In the following examples, notes crossing the bar line are split and tied.
-@lilypond[quote,fragment,verbatim,relative=2,raggedright]
+@lilypond[quote,fragment,verbatim,relative=1,raggedright]
\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
Normally, note heads with a different number of dots are not merged, but
when the object property @code{merge-differently-dotted} is set in
the @internalsref{NoteCollision} object, they are merged
-@lilypond[quote,verbatim,fragment,raggedright]
-\relative c'' \context Voice << {
+@lilypond[quote,verbatim,fragment,raggedright,relative=2]
+\context Voice << {
g8 g8
\override Staff.NoteCollision
#'merge-differently-dotted = ##t
Similarly, you can merge half note heads with eighth notes, by setting
@code{merge-differently-headed}
-@lilypond[quote,fragment,relative=3,verbatim]
+@lilypond[quote,fragment,relative=2,verbatim]
\context Voice << {
c8 c4.
\override Staff.NoteCollision
Beams are used to group short notes into chunks that are aligned with
the metrum. They are inserted automatically
-@lilypond[quote,fragment,verbatim,relative=3]
+@lilypond[quote,fragment,verbatim,relative=2]
\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
@end lilypond
Individual notes may be marked with @code{\noBeam}, to prevent them
from being beamed
-@lilypond[quote,fragment,verbatim,relative=3]
+@lilypond[quote,fragment,verbatim,relative=2]
\time 2/4 c8 c\noBeam c c
@end lilypond
@end lilypond
@noindent
-In this case, setting @code{fingeringOrientations} will put fingerings next
+iIn this case, setting @code{fingeringOrientations} will put fingerings next
to note heads
-@lilypond[quote,verbatim,raggedright,fragment,relative=2]
+@lilypond[quote,verbatim,raggedright,fragment,relative=1]
\set fingeringOrientations = #'(left down)
<c-1 es-2 g-4 bes-5 > 4
\set fingeringOrientations = #'(up right down)
@cindex appoggiatura
@cindex acciaccatura
-@lilypond[quote,relative=3,verbatim,fragment]
+@lilypond[quote,relative=2,verbatim,fragment]
b4 \acciaccatura d8 c4 \appoggiatura e8 d4
\acciaccatura { g16[ f] } e4
@end lilypond
Both are special forms of the @code{\grace} command. By prefixing this
keyword to a music expression, a new one is formed, which will be
printed in a smaller font and takes up no logical time in a measure.
-@lilypond[quote,relative=3,verbatim,fragment]
+
+@lilypond[quote,relative=2,verbatim,fragment]
c4 \grace c16 c4
\grace { c16[ d16] } c2 c4
@end lilypond
In the following example, there are two sixteenth graces notes for
every eighth grace note
-@lilypond[quote,relative=3,verbatim,fragment]
+@lilypond[quote,relative=2,verbatim,fragment]
<< \new Staff { e4 \grace { c16[ d e f] } e4 }
\new Staff { c'4 \grace { g8[ b] } c4 } >>
@end lilypond
If you want to end a note with a grace, the standard trick is to put
the grace notes after a ``space note''
-@lilypond[quote,fragment,verbatim,relative=3]
+@lilypond[quote,fragment,verbatim,relative=2]
\context Voice {
<< { d1^\trill ( }
{ s2 \grace { c16[ d] } } >>
such as key signatures, bar lines, etc. are also synchronized. Take
care when you mix staves with grace notes and staves without, for example,
-@lilypond[quote,relative=3,verbatim,fragment]
+@lilypond[quote,relative=2,verbatim,fragment]
<< \new Staff { e4 \bar "|:" \grace c16 d4 }
\new Staff { c4 \bar "|:" d4 } >>
@end lilypond
You can also use a text saying @emph{cresc.} instead of hairpins. Here
is an example how to do it
-@lilypond[quote,fragment,relative=3,verbatim]
+@lilypond[quote,fragment,relative=2,verbatim]
\setTextCresc
c \< d e f\!
\setHairpinCresc
stops a running volta bracket
@end table
-@lilypond[quote,verbatim,fragment,relative=3]
+@lilypond[quote,verbatim,fragment,relative=2]
c4
\set Score.repeatCommands = #'((volta "93") end-repeat)
c4 c4
Pedals can also be indicated by a sequence of brackets, by setting the
@code{pedalSustainStyle} property to @code{bracket} objects
-@lilypond[quote,fragment,verbatim,relative=3]
+@lilypond[quote,fragment,verbatim,relative=2]
\set Staff.pedalSustainStyle = #'bracket
c\sustainDown d e
b\sustainUp\sustainDown
obtained by setting the @code{pedalSustainStyle} style property to
@code{mixed}
-@lilypond[quote,fragment,verbatim,relative=3]
+@lilypond[quote,fragment,verbatim,relative=2]
\set Staff.pedalSustainStyle = #'mixed
c\sustainDown d e
b\sustainUp\sustainDown
style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
default.
-@lilypond[quote,fragment,verbatim,relative=3]
+@lilypond[quote,fragment,verbatim,relative=2]
c\sostenutoDown d e c, f g a\sostenutoUp
@end lilypond
@internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
bracket may be extended to the end of the note head
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,fragment,verbatim,relative=2]
\override Staff.PianoPedalBracket
#'shorten-pair = #'(0 . -1.0)
c\sostenutoDown d e c, f g a\sostenutoUp
Stanza numbers can be added by setting @code{stanza}, e.g.
-@lilypond[quote,verbatim,relative=3]
+@lilypond[quote,verbatim,relative=2]
<<
\context Voice = duet {
\time 3/4 g2 e4 a2 f4 g2. }
the start of the staff. For the first start, @code{instrument} is
used, for the next ones @code{instr} is used.
-@lilypond[quote,verbatim,raggedright,relative=3]
+@lilypond[quote,verbatim,raggedright,relative=1]
\set Staff.instrument = "Ploink "
\set Staff.instr = "Plk "
c1