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GNU LilyPond — Snippets List
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This document shows a selected set of LilyPond snippets from the LilyPond Snippet Repository (LSR). It is in the public domain.
Please note that it is not an exact subset of LSR: some snippets come
from ‘input/new’ LilyPond sources directory, and snippets from LSR
are converted through convert-ly
, as LSR is based on a stable
LilyPond version, and this document is for version 2.12.2.
Snippets are grouped by tags; tags listed in the table of contents match a section of LilyPond notation manual. Snippets may have several tags, and not all LSR tags may appear in this document.
In the HTML version of this document, you can click on the file name or figure for each example to see the corresponding input file.
Musical notation | ||
---|---|---|
Pitches | ||
Rhythms | ||
Expressive marks | ||
Repeats | ||
Simultaneous notes | ||
Staff notation | ||
Editorial annotations | ||
Text | ||
Specialist notation | ||
Vocal music | ||
Chords | ||
Keyboards | ||
Percussion | ||
Fretted strings | ||
Unfretted strings | ||
Winds | ||
Ancient notation | ||
World music | ||
Other collections | ||
Contexts and engravers | ||
Tweaks and overrides | ||
Paper and layout | ||
Titles | ||
Spacing | ||
MIDI | ||
Templates |
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Pitches
These snippets illustrate the Notation Reference, section Pitches.
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Adding ambitus per voice
Ambitus can be added per voice. In this case, the ambitus must be moved manually to prevent collisions.
\new Staff << \new Voice \with { \consists "Ambitus_engraver" } \relative c'' { \override Ambitus #'X-offset = #2.0 \voiceOne c4 a d e f1 } \new Voice \with { \consists "Ambitus_engraver" } \relative c' { \voiceTwo es4 f g as b1 } >>
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Ambitus with multiple voices
Adding the Ambitus_engraver
to the Staff
context creates
a single ambitus per staff, even in the case of staves with multiple
voices.
\new Staff \with { \consists "Ambitus_engraver" } << \new Voice \relative c'' { \voiceOne c4 a d e f1 } \new Voice \relative c' { \voiceTwo es4 f g as b1 } >>
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Ambitus
Ambitus indicate pitch ranges for voices.
Accidentals only show up if they are not part of the key signature.
AmbitusNoteHead
grobs also have ledger lines.
\layout { \context { \Voice \consists "Ambitus_engraver" } } << \new Staff { \relative c' { \time 2/4 c4 f' } } \new Staff { \relative c' { \time 2/4 \key d \major cis4 as' } } >>
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Applying note head styles depending on the step of the scale
The shapeNoteStyles
property can be used to define various note
head styles for each step of the scale (as set by the key signature or
the "tonic" property). This property requires a set of symbols, which
can be purely arbitrary (geometrical expressions such as
triangle
, cross
, and xcircle
are allowed) or based
on old American engraving tradition (some latin note names are also
allowed).
That said, to imitate old American song books, there are several
predefined note head styles available through shortcut commands such as
\aikenHeads
or \sacredHarpHeads
.
This example shows different ways to obtain shape note heads, and demonstrates the ability to transpose a melody without losing the correspondence between harmonic functions and note head styles.
fragment = { \key c \major c2 d e2 f g2 a b2 c } \score { \new Staff { \transpose c d \relative c' { \set shapeNoteStyles = #'#(do re mi fa #f la ti) \fragment } \break \relative c' { \set shapeNoteStyles = #'#(cross triangle fa #f mensural xcircle diamond) \fragment } } \layout { ragged-right = ##t } }
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Coloring notes depending on their pitch
It is possible to color note heads depending on their pitch and/or their names: the function used in this example even makes it possible to distinguish enharmonics.
%Association list of pitches to colors. #(define color-mapping (list (cons (ly:make-pitch 0 0 0) (x11-color 'red)) (cons (ly:make-pitch 0 0 1/2) (x11-color 'green)) (cons (ly:make-pitch 0 1 -1/2) (x11-color 'green)) (cons (ly:make-pitch 0 2 0) (x11-color 'red)) (cons (ly:make-pitch 0 2 1/2) (x11-color 'green)) (cons (ly:make-pitch 0 3 -1/2) (x11-color 'red)) (cons (ly:make-pitch 0 3 0) (x11-color 'green)) (cons (ly:make-pitch 0 4 1/2) (x11-color 'red)) (cons (ly:make-pitch 0 5 0) (x11-color 'green)) (cons (ly:make-pitch 0 5 -1/2) (x11-color 'red)) (cons (ly:make-pitch 0 6 1/2) (x11-color 'red)) (cons (ly:make-pitch 0 1 0) (x11-color 'blue)) (cons (ly:make-pitch 0 3 1/2) (x11-color 'blue)) (cons (ly:make-pitch 0 4 -1/2) (x11-color 'blue)) (cons (ly:make-pitch 0 5 1/2) (x11-color 'blue)) (cons (ly:make-pitch 0 6 -1/2) (x11-color 'blue)) )) %Compare pitch and alteration (not octave). #(define (pitch-equals? p1 p2) (and (= (ly:pitch-alteration p1) (ly:pitch-alteration p2)) (= (ly:pitch-notename p1) (ly:pitch-notename p2)))) #(define (pitch-to-color pitch) (let ((color (assoc pitch color-mapping pitch-equals?))) (if color (cdr color)))) #(define (color-notehead grob) (pitch-to-color (ly:event-property (ly:grob-property grob 'cause) 'pitch))) \score { \new Staff \relative c' { \override NoteHead #'color = #color-notehead c8 b d dis ees f g aes } }
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Creating a sequence of notes on various pitches
In music that contains many occurrences of the same sequence of notes at different pitches, the following music function may prove useful. It takes a note, of which only the pitch is used. The supporting Scheme functions were borrowed from the "Tips and tricks" document in the manual for version 2.10. This example creates the rhythm used throughout Mars, from Gustav Holst’s The Planets.
#(define (make-note-req p d) (make-music 'NoteEvent 'duration d 'pitch p)) #(define (make-note p d) (make-music 'EventChord 'elements (list (make-note-req p d)))) #(define (seq-music-list elts) (make-music 'SequentialMusic 'elements elts)) #(define (make-triplet elt) (make-music 'TimeScaledMusic 'denominator 3 'numerator 2 'element elt)) rhythm = #(define-music-function (parser location note) (ly:music?) "Make the rhythm in Mars (the Planets) at the given note's pitch" (let ((p (ly:music-property (car (ly:music-property note 'elements)) 'pitch))) (seq-music-list (list (make-triplet (seq-music-list (list (make-note p (ly:make-duration 3 0 2 3)) (make-note p (ly:make-duration 3 0 2 3)) (make-note p (ly:make-duration 3 0 2 3)) ))) (make-note p (ly:make-duration 2 0)) (make-note p (ly:make-duration 2 0)) (make-note p (ly:make-duration 3 0)) (make-note p (ly:make-duration 3 0)) (make-note p (ly:make-duration 2 0)) )))) \new Staff { \time 5/4 \rhythm c' \rhythm c'' \rhythm g }
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Dodecaphonic-style accidentals for each note including naturals
In early 20th century works, starting with Schoenberg, Berg and Webern (the "Second" Viennese school), every pitch in the twelve-tone scale has to be regarded as equal, without any hierarchy such as the classical (tonal) degrees. Therefore, these composers print one accidental for each note, even at natural pitches, to emphasize their new approach to music theory and language.
This snippet shows how to achieve such notation rules.
\score { \new Staff { #(set-accidental-style 'dodecaphonic) c'4 dis' cis' cis' c'4 dis' cis' cis' c'4 c' dis' des' } \layout { \context { \Staff \remove "Key_engraver" } } }
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Generating random notes
This Scheme-based snippet generates 24 random notes (or as many as required), based on the current time (or any randomish number specified instead, in order to obtain the same random notes each time): i.e., to get different random note patterns, just change this number.
\score { { #(let ((random-state (seed->random-state (current-time)))) (ly:export (make-music 'SequentialMusic 'elements (map (lambda x (let ((idx (random 12 random-state))) (make-music 'EventChord 'elements (list (make-music 'NoteEvent 'duration (ly:make-duration 2 0 1 1) 'pitch (ly:make-pitch (quotient idx 7) (remainder idx 7) 0)))))) (make-list 24))))) } }
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Makam example
Makam is a type of melody from Turkey using 1/9th-tone
microtonal alterations. Consult the initialization file
makam.ly
(see the ‘Learning Manual 2.12.2,
4.6.3 Other sources of information’ for the location of this file)
for details of pitch names and alterations.
% Initialize makam settings \include "makam.ly" \relative c' { \set Staff.keySignature = #`((3 . ,BAKIYE) (6 . ,(- KOMA))) c4 cc db fk gbm4 gfc gfb efk fk4 db cc c }
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Non-traditional key signatures
The commonly used \key
command sets the keySignature
property, in the Staff
context.
To create non-standard key signatures, set this property directly. The format of this command is a list:
\set Staff.keySignature = #`(((octave . step) . alter) ((octave
. step) . alter) ...)
where, for each element in the list,
octave
specifies the octave (0 being the octave from middle C to
the B above), step
specifies the note within the octave (0 means
C and 6 means B), and alter
is ,SHARP ,FLAT ,DOUBLE-SHARP
etc. (Note the leading comma.) The accidentals in the key signature
will appear in the reverse order to that in which they are specified.
Alternatively, for each item in the list, using the more concise format
(step . alter)
specifies that the same alteration should hold in
all octaves.
For microtonal scales where a "sharp" is not 100 cents, alter
refers to the alteration as a proportion of a 200-cent whole tone.
Here is an example of a possible key signature for generating a whole-tone scale:
\relative c' { \set Staff.keySignature = #`(((0 . 3) . ,SHARP) ((0 . 5) . ,FLAT) ((0 . 6) . ,FLAT)) c4 d e fis aes4 bes c2 }
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Ottava text
Internally, \ottava
sets the properties ottavation
(for example, to "8va"
or "8vb"
) and
middleCPosition
. To override the text of the bracket, set
ottavation
after invoking \ottava
.
{ \ottava #1 \set Staff.ottavation = #"8" c''1 \ottava #0 c'1 \ottava #1 \set Staff.ottavation = #"Text" c''1 }
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Preventing extra naturals from being automatically added
In accordance with standard typesetting rules, a natural sign is
printed before a sharp or flat if a previous accidental on the same
note needs to be canceled. To change this behavior, set the
extraNatural
property to "false" in the Staff
context.
\relative c'' { aeses4 aes ais a \set Staff.extraNatural = ##f aeses4 aes ais a }
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Preventing natural signs from being printed when the key signature changes
When the key signature changes, natural signs are automatically printed
to cancel any accidentals from previous key signatures. This may be
prevented by setting to "false" the printKeyCancellation
property in the Staff
context.
\relative c' { \key d \major a4 b cis d \key g \minor a4 bes c d \set Staff.printKeyCancellation = ##f \key d \major a4 b cis d \key g \minor a4 bes c d }
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Quoting another voice with transposition
Quotations take into account the transposition of both
source and target. In this example, all instruments play sounding
middle C; the target is an instrument in F. The target part may be
transposed using \transpose
. In this case, all the pitches
(including the quoted ones) are transposed.
\addQuote clarinet { \transposition bes \repeat unfold 8 { d'16 d' d'8 } } \addQuote sax { \transposition es' \repeat unfold 16 { a8 } } quoteTest = { % french horn \transposition f g'4 << \quoteDuring #"clarinet" { \skip 4 } s4^"clar." >> << \quoteDuring #"sax" { \skip 4 } s4^"sax." >> g'4 } { \set Staff.instrumentName = \markup { \center-column { Horn \line { in F } } } \quoteTest \transpose c' d' << \quoteTest s4_"up a tone" >> }
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Transposing music with minimum accidentals
This example uses some Scheme code to enforce enharmonic modifications for notes in order to have the minimum number of accidentals. In this case, the following rules apply:
- Double accidentals should be removed
- B sharp -> C
- E sharp -> F
- C flat -> B
- F flat -> E
In this manner, the most natural enharmonic notes are chosen.
#(define (naturalize-pitch p) (let* ((o (ly:pitch-octave p)) (a (* 4 (ly:pitch-alteration p))) ; alteration, a, in quarter tone steps, ; for historical reasons (n (ly:pitch-notename p))) (cond ((and (> a 1) (or (eq? n 6) (eq? n 2))) (set! a (- a 2)) (set! n (+ n 1))) ((and (< a -1) (or (eq? n 0) (eq? n 3))) (set! a (+ a 2)) (set! n (- n 1)))) (cond ((> a 2) (set! a (- a 4)) (set! n (+ n 1))) ((< a -2) (set! a (+ a 4)) (set! n (- n 1)))) (if (< n 0) (begin (set! o (- o 1)) (set! n (+ n 7)))) (if (> n 6) (begin (set! o (+ o 1)) (set! n (- n 7)))) (ly:make-pitch o n (/ a 4)))) #(define (naturalize music) (let* ((es (ly:music-property music 'elements)) (e (ly:music-property music 'element)) (p (ly:music-property music 'pitch))) (if (pair? es) (ly:music-set-property! music 'elements (map (lambda (x) (naturalize x)) es))) (if (ly:music? e) (ly:music-set-property! music 'element (naturalize e))) (if (ly:pitch? p) (begin (set! p (naturalize-pitch p)) (ly:music-set-property! music 'pitch p))) music)) naturalizeMusic = #(define-music-function (parser location m) (ly:music?) (naturalize m)) music = \relative c' { c4 d e g } \score { \new Staff { \transpose c ais { \music } \naturalizeMusic \transpose c ais { \music } \transpose c deses { \music } \naturalizeMusic \transpose c deses { \music } } \layout { } }
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Tweaking clef properties
The command \clef "treble_8"
is equivalent to setting
clefGlyph
, clefPosition
(which controls the vertical
position of the clef), middleCPosition
and
clefOctavation
. A clef is printed when any of the properties
except middleCPosition
are changed.
Note that changing the glyph, the position of the clef, or the
octavation does not in itself change the position of subsequent notes
on the staff: the position of middle C must also be specified to do
this. The positional parameters are relative to the staff center line,
positive numbers displacing upwards, counting one for each line and
space. The clefOctavation
value would normally be set to 7, -7,
15 or -15, but other values are valid.
When a clef change takes place at a line break the new clef symbol is
printed at both the end of the previous line and the beginning of the
new line by default. If the warning clef at the end of the previous
line is not required it can be suppressed by setting the Staff
property explicitClefVisibility
to the value
end-of-line-invisible
. The default behavior can be recovered
with \unset Staff.explicitClefVisibility
.
The following examples show the possibilities when setting these properties manually. On the first line, the manual changes preserve the standard relative positioning of clefs and notes, whereas on the second line, they do not.
\layout { ragged-right = ##t } { % The default treble clef c'1 % The standard bass clef \set Staff.clefGlyph = #"clefs.F" \set Staff.clefPosition = #2 \set Staff.middleCPosition = #6 c'1 % The baritone clef \set Staff.clefGlyph = #"clefs.C" \set Staff.clefPosition = #4 \set Staff.middleCPosition = #4 c'1 % The standard choral tenor clef \set Staff.clefGlyph = #"clefs.G" \set Staff.clefPosition = #-2 \set Staff.clefOctavation = #-7 \set Staff.middleCPosition = #1 c'1 % A non-standard clef \set Staff.clefPosition = #0 \set Staff.clefOctavation = #0 \set Staff.middleCPosition = #-4 c'1 \break % The following clef changes do not preserve % the normal relationship between notes and clefs: \set Staff.clefGlyph = #"clefs.F" \set Staff.clefPosition = #2 c'1 \set Staff.clefGlyph = #"clefs.G" c'1 \set Staff.clefGlyph = #"clefs.C" c'1 \set Staff.clefOctavation = #7 c'1 \set Staff.clefOctavation = #0 \set Staff.clefPosition = #0 c'1 % Return to the normal clef: \set Staff.middleCPosition = #0 c'1 }
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Rhythms
These snippets illustrate the Notation Reference, section Rhythms.
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Adding beams, slurs, ties etc. when using tuplet and non-tuplet rythms.
LilyPond syntax can involve many unusual placements for parentheses, brackets etc., which might sometimes have to be interleaved. For example, when entering a manual beam, the left square bracket has to be placed after the starting note and its duration, not before. Similarly, the right square bracket should directly follow the note which is to be at the end of the requested beaming, even if this note happens to be inside a tuplet section. This snippet demonstrates how to combine manual beaming, manual slurs, ties and phrasing slurs with tuplet sections (enclosed within curly braces).
{ r16[ g16 \times 2/3 { r16 e'8] } g16( a \times 2/3 { b d e') } g8[( a \times 2/3 { b d') e'] ~ } \time 2/4 \times 4/5 { e'32\( a b d' e' } a'4.\) }
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Adding drum parts
Using the powerful pre-configured tools such as the \drummode
function and the DrumStaff
context, inputting drum parts is
quite easy: drums are placed at their own staff positions (with a
special clef symbol) and have note heads according to the drum.
