code{\stopStaff} and @code{\startStaff} commands can be used to
stop or (re)start the staff lines respectively, from being printed at
@cindex resizing of staves
@funindex \startStaff
-@funindex startStaff
@funindex \stopStaff
-@funindex stopStaff
@notation{Ossia} staves can be set by creating a new simultaneous
staff in the appropriate location:
@funindex \RemoveAllEmptyStaves
@funindex Staff_symbol_engraver
@funindex \stopStaff
-@funindex stopStaff
Staff lines can be hidden by removing the
@cindex cue notes
@funindex \addQuote
-@funindex addQuote
@funindex \quoteDuring
-@funindex quoteDuring
@funindex \transposition
-@funindex transposition
It is very common for one voice to use the same notes as those from
another voice. For example, first and second violins playing the same
@funindex \cueDuring
-@funindex cueDuring
@funindex \cueClef
-@funindex cueClef
@funindex \cueDuringWithClef
-@funindex cueDuringWithClef
@funindex \quoteDuring
-@funindex quoteDuring
@cindex notes, smaller
@cindex smaller notes
@end lilypond
@funindex \transposedCueDuring
-@funindex transposedCueDuring
Like @code{\quoteDuring}, @code{\cueDuring} takes instrument
transpositions into account. Cue notes are produced at the
@cindex cue notes, removing
@funindex \killCues
-@funindex killCues
The @code{\killCues} command removes cue notes from a music
expression, so the same music expression can be used to produce
articulations, see @rlearning{Placement of objects}.
@funindex \textLengthOn
-@funindex textLengthOn
@funindex \textLengthOff
-@funindex textLengthOff
@predefined
@code{\textLengthOn},
object property. This syntax is described in @ref{Line styles}.
@funindex \textSpannerUp
-@funindex textSpannerUp
@funindex \textSpannerDown
-@funindex textSpannerDown
@funindex \textSpannerNeutral
-@funindex textSpannerNeutral
@predefined
@cindex bar lines, symbols on
@funindex \mark
-@funindex mark
@funindex \markup
-@funindex markup
Various text elements may be added to a score using the syntax described
in @ref{Rehearsal marks}:
@end lilypond
@funindex \markLengthOn
-@funindex markLengthOn
@funindex \markLengthOff
-@funindex markLengthOff
@predefined
@code{\markLengthOn},
@cindex text, standalone
@funindex \markup
-@funindex markup
A @code{\markup} block can exist by itself, outside of any
@code{\score} block, as a @qq{top-level expression}. This syntax
@funindex \markup
-@funindex markup
@funindex \markuplist
-@funindex markuplist
@predefined
@code{\markup},
@cindex typeset text
@funindex \markup
-@funindex markup
A @code{\markup} block is used to typeset text with an extensible
syntax called @qq{markup mode}.
@cindex switching fonts
@funindex \italic
-@funindex italic
@funindex \bold
-@funindex bold
@funindex \underline
-@funindex underline
Basic font switching is supported in markup mode:
@funindex \abs-fontsize
@funindex \fontsize
-@funindex fontsize
@funindex \smaller
-@funindex smaller
@funindex \larger
-@funindex larger
@funindex \magnify
-@funindex magnify
The font size can be altered, relative to the global staff size, in a
number of different ways
@cindex superscript
@funindex \super
-@funindex super
@funindex \sub
-@funindex sub
@funindex \normal-size-super
-@funindex normal-size-super
Text may be printed as subscript or superscript. By default these are
printed in a smaller size, but a normal size can be used as well:
@ref{Fonts}.
@funindex \teeny
-@funindex teeny
@funindex \tiny
-@funindex tiny
@funindex \small
-@funindex small
@funindex \normalsize
-@funindex normalsize
@funindex \large
-@funindex large
@funindex \huge
-@funindex huge
@funindex \smaller
-@funindex smaller
@funindex \larger
-@funindex larger
@predefined
@cindex horizontal text alignment
@funindex \left-align
-@funindex left-align
@funindex \center-align
-@funindex center-align
@funindex \right-align
-@funindex right-align
Markup objects may be aligned in different ways. By default, a text
indication is aligned on its left edge: in the following example,
@end lilypond
@funindex \halign
-@funindex halign
Horizontal alignment may be fine-tuned using a numeric value:
@cindex vertical text alignment
@funindex \raise
-@funindex raise
@funindex \lower
-@funindex lower
@funindex \null
-@funindex null
@c QUERY Should the function of ``\null'' be clarified? rp
@end lilypond
@funindex \general-align
-@funindex general-align
@funindex \translate
-@funindex translate
@funindex \translate-scaled
-@funindex translate-scaled
Some commands can affect both the horizontal and vertical alignment of
text objects in markup mode. Any object affected by these commands
@cindex columns, text
@funindex \column
-@funindex column
@funindex \center-column
-@funindex center-column
A markup object may include several lines of text. In the following
example, each element or expression is placed on its own line, either
@cindex markup, centering on the page
@funindex \fill-line
-@funindex fill-line
Similarly, a list of elements or expressions may be spread to fill the
entire horizontal line width (if there is only one element, it will be
@cindex markup text, justified
@funindex \wordwrap
-@funindex wordwrap
@funindex \justify
-@funindex justify
Long text indications can also be automatically wrapped accordingly to
the given line width. These will be either left-aligned or justified,
@cindex markup text, framing
@funindex \box
-@funindex box
@funindex \circle
-@funindex circle
@funindex \rounded-box
-@funindex rounded-box
@funindex \bracket
-@funindex bracket
@funindex \hbracket
-@funindex hbracket
Some markup commands allow decoration of text elements with graphics,
as demonstrated in the following example.
@cindex markup text padding
@funindex \pad-markup
-@funindex pad-markup
@funindex \pad-x
-@funindex pad-x
@funindex \pad-to-box
-@funindex pad-to-box
@funindex \pad-around
-@funindex pad-around
Some commands may require an increase in the padding around the text;
this is achieved with some markup commands exhaustively described in
@cindex notation, graphic
@funindex \combine
-@funindex combine
@funindex \draw-circle
-@funindex draw-circle
@funindex \filled-box
-@funindex filled-box
@funindex \triangle
-@funindex triangle
@funindex \draw-line
-@funindex draw-line
@funindex \arrow-head
-@funindex arrow-head
Other graphic elements or symbols may be printed without requiring any
text. As with any markup expression, such objects can be combined.
@cindex postscript
@funindex \epsfile
-@funindex epsfile
@funindex \postscript
-@funindex postscript
Advanced graphic features include the ability to include external
image files converted to the Encapsulated PostScript format
@cindex text spread over multiple pages
@funindex \markuplist
-@funindex markuplist
@funindex \justified-lines
-@funindex justified-lines
@funindex \wordwrap-lines
-@funindex wordwrap-lines
Although standard markup objects are not breakable, a specific syntax
makes it possible to enter lines of text that can spread over multiple
@rinternals{TextScript}.
@funindex \markuplist
-@funindex markuplist
@predefined
@code{\markuplist}.
@cindex Scottish highland bagpipe
@cindex grace notes
@funindex \taor
-@funindex taor
@funindex \hideKeySignature
-@funindex hideKeySignature
@funindex \showKeySignature
-@funindex showKeySignature
LilyPond contains special definitions for Scottish, Highland Bagpipe
music; to use them, add
@c used for news about the upcoming release; see CG 10.2
@newsItem
-@subheading LilyPond 2.19.43 released @emph{June 8, 2016}
+@subheading LilyPond 2.19.44 released @emph{June 21, 2016}
We are happy to announce the release of LilyPond
-2.19.43. This release includes a number of enhancements, and contains some
+2.19.44. This release includes a number of enhancements, and contains some
work in progress. You will have access to the very latest features, but
some may be incomplete, and you may encounter bugs and crashes. If you
require a stable version of Lilypond, we recommend using the 2.18
* don't duplicate entries from news-front.itexi
@end ignore
+@newsItem
+@subheading LilyPond 2.19.43 released @emph{June 8, 2016}
+
+We are happy to announce the release of LilyPond
+2.19.43. This release includes a number of enhancements, and contains some
+work in progress. You will have access to the very latest features, but
+some may be incomplete, and you may encounter bugs and crashes. If you
+require a stable version of Lilypond, we recommend using the 2.18
+version.
+
+@newsEnd
+
@newsItem
@subheading LilyPond 2.19.42 released @emph{May 15, 2016}
PACKAGE_NAME=LilyPond
MAJOR_VERSION=2
MINOR_VERSION=19
-PATCH_LEVEL=44
+PATCH_LEVEL=45
MY_PATCH_LEVEL=
VERSION_STABLE=2.18.2
-VERSION_DEVEL=2.19.43
+VERSION_DEVEL=2.19.44
--- /dev/null
+\version "2.19.43"
+
+\header {
+
+ texidoc = "The halfopenvertical articulation is available."
+
+}
+#(define mydrums '(
+ (hihat cross #f 5)
+ (openhihat cross "open" 5)
+ (closedhihat cross "stopped" 5)
+ (halfopenhihat cross "halfopenvertical" 5)))
+
+\new DrumStaff <<
+ \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
+
+ \drummode { hh4 hhc hho hhho }
+>>
+
--- /dev/null
+\version "2.19.44"
+
+\header {
+ texidoc="One (de)crescendo ends as the next begins."
+}
+
+\score {
+ { c\< c\> c\! }
+ \midi {}
+}
--- /dev/null
+\version "2.19.44"
+
+\header {
+ texidoc="The MIDI performer uses a default initial dynamic"
+}
+
+\score {
+ { c\< c\f }
+ \midi {}
+}
+
+\score {
+ { c c\< c\f }
+ \midi {}
+}
\new StaffGroup
\relative <<
\set StaffGroup.systemStartDelimiterHierarchy
- = #'(SystemStartSquare (SystemStartBracket a (SystemStartSquare b)) d)
+ = #'(SystemStartSquare (SystemStartBracket a (SystemStartSquare b c)) d)
\new Staff { c'1 }
\new Staff { c1 }
\new Staff { c1 }
}
\version "2.19.21"
-#(ly:expect-warning (_ "(De)crescendo with unspecified starting volume in MIDI."))
ignoreMelisma = \set ignoreMelismata = ##t
ignoreMelismaOff = \unset ignoreMelismata
virtual void finalize ();
virtual void derived_mark () const;
-public:
void acknowledge_rest (Grob_info);
void acknowledge_beam (Grob_info);
void acknowledge_bar_line (Grob_info);
void
Grace_auto_beam_engraver::boot ()
{
- ADD_LISTENER (Auto_beam_engraver, beam_forbid);
- ADD_ACKNOWLEDGER (Auto_beam_engraver, stem);
- ADD_ACKNOWLEDGER (Auto_beam_engraver, bar_line);
- ADD_ACKNOWLEDGER (Auto_beam_engraver, beam);
- ADD_ACKNOWLEDGER (Auto_beam_engraver, breathing_sign);
- ADD_ACKNOWLEDGER (Auto_beam_engraver, rest);
+ ADD_LISTENER (Grace_auto_beam_engraver, beam_forbid);
+ ADD_ACKNOWLEDGER (Grace_auto_beam_engraver, stem);
+ ADD_ACKNOWLEDGER (Grace_auto_beam_engraver, bar_line);
+ ADD_ACKNOWLEDGER (Grace_auto_beam_engraver, beam);
+ ADD_ACKNOWLEDGER (Grace_auto_beam_engraver, breathing_sign);
+ ADD_ACKNOWLEDGER (Grace_auto_beam_engraver, rest);
}
ADD_TRANSLATOR (Grace_auto_beam_engraver,
void
Axis_group_engraver::acknowledge_grob (Grob_info i)
{
- if (staffline_)
- elts_.push_back (i.grob ());
+ if (!staffline_)
+ return;
+
+ elts_.push_back (i.grob ());
- if (staffline_ && to_boolean(staffline_->get_property("remove-empty")))
+ if (to_boolean (staffline_->get_property ("remove-empty")))
{
for (SCM s = interesting_; scm_is_pair (s); s = scm_cdr (s))
{
if (i.grob ()->internal_has_interface (scm_car (s)))
- Hara_kiri_group_spanner::add_interesting_item (staffline_, i.grob ());
+ {
+ Hara_kiri_group_spanner::add_interesting_item (staffline_, i.grob ());
+ break;
+ }
}
}
}
public:
void acknowledge_stem (Grob_info);
void acknowledge_rest (Grob_info);
+ void listen_beam (Stream_event *);
protected:
Stream_event *start_ev_;
virtual bool valid_start_point ();
virtual bool valid_end_point ();
- void listen_beam (Stream_event *);
public:
TRANSLATOR_DECLARATIONS (Beam_engraver);
};
public:
TRANSLATOR_DECLARATIONS (Grace_beam_engraver);
TRANSLATOR_INHERIT (Beam_engraver);
- void listen_beam (Stream_event *);
protected:
virtual bool valid_start_point ();
return beam_ && valid_start_point ();
}
-/*
- Ugh, C&P code.