Attaching an extra symbol to the drum or restricting the number of
lines is possible.
drh = \drummode { cymc4.^"crash" hhc16^"h.h." hh hhc8 hho hhc8 hh16 hh hhc4 r4 r2 } drl = \drummode { bd4 sn8 bd bd4 << bd ss >> bd8 tommh tommh bd toml toml bd tomfh16 tomfh } timb = \drummode { timh4 ssh timl8 ssh r timh r4 ssh8 timl r4 cb8 cb } \score { << \new DrumStaff \with { drumStyleTable = #timbales-style \override StaffSymbol #'line-count = #2 \override BarLine #'bar-size = #2 } << \set Staff.instrumentName = #"timbales" \timb >> \new DrumStaff << \set Staff.instrumentName = #"drums" \new DrumVoice { \stemUp \drh } \new DrumVoice { \stemDown \drl } >> >> \layout { } \midi { \context { \Score tempoWholesPerMinute = #(ly:make-moment 120 4) } } }
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Automatic beam subdivisions
Beams can be subdivided automatically. By setting the property
subdivideBeams
, beams are subdivided at beat positions (as
specified in beatLength
).
\new Staff { \relative c'' { << { \voiceOne \set subdivideBeams = ##t b32[ a g f c' b a g b32^"subdivide beams" a g f c' b a g] } \new Voice { \voiceTwo b32_"default"[ a g f c' b a g b32 a g f c' b a g] } >> \oneVoice \set beatLength = #(ly:make-moment 1 8) b32^"beatLength 1 8"[ a g f c' b a g] \set beatLength = #(ly:make-moment 1 16) b32^"beatLength 1 16"[ a g f c' b a g] } }
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Automatic beams two per two in 4/4 or 2/2 time signature
In a simple time signature of 2/2 or 4/4, 8th notes are beamed by default as two sets of four.
Using a macro which overrides the autobeaming behavior, this snippet changes the beaming to quarter note beats.
% Automatic beams two per two in 4/4 or 2/2 time signature % _____ % Default | | | | % _ _ % Required | | | | % macro for beamed two per two in 2/2 and 4/4 time signature qBeam = { #(override-auto-beam-setting '(end 1 8 * *) 1 4 'Staff) #(override-auto-beam-setting '(end 1 8 * *) 2 4 'Staff) #(override-auto-beam-setting '(end 1 8 * *) 3 4 'Staff) } \score { << \new Staff { \relative c'' { \time 4/4 g8-"without the macro" g g g g g g g g8 g g g4 g8 g g } } %Use the macro \new Staff { \relative c'' { \time 4/4 \qBeam g8-"with the macro" g g g g g g g g8 g g g4 g8 g g } } >> \layout { \context { \Staff \override TimeSignature #'style = #'() } } }
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Avoiding collisions with chord fingerings
Fingerings and string numbers applied to individual notes will automatically avoid beams and stems, but this is not true by default for fingerings and string numbers applied to the individual notes of chords. The following example shows how this default behavior can be overridden.
\relative c' { \set fingeringOrientations = #'(up) \set stringNumberOrientations = #'(up) \set strokeFingerOrientations = #'(up) % Default behavior r8 <f c'-5>8 <f c'\5>8 <f c'-\rightHandFinger #2 >8 % Corrected to avoid collisions r8 \override Fingering #'add-stem-support = ##t <f c'-5>8 \override StringNumber #'add-stem-support = ##t <f c'\5>8 \override StrokeFinger #'add-stem-support = ##t <f c'-\rightHandFinger #2 >8 }
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Beam endings in Score context
Beam-ending rules specified in the Score
context apply to all
staves, but can be modified at both Staff
and Voice
levels:
\relative c'' { \time 5/4 % Set default beaming for all staves #(score-override-auto-beam-setting '(end * * 5 4) 3 8) #(score-override-auto-beam-setting '(end * * 5 4) 7 8) << \new Staff { c8 c c c c c c c c c } \new Staff { % Modify beaming for just this staff #(override-auto-beam-setting '(end * * 5 4) 6 8 'Staff) #(revert-auto-beam-setting '(end * * 5 4) 7 8 'Staff) c8 c c c c c c c c c } \new Staff { % Inherit beaming from Score context << { \voiceOne c8 c c c c c c c c c } % Modify beaming for this voice only \new Voice { \voiceTwo #(override-auto-beam-setting '(end * * 5 4) 6 8) #(revert-auto-beam-setting '(end * * 5 4) 7 8) a8 a a a a a a a a a } >> } >> }
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Beam grouping in 7/8 time
There are no default automatic beam groupings specified for 7/8 time, so if automatic beams are required the grouping must be specified. For example, to group all beams 2-3-2 in 7/8 time, specify beam endings at 2/8 and 5/8:
\relative c'' { \time 7/8 % rhythm 2-3-2 a8 a a a a a a #(override-auto-beam-setting '(end * * 7 8) 2 8) #(override-auto-beam-setting '(end * * 7 8) 5 8) a8 a a a a a a }
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Beams across line breaks
Line breaks are normally forbidden when beams cross bar lines. This behavior can be changed as shown:
\relative c'' { \override Beam #'breakable = ##t c8 c[ c] c[ c] c[ c] c[ \break c8] c[ c] c[ c] c[ c] c }
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Changing beam knee gap
Kneed beams are inserted automatically when a large gap is detected
between the note heads. This behavior can be tuned through the
auto-knee-gap
property. A kneed beam is drawn if the gap is
larger than the value of auto-knee-gap
plus the width of the
beam object (which depends on the duration of the notes and the slope
of the beam). By default auto-knee-gap
is set to 5.5 staff
spaces.
{ f8 f''8 f8 f''8 \override Beam #'auto-knee-gap = #6 f8 f''8 f8 f''8 }
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Changing form of multi-measure rests
If there are ten or fewer measures of rests, a series of longa
and breve rests (called in German "Kirchenpausen" - church rests)
is printed within the staff; otherwise a simple line is shown.
This default number of ten may be changed by overriding the
expand-limit
property:
\relative c'' { \compressFullBarRests R1*2 | R1*5 | R1*9 \override MultiMeasureRest #'expand-limit = #3 R1*2 | R1*5 | R1*9 }
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Changing text and spanner styles for text dynamics
The text used for crescendos and decrescendos can be changed by
modifying the context properties crescendoText
and
decrescendoText
. The style of the spanner line can be
changed by modifying the 'style
property of
DynamicTextSpanner
. The default value is 'hairpin
,
and other possible values include 'line
, 'dashed-line
and 'dotted-line
:
\relative c'' { \set crescendoText = \markup { \italic { cresc. poco } } \set crescendoSpanner = #'text \override DynamicTextSpanner #'style = #'dotted-line a2\< a a2 a a2 a a2 a\mf }
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Changing the time signature without affecting the beaming
The \time
command sets the properties
timeSignatureFraction
, beatLength
, beatGrouping
and measureLength
in the Timing
context, which is
normally aliased to Score
. Changing the value of
timeSignatureFraction
causes the new time signature symbol to be
printed without changing any of the other properties:
\relative c'' { \time 3/4 a16 a a a a a a a a a a a % Change time signature symbol but keep 3/4 beaming % due to unchanged underlying time signature \set Score.timeSignatureFraction = #'(12 . 16) a16 a a a a a a a a a a a \time 12/16 % Lose 3/4 beaming now \time has been changed a16 a a a a a a a a a a a }
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Changing the tuplet number
By default, only the numerator of the tuplet number is printed over the
tuplet bracket, i.e., the denominator of the argument to the
\times
command. Alternatively, num:den of the tuplet number may
be printed, or the tuplet number may be suppressed altogether.
\relative c'' { \times 2/3 { c8 c c } \times 2/3 { c8 c c } \override TupletNumber #'text = #tuplet-number::calc-fraction-text \times 2/3 { c8 c c } \override TupletNumber #'stencil = ##f \times 2/3 { c8 c c } }
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Changing time signatures inside a polymetric section using \scaleDurations
The measureLength
property, together with
measurePosition
, determines when a bar line is needed. However,
when using \scaleDurations
, the scaling of durations makes it
difficult to change time signatures. In this case, measureLength
should be set manually, using the ly:make-moment
callback. The
second argument must be the same as the second argument of
\scaleDurations
.
\layout { \context { \Score \remove "Timing_translator" \remove "Default_bar_line_engraver" } \context { \Staff \consists "Timing_translator" \consists "Default_bar_line_engraver" } } << \new Staff { \scaleDurations #'(8 . 5) { \time 6/8 \set Timing.measureLength = #(ly:make-moment 6 5) b8 b b b b b \time 2/4 \set Timing.measureLength = #(ly:make-moment 4 5) b4 b } } \new Staff { \clef bass \time 2/4 c2 d e f } >>
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Chant or psalms notation
This form of notation is used for the chant of the Psalms, where verses aren’t always the same length.
stemOn = { \revert Staff.Stem #'transparent } stemOff = { \override Staff.Stem #'transparent = ##t } \score { \new Staff \with { \remove "Time_signature_engraver" } { \key g \minor \cadenzaOn \stemOff a'\breve bes'4 g'4 \stemOn a'2 \bar "||" \stemOff a'\breve g'4 a'4 \stemOn f'2 \bar "||" \stemOff a'\breve^\markup { \italic flexe } \stemOn g'2 \bar "||" } }
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Compound time signatures
Odd 20th century time signatures (such as "5/8") can often be played as compound time signatures (e.g. "3/8 + 2/8"), which combine two or more inequal metrics. LilyPond can make such music quite easy to read and play, by explicitly printing the compound time signatures and adapting the automatic beaming behavior. (Graphic measure grouping indications can also be added; see the appropriate snippet in this database.)
#(define ((compound-time one two num) grob) (grob-interpret-markup grob (markup #:override '(baseline-skip . 0) #:number (#:line ( (#:column (one num)) #:vcenter "+" (#:column (two num)))) ))) \relative c' { \override Staff.TimeSignature #'stencil = #(compound-time "2" "3" "8") \time 5/8 #(override-auto-beam-setting '(end 1 8 5 8) 1 4) c8 d e fis gis c8 fis, gis e d c8 d e4 gis8 }
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Conducting signs, measure grouping signs
Options to group beats within a bar are available through the Scheme
function set-time-signature
, which takes three arguments: the
number of beats, the beat length, and the internal grouping of beats in
the measure. If the Measure_grouping_engraver
is included, the
function will also create MeasureGrouping
signs. Such signs
ease reading rhythmically complex modern music. In the example, the
9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
set-time-signature
as the third argument: '(2 2 2 3)
:
\score { \relative c'' { #(set-time-signature 9 8 '(2 2 2 3)) #(revert-auto-beam-setting '(end * * 9 8) 3 8) #(override-auto-beam-setting '(end 1 8 9 8) 1 4) #(override-auto-beam-setting '(end 1 8 9 8) 2 4) #(override-auto-beam-setting '(end 1 8 9 8) 3 4) g8 g d d g g a( bes g) | #(set-time-signature 5 8 '(3 2)) a4. g4 } \layout { \context { \Staff \consists "Measure_grouping_engraver" } } }
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Controlling tuplet bracket visibility
The default behavior of tuplet-bracket visibility is to print a bracket
unless there is a beam of the same length as the tuplet. To control the
visibility of tuplet brackets, set the property
'bracket-visibility
to either #t
(always print a
bracket), #f
(never print a bracket) or #'if-no-beam
(only print a bracket if there is no beam).
music = \relative c'' { \times 2/3 { c16[ d e } f8] \times 2/3 { c8 d e } \times 2/3 { c4 d e } } \new Voice { \relative c' { << \music s4^"default" >> \override TupletBracket #'bracket-visibility = #'if-no-beam << \music s4^"'if-no-beam" >> \override TupletBracket #'bracket-visibility = ##t << \music s4^"#t" >> \override TupletBracket #'bracket-visibility = ##f << \music s4^"#f" >> } }
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Engraving ties manually
Ties may be engraved manually by changing the tie-configuration
property of the TieColumn
object. The first number indicates the
distance from the center of the staff in staff-spaces, and the second
number indicates the direction (1 = up, -1 = down).
\relative c' { <c e g>2 ~ <c e g> \override TieColumn #'tie-configuration = #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1)) <c e g> ~ <c e g> }
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Entering several tuplets using only one \times command
The property tupletSpannerDuration
sets how long each of the
tuplets contained within the brackets after \times
should last.
Many consecutive tuplets can then be placed within a single
\times
expression, thus saving typing.
In the example, two triplets are shown, while \times
was
entered only once.
For more information about make-moment
, see "Time
administration".
\relative c' { \time 2/4 \set tupletSpannerDuration = #(ly:make-moment 1 4) \times 2/3 { c8 c c c c c } }
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Flat flags and beam nibs
Flat flags on lone notes and beam nibs at the ends of beamed figures
are both possible with a combination of stemLeftBeamCount
,
stemRightBeamCount
and paired []
beam indicators.
For right-pointing flat flags on lone notes, use paired []
beam
indicators and set stemLeftBeamCount
to zero (see Example 1).
For left-pointing flat flags, set stemRightBeamCount
instead
(Example 2).
For right-pointing nibs at the end of a run of beamed notes, set
stemRightBeamCount
to a positive value. And for left-pointing
nibs at the start of a run of beamed notes, set
stemLeftBeamCount
instead (Example 3).
Sometimes it may make sense for a lone note surrounded by rests to
carry both a left- and right-pointing flat flag. Do this with paired
[]
beam indicators alone (Example 4).
(Note that \set stemLeftBeamCount
is always equivalent to
\once \set
. In other words, the beam count settings are not
"sticky", so the pair of flat flags attached to the lone
c'16[]
in the last example have nothing to do with the
\set
two notes prior.)
\score { << % Example 1 \new RhythmicStaff { \set stemLeftBeamCount = #0 c16[] r8. } % Example 2 \new RhythmicStaff { r8. \set stemRightBeamCount = #0 c16[] } % Example 3 \new RhythmicStaff { c16 c \set stemRightBeamCount = #2 c16 r r \set stemLeftBeamCount = #2 c16 c c } % Example 4 \new RhythmicStaff { c16 c \set stemRightBeamCount = #2 c16 r c16[] r16 \set stemLeftBeamCount = #2 c16 c } >> }
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Forcing rehearsal marks to start from a given letter or number
This snippet demonstrates how to obtain automatic ordered rehearsal marks, but from the letter or number desired.
\relative c''{ c1 \mark \default c1 \mark \default c1 \mark \default c1 \mark #14 c1 \mark \default c1 \mark \default c1 \mark \default c1 \mark \default \break \set Score.markFormatter = #format-mark-numbers c1 \mark #1 c1 \mark \default c1 \mark \default c1 \mark \default c1 \mark #14 c1 \mark \default c1 \mark \default c1 \mark \default c1 \mark \default }
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Grouping beats
Beaming patterns may be altered with the beatGrouping
property:
\relative c'' { \time 5/16 #(override-auto-beam-setting '(end * * 5 16) 5 16) \set beatGrouping = #'(2 3) c8^"(2+3)" c16 c8 \set beatGrouping = #'(3 2) c8^"(3+2)" c16 c8 }
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Guitar strum rhythms
For guitar music, it is possible to show strum rhythms, along with melody notes, chord names, and fret diagrams.
\include "predefined-guitar-fretboards.ly" << \new ChordNames { \chordmode { c1 f g c } } \new FretBoards { \chordmode { c1 f g c } } \new Voice \with { \consists "Pitch_squash_engraver" } { \relative c'' { \improvisationOn c4 c8 c c4 c8 c f4 f8 f f4 f8 f g4 g8 g g4 g8 g c4 c8 c c4 c8 c } } \new Voice = "melody" { \relative c'' { c2 e4 e4 f2. r4 g2. a4 e4 c2. } } \new Lyrics { \lyricsto "melody" { This is my song. I like to sing. } } >>
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Heavily customized polymetric time signatures
Though the polymetric time signature shown was not the most essential item here, it has been included to show the beat of this piece (which is the template of a real Balkan song!).
#(define plus (markup #:vcenter "+")) #(define ((custom-time-signature one two three four five six seven eight nine ten eleven num) grob) (grob-interpret-markup grob (markup #:override '(baseline-skip . 0) #:number (#:line ( (#:column (one num)) plus (#:column (two num)) plus (#:column (three num)) plus (#:column (four num)) plus (#:column (five num)) plus (#:column (six num)) plus (#:column (seven num)) plus (#:column (eight num)) plus (#:column (nine num)) plus (#:column (ten num)) plus (#:column (eleven num)))) ))) melody = \relative c'' { \set Staff.instrumentName = #"Bb Sop." \key g \major #(set-time-signature 25 8 '(3 2 2 3 2 2 2 2 3 2 2)) \override Staff.TimeSignature #'stencil = #(custom-time-signature "3" "2" "2" "3" "2" "2" "2" "2" "3" "2" "2" "8") c8 c c d4 c8 c b c b a4 g fis8 e d c b' c d e4-^ fis8 g \break c,4. d4 c4 d4. c4 d c2 d4. e4-^ d4 c4. d4 c4 d4. c4 d c2 d4. e4-^ d4 \break c4. d4 c4 d4. c4 d c2 d4. e4-^ d4 c4. d4 c4 d4. c4 d c2 d4. e4-^ d4 \break } drum = \new DrumStaff \drummode { \bar "|:" bd4.^\markup { "Drums" } sn4 bd \bar ":" sn4. bd4 sn \bar ":" bd sn bd4. sn4 bd \bar ":|" } { \melody \drum }
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Making an object invisible with the transparent property
Setting the 'transparent
property will cause an object to be
printed in "invisible ink": the object is not printed, but all its
other behavior is retained. The object still takes up space, it takes
part in collisions, and slurs, ties and beams can be attached to it.
This snippet demonstrates how to connect different voices using ties. Normally, ties only connect two notes in the same voice. By introducing a tie in a different voice, and blanking the first up-stem in that voice, the tie appears to cross voices. To prevent the blanked stem’s flag from interfering with tie positioning, the stem is extended.
\relative c'' { \time 2/4 << { \once \override Stem #'transparent = ##t \once \override Stem #'length = #8 b8 ~ b\noBeam \once \override Stem #'transparent = ##t \once \override Stem #'length = #8 g8 ~ g\noBeam } \\ { b8 g g e } >> }
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Manually controlling beam positions
Beam positions may be controlled manually, by overriding the
positions
setting of the Beam
grob.
\relative c' { \time 2/4 % from upper staff-line (position 2) to center (position 0) \override Beam #'positions = #'(2 . 0) c8 c % from center to one above center (position 1) \override Beam #'positions = #'(0 . 1) c8 c }
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Merging multi-measure rests in a polyphonic part
When using multi-measure rests in a polyphonic staff, the rests will be placed differently depending on the voice they belong to. However they can be printed on the same staff line, using the following setting.
normalPos = \revert MultiMeasureRest #'staff-position { << { c''1 R1 c''1 \normalPos R1 } \\ { c'1 R1 c'1 \normalPos R1 } >> }
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Modifying tuplet bracket length
Tuplet brackets can be made to run to prefatory matter or the next note. Default tuplet brackets end at the right edge of the final note of the tuplet; full-length tuplet brackets extend farther to the right, either to cover all the non-rhythmic notation up to the following note, or to cover only the whitespace before the next item of notation, be that a clef, time signature, key signature, or another note. The example shows how to switch tuplets to full length mode and how to modify what material they cover.
\new RhythmicStaff { % Set tuplets to be extendable... \set tupletFullLength = ##t % ...to cover all items up to the next note \set tupletFullLengthNote = ##t \time 2/4 \times 2/3 { c4 c c } % ...or to cover just whitespace \set tupletFullLengthNote = ##f \time 4/4 \times 4/5 { c4 c1 } \time 3/4 c2. }
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Multi-measure rest markup
Markups attached to a multi-measure rest will be centered above or below it. Long markups attached to multi-measure rests do not cause the measure to expand. To expand a multi-measure rest to fit the markup, use a spacer rest with an attached markup before the multi-measure rest.
Note that the spacer rest causes a bar line to be inserted. Text attached to a spacer rest in this way is left-aligned to the position where the note would be placed in the measure, but if the measure length is determined by the length of the text, the text will appear to be centered.
\relative c' { \compressFullBarRests \textLengthOn s1*0^\markup { [MAJOR GENERAL] } R1*19 s1*0_\markup { \italic { Cue: ... it is yours } } s1*0^\markup { A } R1*30^\markup { [MABEL] } \textLengthOff c4^\markup { CHORUS } d f c }
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Permitting line breaks within beamed tuplets
This artificial example shows how both manual and automatic line breaks may be permitted to within a beamed tuplet. Note that such off-beat tuplets have to be beamed manually.
\layout { \context { \Voice % Permit line breaks within tuplets \remove "Forbid_line_break_engraver" % Allow beams to be broken at line breaks \override Beam #'breakable = ##t } } \relative c'' { a8 \repeat unfold 5 { \times 2/3 { c[ b a] } } % Insert a manual line break within a tuplet \times 2/3 { c[ b \bar "" \break a] } \repeat unfold 5 { \times 2/3 { c[ b a] } } c8 }
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Positioning multi-measure rests
Unlike ordinary rests, there is no predefined command to change the staff position of a multi-measure rest symbol of either form by attaching it to a note. However, in polyphonic music multi-measure rests in odd-numbered and even-numbered voices are vertically separated. The positioning of multi-measure rests can be controlled as follows:
\relative c'' { % Multi-measure rests by default are set under the second line R1 % They can be moved with an override \override MultiMeasureRest #'staff-position = #-2 R1 % A value of 0 is the default position; % the following trick moves the rest to the center line \override MultiMeasureRest #'staff-position = #-0.01 R1 % Multi-measure rests in odd-numbered voices are under the top line << { R1 } \\ { a1 } >> % Multi-measure rests in even-numbered voices are under the bottom line << { c1 } \\ { R1 } >> % They remain separated even in empty measures << { R1 } \\ { R1 } >> % This brings them together even though there are two voices \compressFullBarRests << \revert MultiMeasureRest #'staff-position { R1*3 } \\ \revert MultiMeasureRest #'staff-position { R1*3 } >> }
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Printing metronome and rehearsal marks below the staff
By default, metronome and rehearsal marks are printed above the staff.
To place them below the staff simply set the direction
property
of MetronomeMark
or RehearsalMark
appropriately.
\layout { ragged-right = ##f } { % Metronome marks below the staff \override Score.MetronomeMark #'direction = #DOWN \tempo 8. = 120 c''1 % Rehearsal marks below the staff \override Score.RehearsalMark #'direction = #DOWN \mark \default c''1 }
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Printing music with different time signatures
In the following snippet, two parts have a completely different time
signature, yet remain synchronized. The bar lines can no longer be
printed at the Score
level; to allow independent bar lines in
each part, the Default_barline_engraver
and
Timing_translator
are moved from the Score
context to the
Staff
context.
\paper { indent = #0 ragged-right = ##t } global = { \time 3/4 { s2.*3 } \bar "" \break { s2.*3 } } \layout { \context { \Score \remove "Timing_translator" \remove "Time_signature_engraver" \remove "Default_bar_line_engraver" \override SpacingSpanner #'uniform-stretching = ##t \override SpacingSpanner #'strict-note-spacing = ##t proportionalNotationDuration = #(ly:make-moment 1 64) } \context { \Staff \consists "Timing_translator" \consists "Default_bar_line_engraver" \consists "Time_signature_engraver" } \context { \Voice \remove "Forbid_line_break_engraver" tupletFullLength = ##t } } Bassklarinette = \new Staff << \global { \bar "|" \clef treble \time 3/8 d''4. \bar "|" \time 3/4 r8 des''2( c''8) \bar "|" \time 7/8 r4. ees''2 ~ \bar "|" \time 2/4 \tupletUp \times 2/3 { ees''4 r4 d''4 ~ } \bar "|" \time 3/8 \tupletUp \times 3/4 { d''4 r4 } \bar "|" \time 2/4 e''2 \bar "|" \time 3/8 es''4. \bar "|" \time 3/4 r8 d''2 r8 \bar "|" } >> Perkussion = \new StaffGroup << \new Staff << \global { \bar "|" \clef percussion \time 3/4 r4 c'2 ~ \bar "|" c'2. \bar "|" R2. \bar "|" r2 g'4 ~ \bar "|" g'2. ~ \bar "|" g'2. } >> \new Staff << \global { \bar "|" \clef percussion \time 3/4 R2. \bar "|" g'2. ~ \bar "|" g'2. \bar "|" r4 g'2 ~ \bar "|" g'2 r4 \bar "|" g'2. } >> >> \score { << \Bassklarinette \Perkussion >> }
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Rest styles
Rests may be used in various styles.
\layout { indent = 0.0 \context { \Staff \remove "Time_signature_engraver" } } \new Staff \relative c { \cadenzaOn \override Staff.Rest #'style = #'mensural r\maxima^\markup \typewriter { mensural } r\longa r\breve r1 r2 r4 r8 r16 s32 s64 s128 s128 \bar "" \override Staff.Rest #'style = #'neomensural r\maxima^\markup \typewriter { neomensural } r\longa r\breve r1 r2 r4 r8 r16 s32 s64 s128 s128 \bar "" \override Staff.Rest #'style = #'classical r\maxima^\markup \typewriter { classical } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 s128 \bar "" \override Staff.Rest #'style = #'default r\maxima^\markup \typewriter { default } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 s128 }
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Reverting default beam endings
To typeset beams grouped 3-4-3-2
in 12/8 it is necessary first
to override the default beam endings in 12/8, and then to set up the
new beaming endings:
\relative c'' { \time 12/8 % Default beaming a8 a a a a a a a a a a a % Revert default values in scm/auto-beam.scm for 12/8 time #(revert-auto-beam-setting '(end * * 12 8) 3 8) #(revert-auto-beam-setting '(end * * 12 8) 3 4) #(revert-auto-beam-setting '(end * * 12 8) 9 8) a8 a a a a a a a a a a a % Set new values for beam endings #(override-auto-beam-setting '(end * * 12 8) 3 8) #(override-auto-beam-setting '(end * * 12 8) 7 8) #(override-auto-beam-setting '(end * * 12 8) 10 8) a8 a a a a a a a a a a a }
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Rhythmic slashes
In "simple" lead-sheets, sometimes no actual notes are written,
instead only "rhythmic patterns" and chords above the measures are
notated giving the structure of a song. Such a feature is for example
useful while creating/transcribing the structure of a song and also
when sharing lead sheets with guitarists or jazz musicians. The
standard support for this using \repeat percent
is unsuitable
here since the first beat has to be an ordinary note or rest. This
example shows two solutions to this problem, by redefining ordinary
rests to be printed as slashes. (If the duration of each beat is not a
quarter note, replace the r4
in the definitions with a rest of
the appropriate duration).
% Macro to print single slash rs = { \once \override Rest #'stencil = #ly:percent-repeat-item-interface::beat-slash \once \override Rest #'thickness = #0.48 \once \override Rest #'slope = #1.7 r4 } % Function to print a specified number of slashes comp = #(define-music-function (parser location count) ( integer?) #{ \override Rest #'stencil = #ly:percent-repeat-item-interface::beat-slash \override Rest #'thickness = #0.48 \override Rest #'slope = #1.7 \repeat unfold $count { r4 } \revert Rest #'stencil #} ) \score { \relative c' { c4 d e f | \rs \rs \rs \rs | \comp #4 | } }
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Skips in lyric mode (2)
Although s
skips cannot be used in \lyricmode
(it is
taken to be a literal "s", not a space), double quotes (""
)
or underscores (_
) are available.So for example:
<< \relative c'' { a4 b c d } \new Lyrics \lyricmode { a4 "" _ gap } >>
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Skips in lyric mode
The s
syntax for skips is only available in note mode and chord
mode. In other situations, for example, when entering lyrics, using the
\skip
command is recommended.
<< \relative { a'1 a } \new Lyrics \lyricmode { \skip 1 bla1 } >>
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Specifying context with beatGrouping
By specifying the context, the effect of beatGrouping
can be
limited to the context specified, and the values which may have
been set in higher-level contexts can be overridden. The
\set
commands must be placed after all \time
commands:
\score { \new Staff << \time 7/8 \new Voice { \relative c'' { \set Staff.beatGrouping = #'(2 3 2) a8 a a a a a a } } \new Voice { \relative c' { \voiceTwo \set beatGrouping = #'(1 3 3) f8 f f f f f f } } >> }
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Stemlets
In some notational conventions beams are allowed to extend over rests. Depending on preference, these beams may drop ’stemlets’ to help the eye appreciate the rhythm better, and in some modern music the rest itself is omitted and only the stemlet remains.
This snippet shows a progression from traditional notation, to beams
over the rest, to stemlets over the rest, to stemlets alone. Stemlets
are generated by overriding the 'stemlet-length
property of
Stem
, while rests are hidden by setting 'transparent =
##t
.
Some \markup
elements are included in the source to highlight
the different notations.
\paper { ragged-right = ##f } { c'16^\markup { traditional } d' r f' g'16[^\markup { beams over rests } f' r d'] % N.B. use Score.Stem to set for the whole score. \override Staff.Stem #'stemlet-length = #0.75 c'16[^\markup { stemlets over rests } d' r f'] g'16[^\markup { stemlets and no rests } f' \once \override Rest #'transparent = ##t r d'] }
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Sub-dividing beams
The beams of consecutive 16th (or shorter) notes are, by default, not
sub-divided. That is, the three (or more) beams stretch unbroken over
entire groups of notes. This behavior can be modified to sub-divide
the beams into sub-groups by setting the property
subdivideBeams
. When set, multiple beams will be sub-divided at
intervals defined by the current value of beatLength
by reducing
the multiple beams to just one beam between the sub-groups. Note that
beatLength
defaults to one over the denominator of the current
time signature if not set explicitly. It must be set to a fraction
giving the duration of the beam sub-group using the make-moment
function, as shown here:
\relative c'' { c32[ c c c c c c c] \set subdivideBeams = ##t c32[ c c c c c c c] % Set beam sub-group length to an eighth note \set beatLength = #(ly:make-moment 1 8) c32[ c c c c c c c] % Set beam sub-group length to a sixteenth note \set beatLength = #(ly:make-moment 1 16) c32[ c c c c c c c] }
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Three-sided box
This example shows how to add a markup command to get a three sided box around some text (or other markup).
% New command to add a three sided box, with sides north, west and south % Based on the box-stencil command defined in scm/stencil.scm % Note that ";" is used to comment a line in Scheme #(define-public (NWS-box-stencil stencil thickness padding) "Add a box around STENCIL, producing a new stencil." (let* ((x-ext (interval-widen (ly:stencil-extent stencil 0) padding)) (y-ext (interval-widen (ly:stencil-extent stencil 1) padding)) (y-rule (make-filled-box-stencil (cons 0 thickness) y-ext)) (x-rule (make-filled-box-stencil (interval-widen x-ext thickness) (cons 0 thickness)))) ; (set! stencil (ly:stencil-combine-at-edge stencil X 1 y-rule padding)) (set! stencil (ly:stencil-combine-at-edge stencil X -1 y-rule padding)) (set! stencil (ly:stencil-combine-at-edge stencil Y 1 x-rule 0.0)) (set! stencil (ly:stencil-combine-at-edge stencil Y -1 x-rule 0.0)) stencil)) % The corresponding markup command, based on the \box command defined % in scm/define-markup-commands.scm #(define-markup-command (NWS-box layout props arg) (markup?) "Draw a box round @var{arg}. Looks at @code{thickness}, @code{box-padding} and @code{font-size} properties to determine line thickness and padding around the markup." (let* ((th (chain-assoc-get 'thickness props 0.1)) (size (chain-assoc-get 'font-size props 0)) (pad (* (magstep size) (chain-assoc-get 'box-padding props 0.2))) (m (interpret-markup layout props arg))) (NWS-box-stencil m th pad))) % Test it: \layout { ragged-right = ##f } \relative c' { c2^\markup { \NWS-box ABCD } c2^\markup { \NWS-box \note #"4" #1.0 } }
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Using beatLength and beatGrouping
The property measureLength
determines where bar lines
should be inserted and, with beatLength
and
beatGrouping
, how automatic beams should be generated
for beam durations and time signatures for which no beam-ending
rules are defined. This example shows several ways of controlling
beaming by setting these properties. The explanations are shown
as comments in the code.
\relative c'' { \time 3/4 % The default in 3/4 time is to beam in three groups % each of a quarter note length a16 a a a a a a a a a a a \time 12/16 % No auto-beaming is defined for 12/16 a16 a a a a a a a a a a a \time 3/4 % Change time signature symbol, but retain underlying 3/4 beaming \set Score.timeSignatureFraction = #'(12 . 16) a16 a a a a a a a a a a a % The 3/4 time default grouping of (1 1 1) and beatLength of 1/8 % are not consistent with a measureLength of 3/4, so the beams % are grouped at beatLength intervals \set Score.beatLength = #(ly:make-moment 1 8) a16 a a a a a a a a a a a % Specify beams in groups of (3 3 2 3) 1/16th notes % 3+3+2+3=11, and 11*1/16<>3/4, so beatGrouping does not apply, % and beams are grouped at beatLength (1/16) intervals \set Score.beatLength = #(ly:make-moment 1 16) \set Score.beatGrouping = #'(3 3 2 3) a16 a a a a a a a a a a a % Specify beams in groups of (3 4 2 3) 1/16th notes % 3+4+2+3=12, and 12*1/16=3/4, so beatGrouping applies \set Score.beatLength = #(ly:make-moment 1 16) \set Score.beatGrouping = #'(3 4 2 3) a16 a a a a a a a a a a a }
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Using ties with arpeggios
Ties are sometimes used to write out arpeggios. In this case, two tied
notes need not be consecutive. This can be achieved by setting the
tieWaitForNote
property to #t
. The same feature is also
useful, for example, to tie a tremolo to a chord, but in principle, it
can also be used for ordinary consecutive notes.
\relative c' { \set tieWaitForNote = ##t \grace { c16[ ~ e ~ g] ~ } <c, e g>2 \repeat tremolo 8 { c32 ~ c' ~ } <c c,>1 e8 ~ c ~ a ~ f ~ <e' c a f>2 \tieUp c8 ~ a \tieDown \tieDotted g8 ~ c g2 }
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Expressive marks
These snippets illustrate the Notation Reference, section Expressive marks.