- */
-void
-Grace_beam_engraver::listen_beam (Stream_event *ev)
-{
- Direction d = to_dir (ev->get_property ("span-direction"));
-
- if (d == START && valid_start_point ())
- start_ev_ = ev;
- else if (d == STOP && valid_end_point ())
- stop_ev_ = ev;
-}
-
-
void
Grace_beam_engraver::boot ()
{
ADD_LISTENER (Grace_beam_engraver, beam);
- ADD_ACKNOWLEDGER (Beam_engraver, stem);
- ADD_ACKNOWLEDGER (Beam_engraver, rest);
+ ADD_ACKNOWLEDGER (Grace_beam_engraver, stem);
+ ADD_ACKNOWLEDGER (Grace_beam_engraver, rest);
}
ADD_TRANSLATOR (Grace_beam_engraver,
Drul_array<Stream_event *> span_events_;
Drul_array<Direction> grow_dir_;
Real last_volume_;
- bool last_volume_initialized_;
Audio_dynamic *absolute_;
Audio_span_dynamic *span_dynamic_;
Audio_span_dynamic *finished_span_dynamic_;
Dynamic_performer::Dynamic_performer ()
{
- last_volume_ = 0.0;
- last_volume_initialized_ = false;
+ last_volume_ = -1;
script_event_ = 0;
absolute_ = 0;
span_events_[LEFT]
void
Dynamic_performer::process_music ()
{
- if (span_events_[STOP] || script_event_)
+ if (span_events_[START] || span_events_[STOP] || script_event_)
{
- // End of a dynamic spanner, or an explicit dynamic script event.
+ // End the previous spanner when a new one begins or at an explicit stop
+ // or absolute dynamic.
finished_span_dynamic_ = span_dynamic_;
span_dynamic_ = 0;
}
announce_element (Audio_element_info (span_dynamic_, span_events_[START]));
span_dynamic_->grow_dir_ = grow_dir_[START];
-
- if (!last_volume_initialized_ && !script_event_)
- {
- // No explicit dynamic script events have occurred yet, but there is
- // nevertheless a dynamic spanner. Initialize last_volume_ to a
- // value within the available range.
- span_events_[START]->origin ()->warning (_ ("(De)crescendo with unspecified starting volume in MIDI."));
- last_volume_ = equalize_volume (0.5);
- last_volume_initialized_ = true;
- }
}
if (script_event_
last_volume_
= absolute_->volume_ = equalize_volume (volume);
- last_volume_initialized_ = true;
}
Audio_element_info info (absolute_, script_event_);
announce_element (info);
}
- if (!last_volume_initialized_)
+ if (last_volume_ < 0)
{
absolute_ = new Audio_dynamic ();
last_volume_
= absolute_->volume_ = equalize_volume (0.71); // Backward compatible
- last_volume_initialized_ = true;
Audio_element_info info (absolute_, script_event_);
announce_element (info);
finished_span_dynamic_ = 0;
}
- if (absolute_ && absolute_->volume_ < 0)
- {
- absolute_->volume_ = last_volume_;
- }
- else if (absolute_)
+ if (absolute_)
{
- last_volume_ = absolute_->volume_;
- last_volume_initialized_ = true;
+ if (absolute_->volume_ < 0)
+ {
+ absolute_->volume_ = last_volume_;
+ }
+ else
+ {
+ last_volume_ = absolute_->volume_;
+ }
}
absolute_ = 0;
Grob *g = unsmob<Engraver> (engraver)->
internal_make_grob (grob_name, cause,
- ly_symbol2string (grob_name).c_str (),
"scheme", 0, "scheme");
return g->self_scm ();
}
Grob *
Engraver::internal_make_grob (SCM symbol,
SCM cause,
- char const * /* name */,
char const *file,
int line,
char const *fun)
Item *
Engraver::internal_make_item (SCM x, SCM cause,
- char const *name,
char const *file, int line, char const *fun)
{
- Item *it = dynamic_cast<Item *> (internal_make_grob (x, cause, name, file, line, fun));
+ Item *it = dynamic_cast<Item *> (internal_make_grob (x, cause, file, line, fun));
assert (it);
return it;
}
Paper_column *
-Engraver::internal_make_column (SCM x, char const *name,
- char const *file, int line, char const *fun)
+Engraver::internal_make_column (SCM x, char const *file, int line, char const *fun)
{
- return dynamic_cast<Paper_column *> (internal_make_grob (x, SCM_EOL, name, file, line, fun));
+ return dynamic_cast<Paper_column *> (internal_make_grob (x, SCM_EOL, file, line, fun));
}
Spanner *
-Engraver::internal_make_spanner (SCM x, SCM cause, char const *name,
+Engraver::internal_make_spanner (SCM x, SCM cause,
char const *file, int line, char const *fun)
{
- Spanner *sp = dynamic_cast<Spanner *> (internal_make_grob (x, cause, name, file, line, fun));
+ Spanner *sp = dynamic_cast<Spanner *> (internal_make_grob (x, cause, file, line, fun));
assert (sp);
return sp;
}
char *ptr = result;
for (vsize i = 0; i < results.size (); i++)
{
- strncpy (ptr, results[i].c_str (), results[i].size ());
+ // strcpy and strncpy cannot be used here
+ // because std::string may contain '\0' in its contents.
+ results[i].copy (ptr, results[i].size ());
ptr += results[i].size ();
}
*ptr = '\0';
*/
class Engraver : public Translator
{
- Grob *internal_make_grob (SCM sym, SCM cause, char const *name,
+ Grob *internal_make_grob (SCM sym, SCM cause,
char const *f, int l, char const *fun);
friend SCM ly_engraver_make_grob (SCM, SCM, SCM);
friend class Engraver_group;
Grob_info make_grob_info (Grob *, SCM cause);
- Item *internal_make_item (SCM sym, SCM cause, char const *name,
+ Item *internal_make_item (SCM sym, SCM cause,
char const *f, int l, char const *fun);
- Spanner *internal_make_spanner (SCM sym, SCM cause, char const *name,
+ Spanner *internal_make_spanner (SCM sym, SCM cause,
char const *f, int l, char const *fun);
- Paper_column *internal_make_column (SCM sym, char const *name,
+ Paper_column *internal_make_column (SCM sym,
char const *f, int l, char const *fun);
/**
Engraver ();
};
-#define make_item(x, cause) internal_make_item (ly_symbol2scm (x), cause, x, __FILE__, __LINE__, __FUNCTION__)
-#define make_spanner(x, cause) internal_make_spanner (ly_symbol2scm (x), cause, x, __FILE__, __LINE__, __FUNCTION__)
-#define make_paper_column(x) internal_make_column (ly_symbol2scm (x), x, __FILE__, __LINE__, __FUNCTION__)
+#define make_item(x, cause) internal_make_item (ly_symbol2scm (x), cause, __FILE__, __LINE__, __FUNCTION__)
+#define make_spanner(x, cause) internal_make_spanner (ly_symbol2scm (x), cause, __FILE__, __LINE__, __FUNCTION__)
+#define make_paper_column(x) internal_make_column (ly_symbol2scm (x), __FILE__, __LINE__, __FUNCTION__)
bool ly_is_grob_cause (SCM obj);
Stream_event *pes_or_flexa_req_;
public:
- void listen_pes_or_flexa (Stream_event *ev);
// no TRANSLATOR_DECLARATIONS (Gregorian_ligature_engraver) needed
// since this class is abstract
protected:
Gregorian_ligature_engraver ();
+ void listen_pes_or_flexa (Stream_event *ev);
virtual void build_ligature (Spanner *ligature,
vector<Grob_info> const &primitives);
virtual void transform_heads (Spanner *ligature,
void stop_translation_timestep ();
virtual void finalize ();
+ void acknowledge_rest (Grob_info);
+ void acknowledge_ligature_head (Grob_info);
+ void listen_ligature (Stream_event *ev);
void process_music ();
virtual Spanner *create_ligature_spanner () = 0;
virtual void typeset_ligature (Spanner *ligature,
SCM brew_ligature_primitive_proc;
public:
- void acknowledge_rest (Grob_info);
- void acknowledge_ligature_head (Grob_info);
- void listen_ligature (Stream_event *ev);
// no TRANSLATOR_DECLARATIONS (Ligature_engraver) needed since this
// class is abstract
DECLARE_TRANSLATOR_CALLBACKS (Ligature_engraver);
--- /dev/null
+/*
+ This file is part of LilyPond, the GNU music typesetter.
+
+ Copyright (C) 2013--2015 Mike Solomon <mike@mikesolomon.org>
+ Copyright (C) 2016 David Kastrup <dak@gnu.org>
+
+ LilyPond is free software: you can redistribute it and/or modify
+ it under the terms of the GNU General Public License as published by
+ the Free Software Foundation, either version 3 of the License, or
+ (at your option) any later version.
+
+ LilyPond is distributed in the hope that it will be useful,
+ but WITHOUT ANY WARRANTY; without even the implied warranty of
+ MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the
+ GNU General Public License for more details.
+
+ You should have received a copy of the GNU General Public License
+ along with LilyPond. If not, see <http://www.gnu.org/licenses/>.
+*/
+
+#ifndef SLUR_ENGRAVER_HH
+#define SLUR_ENGRAVER_HH
+
+#include "engraver.hh"
+#include <map>
+
+class Slur_engraver : public Engraver
+{
+protected:
+ struct Event_info {
+ Stream_event *slur_, *note_;
+ Event_info (Stream_event *slur, Stream_event *note)
+ : slur_ (slur), note_ (note)
+ { }
+ };
+ // protected so that subclasses can see them
+ vector<Event_info> start_events_;
+ vector<Event_info> stop_events_;
+
+ typedef std::multimap<Stream_event *, Spanner *> Note_slurs;
+ Drul_array<Note_slurs> note_slurs_;
+ vector<Grob *> slurs_;
+ vector<Grob *> end_slurs_;
+ vector<Grob_info> objects_to_acknowledge_;
+
+ virtual SCM event_symbol () const;
+ virtual bool double_property () const;
+ virtual SCM grob_symbol () const;
+ virtual const char* object_name () const;
+
+ void acknowledge_inline_accidental (Grob_info);
+ void acknowledge_fingering (Grob_info);
+ void acknowledge_note_column (Grob_info);
+ void acknowledge_script (Grob_info);
+ void acknowledge_dots (Grob_info);
+ void acknowledge_text_script (Grob_info);
+ void acknowledge_end_tie (Grob_info);
+ void acknowledge_tuplet_number (Grob_info);
+
+ void listen_note (Stream_event *ev);
+ // A slur on an in-chord note is not actually announced as an event
+ // but rather produced by the note listener.
+ void listen_note_slur (Stream_event *ev, Stream_event *note);
+ void listen_slur (Stream_event *ev) { listen_note_slur (ev, 0); }
+ void acknowledge_extra_object (Grob_info);
+ void stop_translation_timestep ();
+ void process_music ();
+
+ bool can_create_slur (const string&, vsize, vsize *, Stream_event *);
+ void create_slur (const string &spanner_id, Event_info evi, Grob *g_cause, Direction dir, bool left_broken);
+ bool try_to_end (Event_info evi);
+
+ virtual void set_melisma (bool);
+ virtual void finalize ();
+ virtual void derived_mark () const;
+
+public:
+ TRANSLATOR_DECLARATIONS (Slur_engraver);
+};
+
+#endif // SLUR_ENGRAVER_HH
+++ /dev/null
-/*
- This file is part of LilyPond, the GNU music typesetter.
-
- Copyright (C) 2013--2015 Mike Solomon <mike@mikesolomon.org>
-
- LilyPond is free software: you can redistribute it and/or modify
- it under the terms of the GNU General Public License as published by
- the Free Software Foundation, either version 3 of the License, or
- (at your option) any later version.
-
- LilyPond is distributed in the hope that it will be useful,
- but WITHOUT ANY WARRANTY; without even the implied warranty of
- MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the
- GNU General Public License for more details.
-
- You should have received a copy of the GNU General Public License
- along with LilyPond. If not, see <http://www.gnu.org/licenses/>.
-*/
-
-#ifndef SLUR_PROTO_ENGRAVER_HH
-#define SLUR_PROTO_ENGRAVER_HH
-
-#include "engraver.hh"
-#include "moment.hh"
-#include <map>
-
-class Slur_proto_engraver : public Engraver
-{
-protected:
- Slur_proto_engraver (const char* double_property_name,
- const char* grob_name, const char* object_name, const char* event_name) :
- double_property_name_ (double_property_name),
- grob_name_ (grob_name), object_name_ (object_name),
- event_name_ (event_name) {}
-
- struct Event_info {
- Stream_event *slur_, *note_;
- Event_info (Stream_event *slur, Stream_event *note)
- : slur_ (slur), note_ (note)
- { }
- };
- // protected so that subclasses can see them
- vector<Event_info> start_events_;
- vector<Event_info> stop_events_;
-
- typedef std::multimap<Stream_event *, Spanner *> Note_slurs;
- Drul_array<Note_slurs> note_slurs_;
- vector<Grob *> slurs_;
- vector<Grob *> end_slurs_;
- vector<Grob_info> objects_to_acknowledge_;
- const char* double_property_name_;
- const char* grob_name_;
- const char* object_name_;
- const char* event_name_;
- virtual SCM event_symbol () = 0;
-
- void acknowledge_extra_object (Grob_info);
- void stop_translation_timestep ();
- void process_music ();
-
- bool can_create_slur (const string&, vsize, vsize *, Stream_event *);
- void create_slur (const string &spanner_id, Event_info evi, Grob *g_cause, Direction dir, bool left_broken);
- bool try_to_end (Event_info evi);
-
- virtual void set_melisma (bool);
- virtual void finalize ();
- virtual void derived_mark () const;
-
-public:
- void acknowledge_inline_accidental (Grob_info);
- void acknowledge_fingering (Grob_info);
- void acknowledge_note_column (Grob_info);
- void acknowledge_script (Grob_info);
- void acknowledge_dots (Grob_info);
- void acknowledge_text_script (Grob_info);
- void acknowledge_end_tie (Grob_info);
- void acknowledge_tuplet_number (Grob_info);
- void listen_note (Stream_event *ev);
- void listen_slur (Stream_event *ev, Stream_event *note);
- // You'd think the following is the same as defaulting `note' to 0,
- // but template resolution for trampolines disagrees. Huh.