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Adding beams, slurs, ties etc. when using tuplet and non-tuplet rythms.
LilyPond syntax can involve many unusual placements for parentheses, brackets etc., which might sometimes have to be interleaved. For example, when entering a manual beam, the left square bracket has to be placed after the starting note and its duration, not before. Similarly, the right square bracket should directly follow the note which is to be at the end of the requested beaming, even if this note happens to be inside a tuplet section. This snippet demonstrates how to combine manual beaming, manual slurs, ties and phrasing slurs with tuplet sections (enclosed within curly braces).
{ r16[ g16 \times 2/3 { r16 e'8] } g16( a \times 2/3 { b d e') } g8[( a \times 2/3 { b d') e'] ~ } \time 2/4 \times 4/5 { e'32\( a b d' e' } a'4.\) }
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Adding parentheses around an expressive mark or chordal note
The \parenthesize
function is a special tweak that encloses
objects in parentheses. The associated grob is
Score.ParenthesesItem
.
\relative c' { c2-\parenthesize -> \override ParenthesesItem #'padding = #0.1 \override ParenthesesItem #'font-size = #-4 <d \parenthesize f a>2 }
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Adjusting the shape of falls and doits
The shortest-duration-space
property may have to be tweaked to
adjust the shape of falls and doits.
\relative c'' { \override Score.SpacingSpanner #'shortest-duration-space = #4.0 c2-\bendAfter #+5 c2-\bendAfter #-3 c2-\bendAfter #+8 c2-\bendAfter #-6 }
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Breathing signs
Breathing signs are available in different tastes: commas (default), ticks, vees and "railroad tracks" (caesura).
\new Staff \relative c'' { \key es \major \time 3/4 % this bar contains no \breathe << { g4 as g } \\ { es4 bes es } >> | % Modern notation: % by default, \breathe uses the rcomma, just as if saying: % \override BreathingSign #'text = #(make-musicglyph-markup "scripts.rcomma") << { g4 as g } \\ { es4 \breathe bes es } >> | % rvarcomma and lvarcomma are variations of the default rcomma and lcomma % N.B.: must use Staff context here, since we start a Voice below \override Staff.BreathingSign #'text = \markup { \musicglyph #"scripts.rvarcomma" } << { g4 as g } \\ { es4 \breathe bes es } >> | % vee \override BreathingSign #'text = \markup { \musicglyph #"scripts.upbow" } es8[ d es f g] \breathe f | % caesura \override BreathingSign #'text = \markup { \musicglyph #"scripts.caesura.curved" } es8[ d] \breathe es[ f g f] | es2 r4 \bar "||" }
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Broken crescendo hairpin
In order to make parts of a crescendo hairpin invisible, the following method is used: A white rectangle is drawn on top of the respective part of the crescendo hairpin, making it invisible. The rectangle is defined as postscript code within a text markup.
To fine-tune the position and size of the markup, the number
preceding setgray
in the postscript definition can be set to a
value less than one, making it grey. The two numbers before scale
in the postscript code are responsible for the width and height of the
rectangle, the two numbers before translate
change the x- and
y-origin of the rectangle.
Make sure to put the hairpin in a lower layer than the text markup to draw the rectangle over the hairpin.
\relative c' { << { \dynamicUp \override DynamicLineSpanner #'staff-padding = #4 r2 r16 c'8.\pp r4 } \\ { \override DynamicLineSpanner #'layer = #0 des,2\mf\< ~ \override TextScript #'layer = #2 des16_\markup { \postscript #" 1.9 -8 translate 5 4 scale 1 setgray 0 0 moveto 0 1 lineto 1 1 lineto 1 0 lineto 0 0 lineto fill" } r8. des4 ~ des16->\sff } >> }
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Caesura ("railtracks") with fermata
A caesura is sometimes denoted by a double "railtracks" breath mark with a fermata sign positioned above. This snippet should present an optically pleasing combination of railtracks and fermata.
\relative c'' { c2. % construct the symbol \override BreathingSign #'text = \markup { \line { \musicglyph #"scripts.caesura.curved" \translate #'(-1.75 . 1.6) \musicglyph #"scripts.ufermata" } } \breathe c4 % set the breathe mark back to normal \revert BreathingSign #'text c2. \breathe c4 \bar "|." }
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Center text below hairpin dynamics
This example provides a function to typeset a hairpin (de)crescendo with some additional text below it, such as "molto" or "poco". The example also illustrates how to modify the way an object is normally printed, using some Scheme code.
hairpinWithCenteredText = #(define-music-function (parser location text) (markup?) #{ \override Voice.Hairpin #'stencil = #(lambda (grob) (ly:stencil-aligned-to (ly:stencil-combine-at-edge (ly:stencil-aligned-to (ly:hairpin::print grob) X CENTER) Y DOWN (ly:stencil-aligned-to (grob-interpret-markup grob $text) X CENTER)) X LEFT)) #}) hairpinMolto = \hairpinWithCenteredText \markup { \italic molto } hairpinMore = \hairpinWithCenteredText \markup { \larger moltissimo } \layout { ragged-right = ##f } { \hairpinMolto c'2\< c'\f \hairpinMore c'2\< c'\f }
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Changing \flageolet mark size
To make the \flageolet
circle smaller use the following Scheme
function.
smallFlageolet = #(let ((m (make-music 'ArticulationEvent 'articulation-type "flageolet"))) (ly:music-set-property! m 'tweaks (acons 'font-size -3 (ly:music-property m 'tweaks))) m) \layout { ragged-right = ##f } \relative c'' { d4^\flageolet_\markup { default size } d_\flageolet c4^\smallFlageolet_\markup { smaller } c_\smallFlageolet }
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Changing text and spanner styles for text dynamics
The text used for crescendos and decrescendos can be changed by
modifying the context properties crescendoText
and
decrescendoText
. The style of the spanner line can be
changed by modifying the 'style
property of
DynamicTextSpanner
. The default value is 'hairpin
,
and other possible values include 'line
, 'dashed-line
and 'dotted-line
:
\relative c'' { \set crescendoText = \markup { \italic { cresc. poco } } \set crescendoSpanner = #'text \override DynamicTextSpanner #'style = #'dotted-line a2\< a a2 a a2 a a2 a\mf }
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Changing the appearance of a slur from solid to dotted or dashed
The appearance of slurs may be changed from solid to dotted or dashed.
\relative c' { c4( d e c) \slurDotted c4( d e c) \slurSolid c4( d e c) \slurDashed c4( d e c) \slurSolid c4( d e c) }
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Changing the breath mark symbol
The glyph of the breath mark can be tuned by overriding the text
property of the BreathingSign
layout object with any markup
text.
\relative c'' { c2 \override BreathingSign #'text = \markup { \musicglyph #"scripts.rvarcomma" } \breathe d2 }
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Combining dynamics with markup texts
Some dynamics may involve text indications (such as "più forte" or
"piano subito"). They can be produced using a \markup
block.
piuF = \markup { \italic più \dynamic f } \layout { ragged-right = ##f } \relative c'' { c2\f c-\piuF }
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Contemporary glissando
A contemporary glissando without a final note can be typeset using a hidden note and cadenza timing.
\relative c'' { \time 3/4 \override Glissando #'style = #'zigzag c4 c \cadenzaOn c4\glissando \hideNotes c,,4 \unHideNotes \cadenzaOff \bar "|" }
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Controlling the vertical ordering of scripts
The vertical ordering of scripts is controlled with the
'script-priority
property. The lower this number, the closer it
will be put to the note. In this example, the TextScript
(the
sharp symbol) first has the lowest priority, so it is put lowest in the
first example. In the second, the prall trill (the Script
) has
the lowest, so it is on the inside. When two objects have the same
priority, the order in which they are entered determines which one
comes first.
\relative c''' { \once \override TextScript #'script-priority = #-100 a2^\prall^\markup { \sharp } \once \override Script #'script-priority = #-100 a2^\prall^\markup { \sharp } }
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Creating a delayed turn
Creating a delayed turn, where the lower note of the
turn uses the accidental, requires several overrides. The
outside-staff-priority
property must be set to #f
,
as otherwise this would take precedence over the
avoid-slur property
. The value of halign
is used
to position the turn horizontally.
\relative c'' { \once \override TextScript #'avoid-slur = #'inside \once \override TextScript #'outside-staff-priority = ##f c2(^\markup \tiny \override #'(baseline-skip . 1) { \halign #-4 \center-column { \sharp \musicglyph #"scripts.turn" } } d4.) c8 }
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Creating arpeggios across notes in different voices
An arpeggio can be drawn across notes in different voices on the same
staff if the Span_arpeggio_engraver
is moved to the Staff
context:
\new Staff \with { \consists "Span_arpeggio_engraver" } \relative c' { \set Staff.connectArpeggios = ##t << { <e' g>4\arpeggio <d f> <d f>2 } \\ { <d, f>2\arpeggio <g b>2 } >> }
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Creating cross-staff arpeggios in a piano staff
In a PianoStaff
, it is possible to let an arpeggio cross between
the staves by setting the property PianoStaff.connectArpeggios
.
\new PianoStaff \relative c'' << \set PianoStaff.connectArpeggios = ##t \new Staff { <c e g c>4\arpeggio <g c e g>4\arpeggio <e g c e>4\arpeggio <c e g c>4\arpeggio } \new Staff { \clef bass \repeat unfold 4 { <c,, e g c>4\arpeggio } } >>
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Creating cross-staff arpeggios in other contexts
Cross-staff arpeggios can be created in contexts other than
PianoStaff
if the Span_arpeggio_engraver
is included in
the Score
context.
\score { \new StaffGroup { \set Score.connectArpeggios = ##t << \new Voice \relative c' { <c e>2\arpeggio <d f>2\arpeggio <c e>1\arpeggio } \new Voice \relative c { \clef bass <c g'>2\arpeggio <b g'>2\arpeggio <c g'>1\arpeggio } >> } \layout { \context { \Score \consists "Span_arpeggio_engraver" } } }
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Creating "real" parenthesized dynamics
Although the easiest way to add parentheses to a dynamic mark is to use
a \markup
block, this method has a downside: the created
objects will behave like text markups, and not like dynamics.
However, it is possible to create a similar object using the equivalent
Scheme code (as described in "Markup programmer interface"), combined
with the make-dynamic-script
function. This way, the markup will
be regarded as a dynamic, and therefore will remain compatible with
commands such as \dynamicUp
or \dynamicDown
.
\paper { ragged-right = ##t } parenF = #(make-dynamic-script (markup #:line (#:normal-text #:italic #:fontsize 2 "(" #:hspace -0.8 #:dynamic "f" #:normal-text #:italic #:fontsize 2 ")" ))) \relative c'' { c4\parenF c c \dynamicUp c\parenF }
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Creating simultaneous rehearsal marks
Unlike text scripts, rehearsal marks cannot be stacked at a particular point
in a score: only one RehearsalMark
object is created. Using an
invisible measure and bar line, an extra rehearsal mark can be added, giving
the appearance of two marks in the same column.
This method may also prove useful for placing rehearsal marks at both the end of one system and the start of the following system.
{ \key a \major \set Score.markFormatter = #format-mark-box-letters \once \override Score.RehearsalMark #'outside-staff-priority = #5000 \once \override Score.RehearsalMark #'self-alignment-X = #LEFT \once \override Score.RehearsalMark #'break-align-symbols = #'(key-signature) \mark \markup { \bold { Senza denti } } % the hidden measure and bar line \once \override Score.TimeSignature #'stencil = ##f \time 1/16 s16 \bar "" \time 4/4 \once \override Score.RehearsalMark #'self-alignment-X = #LEFT \once \override Score.RehearsalMark #'break-align-symbols = #'(bar-line) \mark \markup { \box \bold Intro } d'1 \mark \default d'1 }
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Creating slurs across voices
In some situations, it may be necessary to create slurs between notes from different voices.
The solution is to add invisible notes to one of the voices, using
\hideNotes
.
This example is measure 235 of the Ciaconna from Bach’s 2nd Partita for solo violin, BWV 1004.
\relative c' { << { d16( a') s a s a[ s a] s a[ s a] } \\ { \slurUp bes,16[ s e]( \hideNotes a) \unHideNotes f[( \hideNotes a) \unHideNotes fis]( \hideNotes a) \unHideNotes g[( \hideNotes a) \unHideNotes gis]( \hideNotes a) } >> }
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Creating text spanners
The \startTextSpan
and \stopTextSpan
commands allow the creation of text spanners as easily as pedal
indications or octavations. Override some properties of the
TextSpanner
object to modify its output.
\paper { ragged-right = ##f } \relative c'' { \override TextSpanner #'(bound-details left text) = #"bla" \override TextSpanner #'(bound-details right text) = #"blu" a4 \startTextSpan b4 c a4 \stopTextSpan \override TextSpanner #'style = #'line \once \override TextSpanner #'(bound-details left stencil-align-dir-y) = #CENTER a4 \startTextSpan b4 c a4 \stopTextSpan \override TextSpanner #'style = #'dashed-line \override TextSpanner #'(bound-details left text) = \markup { \draw-line #'(0 . 1) } \override TextSpanner #'(bound-details right text) = \markup { \draw-line #'(0 . -2) } \once \override TextSpanner #'(bound-details right padding) = #-2 a4 \startTextSpan b4 c a4 \stopTextSpan \set Staff.middleCPosition = #-13 \override TextSpanner #'dash-period = #10 \override TextSpanner #'dash-fraction = #0.5 \override TextSpanner #'thickness = #10 a4 \startTextSpan b4 c a4 \stopTextSpan }
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Double glissando
To connect chords with glissando lines, attach a second glissando to a hidden voice.
\relative c { \clef bass << { % new voice ( = \voiceOne), hidden \hideNotes % attach glissando to note heads e2\glissando g } \\ { % original voice with chords rearranged so that % glissando is attached to a & c <e a,>2\glissando <g c,> } >> }
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Hiding the extender line for text dynamics
Text style dynamic changes (such as cresc. and dim.) are printed with a dashed line showing their extent. This line can be suppressed in the following way:
\relative c'' { \override DynamicTextSpanner #'dash-period = #-1.0 \crescTextCresc c1\< | d | b | c\! }
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Horizontally aligning custom dynamics (e.g. "sempre pp", "piu f", "subito p")
Some dynamic expressions involve additional text, like "sempre pp". Since lilypond aligns all dynamics centered on the note, the \pp would be displayed way after the note it applies to.
To correctly align the "sempre \pp" horizontally, so that it is aligned as if it were only the \pp, there are several approaches:
* Simply use \once\override DynamicText #'X-offset = #-9.2
before the note with the dynamics to manually shift it to the correct
position. Drawback: This has to be done manually each time you use that
dynamic markup... * Add some padding (#:hspace 7.1
) into the
definition of your custom dynamic mark, so that after lilypond
center-aligns it, it is already correctly aligned. Drawback: The
padding really takes up that space and does not allow any other markup
or dynamics to be shown in that position.
* Shift the dynamic script \once\override ... #'X-offset = ..
.
Drawback: \once\override
is needed for every invocation!
* Set the dimensions of the additional text to 0 (using
#:with-dimensions '(0 . 0) '(0 . 0)
). Drawback: To lilypond
"sempre" has no extent, so it might put other stuff there and create
collisions (which are not detected by the collision dection!). Also,
there seems to be some spacing, so it’s not exactly the same alignment
as without the additional text
* Add an explicit shifting directly inside the scheme function for the dynamic-script.
* Set an explicit alignment inside the dynamic-script. By default, this
won’t have any effect, only if one sets X-offset! Drawback: One needs
to set DynamicText #'X-offset
, which will apply to all dynamic
texts! Also, it is aligned at the right edge of the additional text,
not at the center of pp.
\header { title = "Horizontally aligning custom dynamics" } \layout { ragged-right = ##t } % Solution 1: Using a simple markup with a particular halign value % Drawback: It's a markup, not a dynamic command, so \dynamicDown etc. will have no effect semppMarkup = \markup { \halign #1.4 \italic "sempre" \dynamic "pp" } % Solution 2: Using a dynamic script and shifting with \once\override ... #'X-offset = .. % Drawback: \once\override needed for every invocation semppK = #(make-dynamic-script (markup #:line( #:normal-text #:italic "sempre" #:dynamic "pp"))) % Solution 3: Padding the dynamic script so the center-alignment puts it to the correct position % Drawback: the padding really reserves the space, nothing else can be there semppT = #( make-dynamic-script ( markup #:line ( #:normal-text #:italic "sempre" #:dynamic "pp" #:hspace 7.1 ) ) ) % Solution 4: Dynamic, setting the dimensions of the additional text to 0 % Drawback: To lilypond "sempre" has no extent, so it might put other stuff there => collisions % Drawback: Also, there seems to be some spacing, so it's not exactly the % same alignment as without the additional text semppM = #(make-dynamic-script (markup #:line( #:with-dimensions '(0 . 0) '(0 . 0) #:right-align #:normal-text #:italic "sempre" #:dynamic "pp"))) % Solution 5: Dynamic with explicit shifting inside the scheme function semppG = #(make-dynamic-script (markup #:hspace 0 #:translate (cons -18.85 0 ) #:line( #:normal-text #:italic "sempre" #:dynamic "pp")) ) % Solution 6: Dynamic with explicit alignment. This has only effect, if one sets X-offset! % Drawback: One needs to set DynamicText #'X-offset! % Drawback: Aligned at the right edge of the additional text, not at the center of pp semppMII = #(make-dynamic-script (markup #:line(#:right-align #:normal-text #:italic "sempre" #:dynamic "pp"))) \context StaffGroup << \context Staff="s" << \set Staff.instrumentName = "Normal" \relative c'' { \key es \major c4\pp c\p c c | c\ff c c\pp c } >> \context Staff="sMarkup" << \set Staff.instrumentName = \markup\column{"Normal" "Markup"} \relative c'' { \key es \major c4-\semppMarkup c\p c c | c\ff c c-\semppMarkup c} >> \context Staff="sK" << \set Staff.instrumentName = \markup\column{"Explicit" "shifting"} \relative c'' { \key es \major \once \override DynamicText #'X-offset = #-9.2 c4\semppK c\p c c | c\ff c \once \override DynamicText #'X-offset = #-9.2 c\semppK c } >> \context Staff="sT" << \set Staff.instrumentName = \markup\column{"Right" "padding"} \relative c'' { \key es \major c4\semppT c\p c c | c\ff c c\semppT c } >> \context Staff="sM" << \set Staff.instrumentName = \markup\column{"Setting" "dimension" "to zero"} \relative c'' { \key es \major c4\semppM c\p c c | c\ff c c\semppM c } >> \context Staff="sG" << \set Staff.instrumentName = \markup\column{"Shifting" "inside" "dynamics"} \relative c'' { \key es \major c4\semppG c\p c c | c\ff c c\semppG c} >> \context Staff="sMII" << \set Staff.instrumentName = \markup\column{"Alignment" "inside" "dynamics"} \relative c'' { \key es \major \override DynamicText #'X-offset = #0 % Setting to ##f (false) gives the same resul c4\semppMII c\p c c | c\ff c c\semppMII c } >> >>
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Inserting a caesura
Caesura marks can be created by overriding the 'text
property of the BreathingSign
object. A curved caesura
mark is also available.
\relative c'' { \override BreathingSign #'text = \markup { \musicglyph #"scripts.caesura.straight" } c8 e4. \breathe g8. e16 c4 \override BreathingSign #'text = \markup { \musicglyph #"scripts.caesura.curved" } g8 e'4. \breathe g8. e16 c4 }
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Laissez vibrer ties
Laissez vibrer ties have a fixed size. Their formatting can be tuned
using 'tie-configuration
.
\relative c' { <c e g>4\laissezVibrer r <c f g>\laissezVibrer r <c d f g>4\laissezVibrer r <c d f g>4.\laissezVibrer r8 <c d e f>4\laissezVibrer r \override LaissezVibrerTieColumn #'tie-configuration = #`((-7 . ,DOWN) (-5 . ,DOWN) (-3 . ,UP) (-1 . ,UP)) <c d e f>4\laissezVibrer r }
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Line arrows
Arrows can be applied to text-spanners and line-spanners (such as the Glissando).
\relative c'' { \override TextSpanner #'bound-padding = #1.0 \override TextSpanner #'style = #'line \override TextSpanner #'(bound-details right arrow) = ##t \override TextSpanner #'(bound-details left text) = #"fof" \override TextSpanner #'(bound-details right text) = #"gag" \override TextSpanner #'(bound-details right padding) = #0.6 \override TextSpanner #'(bound-details right stencil-align-dir-y) = #CENTER \override TextSpanner #'(bound-details left stencil-align-dir-y) = #CENTER \override Glissando #'(bound-details right arrow) = ##t \override Glissando #'arrow-length = #0.5 \override Glissando #'arrow-width = #0.25 a8\startTextSpan gis a4 b\glissando b, g'4 c\stopTextSpan c2 }
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Modifying default values for articulation shorthand notation
The shorthands are defined in ‘ly/script-init.ly’, where the
variables dashHat
, dashPlus
, dashDash
,
dashBar
, dashLarger
, dashDot
, and
dashUnderscore
are assigned default values. The default values
for the shorthands can be modified. For example, to associate the
-+
(dashPlus
) shorthand with the trill symbol instead of
the default + symbol, assign the value trill
to the variable
dashPlus
:
\relative c'' { c1-+ } dashPlus = "trill" \relative c'' { c1-+ }
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Piano template with centered dynamics
Many piano scores have the dynamics centered between the two staves. This requires a bit of tweaking to implement, but since the template is right here, you don’t have to do the tweaking yourself.
global = { \key c \major \time 4/4 } upper = \relative c'' { \clef treble a4 b c d } lower = \relative c { \clef bass a2 c } dynamics = { s2\fff\> s4 s\!\pp } pedal = { s2\sustainOn s\sustainOff } \score { \new PianoStaff = "PianoStaff_pf" << \new Staff = "Staff_pfUpper" \upper \new Dynamics = "Dynamics_pf" \dynamics \new Staff = "Staff_pfLower" << \lower >> \new Dynamics = "pedal" \pedal >> \layout { % define Dynamics context \context { \type "Engraver_group" \name Dynamics \alias Voice \consists "Output_property_engraver" \consists "Piano_pedal_engraver" \consists "Script_engraver" \consists "New_dynamic_engraver" \consists "Dynamic_align_engraver" \consists "Text_engraver" \consists "Skip_event_swallow_translator" \consists "Axis_group_engraver" pedalSustainStrings = #'("Ped." "*Ped." "*") pedalUnaCordaStrings = #'("una corda" "" "tre corde") \override DynamicLineSpanner #'Y-offset = #0 \override TextScript #'font-size = #2 \override TextScript #'font-shape = #'italic \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1) } % modify PianoStaff context to accept Dynamics context \context { \PianoStaff \accepts Dynamics } } } \score { \new PianoStaff = "PianoStaff_pf" << \new Staff = "Staff_pfUpper" << \global \upper \dynamics \pedal >> \new Staff = "Staff_pfLower" << \global \lower \dynamics \pedal >> >> \midi { } }
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Positioning text markups inside slurs
Text markups need to have the outside-staff-priority
property
set to false in order to be printed inside slurs.
\relative c'' { \override TextScript #'avoid-slur = #'inside \override TextScript #'outside-staff-priority = ##f c2(^\markup { \halign #-10 \natural } d4.) c8 }
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Printing hairpins using al niente notation
Hairpins may be printed with a circled tip (al niente notation) by
setting the circled-tip
property of the Hairpin
object to
#t
.
\relative c'' { \override Hairpin #'circled-tip = ##t c2\< c\! c4\> c\< c2\! }
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Printing metronome and rehearsal marks below the staff
By default, metronome and rehearsal marks are printed above the staff.
To place them below the staff simply set the direction
property
of MetronomeMark
or RehearsalMark
appropriately.
\layout { ragged-right = ##f } { % Metronome marks below the staff \override Score.MetronomeMark #'direction = #DOWN \tempo 8. = 120 c''1 % Rehearsal marks below the staff \override Score.RehearsalMark #'direction = #DOWN \mark \default c''1 }
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Setting hairpin behavior at bar lines
If the note which ends a hairpin falls on a downbeat,
the hairpin stops at the bar line immediately preceding. This behavior
can be controlled by overriding the 'to-barline
property.
\relative c'' { e4\< e2. e1\! \override Hairpin #'to-barline = ##f e4\< e2. e1\! }
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Setting the minimum length of hairpins
If hairpins are too short, they can be lengthened by modifying the
minimum-length
property of the Hairpin
object.
\relative c'' { c4\< c\! d\> e\! \override Hairpin #'minimum-length = #5 << f1 { s4 s\< s\> s\! } >> }
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Snap-pizzicato markup ("Bartok pizzicato")
A snap-pizzicato (also known as "Bartok pizzicato") is a "strong pizzicato where the string is plucked vertically by snapping and rebounds off the fingerboard of the instrument" (Wikipedia). It is denoted by a cicle with a vertical line going from the center upwards outside the circle. While Lilypond does not have a pre-defined command to created this markup, it is easy to create a definition and place it directly into the lilypond file.
#(define-markup-command (snappizz layout props) () (interpret-markup layout props (markup #:stencil (ly:stencil-translate-axis (ly:stencil-add (make-circle-stencil 0.7 0.1 #f) (ly:make-stencil (list 'draw-line 0.1 0 0.1 0 1) '(-0.1 . 0.1) '(0.1 . 1))) 0.7 X)))) snapPizzicato = \markup \snappizz % now it can be used as \snappizzicato after the note/chord % Note that a direction (-, ^ or _) is required. \relative c' { c4^\snapPizzicato % This does NOT work: %<c e g>\snapPizzicato <c' e g>-\snapPizzicato <c' e g>^\snapPizzicato <c, e g>_\snapPizzicato }
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Using double slurs for legato chords
Some composers write two slurs when they want legato chords. This can
be achieved by setting doubleSlurs
.
\relative c' { \set doubleSlurs = ##t <c e>4( <d f> <c e> <d f>) }
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Vertically aligning dynamics across multiple notes
Dynamics that occur at, begin on, or end on the same note will be
vertically aligned. To ensure that dynamics are aligned when they do
not occur on the same note, increase the staff-padding
property
of the DynamicLineSpanner
object.
\relative c' { \override DynamicLineSpanner #'staff-padding = #4 c2\p f\mf g2\< b4\> c\! }
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Repeats
These snippets illustrate the Notation Reference, section Repeats.
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Adding volta brackets to additional staves
The Volta_engraver
by default resides in the Score
context, and brackets for the repeat are thus normally only printed
over the topmost staff. This can be adjusted by adding the
Volta_engraver
to the Staff
context where the brackets
should appear; see also the "Volta multi staff" snippet.
<< \new Staff { \repeat volta 2 { c'1 } \alternative { c' } } \new Staff { \repeat volta 2 { c'1 } \alternative { c' } } \new Staff \with { \consists "Volta_engraver" } { c'2 g' e' a' } \new Staff { \repeat volta 2 { c'1 } \alternative { c' } } >>
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Isolated percent repeats
Isolated percents can also be printed. This is done by entering a multi-measure rest with a different print function:
\relative c'' { \override MultiMeasureRest #'stencil = #ly:multi-measure-rest::percent \override MultiMeasureRest #'thickness = #0.48 R1 }
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Measure counter
This snippet provides a workaround for emitting measure counters using transparent percent repeats.
<< \context Voice = "foo" { \clef bass c4 r g r c4 r g r c4 r g r c4 r g r } \context Voice = "foo" { \set countPercentRepeats = ##t \override PercentRepeat #'transparent = ##t \override PercentRepeatCounter #'staff-padding = #1 \repeat percent 4 { s1 } } >>
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Percent repeat count visibility
Percent repeat counters can be shown at regular intervals by setting
the context property repeatCountVisibility
.
\relative c'' { \set countPercentRepeats = ##t \set repeatCountVisibility = #(every-nth-repeat-count-visible 5) \repeat percent 10 { c1 } \break \set repeatCountVisibility = #(every-nth-repeat-count-visible 2) \repeat percent 6 { c1 d1 } }
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Percent repeat counter
Measure repeats of more than two repeats can get a counter when the convenient property is switched, as shown in this example:
\relative c'' { \set countPercentRepeats = ##t \repeat percent 4 { c1 } }
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Positioning segno and coda (with line break)
If you want to place an exiting segno sign and add text like "D.S. al Coda" next to it where usually the staff lines are you can use this snippet. The coda will resume in a new line. There is a variation documented in this snippet, where the coda will remain on the same line.
{ \clef treble \key g \major \time 4/4 \relative c'' { \repeat unfold 2 { | c4 c c c } % Set segno sign as rehearsal mark and adjust size if needed % \once \override Score.RehearsalMark #'font-size = #3 \mark \markup { \musicglyph #"scripts.segno" } \repeat unfold 2 { | c4 c c c } % Set coda sign as rehearsal mark and adjust size if needed \once \override Score.RehearsalMark #'font-size = #4 \mark \markup { \musicglyph #"scripts.coda" } \repeat unfold 2 { | c4 c c c } % Should Coda be on anew line? % Coda NOT on new line: use \nobreak % Coda on new line: DON'T use \nobreak % \noBreak \bar "||" % Set segno sign as rehearsal mark and adjust size if needed \once \override Score.RehearsalMark #'break-visibility = #begin-of-line-invisible % \once \override Score.RehearsalMark #'font-size = #3 \mark \markup { \musicglyph #"scripts.segno" } % Here begins the trickery! % \cadenzaOn will suppress the bar count and \stopStaff removes the staff lines. \cadenzaOn \stopStaff % Some examples of possible text-displays % text line-aligned % ================== % Move text to the desired position % \once \override TextScript #'extra-offset = #'( 2 . -3.5 ) % | s1*0^\markup { D.S. al Coda } } % text center-aligned % ==================== % Move text to the desired position % \once \override TextScript #'extra-offset = #'( 6 . -5.0 ) % | s1*0^\markup { \center-column { D.S. "al Coda" } } % text and symbols center-aligned % =============================== % Move text to the desired position and tweak spacing for optimum text alignment %\once \override TextScript #'extra-offset = #'( 8 . -5.5 ) \once \override TextScript #'word-space = #1.5 \once \override TextScript #'X-offset = #8 \once \override TextScript #'Y-offset = #1.5 | s1*0^\markup { \center-column { "D.S. al Coda" \line { \musicglyph #"scripts.coda" \musicglyph #"scripts.tenuto" \musicglyph #"scripts.coda"} } } % Increasing the unfold counter will expand the staff-free space \repeat unfold 4 { s4 s4 s4 s4 \bar "" } % Resume bar count and show staff lines again \startStaff \cadenzaOff % Should Coda be on new line? % Coda NOT on new line: DON'T use \break % Coda on new line: use \break \break % Show up, you clef and key! \once \override Staff.KeySignature #'break-visibility = #end-of-line-invisible \once \override Staff.Clef #'break-visibility = #end-of-line-invisible % Set coda sign as rehearsal mark and adjust size and position % Put the coda sign ontop of the (treble-)clef dependend on coda's line-position % Coda NOT on new line, use this: % \once \override Score.RehearsalMark #'extra-offset = #'( -2 . 1.75 ) % Coda on new line, use this: \once \override Score.RehearsalMark #'extra-offset = #'( -8.42 . 1.75 ) \once \override Score.RehearsalMark #'font-size = #5 \mark \markup { \musicglyph #"scripts.coda" } % The coda \repeat unfold 5 { | c4 c c c } \bar"|." } }
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Printing a repeat sign at the beginning of a piece
A |:
bar line can be printed at the beginning of a piece, by
overriding the relevant property:
\relative c'' { \once \override Score.BreakAlignment #'break-align-orders = #(make-vector 3 '(instrument-name left-edge ambitus span-bar breathing-sign clef key-signature time-signature staff-bar custos span-bar)) \bar "|:" c1 d1 d4 e f g }
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Shortening volta brackets
By default, the volta brackets will be drawn over all of the
alternative music, but it is possible to shorten them by setting
voltaSpannerDuration
. In the next example, the bracket only
lasts one measure, which is a duration of 3/4.
\relative c'' { \time 3/4 c4 c c \set Score.voltaSpannerDuration = #(ly:make-moment 3 4) \repeat volta 5 { d4 d d } \alternative { { e4 e e f4 f f } { g4 g g } } }
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Volta under chords
By adding the Volta_engraver
to the relevant
staff, volte can be put under chords.
\score { << \chords { c1 c1 } \new Staff \with { \consists "Volta_engraver" } { \repeat volta 2 { c'1 } \alternative { c' } } >> \layout { \context { \Score \remove "Volta_engraver" } } }
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Volta multi-staff
By adding the Volta_engraver
to the relevant
staff, volte can be put over staves other than the topmost
one in a score.
voltaMusic = \relative c'' { \repeat volta 2 { c1 } \alternative { d1 e } } << \new StaffGroup << \new Staff \voltaMusic \new Staff \voltaMusic >> \new StaffGroup << \new Staff \with { \consists "Volta_engraver" } \voltaMusic \new Staff \voltaMusic >> >>
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Volta text markup using repeatCommands
Though volte are best specified using
\repeat volta
, the context property repeatCommands
must be used in cases where the volta text needs more advanced
formatting with \markup
.
Since repeatCommands
takes a list, the simplest method of
including markup is to use an identifier for the text and embed
it in the command list using the Scheme syntax
#(list (list 'volta textIdentifier))
. Start- and
end-repeat commands can be added as separate list elements:
voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } } \relative c'' { c1 \set Score.repeatCommands = #(list (list 'volta voltaAdLib) 'start-repeat) c4 b d e \set Score.repeatCommands = #'((volta #f) (volta "4.") end-repeat) f1 \set Score.repeatCommands = #'((volta #f)) }
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Simultaneous notes
These snippets illustrate the Notation Reference, section Simultaneous notes.