- void listen_slur (Stream_event *ev) { listen_slur (ev, 0); }
- // no TRANSLATOR_DECLARATIONS (Slur_proto_engraver) needed since this
- // class is abstract
- DECLARE_TRANSLATOR_CALLBACKS (Slur_proto_engraver);
-};
-
-#endif // SLUR_PROTO_ENGRAVER_HH
#include "callback.hh"
#include "input.hh" // for error reporting
#include "smobs.hh"
+#include "stream-event.hh"
#include "std-vector.hh"
#include "protected-scm.hh"
/* end #define */
#define TRANSLATOR_INHERIT(BASE) \
- using BASE::method_finder
+ using BASE::method_finder; \
+ using BASE::ack_finder;
#define DECLARE_TRANSLATOR_CALLBACKS(NAME) \
template <void (NAME::*mf)()> \
- static SCM method_finder () { return method_find_base<NAME, mf> (); } \
+ static SCM method_finder () \
+ { \
+ return Callback0_wrapper::make_smob<NAME, mf> (); \
+ } \
+ template <void (NAME::*mf)(Stream_event *)> \
+ static SCM method_finder () \
+ { \
+ return Callback_wrapper::make_smob<trampoline<NAME, mf> > (); \
+ } \
+ template <void (NAME::*callback)(Grob_info)> \
+ static SCM ack_finder () { \
+ return Callback2_wrapper::make_smob<ack_trampoline <NAME, callback> > (); \
+ } \
/* end #define */
/*
return SCM_UNSPECIFIED;
}
- template <class T, void (T::*mf)()>
- static SCM
- method_find_base () { return Callback0_wrapper::make_smob<T, mf> (); }
-
// Fallback for non-overriden callbacks for which &T::x degrades to
// &Translator::x
template <void (Translator::*)()>
static SCM
method_finder () { return SCM_UNDEFINED; }
+ // Overriden in Engraver. Don't instantiate.
+ template <class T, void (T::*)(Grob_info)>
+ static SCM ack_trampoline (SCM, SCM, SCM);
+
+ // Overriden in Engraver. Don't instantiate.
+ template <void (Translator::*)(Grob_info)>
+ static SCM ack_finder ();
+
virtual void derived_mark () const;
static SCM event_class_symbol (const char *ev_class);
SCM static_translator_description (const char *grobs,
SCM &ack_hash);
#define ADD_ACKNOWLEDGER(CLASS, NAME) \
- add_acknowledger (Callback2_wrapper::make_smob \
- <ack_trampoline<CLASS, &CLASS::acknowledge_ ## NAME> > (), \
+ add_acknowledger (ack_finder<&CLASS::acknowledge_ ## NAME> (), \
#NAME, acknowledge_static_array_drul_[START])
#define ADD_END_ACKNOWLEDGER(CLASS, NAME) \
- add_acknowledger (Callback2_wrapper::make_smob \
- <ack_trampoline<CLASS, &CLASS::acknowledge_end_ ## NAME> > (), \
+ add_acknowledger (ack_finder<&CLASS::acknowledge_end_ ## NAME> (), \
#NAME, acknowledge_static_array_drul_[STOP])
+
/*
Implement the method cl::listen_##m, and make it listen to stream
events of class m.
#define ADD_LISTENER(cl, m) \
listener_list_ = scm_acons \
(event_class_symbol (#m), \
- Callback_wrapper::make_smob \
- <trampoline <cl, &cl::listen_ ## m> > (), listener_list_)
+ method_finder<&cl::listen_ ## m> (), \
+ listener_list_)
#endif /* TRANSLATOR_ICC */
{
SCM visibility = get_property ("explicitKeySignatureVisibility");
item_->set_property ("break-visibility", visibility);
+ item_->set_property ("non-default", SCM_BOOL_T);
}
}
"sharp-positions "
"padding "
"padding-pairs "
+ "non-default "
);
void
Kievan_ligature_engraver::boot ()
{
- ADD_LISTENER (Ligature_engraver, ligature);
- ADD_ACKNOWLEDGER (Ligature_engraver, rest);
- ADD_ACKNOWLEDGER (Ligature_engraver, ligature_head);
+ ADD_LISTENER (Kievan_ligature_engraver, ligature);
+ ADD_ACKNOWLEDGER (Kievan_ligature_engraver, rest);
+ ADD_ACKNOWLEDGER (Kievan_ligature_engraver, ligature_head);
}
ADD_TRANSLATOR (Kievan_ligature_engraver,
Real dash_period, Real dash_fraction)
{
dash_fraction = min (max (dash_fraction, 0.0), 1.0);
- Real on = dash_fraction * dash_period + thick;
- Real off = max (0.0, dash_period - on);
+ Real on = dash_fraction * dash_period;
+ Real off = max (0.0, dash_period - on - thick);
SCM at = scm_list_n (ly_symbol2scm ("dashed-line"),
scm_from_double (thick),
void
Mensural_ligature_engraver::boot ()
{
- ADD_LISTENER (Ligature_engraver, ligature);
- ADD_ACKNOWLEDGER (Ligature_engraver, rest);
- ADD_ACKNOWLEDGER (Ligature_engraver, ligature_head);
+ ADD_LISTENER (Mensural_ligature_engraver, ligature);
+ ADD_ACKNOWLEDGER (Mensural_ligature_engraver, rest);
+ ADD_ACKNOWLEDGER (Mensural_ligature_engraver, ligature_head);
}
ADD_TRANSLATOR (Mensural_ligature_engraver,
{
Finger_tuple ft;
- ft.script_ = internal_make_item (grob_sym, event->self_scm (),
- ly_symbol2string (grob_sym).c_str (),
- __FILE__, __LINE__, __FUNCTION__);
+ ft.script_ = make_item (grob_sym, event->self_scm ());
Side_position_interface::add_support (ft.script_, head);
return asscm;
}
+
+LY_DEFINE (ly_has_glyph_names_p, "ly:has-glyph-names?",
+ 1, 1, 0, (SCM font_file_name, SCM idx),
+ "Does the font for @var{font_file_name} have glyph names?"
+ " The optional @var{idx} argument is useful for"
+ " TrueType Collections (TTC) and"
+ " OpenType/CFF collections (OTC) only;"
+ " it specifies the font index within the TTC/OTC."
+ " The default value of @var{idx} is@tie{}0.")
+{
+ LY_ASSERT_TYPE (scm_is_string, font_file_name, 1);
+
+ int i = 0;
+ if (!SCM_UNBNDP (idx))
+ {
+ LY_ASSERT_TYPE (scm_is_integer, idx, 2);
+ i = scm_to_int (idx);
+ if (i < 0)
+ {
+ warning (_ ("font index must be non-negative, using index 0"));
+ i = 0;
+ }
+ }
+
+ string file_name = ly_scm2string (font_file_name);
+
+ FT_Face face;
+ /* check whether font index is valid */
+ if (i > 0)
+ {
+ face = open_ft_face (file_name, -1);
+ if (i >= face->num_faces)
+ {
+ warning (_f ("font index %d too large for font `%s', using index 0",
+ i, file_name.c_str ()));
+ i = 0;
+ }
+ FT_Done_Face (face);
+ }
+
+ face = open_ft_face (file_name, i);
+ bool has_glyph_names = FT_HAS_GLYPH_NAMES(face);
+ FT_Done_Face (face);
+
+ return has_glyph_names ? SCM_BOOL_T : SCM_BOOL_F;
+}
command_column_->set_property ("when", m);
musical_column_->set_property ("when", m);
+ SCM mpos = get_property ("measurePosition");
+ SCM barnum = get_property ("internalBarNumber");
+ if (unsmob<Moment> (mpos)
+ && scm_is_integer (barnum))
+ {
+ SCM where = scm_cons (barnum,
+ mpos);
+
+ command_column_->set_property ("rhythmic-location", where);
+ musical_column_->set_property ("rhythmic-location", where);
+ }
+
for (vsize i = 0; i < items_.size (); i++)
{
Item *elem = items_[i];
first_ = false;
label_events_.clear ();
-
- SCM mpos = get_property ("measurePosition");
- SCM barnum = get_property ("internalBarNumber");
- if (unsmob<Moment> (mpos)
- && scm_is_integer (barnum))
- {
- SCM where = scm_cons (barnum,
- mpos);
-
- command_column_->set_property ("rhythmic-location", where);
- musical_column_->set_property ("rhythmic-location", where);
- }
}
void
| MUSIC_IDENTIFIER
;
-optional_context_mod:
- /**/ {
- $$ = SCM_EOL;
- }
- | context_modification
+/* A list of single mods collected from a (possibly empty) sequence of
+ * context modifications, usually written as \with ... \with ...
+ */
+
+optional_context_mods:
+ context_modification_mods_list
{
- $$ = $1;
+ if (scm_is_pair ($1))
+ $$ = scm_append_x (scm_reverse_x ($1, SCM_EOL));
}
;
+/* The worker for optional_context_mods conses a (reversed) list where
+ * each element contains the list of single context mods from one
+ * context modification block. Context_mod::get_mods creates fresh
+ * copies, so it's okay to use append! on them.
+ */
+
+context_modification_mods_list:
+ /**/ {
+ $$ = SCM_EOL;
+ }
+ | context_modification_mods_list context_modification
+ {
+ if (Context_mod *m = unsmob<Context_mod> ($2))
+ $$ = scm_cons (m->get_mods (), $1);
+ }
+ ;
+
+/* A Context_mod is a container for a list of context mods like
+ * \consists ... \override ... . context_mod_list produces a
+ * Context_mod from the inside of a \with { ... } statement.
+ */
+
context_mod_list:
/**/ {
$$ = Context_mod ().smobbed_copy ();
;
context_prefix:
- CONTEXT symbol optional_id optional_context_mod {
- Context_mod *ctxmod = unsmob<Context_mod> ($4);
- SCM mods = SCM_EOL;
- if (ctxmod)
- mods = ctxmod->get_mods ();
- $$ = START_MAKE_SYNTAX (context_specification, $2, $3, mods, SCM_BOOL_F);
+ CONTEXT symbol optional_id optional_context_mods {
+ $$ = START_MAKE_SYNTAX (context_specification, $2, $3, $4, SCM_BOOL_F);
}
- | NEWCONTEXT symbol optional_id optional_context_mod {
- Context_mod *ctxmod = unsmob<Context_mod> ($4);
- SCM mods = SCM_EOL;
- if (ctxmod)
- mods = ctxmod->get_mods ();
- $$ = START_MAKE_SYNTAX (context_specification, $2, $3, mods, SCM_BOOL_T);
+ | NEWCONTEXT symbol optional_id optional_context_mods {
+ $$ = START_MAKE_SYNTAX (context_specification, $2, $3, $4, SCM_BOOL_T);
}
;
new_lyrics:
- ADDLYRICS optional_context_mod lyric_mode_music {
- Context_mod *ctxmod = unsmob<Context_mod> ($2);
- SCM mods = SCM_EOL;
- if (ctxmod)
- mods = ctxmod->get_mods ();
- $$ = scm_acons ($3, mods, SCM_EOL);
+ ADDLYRICS optional_context_mods lyric_mode_music {
+ $$ = scm_acons ($3, $2, SCM_EOL);
}
- | new_lyrics ADDLYRICS optional_context_mod lyric_mode_music {
- Context_mod *ctxmod = unsmob<Context_mod> ($3);
- SCM mods = SCM_EOL;
- if (ctxmod)
- mods = ctxmod->get_mods ();
- $$ = scm_acons ($4, mods, $1);
+ | new_lyrics ADDLYRICS optional_context_mods lyric_mode_music {
+ $$ = scm_acons ($4, $3, $1);
}
;
}
parser->lexer_->pop_state ();
}
- | mode_changing_head_with_context optional_context_mod grouped_music_list {
- Context_mod *ctxmod = unsmob<Context_mod> ($2);
- SCM mods = SCM_EOL;
- if (ctxmod)
- mods = ctxmod->get_mods ();
- $$ = MAKE_SYNTAX (context_specification, @$, $1, SCM_EOL, mods, SCM_BOOL_T, $3);
+ | mode_changing_head_with_context optional_context_mods grouped_music_list {
+ $$ = MAKE_SYNTAX (context_specification, @$, $1, SCM_EOL, $2, SCM_BOOL_T, $3);
if (scm_is_eq ($1, ly_symbol2scm ("ChordNames")))
{
$$ = MAKE_SYNTAX (unrelativable_music, @$, $$);
#include "main.hh"
#include "warn.hh"
-LY_DEFINE (ly_pfb_2_pfa, "ly:pfb->pfa",
- 1, 0, 0, (SCM pfb_file_name),
+LY_DEFINE (ly_type1_2_pfa, "ly:type1->pfa",
+ 1, 0, 0, (SCM type1_file_name),
"Convert the contents of a Type@tie{}1 font in PFB format"
- " to PFA format.")
+ " to PFA format. If the file is already in PFA format,"
+ " pass through it.")
{
- LY_ASSERT_TYPE (scm_is_string, pfb_file_name, 1);
+ LY_ASSERT_TYPE (scm_is_string, type1_file_name, 1);
- string file_name = ly_scm2string (pfb_file_name);
+ string file_name = ly_scm2string (type1_file_name);
debug_output ("[" + file_name); // start message on a new line
- vector<char> pfb_string = gulp_file (file_name, 0);
- char *pfa = pfb2pfa ((Byte *) &pfb_string[0], pfb_string.size ());
+ vector<char> type1_string = gulp_file (file_name, 0);
+ SCM pfa_scm;
- SCM pfa_scm = scm_from_latin1_string (pfa);
- free (pfa);
+ if ((Byte) type1_string[0] == 0x80)
+ {
+ /* The file is in PFB format. Convert it to PFA format. */
+ char *pfa = pfb2pfa ((Byte *) &type1_string[0],
+ (int) type1_string.size ());
+ pfa_scm = scm_from_latin1_string (pfa);
+ free (pfa);
+ }
+ else
+ {
+ /* The file is in PFA format. Pass it through. */
+ type1_string.push_back(0);
+ pfa_scm = scm_from_latin1_string (&type1_string[0]);
+ }
debug_output ("]", false);
along with LilyPond. If not, see <http://www.gnu.org/licenses/>.
*/
-#include "engraver.hh"
-
-#include "context.hh"
-#include "directional-element-interface.hh"
-#include "international.hh"
-#include "note-column.hh"
-#include "slur.hh"
-#include "slur-proto-engraver.hh"
-#include "spanner.hh"
-#include "stream-event.hh"
-#include "warn.hh"
+#include "slur-engraver.hh"
#include "translator.icc"
-class Phrasing_slur_engraver : public Slur_proto_engraver
+class Phrasing_slur_engraver : public Slur_engraver
{
+ virtual SCM event_symbol () const;
+ virtual bool double_property () const;
+ virtual SCM grob_symbol () const;
+ virtual const char* object_name () const;
+ virtual void set_melisma (bool);
+
protected:
void listen_phrasing_slur (Stream_event *);
void acknowledge_slur (Grob_info);
public:
- SCM event_symbol ();
TRANSLATOR_DECLARATIONS (Phrasing_slur_engraver);
- TRANSLATOR_INHERIT (Slur_proto_engraver);
+ TRANSLATOR_INHERIT (Slur_engraver);
};
-Phrasing_slur_engraver::Phrasing_slur_engraver () :
- Slur_proto_engraver (0, "PhrasingSlur", "phrasing slur", "phrasing-slur-event")
+SCM
+Phrasing_slur_engraver::event_symbol () const
{
+ return ly_symbol2scm ("phrasing-slur-event");
+}
+
+bool
+Phrasing_slur_engraver::double_property () const
+{
+ return false;
}
SCM
-Phrasing_slur_engraver::event_symbol ()
+Phrasing_slur_engraver::grob_symbol () const
+{
+ return ly_symbol2scm ("PhrasingSlur");
+}
+
+const char *
+Phrasing_slur_engraver::object_name () const
+{
+ return "phrasing slur";
+}
+
+Phrasing_slur_engraver::Phrasing_slur_engraver ()
+{
+}
+
+void
+Phrasing_slur_engraver::set_melisma (bool)
{
- // Need a string constant for memoization
- return ly_symbol2scm ("phrasing-slur-event");
}
void
Phrasing_slur_engraver::listen_phrasing_slur (Stream_event *ev)
{
- Slur_proto_engraver::listen_slur (ev);
+ Slur_engraver::listen_slur (ev);
}
void
Phrasing_slur_engraver::boot ()
{
ADD_LISTENER (Phrasing_slur_engraver, phrasing_slur);
- ADD_LISTENER (Slur_proto_engraver, note);
- ADD_ACKNOWLEDGER (Slur_proto_engraver, inline_accidental);
- ADD_ACKNOWLEDGER (Slur_proto_engraver, fingering);
- ADD_ACKNOWLEDGER (Slur_proto_engraver, note_column);
+ ADD_LISTENER (Phrasing_slur_engraver, note);
+ ADD_ACKNOWLEDGER (Phrasing_slur_engraver, inline_accidental);
+ ADD_ACKNOWLEDGER (Phrasing_slur_engraver, fingering);
+ ADD_ACKNOWLEDGER (Phrasing_slur_engraver, note_column);
ADD_ACKNOWLEDGER (Phrasing_slur_engraver, slur);
- ADD_ACKNOWLEDGER (Slur_proto_engraver, script);
- ADD_ACKNOWLEDGER (Slur_proto_engraver, dots);
- ADD_ACKNOWLEDGER (Slur_proto_engraver, text_script);
- ADD_END_ACKNOWLEDGER (Slur_proto_engraver, tie);
- ADD_ACKNOWLEDGER (Slur_proto_engraver, tuplet_number);
+ ADD_ACKNOWLEDGER (Phrasing_slur_engraver, script);
+ ADD_ACKNOWLEDGER (Phrasing_slur_engraver, dots);
+ ADD_ACKNOWLEDGER (Phrasing_slur_engraver, text_script);
+ ADD_END_ACKNOWLEDGER (Phrasing_slur_engraver, tie);
+ ADD_ACKNOWLEDGER (Phrasing_slur_engraver, tuplet_number);
}
ADD_TRANSLATOR (Phrasing_slur_engraver,
Protected_scm::operator SCM const & () const
{
- return SCM_CONSP (object_) ? *SCM_CARLOC (object_) : object_;
+ if (SCM_CONSP (object_))
+ return *SCM_CARLOC (object_);
+ return object_;
}
Protected_scm::operator SCM & ()
along with LilyPond. If not, see <http://www.gnu.org/licenses/>.
*/
-#include "engraver.hh"
-
#include "context.hh"
#include "directional-element-interface.hh"
#include "international.hh"
#include "note-column.hh"
+#include "pointer-group-interface.hh"
+#include "slur-engraver.hh"
#include "slur.hh"
-#include "slur-proto-engraver.hh"
#include "spanner.hh"
-#include "stream-event.hh"
#include "warn.hh"
#include "translator.icc"
-class Slur_engraver : public Slur_proto_engraver
+SCM
+Slur_engraver::event_symbol () const
{
- virtual void set_melisma (bool);
-
-public:
- SCM event_symbol ();
- TRANSLATOR_DECLARATIONS (Slur_engraver);
- TRANSLATOR_INHERIT (Slur_proto_engraver);
-};
+ return ly_symbol2scm ("slur-event");
+}
-Slur_engraver::Slur_engraver () :
- Slur_proto_engraver ("doubleSlurs", "Slur", "slur", "slur-event")
+bool
+Slur_engraver::double_property () const
{
+ return to_boolean (get_property ("doubleSlurs"));
}
SCM
-Slur_engraver::event_symbol ()
+Slur_engraver::grob_symbol () const
+{
+ return ly_symbol2scm ("Slur");
+}
+
+const char *
+Slur_engraver::object_name () const
+{
+ return "slur";
+}
+
+Slur_engraver::Slur_engraver ()
{
- // Need a string constant for memoization
- return ly_symbol2scm ("slur-event");
}
void
void
Slur_engraver::boot ()
{
- ADD_LISTENER (Slur_proto_engraver, slur);
- ADD_LISTENER (Slur_proto_engraver, note);
- ADD_ACKNOWLEDGER (Slur_proto_engraver, inline_accidental);
- ADD_ACKNOWLEDGER (Slur_proto_engraver, fingering);
- ADD_ACKNOWLEDGER (Slur_proto_engraver, note_column);
- ADD_ACKNOWLEDGER (Slur_proto_engraver, script);
- ADD_ACKNOWLEDGER (Slur_proto_engraver, text_script);
- ADD_ACKNOWLEDGER (Slur_proto_engraver, dots);
- ADD_END_ACKNOWLEDGER (Slur_proto_engraver, tie);
- ADD_ACKNOWLEDGER (Slur_proto_engraver, tuplet_number);
+ ADD_LISTENER (Slur_engraver, slur);
+ ADD_LISTENER (Slur_engraver, note);
+ ADD_ACKNOWLEDGER (Slur_engraver, inline_accidental);
+ ADD_ACKNOWLEDGER (Slur_engraver, fingering);
+ ADD_ACKNOWLEDGER (Slur_engraver, note_column);
+ ADD_ACKNOWLEDGER (Slur_engraver, script);
+ ADD_ACKNOWLEDGER (Slur_engraver, text_script);
+ ADD_ACKNOWLEDGER (Slur_engraver, dots);
+ ADD_END_ACKNOWLEDGER (Slur_engraver, tie);
+ ADD_ACKNOWLEDGER (Slur_engraver, tuplet_number);
}
ADD_TRANSLATOR (Slur_engraver,
/* write */
""
);
+
+void
+Slur_engraver::derived_mark () const
+{
+ for (vsize i = start_events_.size (); i--;)
+ {
+ scm_gc_mark (start_events_[i].slur_->self_scm ());
+ if (start_events_[i].note_)
+ scm_gc_mark (start_events_[i].note_->self_scm ());
+ }
+ for (vsize i = stop_events_.size (); i--;)
+ {
+ scm_gc_mark (stop_events_[i].slur_->self_scm ());
+ if (stop_events_[i].note_)
+ scm_gc_mark (stop_events_[i].note_->self_scm ());
+ }
+}
+
+void
+Slur_engraver::listen_note_slur (Stream_event *ev, Stream_event *note)
+{
+ Direction d = to_dir (ev->get_property ("span-direction"));
+ if (d == START)
+ start_events_.push_back (Event_info (ev, note));
+ else if (d == STOP)
+ stop_events_.push_back (Event_info (ev, note));
+ else ev->origin ()->warning (_f ("direction of %s invalid: %d",
+ ev->name ().c_str (),
+ int (d)));
+}
+
+void
+Slur_engraver::listen_note (Stream_event *ev)
+{
+ for (SCM arts = ev->get_property ("articulations");
+ scm_is_pair (arts); arts = scm_cdr (arts))
+ {
+ Stream_event *art = unsmob<Stream_event> (scm_car (arts));
+ if (art->in_event_class (event_symbol ()))
+ listen_note_slur (art, ev);
+ }
+}
+
+void
+Slur_engraver::acknowledge_note_column (Grob_info info)
+{
+ Grob *e = info.grob ();
+ for (vsize i = slurs_.size (); i--;)
+ Slur::add_column (slurs_[i], e);
+ for (vsize i = end_slurs_.size (); i--;)
+ Slur::add_column (end_slurs_[i], e);
+ // Now cater for slurs starting/ending at a notehead: those override
+ // the column bounds
+ if (note_slurs_[START].empty () && note_slurs_[STOP].empty ())
+ return;
+ extract_grob_set (e, "note-heads", heads);
+ for (vsize i = heads.size (); i--;)
+ {
+ if (Stream_event *ev =
+ unsmob<Stream_event> (heads[i]->get_property ("cause")))
+ for (LEFT_and_RIGHT (d))
+ {
+ std::pair<Note_slurs::const_iterator, Note_slurs::const_iterator> its
+ = note_slurs_[d].equal_range (ev);
+ for (Note_slurs::const_iterator it = its.first;
+ it != its.second;
+ ++it)
+ it->second->set_bound (d, heads[i]);
+ }
+ }
+}
+
+void
+Slur_engraver::acknowledge_extra_object (Grob_info info)
+{
+ objects_to_acknowledge_.push_back (info);
+}
+
+void
+Slur_engraver::acknowledge_inline_accidental (Grob_info info)
+{
+ acknowledge_extra_object (info);
+}
+
+void
+Slur_engraver::acknowledge_dots (Grob_info info)
+{
+ acknowledge_extra_object (info);
+}
+
+void
+Slur_engraver::acknowledge_fingering (Grob_info info)
+{
+ acknowledge_extra_object (info);
+}
+
+void
+Slur_engraver::acknowledge_tuplet_number (Grob_info info)
+{
+ acknowledge_extra_object (info);
+}
+
+void
+Slur_engraver::acknowledge_script (Grob_info info)
+{
+ if (!info.grob ()->internal_has_interface (ly_symbol2scm ("dynamic-interface")))
+ acknowledge_extra_object (info);
+}
+
+void
+Slur_engraver::acknowledge_text_script (Grob_info info)
+{
+ acknowledge_extra_object (info);
+}
+
+void
+Slur_engraver::acknowledge_end_tie (Grob_info info)
+{
+ acknowledge_extra_object (info);
+}
+
+void
+Slur_engraver::finalize ()
+{
+ for (vsize i = 0; i < slurs_.size (); i++)
+ {
+ slurs_[i]->warning (_f ("unterminated %s", object_name ()));
+ slurs_[i]->suicide ();
+ }
+ slurs_.clear ();
+}
+
+void
+Slur_engraver::create_slur (const string &spanner_id, Event_info evi, Grob *g_cause, Direction dir, bool left_broken)
+{
+ Grob *ccc = left_broken
+ ? unsmob<Grob> (get_property ("currentCommandColumn"))
+ : 0; // efficiency
+ SCM cause = evi.slur_ ? evi.slur_->self_scm () : g_cause->self_scm ();
+ Spanner *slur = make_spanner (grob_symbol (), cause);
+ slur->set_property ("spanner-id", ly_string2scm (spanner_id));
+ if (dir)
+ set_grob_direction (slur, dir);
+ if (left_broken)
+ slur->set_bound (LEFT, ccc);
+ slurs_.push_back (slur);
+ if (evi.note_)
+ note_slurs_[START].insert (Note_slurs::value_type (evi.note_, slur));
+
+ if (double_property ())
+ {
+ set_grob_direction (slur, DOWN);
+ slur = make_spanner (grob_symbol (), cause);
+ slur->set_property ("spanner-id", ly_string2scm (spanner_id));
+ set_grob_direction (slur, UP);
+ if (left_broken)
+ slur->set_bound (LEFT, ccc);
+ slurs_.push_back (slur);
+ if (evi.note_)
+ note_slurs_[START].insert(Note_slurs::value_type (evi.note_, slur));
+ }
+
+}
+
+bool
+Slur_engraver::can_create_slur (const string &id, vsize old_slurs, vsize *event_idx, Stream_event *ev)
+{
+ for (vsize j = slurs_.size (); j--;)
+ {
+ Grob *slur = slurs_[j];
+ Direction updown = to_dir (ev->get_property ("direction"));
+
+ // Check if we already have a slur with the same spanner-id.