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Additional voices to avoid collisions
In some instances of complex polyphonic music, additional voices are
necessary to prevent collisions between notes. If more than four
parallel voices are needed, additional voices can be added by defining
a variable using the Scheme function context-spec-music
.
voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice) \relative c'' { \time 3/4 \key d \minor \partial 2 << { \voiceOne a4. a8 e'4 e4. e8 f4 d4. c8 } \\ { \voiceThree f,2 bes4 a2 a4 s2 } \\ { \voiceFive s2 g4 g2 f4 f2 } \\ { \voiceTwo d2 d4 cis2 d4 bes2 } >> }
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Changing a single note’s size in a chord
Individual note heads in a chord can be modified with the
\tweak
command inside a chord, by altering the font-size
property.
Inside the chord (within the brackets < >
), before the note to
be altered, place the \tweak
command, followed by
#'font-size
and define the proper size like #-2
(a tiny
notehead).
\layout { ragged-right = ##t } \relative { <\tweak #'font-size #+2 c e g c \tweak #'font-size #-2 e>1^\markup { A tiny e }_\markup { A big c } }
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Changing partcombine texts
When using the automatic part combining feature, the printed text for the solo and unison sections may be changed:
\new Staff << \set Staff.soloText = #"girl" \set Staff.soloIIText = #"boy" \set Staff.aDueText = #"together" \partcombine \relative c'' { g4 g r r a2 g } \relative c'' { r4 r a( b) a2 g } >>
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Clusters
Clusters are a device to denote that a complete range of notes is to be played.
\layout { ragged-right = ##t } fragment = \relative c' { c4 f <e d'>4 <g a>8 <e a> a4 c2 <d b>4 e2 c } << \new Staff \fragment \new Staff \makeClusters \fragment >>
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Combining two parts on the same staff
The part combiner tool ( \partcombine
command ) allows the
combination of several different parts on the same staff. Text
directions such as "solo" or "a2" are added by default; to remove
them, simply set the property printPartCombineTexts
to
"false". For vocal scores (hymns), there is no need to add
"solo"/"a2" texts, so they should be switched off. However, it
might be better not to use it if there are any solos, as they won’t be
indicated. In such cases, standard polyphonic notation may be
preferable.
This snippet presents the three ways two parts can be printed on a same
staff: standard polyphony, \partcombine
without texts, and
\partcombine
with texts.
musicUp = \relative c'' { \time 4/4 a4 c4.( g8) a4 | g4 e' g,( a8 b) | c b a2. } musicDown = \relative c'' { g4 e4.( d8) c4 | r2 g'4( f8 e) | d2 \stemDown a } \score { << << \new Staff { \set Staff.instrumentName = "Standard polyphony " << \musicUp \\ \musicDown >> } \new Staff \with { printPartCombineTexts = ##f } { \set Staff.instrumentName = "PartCombine without texts " \partcombine \musicUp \musicDown } \new Staff { \set Staff.instrumentName = "PartCombine with texts " \partcombine \musicUp \musicDown } >> >> \layout { indent = 6.0\cm \context { \Score \override SystemStartBar #'collapse-height = #30 } } }
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Displaying complex chords
Here is a way to display a chord where the same note is played twice with different accidentals.
fixA = { \once \override Stem #'length = #9 \once \override Accidental #'extra-offset = #'(0.3 . 0) } fixB = { \once \override NoteHead #'extra-offset = #'(1.7 . 0) \once \override Stem #'rotation = #'(45 0 0) \once \override Stem #'extra-offset = #'(-0.2 . -0.2) \once \override Stem #'flag-style = #'no-flag \once \override Accidental #'extra-offset = #'(3.1 . 0) } \relative c' { << { \fixA <b d!>8 } \\ { \voiceThree \fixB dis } >> s }
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Double glissando
To connect chords with glissando lines, attach a second glissando to a hidden voice.
\relative c { \clef bass << { % new voice ( = \voiceOne), hidden \hideNotes % attach glissando to note heads e2\glissando g } \\ { % original voice with chords rearranged so that % glissando is attached to a & c <e a,>2\glissando <g c,> } >> }
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Forcing horizontal shift of notes
When the typesetting engine cannot cope, the following syntax can be used to override typesetting decisions. The units of measure used here are staff spaces.
\relative c' << { <d g>2 <d g> } \\ { <b f'>2 \once \override NoteColumn #'force-hshift = #1.7 <b f'>2 } >>
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Suppressing warnings for clashing note columns
If notes from two voices with stems in the same direction are
placed at the same position, and both voices have no shift or the
same shift specified, the error message "warning: ignoring too
many clashing note columns" will appear when compiling the
LilyPond file. This message can be suppressed by setting the
'ignore-collision
property of the NoteColumn
object
to #t
.
ignore = \override NoteColumn #'ignore-collision = ##t \relative c' { << \ignore { \stemDown f2 g } \\ { c2 c, } >> }
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Staff notation
These snippets illustrate the Notation Reference, section Staff notation.
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Adding ambitus per voice
Ambitus can be added per voice. In this case, the ambitus must be moved manually to prevent collisions.
\new Staff << \new Voice \with { \consists "Ambitus_engraver" } \relative c'' { \override Ambitus #'X-offset = #2.0 \voiceOne c4 a d e f1 } \new Voice \with { \consists "Ambitus_engraver" } \relative c' { \voiceTwo es4 f g as b1 } >>
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Adding an extra staff at a line break
When adding a new staff at a line break, some extra space is
unfortunately added at the end of the line before the break (to fit in
a key signature change, which will never be printed anyway). The
workaround is to add a setting of
Staff.explicitKeySignatureVisibility
as is shown in the example.
In versions 2.10 and earlier, a similar setting for the time signatures
is also required (see the example).
\score { \new StaffGroup \relative c'' { \new Staff \key f \major c1 c^"Unwanted extra space" \break << { c1 c } \new Staff { \key f \major \once \override Staff.TimeSignature #'stencil = ##f c1 c } >> c1 c^"Fixed here" \break << { c1 c } \new Staff { \once \set Staff.explicitKeySignatureVisibility = #end-of-line-invisible % The next line is not needed in 2.11.x or later: \once \override Staff.TimeSignature #'break-visibility = #end-of-line-invisible \key f \major \once \override Staff.TimeSignature #'stencil = ##f c1 c } >> } }
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Adding an extra staff
An extra staff can be added (possibly temporarily) after the start of a piece.
\score { << \new Staff \relative c'' { c1 c c c c } \new StaffGroup \relative c'' { \new Staff { c1 c << c1 \new Staff { \once \override Staff.TimeSignature #'stencil = ##f c1 } >> c } } >> }
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Changing the number of lines in a staff
The number of lines in a staff may changed by overriding the
StaffSymbol
property line-count
.
upper = \relative c'' { c4 d e f } lower = \relative c { \clef bass c4 b a g } \score { \context PianoStaff << \new Staff { \upper } \new Staff { \override Staff.StaffSymbol #'line-count = #4 \lower } >> }
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Changing the staff size
Though the simplest way to resize staves is to use
#(set-global-staff-size xx)
, an individual staff’s size can be
changed by scaling the properties 'staff-space
and
fontSize
.
<< \new Staff { \relative c'' { \dynamicDown c8\ff c c c c c c c } } \new Staff \with { fontSize = #-3 \override StaffSymbol #'staff-space = #(magstep -3) } { \clef bass c8 c c c c\f c c c } >>
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Changing the tempo without a metronome mark
To change the tempo in MIDI output without printing anything, make the metronome mark invisible:
\score { \new Staff \relative c' { \tempo 4 = 160 c4 e g b c4 b d c \set Score.tempoHideNote = ##t \tempo 4 = 96 d,4 fis a cis d4 cis e d } \layout { } \midi { } }
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Creating blank staves
To create blank staves, generate empty measures then remove the
Bar_number_engraver
from the Score
context, and the
Time_signature_engraver
, Clef_engraver
and
Bar_engraver
from the Staff
context.
#(set-global-staff-size 20) \score { { \repeat unfold 12 { s1 \break } } \layout { indent = 0\in \context { \Staff \remove "Time_signature_engraver" \remove "Clef_engraver" \remove "Bar_engraver" } \context { \Score \remove "Bar_number_engraver" } } } \paper { #(set-paper-size "letter") ragged-last-bottom = ##f line-width = 7.5\in left-margin = 0.5\in bottom-margin = 0.25\in top-margin = 0.25\in }
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Creating metronome marks in markup mode
New metronome marks can be created in markup mode, but they will not change the tempo in MIDI output.
\relative c' { \tempo \markup { \concat { ( \smaller \general-align #Y #DOWN \note #"16." #1 " = " \smaller \general-align #Y #DOWN \note #"8" #1 ) } } c1 c4 c' c,2 }
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Display bracket with only one staff in a system
If there is only one staff in one of the staff types
ChoirStaff
or StaffGroup
, the bracket and the starting
bar line will not be displayed as standard behavior. This can be changed
by overriding the relevant properties.
Note that in contexts such as PianoStaff
and GrandStaff
where the systems begin with a brace instead of a bracket, another
property has to be set, as shown on the second system in the example.
\markup \left-column { \score { \new StaffGroup << % Must be lower than the actual number of staff lines \override StaffGroup.SystemStartBracket #'collapse-height = #1 \override Score.SystemStartBar #'collapse-height = #1 \new Staff { c'1 } >> \layout { } } \score { \new PianoStaff << \override PianoStaff.SystemStartBrace #'collapse-height = #1 \override Score.SystemStartBar #'collapse-height = #1 \new Staff { c'1 } >> \layout { } } }
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Incipit
Incipits can be added using the instrument name grob, but keeping separate the instrument name definition and the incipit definition.
incipit = #(define-music-function (parser location incipit-music) (ly:music?) #{ \once \override Staff.InstrumentName #'self-alignment-X = #RIGHT \once \override Staff.InstrumentName #'self-alignment-Y = #UP \once \override Staff.InstrumentName #'Y-offset = #4 \once \override Staff.InstrumentName #'padding = #0.3 \once \override Staff.InstrumentName #'stencil = #(lambda (grob) (let* ((instrument-name (ly:grob-property grob 'long-text)) (layout (ly:output-def-clone (ly:grob-layout grob))) (music (make-music 'SequentialMusic 'elements (list (make-music 'ContextSpeccedMusic 'context-type 'MensuralStaff 'element (make-music 'PropertySet 'symbol 'instrumentName 'value instrument-name)) $incipit-music))) (score (ly:make-score music)) (mm (ly:output-def-lookup layout 'mm)) (indent (ly:output-def-lookup layout 'indent)) (width (ly:output-def-lookup layout 'incipit-width)) (incipit-width (if (number? width) (* width mm) (* indent 0.5)))) (ly:output-def-set-variable! layout 'indent (- indent incipit-width)) (ly:output-def-set-variable! layout 'line-width indent) (ly:output-def-set-variable! layout 'ragged-right #f) (ly:output-def-set-variable! layout 'ragged-last #f) (ly:output-def-set-variable! layout 'system-count 1) (ly:score-add-output-def! score layout) (ly:grob-set-property! grob 'long-text (markup #:score score)) (ly:system-start-text::print grob))) #}) %%%%%%%%%%%%%%%%%%%%%%%%% global = { \set Score.skipBars = ##t \key g \major \time 4/4 % the actual music \skip 1*8 % let finis bar go through all staves \override Staff.BarLine #'transparent = ##f % finis bar \bar "|." } discantusIncipit = << \new MensuralVoice = "discantusIncipit" << \repeat unfold 9 { s1 \noBreak } { \clef "neomensural-c1" \key f \major \time 2/2 c''1. } >> \new Lyrics \lyricsto discantusIncipit { IV- } >> discantusNotes = { \transpose c' c'' { \clef "treble" d'2. d'4 | b e' d'2 | c'4 e'4.( d'8 c' b | a4) b a2 | b4.( c'8 d'4) c'4 | \once \override NoteHead #'transparent = ##t c'1 | b\breve | } } discantusLyrics = \lyricmode { Ju -- bi -- | la -- te De -- | o, om -- nis ter -- | ra, __ om- | "..." | -us. | } altusIncipit = << \new MensuralVoice = "altusIncipit" << \repeat unfold 9 { s1 \noBreak } { \clef "neomensural-c3" \key f \major \time 2/2 r1 f'1. } >> \new Lyrics \lyricsto altusIncipit { IV- } >> altusNotes = { \transpose c' c'' { \clef "treble" % two measures r2 g2. e4 fis g | a2 g4 e | fis g4.( fis16 e fis4) | g1 | \once \override NoteHead #'transparent = ##t g1 | g\breve | } } altusLyrics = \lyricmode { % two measures Ju -- bi -- la -- te | De -- o, om -- | nis ter -- ra, | "..." | -us. | } tenorIncipit = << \new MensuralVoice = "tenorIncipit" << \repeat unfold 9 { s1 \noBreak } { \clef "neomensural-c4" \key f \major \time 2/2 r\longa r\breve r1 c'1. } >> \new Lyrics \lyricsto tenorIncipit { IV- } >> tenorNotes = { \transpose c' c' { \once \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-6 . 3) \clef "treble_8" R1 | R1 | R1 | % two measures r2 d'2. d'4 b e' | \once \override NoteHead #'transparent = ##t e'1 | d'\breve | } } tenorLyrics = \lyricmode { % two measures Ju -- bi -- la -- te | "..." | -us. } bassusIncipit = << \new MensuralVoice = "bassusIncipit" << \repeat unfold 9 { s1 \noBreak } { \clef "bass" \key f \major \time 2/2 %% incipit r\maxima f1. } >> \new Lyrics \lyricsto bassusIncipit { IV- } >> bassusNotes = { \transpose c' c' { \clef "bass" R1 | R1 | R1 | R1 | g2. e4 | \once \override NoteHead #'transparent = ##t e1 | g\breve | } } bassusLyrics = \lyricmode { Ju -- bi- | "..." | -us. } \score { << \new StaffGroup = choirStaff << \new Voice = "discantusNotes" << \global \set Staff.instrumentName = #"Discantus" \incipit \discantusIncipit \discantusNotes >> \new Lyrics = "discantusLyrics" \lyricsto discantusNotes { \discantusLyrics } \new Voice = "altusNotes" << \global \set Staff.instrumentName = #"Altus" \incipit \altusIncipit \altusNotes >> \new Lyrics = "altusLyrics" \lyricsto altusNotes { \altusLyrics } \new Voice = "tenorNotes" << \global \set Staff.instrumentName = #"Tenor" \incipit \tenorIncipit \tenorNotes >> \new Lyrics = "tenorLyrics" \lyricsto tenorNotes { \tenorLyrics } \new Voice = "bassusNotes" << \global \set Staff.instrumentName = #"Bassus" \incipit \bassusIncipit \bassusNotes >> \new Lyrics = "bassusLyrics" \lyricsto bassusNotes { \bassusLyrics } >> >> \layout { \context { \Score %% no bar lines in staves or lyrics \override BarLine #'transparent = ##t } %% the next two instructions keep the lyrics between the bar lines \context { \Lyrics \consists "Bar_engraver" \consists "Separating_line_group_engraver" } \context { \Voice %% no slurs \override Slur #'transparent = ##t %% Comment in the below "\remove" command to allow line %% breaking also at those bar lines where a note overlaps %% into the next measure. The command is commented out in this %% short example score, but especially for large scores, you %% will typically yield better line breaking and thus improve %% overall spacing if you comment in the following command. %%\remove "Forbid_line_break_engraver" } indent = 6\cm incipit-width = 4\cm } }
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Inserting score fragments above a staff, as markups
The \markup
command is quite versatile. In this snippet, it
contains a \score
block instead of texts or marks.
tuning = \markup { \score { \new Staff \with { \remove "Time_signature_engraver" } { \clef bass <c, g, d g>1 } \layout { ragged-right = ##t } } } \header { title = "Solo Cello Suites" subtitle = "Suite IV" subsubtitle = \markup { Originalstimmung: \general-align #Y #CENTER \tuning } } \layout { ragged-right = ##f } \relative c'' { \time 4/8 \times 2/3 { c8 d e } \times 2/3 { c d e } \times 2/3 { c8 d e } \times 2/3 { c d e } g8 a g a g8 a g a }
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Letter tablature formatting
Tablature can be formatted using letters instead of numbers.
#(define (letter-tablature-format str context event) (let* ((tuning (ly:context-property context 'stringTunings)) (pitch (ly:event-property event 'pitch))) (make-whiteout-markup (make-vcenter-markup (string (integer->char (+ (char->integer #\a) (- (ly:pitch-semitones pitch) (list-ref tuning (- str 1)))))))))) music = \relative c { c4 d e f g4 a b c d4 e f g } << \new Staff { \clef "G_8" \music } \new TabStaff \with { tablatureFormat = #letter-tablature-format } { \music } >>
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Making some staff lines thicker than the others
For pedagogical purposes, a staff line can be thickened (e.g., the
middle line, or to emphasize the line of the G clef). This can be
achieved by adding extra lines very close to the line that should be
emphasized, using the line-positions
property of the
StaffSymbol
object.
{ \override Staff.StaffSymbol #'line-positions = #'(-4 -2 -0.2 0 0.2 2 4) d'4 e' f' g' }
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Measure counter
This snippet provides a workaround for emitting measure counters using transparent percent repeats.