+ if (id == robust_scm2string (slur->get_property ("spanner-id"), ""))
+ {
+ if (j < old_slurs)
+ {
+ // We already have an old slur, so give a warning
+ // and completely ignore the new slur.
+ ev->origin ()->warning (_f ("already have %s", object_name ()));
+ if (event_idx)
+ start_events_.erase (start_events_.begin () + (*event_idx));
+ return false;
+ }
+
+ // If this slur event has no direction, it will not
+ // contribute anything new to the existing slur(s), so
+ // we can ignore it.
+
+ if (!updown)
+ return false;
+
+ Stream_event *c = unsmob<Stream_event> (slur->get_property ("cause"));
+
+ if (!c)
+ {
+ slur->programming_error (_f ("%s without a cause", object_name ()));
+ return true;
+ }
+
+ Direction slur_dir = to_dir (c->get_property ("direction"));
+
+ // If the existing slur does not have a direction yet,
+ // we'd rather take the new one.
+
+ if (!slur_dir)
+ {
+ slur->suicide ();
+ slurs_.erase (slurs_.begin () + j);
+ return true;
+ }
+
+ // If the existing slur has the same direction as ours, drop ours
+
+ if (slur_dir == updown)
+ return false;
+ }
+ }
+ return true;
+}
+
+bool
+Slur_engraver::try_to_end (Event_info evi)
+{
+ string id = robust_scm2string (evi.slur_->get_property ("spanner-id"), "");
+
+ // Find the slurs that are ended with this event (by checking the spanner-id)
+ bool ended = false;
+ for (vsize j = slurs_.size (); j--;)
+ {
+ if (id == robust_scm2string (slurs_[j]->get_property ("spanner-id"), ""))
+ {
+ ended = true;
+ end_slurs_.push_back (slurs_[j]);
+ if (evi.note_)
+ note_slurs_[STOP].insert
+ (Note_slurs::value_type
+ (evi.note_, dynamic_cast <Spanner *> (slurs_[j])));
+ slurs_.erase (slurs_.begin () + j);
+ }
+ }
+ return ended;
+}
+
+void
+Slur_engraver::process_music ()
+{
+ for (vsize i = 0; i < stop_events_.size (); i++)
+ {
+ string id = robust_scm2string
+ (stop_events_[i].slur_->get_property ("spanner-id"), "");
+ bool ended = try_to_end (stop_events_[i]);
+ if (ended)
+ {
+ // Ignore redundant stop events for this id
+ for (vsize j = stop_events_.size (); --j > i;)
+ {
+ if (id == robust_scm2string
+ (stop_events_[j].slur_->get_property ("spanner-id"), ""))
+ stop_events_.erase (stop_events_.begin () + j);
+ }
+ }
+ else
+ stop_events_[i].slur_->origin ()->warning (_f ("cannot end %s", object_name ()));
+ }
+
+ vsize old_slurs = slurs_.size ();
+ for (vsize i = start_events_.size (); i--;)
+ {
+ Stream_event *ev = start_events_[i].slur_;
+ string id = robust_scm2string (ev->get_property ("spanner-id"), "");
+ Direction updown = to_dir (ev->get_property ("direction"));
+
+ if (can_create_slur (id, old_slurs, &i, ev))
+ create_slur (id, start_events_[i], 0, updown, false);
+ }
+
+ set_melisma (slurs_.size ());
+}
+
+void
+Slur_engraver::stop_translation_timestep ()
+{
+ if (Grob *g = unsmob<Grob> (get_property ("currentCommandColumn")))
+ {
+ for (vsize i = 0; i < end_slurs_.size (); i++)
+ Slur::add_extra_encompass (end_slurs_[i], g);
+
+ if (!start_events_.size ())
+ for (vsize i = 0; i < slurs_.size (); i++)
+ Slur::add_extra_encompass (slurs_[i], g);
+ }
+
+ for (vsize i = 0; i < end_slurs_.size (); i++)
+ {
+ Spanner *s = dynamic_cast<Spanner *> (end_slurs_[i]);
+ if (!s->get_bound (RIGHT))
+ s->set_bound (RIGHT, unsmob<Grob> (get_property ("currentMusicalColumn")));
+ announce_end_grob (s, SCM_EOL);
+ }
+
+ for (vsize i = 0; i < objects_to_acknowledge_.size (); i++)
+ Slur::auxiliary_acknowledge_extra_object (objects_to_acknowledge_[i], slurs_, end_slurs_);
+
+ note_slurs_[LEFT].clear ();
+ note_slurs_[RIGHT].clear ();
+ objects_to_acknowledge_.clear ();
+ end_slurs_.clear ();
+ start_events_.clear ();
+ stop_events_.clear ();
+}
+++ /dev/null
-/*
- This file is part of LilyPond, the GNU music typesetter.
-
- Copyright (C) 2013--2015 Mike Solomon <mike@mikesolomon.org>
-
- LilyPond is free software: you can redistribute it and/or modify
- it under the terms of the GNU General Public License as published by
- the Free Software Foundation, either version 3 of the License, or
- (at your option) any later version.
-
- LilyPond is distributed in the hope that it will be useful,
- but WITHOUT ANY WARRANTY; without even the implied warranty of
- MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the
- GNU General Public License for more details.
-
- You should have received a copy of the GNU General Public License
- along with LilyPond. If not, see <http://www.gnu.org/licenses/>.
-*/
-
-#include "engraver.hh"
-
-#include "context.hh"
-#include "directional-element-interface.hh"
-#include "international.hh"
-#include "note-column.hh"
-#include "pointer-group-interface.hh"
-#include "slur.hh"
-#include "slur-proto-engraver.hh"
-#include "spanner.hh"
-#include "stream-event.hh"
-#include "warn.hh"
-
-#include "translator.icc"
-
-void
-Slur_proto_engraver::derived_mark () const
-{
- for (vsize i = start_events_.size (); i--;)
- {
- scm_gc_mark (start_events_[i].slur_->self_scm ());
- if (start_events_[i].note_)
- scm_gc_mark (start_events_[i].note_->self_scm ());
- }
- for (vsize i = stop_events_.size (); i--;)
- {
- scm_gc_mark (stop_events_[i].slur_->self_scm ());
- if (stop_events_[i].note_)
- scm_gc_mark (stop_events_[i].note_->self_scm ());
- }
-}
-
-void
-Slur_proto_engraver::listen_slur (Stream_event *ev, Stream_event *note)
-{
- Direction d = to_dir (ev->get_property ("span-direction"));
- if (d == START)
- start_events_.push_back (Event_info (ev, note));
- else if (d == STOP)
- stop_events_.push_back (Event_info (ev, note));
- else ev->origin ()->warning (_f ("direction of %s invalid: %d",
- event_name_, int (d)));
-}
-
-void
-Slur_proto_engraver::listen_note (Stream_event *ev)
-{
- for (SCM arts = ev->get_property ("articulations");
- scm_is_pair (arts); arts = scm_cdr (arts))
- {
- Stream_event *art = unsmob<Stream_event> (scm_car (arts));
- if (art->in_event_class (event_symbol ()))
- listen_slur (art, ev);
- }
-}
-
-void
-Slur_proto_engraver::acknowledge_note_column (Grob_info info)
-{
- Grob *e = info.grob ();
- for (vsize i = slurs_.size (); i--;)
- Slur::add_column (slurs_[i], e);
- for (vsize i = end_slurs_.size (); i--;)
- Slur::add_column (end_slurs_[i], e);
- // Now cater for slurs starting/ending at a notehead: those override
- // the column bounds
- if (note_slurs_[START].empty () && note_slurs_[STOP].empty ())
- return;
- extract_grob_set (e, "note-heads", heads);
- for (vsize i = heads.size (); i--;)
- {
- if (Stream_event *ev =
- unsmob<Stream_event> (heads[i]->get_property ("cause")))
- for (LEFT_and_RIGHT (d))
- {
- std::pair<Note_slurs::const_iterator, Note_slurs::const_iterator> its
- = note_slurs_[d].equal_range (ev);
- for (Note_slurs::const_iterator it = its.first;
- it != its.second;
- ++it)
- it->second->set_bound (d, heads[i]);
- }
- }
-}
-
-void
-Slur_proto_engraver::acknowledge_extra_object (Grob_info info)
-{
- objects_to_acknowledge_.push_back (info);
-}
-
-void
-Slur_proto_engraver::acknowledge_inline_accidental (Grob_info info)
-{
- acknowledge_extra_object (info);
-}
-
-void
-Slur_proto_engraver::acknowledge_dots (Grob_info info)
-{
- acknowledge_extra_object (info);
-}
-
-void
-Slur_proto_engraver::acknowledge_fingering (Grob_info info)
-{
- acknowledge_extra_object (info);
-}
-
-void
-Slur_proto_engraver::acknowledge_tuplet_number (Grob_info info)
-{
- acknowledge_extra_object (info);
-}
-
-void
-Slur_proto_engraver::acknowledge_script (Grob_info info)
-{
- if (!info.grob ()->internal_has_interface (ly_symbol2scm ("dynamic-interface")))
- acknowledge_extra_object (info);
-}
-
-void
-Slur_proto_engraver::acknowledge_text_script (Grob_info info)
-{
- acknowledge_extra_object (info);
-}
-
-void
-Slur_proto_engraver::acknowledge_end_tie (Grob_info info)
-{
- acknowledge_extra_object (info);
-}
-
-void
-Slur_proto_engraver::finalize ()
-{
- for (vsize i = 0; i < slurs_.size (); i++)
- {
- slurs_[i]->warning (_f ("unterminated %s", object_name_));
- slurs_[i]->suicide ();
- }
- slurs_.clear ();
-}
-
-void
-Slur_proto_engraver::create_slur (const string &spanner_id, Event_info evi, Grob *g_cause, Direction dir, bool left_broken)
-{
- Grob *ccc = left_broken
- ? unsmob<Grob> (get_property ("currentCommandColumn"))
- : 0; // efficiency
- SCM cause = evi.slur_ ? evi.slur_->self_scm () : g_cause->self_scm ();
- Spanner *slur = make_spanner (grob_name_, cause);
- slur->set_property ("spanner-id", ly_string2scm (spanner_id));
- if (dir)
- set_grob_direction (slur, dir);
- if (left_broken)
- slur->set_bound (LEFT, ccc);
- slurs_.push_back (slur);
- if (evi.note_)
- note_slurs_[START].insert (Note_slurs::value_type (evi.note_, slur));
-
- if (double_property_name_
- && to_boolean (get_property (double_property_name_)))
- {
- set_grob_direction (slur, DOWN);
- slur = make_spanner (grob_name_, cause);
- slur->set_property ("spanner-id", ly_string2scm (spanner_id));
- set_grob_direction (slur, UP);
- if (left_broken)
- slur->set_bound (LEFT, ccc);
- slurs_.push_back (slur);
- if (evi.note_)
- note_slurs_[START].insert(Note_slurs::value_type (evi.note_, slur));
- }
-
-}
-
-bool
-Slur_proto_engraver::can_create_slur (const string &id, vsize old_slurs, vsize *event_idx, Stream_event *ev)
-{
- for (vsize j = slurs_.size (); j--;)
- {
- Grob *slur = slurs_[j];
- Direction updown = to_dir (ev->get_property ("direction"));
-
- // Check if we already have a slur with the same spanner-id.
- if (id == robust_scm2string (slur->get_property ("spanner-id"), ""))
- {
- if (j < old_slurs)
- {
- // We already have an old slur, so give a warning
- // and completely ignore the new slur.
- ev->origin ()->warning (_f ("already have %s", object_name_));
- if (event_idx)
- start_events_.erase (start_events_.begin () + (*event_idx));
- return false;
- }
-
- // If this slur event has no direction, it will not
- // contribute anything new to the existing slur(s), so
- // we can ignore it.
-
- if (!updown)
- return false;
-
- Stream_event *c = unsmob<Stream_event> (slur->get_property ("cause"));
-
- if (!c)
- {
- slur->programming_error (_f ("%s without a cause", object_name_));
- return true;
- }
-
- Direction slur_dir = to_dir (c->get_property ("direction"));
-
- // If the existing slur does not have a direction yet,
- // we'd rather take the new one.