<< \context Voice = "foo" { \clef bass c4 r g r c4 r g r c4 r g r c4 r g r } \context Voice = "foo" { \set countPercentRepeats = ##t \override PercentRepeat #'transparent = ##t \override PercentRepeatCounter #'staff-padding = #1 \repeat percent 4 { s1 } } >>
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Mensurstriche layout (bar lines between the staves)
The mensurstriche-layout where the bar lines do not show on the staves
but between staves can be achieved with a StaffGroup
instead of
a ChoirStaff
. The bar line on staves is blanked out by setting
the transparent
property.
global = { \override Staff.BarLine #'transparent = ##t s1 s % the final bar line is not interrupted \revert Staff.BarLine #'transparent \bar "|." } \new StaffGroup \relative c'' { << \new Staff { << \global { c1 c } >> } \new Staff { << \global { c c } >> } >> }
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Modern TAB text clef
Use a markup text to replace the (TAB) clef glyph with a modern font.
TAB = \markup { \raise #1.5 \sans \bold \huge \override #'(baseline-skip . 2.5) \center-column { T A B } } \new TabStaff { \override Staff.Clef #'stencil = #(lambda (grob) ly:clef::print (grob-interpret-markup grob TAB)) a }
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Nesting staves
The property systemStartDelimiterHierarchy
can be used to make
more complex nested staff groups. The command \set
StaffGroup.systemStartDelimiterHierarchy
takes an alphabetical list of
the number of staves produced. Before each staff a system start
delimiter can be given. It has to be enclosed in brackets and takes as
much staves as the brackets enclose. Elements in the list can be
omitted, but the first bracket takes always the complete number of
staves. The possibilities are SystemStartBar
,
SystemStartBracket
, SystemStartBrace
, and
SystemStartSquare
.
\new StaffGroup \relative c'' << \set StaffGroup.systemStartDelimiterHierarchy = #'(SystemStartSquare (SystemStartBrace (SystemStartBracket a (SystemStartSquare b) ) c ) d) \new Staff { c1 } \new Staff { c1 } \new Staff { c1 } \new Staff { c1 } \new Staff { c1 } >>
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Non-traditional key signatures
The commonly used \key
command sets the keySignature
property, in the Staff
context.
To create non-standard key signatures, set this property directly. The format of this command is a list:
\set Staff.keySignature = #`(((octave . step) . alter) ((octave
. step) . alter) ...)
where, for each element in the list,
octave
specifies the octave (0 being the octave from middle C to
the B above), step
specifies the note within the octave (0 means
C and 6 means B), and alter
is ,SHARP ,FLAT ,DOUBLE-SHARP
etc. (Note the leading comma.) The accidentals in the key signature
will appear in the reverse order to that in which they are specified.
Alternatively, for each item in the list, using the more concise format
(step . alter)
specifies that the same alteration should hold in
all octaves.
For microtonal scales where a "sharp" is not 100 cents, alter
refers to the alteration as a proportion of a 200-cent whole tone.
Here is an example of a possible key signature for generating a whole-tone scale:
\relative c' { \set Staff.keySignature = #`(((0 . 3) . ,SHARP) ((0 . 5) . ,FLAT) ((0 . 6) . ,FLAT)) c4 d e fis aes4 bes c2 }
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Printing metronome and rehearsal marks below the staff
By default, metronome and rehearsal marks are printed above the staff.
To place them below the staff simply set the direction
property
of MetronomeMark
or RehearsalMark
appropriately.
\layout { ragged-right = ##f } { % Metronome marks below the staff \override Score.MetronomeMark #'direction = #DOWN \tempo 8. = 120 c''1 % Rehearsal marks below the staff \override Score.RehearsalMark #'direction = #DOWN \mark \default c''1 }
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Quoting another voice with transposition
Quotations take into account the transposition of both
source and target. In this example, all instruments play sounding
middle C; the target is an instrument in F. The target part may be
transposed using \transpose
. In this case, all the pitches
(including the quoted ones) are transposed.
\addQuote clarinet { \transposition bes \repeat unfold 8 { d'16 d' d'8 } } \addQuote sax { \transposition es' \repeat unfold 16 { a8 } } quoteTest = { % french horn \transposition f g'4 << \quoteDuring #"clarinet" { \skip 4 } s4^"clar." >> << \quoteDuring #"sax" { \skip 4 } s4^"sax." >> g'4 } { \set Staff.instrumentName = \markup { \center-column { Horn \line { in F } } } \quoteTest \transpose c' d' << \quoteTest s4_"up a tone" >> }
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Quoting another voice
The quotedEventTypes
property determines the
music event types that are quoted. The default value is
(note-event rest-event)
, which means that only notes and
rests of the quoted voice appear in the \quoteDuring
expression. In the following example, a 16th rest is not quoted
since rest-event
is not in quotedEventTypes
.
quoteMe = \relative c' { fis4 r16 a8.-> b4\ff c } \addQuote quoteMe \quoteMe original = \relative c'' { c8 d s2 \once \override NoteColumn #'ignore-collision = ##t es8 gis8 } << \new Staff { \set Staff.instrumentName = #"quoteMe" \quoteMe } \new Staff { \set Staff.instrumentName = #"orig" \original } \new Staff \relative c'' << \set Staff.instrumentName = #"orig+quote" \set Staff.quotedEventTypes = #'(note-event articulation-event) \original \new Voice { s4 \set fontSize = #-4 \override Stem #'length-fraction = #(magstep -4) \quoteDuring #"quoteMe" { \skip 2. } } >> >>
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Removing the first empty line
The first empty staff can also be removed from the score by setting the
VerticalAxisGroup
property remove-first
. This can be done
globally inside the \layout
block, or locally inside the
specific staff that should be removed. In the latter case, you have to
specify the context (Staff
applies only to the current staff) in
front of the property.
The lower staff of the second staff group is not removed, because the setting applies only to the specific staff inside of which it is written.
\layout { \context { \RemoveEmptyStaffContext % To use the setting globally, uncomment the following line: % \override VerticalAxisGroup #'remove-first = ##t } } \new StaffGroup << \new Staff \relative c' { e4 f g a \break c1 } \new Staff { % To use the setting globally, comment this line, % uncomment the line in the \layout block above \override Staff.VerticalAxisGroup #'remove-first = ##t R1 \break R } >> \new StaffGroup << \new Staff \relative c' { e4 f g a \break c1 } \new Staff { R1 \break R } >>
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Tick bar lines
’Tick’ bar lines are often used in music where the bar line is used only for coordination and is not meant to imply any rhythmic stress.
\relative c' { \set Score.defaultBarType = #"'" c4 d e f g4 f e d c4 d e f g4 f e d \bar "|." }
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Time signature in parentheses
The time signature can be enclosed within parentheses.
\relative c'' { \override Staff.TimeSignature #'stencil = #(lambda (grob) (bracketify-stencil (ly:time-signature::print grob) Y 0.1 0.2 0.1)) \time 2/4 a4 b8 c }
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Tweaking clef properties
The command \clef "treble_8"
is equivalent to setting
clefGlyph
, clefPosition
(which controls the vertical
position of the clef), middleCPosition
and
clefOctavation
. A clef is printed when any of the properties
except middleCPosition
are changed.
Note that changing the glyph, the position of the clef, or the
octavation does not in itself change the position of subsequent notes
on the staff: the position of middle C must also be specified to do
this. The positional parameters are relative to the staff center line,
positive numbers displacing upwards, counting one for each line and
space. The clefOctavation
value would normally be set to 7, -7,
15 or -15, but other values are valid.
When a clef change takes place at a line break the new clef symbol is
printed at both the end of the previous line and the beginning of the
new line by default. If the warning clef at the end of the previous
line is not required it can be suppressed by setting the Staff
property explicitClefVisibility
to the value
end-of-line-invisible
. The default behavior can be recovered
with \unset Staff.explicitClefVisibility
.
The following examples show the possibilities when setting these properties manually. On the first line, the manual changes preserve the standard relative positioning of clefs and notes, whereas on the second line, they do not.
\layout { ragged-right = ##t } { % The default treble clef c'1 % The standard bass clef \set Staff.clefGlyph = #"clefs.F" \set Staff.clefPosition = #2 \set Staff.middleCPosition = #6 c'1 % The baritone clef \set Staff.clefGlyph = #"clefs.C" \set Staff.clefPosition = #4 \set Staff.middleCPosition = #4 c'1 % The standard choral tenor clef \set Staff.clefGlyph = #"clefs.G" \set Staff.clefPosition = #-2 \set Staff.clefOctavation = #-7 \set Staff.middleCPosition = #1 c'1 % A non-standard clef \set Staff.clefPosition = #0 \set Staff.clefOctavation = #0 \set Staff.middleCPosition = #-4 c'1 \break % The following clef changes do not preserve % the normal relationship between notes and clefs: \set Staff.clefGlyph = #"clefs.F" \set Staff.clefPosition = #2 c'1 \set Staff.clefGlyph = #"clefs.G" c'1 \set Staff.clefGlyph = #"clefs.C" c'1 \set Staff.clefOctavation = #7 c'1 \set Staff.clefOctavation = #0 \set Staff.clefPosition = #0 c'1 % Return to the normal clef: \set Staff.middleCPosition = #0 c'1 }
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Use square bracket at the start of a staff group
The system start delimiter SystemStartSquare
can be used by
setting it explicitly in a StaffGroup
or ChoirStaffGroup
context.
\score { \new StaffGroup { << \set StaffGroup.systemStartDelimiter = #'SystemStartSquare \new Staff { c'4 d' e' f' } \new Staff { c'4 d' e' f' } >> } }
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Volta under chords
By adding the Volta_engraver
to the relevant
staff, volte can be put under chords.
\score { << \chords { c1 c1 } \new Staff \with { \consists "Volta_engraver" } { \repeat volta 2 { c'1 } \alternative { c' } } >> \layout { \context { \Score \remove "Volta_engraver" } } }
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Volta multi-staff
By adding the Volta_engraver
to the relevant
staff, volte can be put over staves other than the topmost
one in a score.
voltaMusic = \relative c'' { \repeat volta 2 { c1 } \alternative { d1 e } } << \new StaffGroup << \new Staff \voltaMusic \new Staff \voltaMusic >> \new StaffGroup << \new Staff \with { \consists "Volta_engraver" } \voltaMusic \new Staff \voltaMusic >> >>
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Editorial annotations
These snippets illustrate the Notation Reference, section Editorial annotations.
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Adding fingerings to a score
Fingering instructions can be entered using a simple syntax.
\relative c'' { c4-1 d-2 f-4 e-3 }
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Allowing fingerings to be printed inside the staff
By default, vertically oriented fingerings are positioned outside the staff. However, this behavior can be canceled.
\relative c' { <c-1 e-2 g-3 b-5>2 \once \override Fingering #'staff-padding = #'() <c-1 e-2 g-3 b-5>2 }
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Analysis brackets above the staff
Simple horizontal analysis brackets are added below the staff by default. The following example shows a way to place them above the staff instead.
\layout { \context { \Voice \consists "Horizontal_bracket_engraver" } } \relative c'' { \once \override HorizontalBracket #'direction = #UP c2\startGroup d2\stopGroup }
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Applying note head styles depending on the step of the scale
The shapeNoteStyles
property can be used to define various note
head styles for each step of the scale (as set by the key signature or
the "tonic" property). This property requires a set of symbols, which
can be purely arbitrary (geometrical expressions such as
triangle
, cross
, and xcircle
are allowed) or based
on old American engraving tradition (some latin note names are also
allowed).
That said, to imitate old American song books, there are several
predefined note head styles available through shortcut commands such as
\aikenHeads
or \sacredHarpHeads
.
This example shows different ways to obtain shape note heads, and demonstrates the ability to transpose a melody without losing the correspondence between harmonic functions and note head styles.
fragment = { \key c \major c2 d e2 f g2 a b2 c } \score { \new Staff { \transpose c d \relative c' { \set shapeNoteStyles = #'#(do re mi fa #f la ti) \fragment } \break \relative c' { \set shapeNoteStyles = #'#(cross triangle fa #f mensural xcircle diamond) \fragment } } \layout { ragged-right = ##t } }
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Avoiding collisions with chord fingerings
Fingerings and string numbers applied to individual notes will automatically avoid beams and stems, but this is not true by default for fingerings and string numbers applied to the individual notes of chords. The following example shows how this default behavior can be overridden.
\relative c' { \set fingeringOrientations = #'(up) \set stringNumberOrientations = #'(up) \set strokeFingerOrientations = #'(up) % Default behavior r8 <f c'-5>8 <f c'\5>8 <f c'-\rightHandFinger #2 >8 % Corrected to avoid collisions r8 \override Fingering #'add-stem-support = ##t <f c'-5>8 \override StringNumber #'add-stem-support = ##t <f c'\5>8 \override StrokeFinger #'add-stem-support = ##t <f c'-\rightHandFinger #2 >8 }
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Blanking staff lines using the \whiteout command
The \whiteout
command underlays a markup with a white box.
Since staff lines are in a lower layer than most other grobs, this
white box will not overlap any other grob.
\layout { ragged-right = ##f } \relative c' { \override TextScript #'extra-offset = #'(2 . 4) c2-\markup { \whiteout \pad-markup #0.5 "middle C" } c }
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Changing a single note’s size in a chord
Individual note heads in a chord can be modified with the
\tweak
command inside a chord, by altering the font-size
property.
Inside the chord (within the brackets < >
), before the note to
be altered, place the \tweak
command, followed by
#'font-size
and define the proper size like #-2
(a tiny
notehead).
\layout { ragged-right = ##t } \relative { <\tweak #'font-size #+2 c e g c \tweak #'font-size #-2 e>1^\markup { A tiny e }_\markup { A big c } }
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Changing the appearance of a slur from solid to dotted or dashed
The appearance of slurs may be changed from solid to dotted or dashed.
\relative c' { c4( d e c) \slurDotted c4( d e c) \slurSolid c4( d e c) \slurDashed c4( d e c) \slurSolid c4( d e c) }
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Coloring notes depending on their pitch
It is possible to color note heads depending on their pitch and/or their names: the function used in this example even makes it possible to distinguish enharmonics.
%Association list of pitches to colors. #(define color-mapping (list (cons (ly:make-pitch 0 0 0) (x11-color 'red)) (cons (ly:make-pitch 0 0 1/2) (x11-color 'green)) (cons (ly:make-pitch 0 1 -1/2) (x11-color 'green)) (cons (ly:make-pitch 0 2 0) (x11-color 'red)) (cons (ly:make-pitch 0 2 1/2) (x11-color 'green)) (cons (ly:make-pitch 0 3 -1/2) (x11-color 'red)) (cons (ly:make-pitch 0 3 0) (x11-color 'green)) (cons (ly:make-pitch 0 4 1/2) (x11-color 'red)) (cons (ly:make-pitch 0 5 0) (x11-color 'green)) (cons (ly:make-pitch 0 5 -1/2) (x11-color 'red)) (cons (ly:make-pitch 0 6 1/2) (x11-color 'red)) (cons (ly:make-pitch 0 1 0) (x11-color 'blue)) (cons (ly:make-pitch 0 3 1/2) (x11-color 'blue)) (cons (ly:make-pitch 0 4 -1/2) (x11-color 'blue)) (cons (ly:make-pitch 0 5 1/2) (x11-color 'blue)) (cons (ly:make-pitch 0 6 -1/2) (x11-color 'blue)) )) %Compare pitch and alteration (not octave). #(define (pitch-equals? p1 p2) (and (= (ly:pitch-alteration p1) (ly:pitch-alteration p2)) (= (ly:pitch-notename p1) (ly:pitch-notename p2)))) #(define (pitch-to-color pitch) (let ((color (assoc pitch color-mapping pitch-equals?))) (if color (cdr color)))) #(define (color-notehead grob) (pitch-to-color (ly:event-property (ly:grob-property grob 'cause) 'pitch))) \score { \new Staff \relative c' { \override NoteHead #'color = #color-notehead c8 b d dis ees f g aes } }
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Controlling the placement of chord fingerings
The placement of fingering numbers can be controlled precisely.
\relative c' { \set fingeringOrientations = #'(left) <c-1 e-3 a-5>4 \set fingeringOrientations = #'(down) <c-1 e-3 a-5>4 \set fingeringOrientations = #'(down right up) <c-1 e-3 a-5>4 \set fingeringOrientations = #'(up) <c-1 e-3 a-5>4 \set fingeringOrientations = #'(left) <c-1>2 \set fingeringOrientations = #'(down) <e-3>2 }
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Creating a delayed turn
Creating a delayed turn, where the lower note of the
turn uses the accidental, requires several overrides. The
outside-staff-priority
property must be set to #f
,
as otherwise this would take precedence over the
avoid-slur property
. The value of halign
is used
to position the turn horizontally.
\relative c'' { \once \override TextScript #'avoid-slur = #'inside \once \override TextScript #'outside-staff-priority = ##f c2(^\markup \tiny \override #'(baseline-skip . 1) { \halign #-4 \center-column { \sharp \musicglyph #"scripts.turn" } } d4.) c8 }
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Creating blank staves
To create blank staves, generate empty measures then remove the
Bar_number_engraver
from the Score
context, and the
Time_signature_engraver
, Clef_engraver
and
Bar_engraver
from the Staff
context.