-
- if (!slur_dir)
- {
- slur->suicide ();
- slurs_.erase (slurs_.begin () + j);
- return true;
- }
-
- // If the existing slur has the same direction as ours, drop ours
-
- if (slur_dir == updown)
- return false;
- }
- }
- return true;
-}
-
-bool
-Slur_proto_engraver::try_to_end (Event_info evi)
-{
- string id = robust_scm2string (evi.slur_->get_property ("spanner-id"), "");
-
- // Find the slurs that are ended with this event (by checking the spanner-id)
- bool ended = false;
- for (vsize j = slurs_.size (); j--;)
- {
- if (id == robust_scm2string (slurs_[j]->get_property ("spanner-id"), ""))
- {
- ended = true;
- end_slurs_.push_back (slurs_[j]);
- if (evi.note_)
- note_slurs_[STOP].insert
- (Note_slurs::value_type
- (evi.note_, dynamic_cast <Spanner *> (slurs_[j])));
- slurs_.erase (slurs_.begin () + j);
- }
- }
- return ended;
-}
-
-void
-Slur_proto_engraver::process_music ()
-{
- for (vsize i = 0; i < stop_events_.size (); i++)
- {
- string id = robust_scm2string
- (stop_events_[i].slur_->get_property ("spanner-id"), "");
- bool ended = try_to_end (stop_events_[i]);
- if (ended)
- {
- // Ignore redundant stop events for this id
- for (vsize j = stop_events_.size (); --j > i;)
- {
- if (id == robust_scm2string
- (stop_events_[j].slur_->get_property ("spanner-id"), ""))
- stop_events_.erase (stop_events_.begin () + j);
- }
- }
- else
- stop_events_[i].slur_->origin ()->warning (_f ("cannot end %s", object_name_));
- }
-
- vsize old_slurs = slurs_.size ();
- for (vsize i = start_events_.size (); i--;)
- {
- Stream_event *ev = start_events_[i].slur_;
- string id = robust_scm2string (ev->get_property ("spanner-id"), "");
- Direction updown = to_dir (ev->get_property ("direction"));
-
- if (can_create_slur (id, old_slurs, &i, ev))
- create_slur (id, start_events_[i], 0, updown, false);
- }
-
- set_melisma (slurs_.size ());
-}
-
-void
-Slur_proto_engraver::set_melisma (bool)
-{
-}
-
-void
-Slur_proto_engraver::stop_translation_timestep ()
-{
- if (Grob *g = unsmob<Grob> (get_property ("currentCommandColumn")))
- {
- for (vsize i = 0; i < end_slurs_.size (); i++)
- Slur::add_extra_encompass (end_slurs_[i], g);
-
- if (!start_events_.size ())
- for (vsize i = 0; i < slurs_.size (); i++)
- Slur::add_extra_encompass (slurs_[i], g);
- }
-
- for (vsize i = 0; i < end_slurs_.size (); i++)
- {
- Spanner *s = dynamic_cast<Spanner *> (end_slurs_[i]);
- if (!s->get_bound (RIGHT))
- s->set_bound (RIGHT, unsmob<Grob> (get_property ("currentMusicalColumn")));
- announce_end_grob (s, SCM_EOL);
- }
-
- for (vsize i = 0; i < objects_to_acknowledge_.size (); i++)
- Slur::auxiliary_acknowledge_extra_object (objects_to_acknowledge_[i], slurs_, end_slurs_);
-
- note_slurs_[LEFT].clear ();
- note_slurs_[RIGHT].clear ();
- objects_to_acknowledge_.clear ();
- end_slurs_.clear ();
- start_events_.clear ();
- stop_events_.clear ();
-}
-
-// no ADD_ACKNOWLEDGER / ADD_TRANSLATOR macro calls
-// since this class is abstract
void
Vaticana_ligature_engraver::boot ()
{
- ADD_LISTENER (Gregorian_ligature_engraver, pes_or_flexa);
- ADD_LISTENER (Ligature_engraver, ligature);
- ADD_ACKNOWLEDGER (Ligature_engraver, rest);
- ADD_ACKNOWLEDGER (Ligature_engraver, ligature_head);
+ ADD_LISTENER (Vaticana_ligature_engraver, pes_or_flexa);
+ ADD_LISTENER (Vaticana_ligature_engraver, ligature);
+ ADD_ACKNOWLEDGER (Vaticana_ligature_engraver, rest);
+ ADD_ACKNOWLEDGER (Vaticana_ligature_engraver, ligature_head);
}
ADD_TRANSLATOR (Vaticana_ligature_engraver,
%}
-\version "2.19.43" % necessary for upgrading to future LilyPond versions.
+\version "2.19.44" % necessary for upgrading to future LilyPond versions.
\header{
title = "A scale in LilyPond"
%}
-\version "2.19.43" % necessary for upgrading to future LilyPond versions.
+\version "2.19.44" % necessary for upgrading to future LilyPond versions.
\header{
title = "A scale in LilyPond"
\override TimeSignature.style = #'mensural
\override KeySignature.glyph-name-alist = #alteration-mensural-glyph-name-alist
\override Accidental.glyph-name-alist = #alteration-mensural-glyph-name-alist
+ \override AccidentalSuggestion.glyph-name-alist = #alteration-mensural-glyph-name-alist
\override Custos.style = #'mensural
\override Custos.neutral-position = #3
\override Custos.neutral-direction = #DOWN
</rejectfont>
</selectfont>
- <!--
- LilyPond cannot handle OpenType/CFF Collection (OTC) fonts
- (NotoSansCJK.ttc and SourceHanSans.ttc etc.).
- This settings is a workaround that ignores some major OTC fonts
- for avoiding errors.
- TODO: Add OTC fonts support and remove this settings
- -->
-
- <selectfont>
- <rejectfont>
- <!--
- Noto Sans CJK
- https://www.google.com/get/noto/help/cjk/
-
- `CJK OTF fonts with different default language' and
- `Region specific OTF subsets' can be used.
- Their file names are `NotoSans*.otf'.
- -->
- <glob>*/NotoSansCJK*.ttc</glob>
-
- <!--
- Source Han Sans
- https://github.com/adobe-fonts/source-han-sans
-
- `Language-specific OTFs' and
- `Region-specific Subset OTFs' can be used.
- Their file names are `SourceHanSans*.otf'.
- -->
- <glob>*/SourceHanSans*.ttc</glob>
-
- <!--
- Source Han Code JP
- https://github.com/adobe-fonts/source-han-code-jp
-
- `OTF' can be used.
- Their file names are `SourceHanCodeJP-*.otf'.
- -->
- <glob>*/SourceHanCodeJP.ttc</glob>
- </rejectfont>
- </selectfont>
-
</fontconfig>
#, fuzzy
msgid ""
msgstr ""
-"Project-Id-Version: lilypond 2.19.43\n"
+"Project-Id-Version: lilypond 2.19.44\n"
"Report-Msgid-Bugs-To: http://post.gmane.org/post.php?group=gmane.comp.gnu."
"lilypond.bugs\n"
-"POT-Creation-Date: 2016-06-08 13:09+0100\n"
+"POT-Creation-Date: 2016-06-21 12:56+0100\n"
"PO-Revision-Date: YEAR-MO-DA HO:MI+ZONE\n"
"Last-Translator: FULL NAME <EMAIL@ADDRESS>\n"
"Language-Team: LANGUAGE <LL@li.org>\n"
msgid "Usage: %s"
msgstr ""
-#: musicexp.py:224 musicexp.py:229
+#: musicexp.py:307 musicexp.py:312
msgid "Language does not support microtones contained in the piece"
msgstr ""
-#: musicexp.py:497
+#: musicexp.py:601
msgid "Tuplet brackets of curved shape are not correctly implemented"
msgstr ""
-#: musicexp.py:683
+#: musicexp.py:787
#, python-format
msgid "unable to set the music %(music)s for the repeat %(repeat)s"
msgstr ""
-#: musicexp.py:692
+#: musicexp.py:796
msgid "encountered repeat without body"
msgstr ""
#. no self.elements!
-#: musicexp.py:862
+#: musicexp.py:1009
#, python-format
msgid "Grace note with no following music: %s"
msgstr ""
-#: musicexp.py:1024
+#: musicexp.py:1204
#, python-format
msgid "Invalid octave shift size found: %s. Using no shift."
msgstr ""
-#: musicexp.py:1482
+#: musicexp.py:1803
#, python-format
msgid "Unable to convert alteration %s to a lilypond expression"
msgstr ""
#. TODO: Handle pieces without a time signature!
-#: musicxml.py:362
+#: musicxml.py:515
msgid "Senza-misura time signatures are not yet supported!"
msgstr ""
-#: musicxml.py:380
+#: musicxml.py:533
msgid "Unable to interpret time signature! Falling back to 4/4."
msgstr ""
-#: musicxml.py:436
+#: musicxml.py:589
#, python-format
msgid ""
"Key alteration octave given for a non-existing alteration nr. %s, available "
"numbers: %s!"
msgstr ""
-#: musicxml.py:524
+#: musicxml.py:825
+#, python-format
+msgid "Encountered note at %s without type and duration(=%s)"
+msgstr ""
+
+#: musicxml.py:867
+#, python-format
+msgid "drum %s type unknown, please add to instrument_drumtype_dict"
+msgstr ""
+
+#: musicxml.py:888
+msgid "cannot find suitable event"
+msgstr ""
+
+#: musicxml.py:927
#, python-format
msgid "Unable to find instrument for ID=%s\n"
msgstr ""
+#: musicxml2ly_conversion.py:23
+#, python-format
+msgid ""
+"Encountered rational duration with denominator %s, unable to convert to "
+"lilypond duration"
+msgstr ""
+
+#: musicxml2ly_conversion.py:42
+#, python-format
+msgid "Encountered unprocessed marker %s\n"
+msgstr ""
+
#: abc2ly.py:1389 convert-ly.py:85 lilypond-book.py:122 midi2ly.py:1046
#, python-format
msgid "%s [OPTION]... FILE"
msgstr ""
#: abc2ly.py:1398 convert-ly.py:92 etf2ly.py:1208 lilypond-book.py:231
-#: midi2ly.py:1097 musicxml2ly.py:2590 main.cc:184
+#: midi2ly.py:1097 musicxml2ly.py:2766 main.cc:184
msgid "show version number and exit"
msgstr ""
#: abc2ly.py:1401 convert-ly.py:96 etf2ly.py:1204 lilypond-book.py:140
-#: midi2ly.py:1064 musicxml2ly.py:2572 main.cc:163
+#: midi2ly.py:1064 musicxml2ly.py:2747 main.cc:163
msgid "show this help and exit"
msgstr ""
#. or if there is a LilyPond users list or forum in your language
#. "Report bugs in English via %s or in YOUR_LANG via URI"
#: abc2ly.py:1416 convert-ly.py:157 etf2ly.py:1218 lilypond-book.py:258
-#: midi2ly.py:1109 musicxml2ly.py:2674 main.cc:318
+#: midi2ly.py:1109 musicxml2ly.py:2909 main.cc:318
#, c-format, python-format
msgid "Report bugs via %s"
msgstr ""
msgid "edit in place"
msgstr ""
-#: convert-ly.py:109 lilypond-book.py:179 musicxml2ly.py:2627
+#: convert-ly.py:109 lilypond-book.py:179 musicxml2ly.py:2803
msgid ""
"Print log messages according to LOGLEVEL (NONE, ERROR, WARNING, PROGRESS "
"(default), DEBUG)"
msgstr ""
#: convert-ly.py:111 lilypond-book.py:163 lilypond-book.py:181
-#: musicxml2ly.py:2629 main.cc:177
+#: musicxml2ly.py:2805 main.cc:177
msgid "LOGLEVEL"
msgstr ""
"file.\n"
msgstr ""
-#: etf2ly.py:1210 midi2ly.py:1069 midi2ly.py:1074 musicxml2ly.py:2659
+#: etf2ly.py:1210 midi2ly.py:1069 midi2ly.py:1074 musicxml2ly.py:2859
#: main.cc:169 main.cc:181
msgid "FILE"
msgstr ""
msgid "write snippet output files with the same base name as their source file"
msgstr ""
-#: lilypond-book.py:223 midi2ly.py:1092 musicxml2ly.py:2596
+#: lilypond-book.py:223 midi2ly.py:1092 musicxml2ly.py:2772
msgid "be verbose"
msgstr ""
msgid "no files specified on command line."
msgstr ""
-#: musicxml2ly.py:228
+#: musicxml2ly.py:260
#, python-format
msgid ""
"Encountered file created by %s, containing wrong beaming information. All "
"beaming information in the MusicXML file will be ignored"
msgstr ""
-#: musicxml2ly.py:247 musicxml2ly.py:249
+#: musicxml2ly.py:302 musicxml2ly.py:304
#, python-format
msgid "Unprocessed PartGroupInfo %s encountered"
msgstr ""
-#: musicxml2ly.py:500
-#, python-format
-msgid "Encountered note at %s without type and duration (=%s)"
-msgstr ""
-
-#: musicxml2ly.py:520
-#, python-format
-msgid ""
-"Encountered rational duration with denominator %s, unable to convert to "
-"lilypond duration"
-msgstr ""
-
-#: musicxml2ly.py:767
+#: musicxml2ly.py:792
msgid "Unable to extract key signature!"
msgstr ""
-#: musicxml2ly.py:794
+#: musicxml2ly.py:819
#, python-format
msgid "unknown mode %s, expecting 'major' or 'minor' or a church mode!"
msgstr ""
-#: musicxml2ly.py:932
-#, python-format
-msgid "Encountered unprocessed marker %s\n"
-msgstr ""
-
-#: musicxml2ly.py:1026
+#: musicxml2ly.py:988
#, python-format
msgid "unknown span event %s"
msgstr ""
-#: musicxml2ly.py:1036
+#: musicxml2ly.py:1000
#, python-format
msgid "unknown span type %s for %s"
msgstr ""
-#: musicxml2ly.py:1456
+#: musicxml2ly.py:1497
msgid "Unknown metronome mark, ignoring"
msgstr ""
#. TODO: Implement the other (more complex) way for tempo marks!
-#: musicxml2ly.py:1461
+#: musicxml2ly.py:1502
msgid ""
"Metronome marks with complex relations (<metronome-note> in MusicXML) are "
"not yet implemented."
msgstr ""
-#: musicxml2ly.py:1663
+#: musicxml2ly.py:1653
#, python-format
msgid "Unable to convert chord type %s to lilypond."
msgstr ""
-#: musicxml2ly.py:1816
-#, python-format
-msgid "drum %s type unknown, please add to instrument_drumtype_dict"
-msgstr ""
-
-#: musicxml2ly.py:1820
-msgid "cannot find suitable event"
-msgstr ""
-
-#: musicxml2ly.py:1968
+#: musicxml2ly.py:2007
#, python-format
msgid "Negative skip %s (from position %s to %s)"
msgstr ""
-#: musicxml2ly.py:2109
+#: musicxml2ly.py:2237
#, python-format
msgid "Negative skip found: from %s to %s, difference is %s"
msgstr ""
-#: musicxml2ly.py:2190
+#: musicxml2ly.py:2338
#, python-format
msgid "unexpected %s; expected %s or %s or %s"
msgstr ""
-#: musicxml2ly.py:2296
+#: musicxml2ly.py:2467
msgid "Encountered closing slur, but no slur is open"
msgstr ""
-#: musicxml2ly.py:2299
+#: musicxml2ly.py:2470
msgid "Cannot have two simultaneous (closing) slurs"
msgstr ""
-#: musicxml2ly.py:2308
+#: musicxml2ly.py:2479
msgid "Cannot have a slur inside another slur"
msgstr ""
-#: musicxml2ly.py:2311
+#: musicxml2ly.py:2482
msgid "Cannot have two simultaneous slurs"
msgstr ""
-#: musicxml2ly.py:2445
+#: musicxml2ly.py:2608
#, python-format
msgid "cannot simultaneously have more than one mode: %s"
msgstr ""
-#: musicxml2ly.py:2553
+#: musicxml2ly.py:2727
msgid "Converting to LilyPond expressions..."
msgstr ""
-#: musicxml2ly.py:2564
+#: musicxml2ly.py:2739
msgid "musicxml2ly [OPTION]... FILE.xml"
msgstr ""
-#: musicxml2ly.py:2566
+#: musicxml2ly.py:2741
msgid ""
"Convert MusicXML from FILE.xml to LilyPond input.\n"
"If the given filename is -, musicxml2ly reads from the command line.\n"
msgstr ""
-#: musicxml2ly.py:2576
+#: musicxml2ly.py:2751
msgid ""
-"Copyright (c) 2005--2015 by\n"
+"Copyright (c) 2005--2016 by\n"
" Han-Wen Nienhuys <hanwen@xs4all.nl>,\n"
" Jan Nieuwenhuizen <janneke@gnu.org> and\n"
" Reinhold Kainhofer <reinhold@kainhofer.com>\n"
+" Patrick L. Schmidt <pls@philomelos.net>\n"
msgstr ""
-#: musicxml2ly.py:2602
+#: musicxml2ly.py:2778
msgid "use lxml.etree; uses less memory and cpu time"
msgstr ""
-#: musicxml2ly.py:2608
+#: musicxml2ly.py:2784
msgid "input file is a zip-compressed MusicXML file"
msgstr ""
-#: musicxml2ly.py:2614
+#: musicxml2ly.py:2790
msgid "convert pitches in relative mode (default)"
msgstr ""
-#: musicxml2ly.py:2619
+#: musicxml2ly.py:2795
msgid "convert pitches in absolute mode"
msgstr ""
-#: musicxml2ly.py:2622
+#: musicxml2ly.py:2798
msgid "LANG"
msgstr ""
-#: musicxml2ly.py:2624
+#: musicxml2ly.py:2800
msgid "use LANG for pitch names, e.g. 'deutsch' for note names in German"
msgstr ""
-#: musicxml2ly.py:2638
+#: musicxml2ly.py:2814
msgid "do not convert directions (^, _ or -) for articulations, dynamics, etc."
msgstr ""
-#: musicxml2ly.py:2644
+#: musicxml2ly.py:2820
msgid "do not convert exact vertical positions of rests"
msgstr ""
-#: musicxml2ly.py:2650
-msgid "do not convert the exact page layout and breaks"
+#: musicxml2ly.py:2826
+msgid "ignore system breaks"
+msgstr ""
+
+#: musicxml2ly.py:2832
+msgid "ignore page breaks"
+msgstr ""
+
+#: musicxml2ly.py:2838
+msgid "ignore page margins"
+msgstr ""
+
+#: musicxml2ly.py:2844
+msgid ""
+"do not convert the exact page layout and breaks (shortcut for \"--nsb --npb "
+"--npm\" options)"
+msgstr ""
+
+#: musicxml2ly.py:2850
+msgid ""
+"ignore stem directions from MusicXML, use lilypond's automatic stemming "
+"instead"
msgstr ""
-#: musicxml2ly.py:2656
+#: musicxml2ly.py:2856
msgid ""
"do not convert beaming information, use lilypond's automatic beaming instead"
msgstr ""
-#: musicxml2ly.py:2664
+#: musicxml2ly.py:2864
msgid "set output filename to FILE, stdout if -"
msgstr ""
-#: musicxml2ly.py:2670
-msgid "activate midi-block"
+#: musicxml2ly.py:2870
+msgid "activate midi-block in .ly file"
+msgstr ""
+
+#: musicxml2ly.py:2874
+msgid "TOPITCH"
+msgstr ""
+
+#: musicxml2ly.py:2877
+msgid "set pitch to transpose by the interval between pitch 'c' and TOPITCH"
+msgstr ""
+
+#: musicxml2ly.py:2881
+msgid "BEATS/BEATTYPE"
+msgstr ""
+
+#: musicxml2ly.py:2884
+msgid ""
+"change the length|duration of notes as a function of a given time signature "
+"to make the score look faster or slower, (eg. '4/4' or '2/2')"
+msgstr ""
+
+#: musicxml2ly.py:2888
+msgid "TABCLEFNAME"
+msgstr ""
+
+#: musicxml2ly.py:2891
+msgid "switch between two versions of tab clefs (\"tab\" and \"moderntab\")"
msgstr ""
-#: musicxml2ly.py:2754
+#: musicxml2ly.py:2895
+msgid "t[rue]/f[alse]"
+msgstr ""
+
+#: musicxml2ly.py:2898
+msgid ""
+"deactivate string number stencil with --string-numbers f[alse]. Default is t"
+"[rue]"
+msgstr ""
+
+#: musicxml2ly.py:2905
+msgid ""
+"converts '<frame>' events to a separate FretBoards voice instead of markups"
+msgstr ""
+
+#: musicxml2ly.py:2979
#, python-format
msgid "unknown part in part-list: %s"
msgstr ""
-#: musicxml2ly.py:2816
+#: musicxml2ly.py:3069
msgid "Input is compressed, extracting raw MusicXML data from stdin"
msgstr ""
-#: musicxml2ly.py:2829
+#: musicxml2ly.py:3082
#, python-format
msgid "Input file %s is compressed, extracting raw MusicXML data"
msgstr ""
-#: musicxml2ly.py:2859
+#: musicxml2ly.py:3112
msgid "Reading MusicXML from Standard input ..."
msgstr ""
-#: musicxml2ly.py:2861
+#: musicxml2ly.py:3114
#, python-format
msgid "Reading MusicXML from %s ..."
msgstr ""
-#: musicxml2ly.py:2894
+#: musicxml2ly.py:3146
#, python-format
msgid "Output to `%s'"
msgstr ""
-#: musicxml2ly.py:2964
+#: musicxml2ly.py:3172
+#, python-format
+msgid "Converting to current version (%s) notations ..."
+msgstr ""
+
+#: musicxml2ly.py:3246
#, python-format
msgid "Unable to find input file %s"
msgstr ""
msgid "natural alteration glyph not found"
msgstr ""
-#: all-font-metrics.cc:161
+#: all-font-metrics.cc:159
#, c-format
msgid "cannot find font: `%s'"
msgstr ""
msgid "no heads for arpeggio found?"
msgstr ""
-#: axis-group-engraver.cc:149
+#: axis-group-engraver.cc:154
msgid "Axis_group_engraver: vertical group already has a parent"
msgstr ""
-#: axis-group-engraver.cc:150
+#: axis-group-engraver.cc:155
msgid "are there two Axis_group_engravers?"
msgstr ""
-#: axis-group-engraver.cc:151
+#: axis-group-engraver.cc:156
msgid "removing this vertical group"
msgstr ""
msgid "unterminated %s"
msgstr ""
-#. No explicit dynamic script events have occurred yet, but there is
-#. nevertheless a dynamic spanner. Initialize last_volume_ to a
-#. value within the available range.
-#: dynamic-performer.cc:129
-msgid "(De)crescendo with unspecified starting volume in MIDI."
-msgstr ""
-
#: episema-engraver.cc:74
msgid "already have an episema"
msgstr ""
msgid "position unknown"
msgstr ""
-#: key-engraver.cc:196
+#: key-engraver.cc:197
msgid "Incomplete keyAlterationOrder for key signature"
msgstr ""
msgid "NoteEvent without pitch"
msgstr ""
+#: open-type-font-scheme.cc:148 pfb-scheme.cc:62 ttf.cc:512 ttf.cc:562
+msgid "font index must be non-negative, using index 0"
+msgstr ""
+
+#: open-type-font-scheme.cc:162 pfb-scheme.cc:77 ttf.cc:480 ttf.cc:528
+#, c-format
+msgid "font index %d too large for font `%s', using index 0"
+msgstr ""
+
#: open-type-font.cc:45
#, c-format
msgid "cannot allocate %lu bytes"
msgid "MIDI output to `%s'..."
msgstr ""
-#: pfb-scheme.cc:49 ttf.cc:512 ttf.cc:562
-msgid "font index must be non-negative, using index 0"
-msgstr ""
-
-#: pfb-scheme.cc:64 ttf.cc:480 ttf.cc:528
-#, c-format
-msgid "font index %d too large for font `%s', using index 0"
-msgstr ""
-
#: piano-pedal-engraver.cc:276
#, c-format
msgid "expect 3 strings for piano pedals, found: %ld"
msgid "giving up"
msgstr ""
-#: parser.yy:480 parser.yy:971 parser.yy:1052 parser.yy:1272
+#: parser.yy:479 parser.yy:969 parser.yy:1050 parser.yy:1270
msgid "bad expression type"
msgstr ""
-#: parser.yy:883 parser.yy:1482 parser.yy:1527
+#: parser.yy:881 parser.yy:1478 parser.yy:1523
msgid "not a context mod"
msgstr ""
-#: parser.yy:1078
+#: parser.yy:1076
msgid "Missing music in \\score"
msgstr ""
-#: parser.yy:1115
+#: parser.yy:1113
msgid "\\paper cannot be used in \\score, use \\layout instead"
msgstr ""
-#: parser.yy:1150
+#: parser.yy:1148
msgid "Spurious expression in \\score"
msgstr ""
-#: parser.yy:1180
+#: parser.yy:1178
msgid "need \\paper for paper block"
msgstr ""
-#: parser.yy:1355
+#: parser.yy:1352
msgid "music expected"
msgstr ""
-#: parser.yy:1365 parser.yy:1399
+#: parser.yy:1362 parser.yy:1396
msgid "unexpected post-event"
msgstr ""
-#: parser.yy:1407
+#: parser.yy:1404
msgid "Ignoring non-music expression"
msgstr ""
-#: parser.yy:1723 parser.yy:1742
+#: parser.yy:1719 parser.yy:1738
msgid "not a key"
msgstr ""
-#: parser.yy:2611 parser.yy:2729 parser.yy:2742 parser.yy:2751
+#: parser.yy:2602 parser.yy:2720 parser.yy:2733 parser.yy:2742
msgid "bad grob property path"
msgstr ""
-#: parser.yy:2709
+#: parser.yy:2700
msgid "only \\consists and \\remove take non-string argument."
msgstr ""
-#: parser.yy:2770
+#: parser.yy:2761
msgid "bad context property path"
msgstr ""
-#: parser.yy:2855
+#: parser.yy:2846
msgid "markup expected"
msgstr ""
-#: parser.yy:2867
+#: parser.yy:2858
msgid "simple string expected"
msgstr ""
-#: parser.yy:2884
+#: parser.yy:2875
msgid "symbol expected"
msgstr ""
-#: parser.yy:3028
+#: parser.yy:3019
msgid "not a rhythmic event"
msgstr ""
-#: parser.yy:3078
+#: parser.yy:3069
msgid "post-event expected"
msgstr ""
-#: parser.yy:3087 parser.yy:3092
+#: parser.yy:3078 parser.yy:3083
msgid "have to be in Lyric mode for lyrics"
msgstr ""
-#: parser.yy:3168
+#: parser.yy:3159
msgid "expecting string or post-event as script definition"
msgstr ""
-#: parser.yy:3272
+#: parser.yy:3263
msgid "not an articulation"
msgstr ""
-#: parser.yy:3338 parser.yy:3390
+#: parser.yy:3329 parser.yy:3381
msgid "not a duration"
msgstr ""
-#: parser.yy:3411
+#: parser.yy:3402
msgid "bass number expected"
msgstr ""
-#: parser.yy:3503
+#: parser.yy:3494
msgid "have to be in Note mode for notes"
msgstr ""
-#: parser.yy:3542
+#: parser.yy:3533
msgid "have to be in Chord mode for chords"
msgstr ""
-#: parser.yy:3585
+#: parser.yy:3576
msgid "markup outside of text script or \\lyricmode"
msgstr ""
-#: parser.yy:3590
+#: parser.yy:3581
msgid "unrecognized string, not in text script or \\lyricmode"
msgstr ""
-#: parser.yy:3742 parser.yy:3751
+#: parser.yy:3733 parser.yy:3742
msgid "not an unsigned integer"
msgstr ""
-#: parser.yy:3838
+#: parser.yy:3829
msgid "not a markup"
msgstr ""
msgid "missing stencil expression `~S'"
msgstr ""
-#: bar-line.scm:133
+#: bar-line.scm:142
#, scheme-format
msgid "Bar glyph ~a not known. Ignoring."
msgstr ""
-#: bar-line.scm:161
+#: bar-line.scm:170
#, scheme-format
msgid ""
"Annotation '~a' is allowed in the first argument of a bar line definition "
"only."
msgstr ""
-#: bar-line.scm:169
+#: bar-line.scm:178
#, scheme-format
msgid ""
"Replacement '~a' is allowed in the last argument of a bar line definition "
"only."
msgstr ""
-#: bar-line.scm:230
+#: bar-line.scm:239
#, scheme-format
msgid ""
"add-bar-glyph-print-procedure: glyph '~a' has to be a single ASCII character."
msgstr ""
-#: bar-line.scm:795
+#: bar-line.scm:807
#, scheme-format
msgid "No span bar glyph defined for bar glyph '~a'; ignoring."
msgstr ""
-#: chord-entry.scm:55
+#: chord-entry.scm:57
#, scheme-format
msgid "Spurious garbage following chord: ~A"
msgstr ""
#: define-context-properties.scm:31 define-grob-properties.scm:21
-#: define-music-properties.scm:21
+#: define-music-properties.scm:21 lily.scm:102
#, scheme-format
msgid "symbol ~S redefined"
msgstr ""
msgid "bad make-music argument: ~S"
msgstr ""
-#: define-note-names.scm:1107
+#: define-note-names.scm:1112
msgid "Select note names language."
msgstr ""
-#: define-note-names.scm:1113
+#: define-note-names.scm:1118
#, scheme-format
msgid "Using `~a' note names..."
msgstr ""
-#: define-note-names.scm:1116
+#: define-note-names.scm:1121
#, scheme-format
msgid "Could not find language `~a'. Ignoring."
msgstr ""
msgid "cannot extract file matching ~a from ~a"
msgstr ""
-#: framework-ps.scm:353
+#: framework-ps.scm:346
#, scheme-format
msgid "do not know how to embed ~S=~S"
msgstr ""
-#: framework-ps.scm:378
+#: framework-ps.scm:371
#, scheme-format
msgid "do not know how to embed font ~s ~s ~s"
msgstr ""
-#: framework-ps.scm:760
+#: framework-ps.scm:753
msgid ""
"\n"
"The PostScript backend does not support the\n"
msgid "call-after-session used after session start"
msgstr ""
-#: lily.scm:112
+#: lily.scm:99
msgid "define-session used after session start"
msgstr ""
-#: lily.scm:122
-msgid "define-session-public used after session start"
-msgstr ""
-
-#: lily.scm:434
+#: lily.scm:444
msgid "Using (ice-9 curried-definitions) module\n"
msgstr ""
-#: lily.scm:437
+#: lily.scm:447
msgid "Guile 1.8\n"
msgstr ""
-#: lily.scm:494
+#: lily.scm:504
#, scheme-format
msgid "cannot find: ~A"
msgstr ""
-#: lily.scm:924
+#: lily.scm:934
msgid "Success: compilation successfully completed"
msgstr ""
-#: lily.scm:925
+#: lily.scm:935
msgid "Compilation completed with warnings or errors"
msgstr ""
-#: lily.scm:986
+#: lily.scm:996
#, scheme-format
msgid "job ~a terminated with signal: ~a"
msgstr ""
-#: lily.scm:989
+#: lily.scm:999
#, scheme-format
msgid ""
"logfile ~a (exit ~a):\n"
"~a"
msgstr ""
-#: lily.scm:1011 lily.scm:1100
+#: lily.scm:1021 lily.scm:1110
#, scheme-format
msgid "failed files: ~S"
msgstr ""
-#: lily.scm:1091
+#: lily.scm:1101
#, scheme-format
msgid "Redirecting output to ~a..."
msgstr ""
-#: lily.scm:1110
+#: lily.scm:1120
#, scheme-format
msgid "Invoking `~a'...\n"
msgstr ""
;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;
;; helper functions for staff and layout properties
-(define (calc-blot thickness extent grob)
+(define (bar-line::calc-blot thickness extent grob)
"Calculate the blot diameter by taking @code{'rounded}
and the dimensions of the extent into account."
(let* ((rounded (ly:grob-property grob 'rounded #f))
((< height blot-diameter) height)
(else blot-diameter)))
0)))
-
blot))
+(define-public (bar-line::draw-filled-box x-ext y-ext thickness extent grob)
+ "Return a straight bar-line created by @code{ly:round-filled-box} looking at
+@var{x-ext}, @var{y-ext}, @var{thickness}. The blot is calculated by
+@code{bar-line::calc-blot}, which needs @var{extent} and @var{grob}.
+@var{y-ext} is not necessarily of same value as @var{extent}."
+ (ly:round-filled-box
+ x-ext
+ y-ext
+ (bar-line::calc-blot thickness extent grob)))
+
(define (get-span-glyph bar-glyph)
"Get the corresponding span glyph from the @code{span-glyph-bar-alist}.
Pad the string with @code{annotation-char}s to the length of the
(let* ((line-thickness (layout-line-thickness grob))
(thickness (* (ly:grob-property grob 'hair-thickness 1)
line-thickness))
- (blot (calc-blot thickness extent grob))
(extent (bar-line::widen-bar-extent-on-span grob extent)))
-
- (ly:round-filled-box (cons 0 thickness)
- extent
- blot)))
+ (bar-line::draw-filled-box
+ (cons 0 thickness)
+ extent
+ thickness
+ extent
+ grob)))
(define (make-thick-bar-line grob extent)
"Draw a thick bar line."
(let* ((line-thickness (layout-line-thickness grob))
(thickness (* (ly:grob-property grob 'thick-thickness 1)
line-thickness))
- (blot (calc-blot thickness extent grob))
(extent (bar-line::widen-bar-extent-on-span grob extent)))
-
- (ly:round-filled-box (cons 0 thickness)
- extent
- blot)))
+ (bar-line::draw-filled-box
+ (cons 0 thickness)
+ extent
+ thickness
+ extent
+ grob)))
(define (make-tick-bar-line grob extent)
"Draw a tick bar line."
(let* ((half-staff (* 1/2 (ly:staff-symbol-staff-space grob)))
(staff-line-thickness (ly:staff-symbol-line-thickness grob))
- (height (interval-end extent))
- (blot (calc-blot staff-line-thickness extent grob)))
-
- (ly:round-filled-box (cons 0 staff-line-thickness)
- (cons (- height half-staff) (+ height half-staff))
- blot)))
+ (height (interval-end extent)))
+ (bar-line::draw-filled-box
+ (cons 0 staff-line-thickness)
+ (cons (- height half-staff) (+ height half-staff))
+ staff-line-thickness
+ extent
+ grob)))
(define (make-colon-bar-line grob extent)
"Draw repeat dots."
get stems extending to the middle staff line.")
(non-break-align-symbols ,list? "A list of symbols that determine
which NON-break-aligned interfaces to align this to.")
- (non-default ,boolean? "Set for manually specified clefs.")
+ (non-default ,boolean? "Set for manually specified clefs and keys.")
(non-musical ,boolean? "True if the grob belongs to a
@code{NonMusicalPaperColumn}.")
(nonstaff-nonstaff-spacing ,list? "The spacing alist
(SystemStartSquare
. (
+ (collapse-height . 5.0)
(direction . ,LEFT)
(stencil . ,ly:system-start-delimiter::print)
(style . line-bracket)
(ly:get-option 'datadir)))))
(define (load-font-via-GS font-name-filename)
+ (define (is-collection-font? file-name)
+ (let ((port (open-file file-name "rb")))
+ (if (eq? (read-char port) #\t)
+ (if (eq? (read-char port) #\t)
+ (if (eq? (read-char port) #\c)
+ (if (eq? (read-char port) #\f)
+ #t
+ #f)
+ #f)
+ #f)
+ #f)))
+
(define (ps-load-file file-name)
(if (string? file-name)
(if (string-contains file-name (ly:get-option 'datadir))
(let* ((font (car font-name-filename))
(name (cadr font-name-filename))
(file-name (caddr font-name-filename))
+ (font-index (cadddr font-name-filename))
(bare-file-name (ly:find-file file-name)))
- (cons name
- (if (mac-font? bare-file-name)
- (handle-mac-font name bare-file-name)
- (cond
- ((and font (cff-font? font))
- (ps-load-file (ly:find-file
- (format #f "~a.otf" file-name))))
- ((string? bare-file-name)
- (ps-load-file file-name))
- (else
- (ly:warning (_ "cannot embed ~S=~S") name file-name)
- ""))))))
+ (cond
+ ((and (number? font-index)
+ (!= font-index 0))
+ (ly:warning (_ "Font ~a cannot be loaded via Ghostscript because its font-index (~a) is not zero.")
+ name font-index)
+ (load-font font-name-filename))
+ ((and (string? bare-file-name)
+ (eq? (ly:get-font-format bare-file-name font-index) 'CFF)
+ (is-collection-font? bare-file-name))
+ (ly:warning (_ "Font ~a cannot be loaded via Ghostscript because it is an OpenType/CFF (OTC) font.")
+ name)
+ (load-font font-name-filename))
+ ((and (string? bare-file-name)
+ (eq? (ly:get-font-format bare-file-name font-index) 'TrueType)
+ (not (ly:has-glyph-names? bare-file-name font-index)))
+ (ly:warning (_ "Font ~a cannot be used via Ghostscript because it is a TrueType font that does not have glyph names.")
+ name)
+ (load-font font-name-filename))
+ (else
+ (cons name
+ (if (mac-font? bare-file-name)
+ (handle-mac-font name bare-file-name)
+ (cond
+ ((and font (cff-font? font))
+ (ps-load-file (ly:find-file
+ (format #f "~a.otf" file-name))))
+ ((string? bare-file-name)
+ (ps-load-file file-name))
+ (else
+ (ly:warning (_ "cannot embed ~S=~S") name file-name)
+ ""))))))))
(define (dir-join a b)
(if (equal? a "")
embed))
(define (font-file-as-ps-string name file-name font-index)
- (let* ((downcase-file-name (string-downcase file-name)))
+ (let ((font-format (ly:get-font-format file-name font-index)))
(cond
- ((and file-name (string-endswith downcase-file-name ".pfa"))
- (embed-document file-name))
- ((and file-name (string-endswith downcase-file-name ".pfb"))
- (ly:pfb->pfa file-name))
- ((and file-name (string-endswith downcase-file-name ".ttf"))
- (ly:ttf->pfa file-name))
- ((and file-name (string-endswith downcase-file-name ".ttc"))
- ;; TODO: distinguish files which have extension `*.ttc'
- ;; whether TrueType Collection (TTC) fonts
- ;; or OpenType/CFF Collection (OTC) fonts.
- (ly:ttf->pfa file-name font-index)) ;; TTC fonts
- ((and file-name (string-endswith downcase-file-name ".otf"))
- (ps-embed-cff (ly:otf->cff file-name) name 0))
- ((and file-name (string-endswith downcase-file-name ".otc"))
- ;; The files which have the extension `*.otc' are OTC fonts.
- (ps-embed-cff (ly:otf->cff file-name font-index) name 0)) ;; OTC fonts
+ ((eq? font-format (string->symbol "Type 1"))
+ ;; Type 1 (PFA and PFB) fonts
+ (ly:type1->pfa file-name))
+ ((eq? font-format 'TrueType)
+ ;; TrueType fonts (TTF) and TrueType Collection (TTC)
+ (ly:ttf->pfa file-name font-index))
+ ((eq? font-format 'CFF)
+ ;; OpenType/CFF fonts (OTF) and OpenType/CFF Collection (OTC)
+ (ps-embed-cff (ly:otf->cff file-name font-index) name 0))
(else
(ly:warning (_ "do not know how to embed ~S=~S") name file-name)
""))))
(script-stencil . (feta . ("halfopen" . "halfopen")))
(direction . ,UP)))
+ ("halfopenvertical"
+ . (
+ (avoid-slur . outside)
+ (padding . 0.20)
+ (script-stencil . (feta . ("halfopenvertical" . "halfopenvertical")))
+ (direction . ,UP)))
+
("ictus"
. (
projects / lilypond.git / commitdiff