#(set-global-staff-size 20) \score { { \repeat unfold 12 { s1 \break } } \layout { indent = 0\in \context { \Staff \remove "Time_signature_engraver" \remove "Clef_engraver" \remove "Bar_engraver" } \context { \Score \remove "Bar_number_engraver" } } } \paper { #(set-paper-size "letter") ragged-last-bottom = ##f line-width = 7.5\in left-margin = 0.5\in bottom-margin = 0.25\in top-margin = 0.25\in }
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Default direction of stems on the center line of the staff
The default direction of stems on the center line of the staff is set
by the Stem
property neutral-direction
.
\relative c'' { a4 b c b \override Stem #'neutral-direction = #up a4 b c b \override Stem #'neutral-direction = #down a4 b c b }
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Embedding native PostScript in a \markup block
PostScript code can be directly inserted inside a \markup
block.
% PostScript is a registered trademark of Adobe Systems Inc. \relative c'' { a4-\markup { \postscript #"3 4 moveto 5 3 rlineto stroke" } -\markup { \postscript #"[ 0 1 ] 0 setdash 3 5 moveto 5 -3 rlineto stroke " } b4-\markup { \postscript #"3 4 moveto 0 0 1 2 8 4 20 3.5 rcurveto stroke" } s2 a'1 }
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Grid lines: changing their appearance
The appearance of grid lines can be changed by overriding some of their properties.
\score { \new ChoirStaff << \new Staff { \relative c'' { \stemUp c'4. d8 e8 f g4 } } \new Staff { \relative c { % this moves them up one staff space from the default position \override Score.GridLine #'extra-offset = #'(0.0 . 1.0) \stemDown \clef bass \once \override Score.GridLine #'thickness = #5.0 c4 \once \override Score.GridLine #'thickness = #1.0 g'4 \once \override Score.GridLine #'thickness = #3.0 f4 \once \override Score.GridLine #'thickness = #5.0 e4 } } >> \layout { \context { \Staff % set up grids \consists "Grid_point_engraver" % set the grid interval to one quarter note gridInterval = #(ly:make-moment 1 4) } \context { \Score \consists "Grid_line_span_engraver" % this moves them to the right half a staff space \override NoteColumn #'X-offset = #-0.5 } } }
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Grid lines: emphasizing rhythms and notes synchronization
Regular vertical lines can be drawn between staves to show note synchronization; however, in case of monophonic music, you may want to make the second stave invisible, and make the lines shorter like in this snippet.
\score { \new ChoirStaff { \relative c'' << \new Staff { \time 12/8 \stemUp c4. d8 e8 f g4 f8 e8. d16 c8 } \new Staff { % hides staff and notes so that only the grid lines are visible \hideNotes \override Staff.BarLine #'transparent = ##t \override Staff.StaffSymbol #'line-count = #0 \override Staff.TimeSignature #'transparent = ##t \override Staff.Clef #'transparent = ##t % dummy notes to force regular note spacing \once \override Score.GridLine #'thickness = #4.0 c8 c c \once \override Score.GridLine #'thickness = #3.0 c8 c c \once \override Score.GridLine #'thickness = #4.0 c8 c c \once \override Score.GridLine #'thickness = #3.0 c8 c c } >> } \layout { \context { \Score \consists "Grid_line_span_engraver" % center grid lines horizontally below note heads \override NoteColumn #'X-offset = #-0.5 } \context { \Staff \consists "Grid_point_engraver" gridInterval = #(ly:make-moment 1 8) % set line length and positioning: % two staff spaces above center line on hidden staff % to four spaces below center line on visible staff \override GridPoint #'Y-extent = #'(2 . -4) } ragged-right = ##t } }
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Making some staff lines thicker than the others
For pedagogical purposes, a staff line can be thickened (e.g., the
middle line, or to emphasize the line of the G clef). This can be
achieved by adding extra lines very close to the line that should be
emphasized, using the line-positions
property of the
StaffSymbol
object.
{ \override Staff.StaffSymbol #'line-positions = #'(-4 -2 -0.2 0 0.2 2 4) d'4 e' f' g' }
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Marking notes of spoken parts with a cross on the stem
This example shows how to put crosses on stems. Mark the beginning
of a spoken section with the \speakOn
keyword, and end it
with the \speakOff
keyword.
speakOn = { \override Stem #'stencil = #(lambda (grob) (let* ((x-parent (ly:grob-parent grob X)) (is-rest? (ly:grob? (ly:grob-object x-parent 'rest)))) (if is-rest? empty-stencil (ly:stencil-combine-at-edge (ly:stem::print grob) Y (- (ly:grob-property grob 'direction)) (grob-interpret-markup grob (markup #:hspace -1.025 #:fontsize -4 #:musicglyph "noteheads.s2cross")) -2.3 0)))) } speakOff = { \revert Stem #'stencil } \score { \new Staff { \relative c'' { a4 b a c \speakOn g4 f r g b4 r d e \speakOff c4 a g f } } }
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Measure counter
This snippet provides a workaround for emitting measure counters using transparent percent repeats.
<< \context Voice = "foo" { \clef bass c4 r g r c4 r g r c4 r g r c4 r g r } \context Voice = "foo" { \set countPercentRepeats = ##t \override PercentRepeat #'transparent = ##t \override PercentRepeatCounter #'staff-padding = #1 \repeat percent 4 { s1 } } >>
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Positioning text markups inside slurs
Text markups need to have the outside-staff-priority
property
set to false in order to be printed inside slurs.
\relative c'' { \override TextScript #'avoid-slur = #'inside \override TextScript #'outside-staff-priority = ##f c2(^\markup { \halign #-10 \natural } d4.) c8 }
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Using PostScript to generate special note head shapes
When a note head with a special shape cannot easily be generated with graphic markup, PostScript code can be used to generate the shape. This example shows how a parallelogram-shaped note head is generated.
parallelogram = #(ly:make-stencil (list 'embedded-ps "gsave currentpoint translate newpath 0 0.25 moveto 1.3125 0.75 lineto 1.3125 -0.25 lineto 0 -0.75 lineto closepath fill grestore" ) (cons 0 1.3125) (cons 0 0)) myNoteHeads = \override NoteHead #'stencil = \parallelogram normalNoteHeads = \revert NoteHead #'stencil \relative c'' { \myNoteHeads g4 d' \normalNoteHeads <f, \tweak #'stencil \parallelogram b e>4 d }
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Text
These snippets illustrate the Notation Reference, section Text.
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Adjusting lyrics vertical spacing
This snippet shows how to bring the lyrics line closer to the staff.
% Default layout: << \new Staff \new Voice = melody \relative c' { c4 d e f g4 f e d c1 } \new Lyrics \lyricsto melody { aa aa aa aa aa aa aa aa aa } % Reducing the minimum space below the staff and above the lyrics: \new Staff \with { \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 4) } \new Voice = melody \relative c' { c4 d e f g4 f e d c1 } \new Lyrics \with { \override VerticalAxisGroup #'minimum-Y-extent = #'(-1.2 . 1) } \lyricsto melody { aa aa aa aa aa aa aa aa aa } >>
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Aligning and centering instrument names
The horizontal alignment of instrument names is tweaked
by changing the Staff.InstrumentName #'self-alignment-X
property.
The \layout
variables indent
and short-indent
define the space in which the instrument names are aligned before the
first and the following systems, respectively.
\paper { left-margin = 3\cm } \score { \new StaffGroup << \new Staff { \override Staff.InstrumentName #'self-alignment-X = #LEFT \set Staff.instrumentName = \markup \left-column { "Left aligned" "instrument name" } \set Staff.shortInstrumentName = #"Left" c''1 \break c''1 } \new Staff { \override Staff.InstrumentName #'self-alignment-X = #CENTER \set Staff.instrumentName = \markup \center-column { Centered "instrument name" } \set Staff.shortInstrumentName = #"Centered" g'1 g'1 } \new Staff { \override Staff.InstrumentName #'self-alignment-X = #RIGHT \set Staff.instrumentName = \markup \right-column { "Right aligned" "instrument name" } \set Staff.shortInstrumentName = #"Right" e'1 e'1 } >> \layout { ragged-right = ##t indent = 4\cm short-indent = 2\cm } }
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Aligning marks with various notation objects
If specified, text marks may be aligned with notation
objects other than bar lines. These objects include ambitus
,
breathing-sign
, clef
, custos
, staff-bar
,
left-edge
, key-cancellation
, key-signature
, and
time-signature
.
In such cases, text marks will be horizontally centered above the object. However this can be changed, as demonstrated on the second line of this example (in a score with multiple staves, this setting should be done for all the staves).
\relative c' { e1 % the RehearsalMark will be centered above the Clef \override Score.RehearsalMark #'break-align-symbols = #'(clef) \key a \major \clef treble \mark "↓" e1 % the RehearsalMark will be centered above the TimeSignature \override Score.RehearsalMark #'break-align-symbols = #'(time-signature) \key a \major \clef treble \time 3/4 \mark "↓" e2. % the RehearsalMark will be centered above the KeySignature \override Score.RehearsalMark #'break-align-symbols = #'(key-signature) \key a \major \clef treble \time 4/4 \mark "↓" e1 \break e1 % the RehearsalMark will be aligned with the left edge of the KeySignature \once \override Score.KeySignature #'break-align-anchor-alignment = #LEFT \mark "↓" \key a \major e1 % the RehearsalMark will be aligned with the right edge of the KeySignature \once \override Score.KeySignature #'break-align-anchor-alignment = #RIGHT \key a \major \mark "↓" e1 % the RehearsalMark will be aligned with the left edge of the KeySignature % and then shifted right by one unit. \once \override Score.KeySignature #'break-align-anchor = #1 \key a \major \mark "↓" e1 }
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Blanking staff lines using the \whiteout command
The \whiteout
command underlays a markup with a white box.
Since staff lines are in a lower layer than most other grobs, this
white box will not overlap any other grob.
\layout { ragged-right = ##f } \relative c' { \override TextScript #'extra-offset = #'(2 . 4) c2-\markup { \whiteout \pad-markup #0.5 "middle C" } c }
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Center text below hairpin dynamics
This example provides a function to typeset a hairpin (de)crescendo with some additional text below it, such as "molto" or "poco". The example also illustrates how to modify the way an object is normally printed, using some Scheme code.
hairpinWithCenteredText = #(define-music-function (parser location text) (markup?) #{ \override Voice.Hairpin #'stencil = #(lambda (grob) (ly:stencil-aligned-to (ly:stencil-combine-at-edge (ly:stencil-aligned-to (ly:hairpin::print grob) X CENTER) Y DOWN (ly:stencil-aligned-to (grob-interpret-markup grob $text) X CENTER)) X LEFT)) #}) hairpinMolto = \hairpinWithCenteredText \markup { \italic molto } hairpinMore = \hairpinWithCenteredText \markup { \larger moltissimo } \layout { ragged-right = ##f } { \hairpinMolto c'2\< c'\f \hairpinMore c'2\< c'\f }
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Changing the default text font family
The default font families for text can be overridden with
make-pango-font-tree
.
\paper { % change for other default global staff size. myStaffSize = #20 %{ run lilypond -dshow-available-fonts blabla to show all fonts available in the process log. %} #(define fonts (make-pango-font-tree "Times New Roman" "Nimbus Sans" "Luxi Mono" ;; "Helvetica" ;; "Courier" (/ myStaffSize 20))) } \relative c'' { c4^\markup { roman: foo \bold bla \italic bar \italic \bold baz } c'4_\markup { \override #'(font-family . sans) { sans: foo \bold bla \italic bar \italic \bold baz } } c'2^\markup { \override #'(font-family . typewriter) { mono: foo \bold bla \italic bar \italic \bold baz } } }
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Combining dynamics with markup texts
Some dynamics may involve text indications (such as "più forte" or
"piano subito"). They can be produced using a \markup
block.
piuF = \markup { \italic più \dynamic f } \layout { ragged-right = ##f } \relative c'' { c2\f c-\piuF }
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Combining two parts on the same staff
The part combiner tool ( \partcombine
command ) allows the
combination of several different parts on the same staff. Text
directions such as "solo" or "a2" are added by default; to remove
them, simply set the property printPartCombineTexts
to
"false". For vocal scores (hymns), there is no need to add
"solo"/"a2" texts, so they should be switched off. However, it
might be better not to use it if there are any solos, as they won’t be
indicated. In such cases, standard polyphonic notation may be
preferable.
This snippet presents the three ways two parts can be printed on a same
staff: standard polyphony, \partcombine
without texts, and
\partcombine
with texts.
musicUp = \relative c'' { \time 4/4 a4 c4.( g8) a4 | g4 e' g,( a8 b) | c b a2. } musicDown = \relative c'' { g4 e4.( d8) c4 | r2 g'4( f8 e) | d2 \stemDown a } \score { << << \new Staff { \set Staff.instrumentName = "Standard polyphony " << \musicUp \\ \musicDown >> } \new Staff \with { printPartCombineTexts = ##f } { \set Staff.instrumentName = "PartCombine without texts " \partcombine \musicUp \musicDown } \new Staff { \set Staff.instrumentName = "PartCombine with texts " \partcombine \musicUp \musicDown } >> >> \layout { indent = 6.0\cm \context { \Score \override SystemStartBar #'collapse-height = #30 } } }
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Creating "real" parenthesized dynamics
Although the easiest way to add parentheses to a dynamic mark is to use
a \markup
block, this method has a downside: the created
objects will behave like text markups, and not like dynamics.
However, it is possible to create a similar object using the equivalent
Scheme code (as described in "Markup programmer interface"), combined
with the make-dynamic-script
function. This way, the markup will
be regarded as a dynamic, and therefore will remain compatible with
commands such as \dynamicUp
or \dynamicDown
.
\paper { ragged-right = ##t } parenF = #(make-dynamic-script (markup #:line (#:normal-text #:italic #:fontsize 2 "(" #:hspace -0.8 #:dynamic "f" #:normal-text #:italic #:fontsize 2 ")" ))) \relative c'' { c4\parenF c c \dynamicUp c\parenF }
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Creating simultaneous rehearsal marks
Unlike text scripts, rehearsal marks cannot be stacked at a particular point
in a score: only one RehearsalMark
object is created. Using an
invisible measure and bar line, an extra rehearsal mark can be added, giving
the appearance of two marks in the same column.
This method may also prove useful for placing rehearsal marks at both the end of one system and the start of the following system.
{ \key a \major \set Score.markFormatter = #format-mark-box-letters \once \override Score.RehearsalMark #'outside-staff-priority = #5000 \once \override Score.RehearsalMark #'self-alignment-X = #LEFT \once \override Score.RehearsalMark #'break-align-symbols = #'(key-signature) \mark \markup { \bold { Senza denti } } % the hidden measure and bar line \once \override Score.TimeSignature #'stencil = ##f \time 1/16 s16 \bar "" \time 4/4 \once \override Score.RehearsalMark #'self-alignment-X = #LEFT \once \override Score.RehearsalMark #'break-align-symbols = #'(bar-line) \mark \markup { \box \bold Intro } d'1 \mark \default d'1 }
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Creating text spanners
The \startTextSpan
and \stopTextSpan
commands allow the creation of text spanners as easily as pedal
indications or octavations. Override some properties of the
TextSpanner
object to modify its output.
\paper { ragged-right = ##f } \relative c'' { \override TextSpanner #'(bound-details left text) = #"bla" \override TextSpanner #'(bound-details right text) = #"blu" a4 \startTextSpan b4 c a4 \stopTextSpan \override TextSpanner #'style = #'line \once \override TextSpanner #'(bound-details left stencil-align-dir-y) = #CENTER a4 \startTextSpan b4 c a4 \stopTextSpan \override TextSpanner #'style = #'dashed-line \override TextSpanner #'(bound-details left text) = \markup { \draw-line #'(0 . 1) } \override TextSpanner #'(bound-details right text) = \markup { \draw-line #'(0 . -2) } \once \override TextSpanner #'(bound-details right padding) = #-2 a4 \startTextSpan b4 c a4 \stopTextSpan \set Staff.middleCPosition = #-13 \override TextSpanner #'dash-period = #10 \override TextSpanner #'dash-fraction = #0.5 \override TextSpanner #'thickness = #10 a4 \startTextSpan b4 c a4 \stopTextSpan }
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Demonstrating all headers
All header fields with special meanings.
\header { copyright = "copyright" title = "title" subtitle = "subtitle" composer = "composer" arranger = "arranger" instrument = "instrument" metre = "metre" opus = "opus" piece = "piece" poet = "poet" texidoc = "All header fields with special meanings." copyright = "public domain" enteredby = "jcn" source = "urtext" } \layout { ragged-right = ##f } \score { \relative c'' { c1 | c | c | c } } \score { \relative c'' { c1 | c | c | c } \header { title = "localtitle" subtitle = "localsubtitle" composer = "localcomposer" arranger = "localarranger" instrument = "localinstrument" metre = "localmetre" opus = "localopus" piece = "localpiece" poet = "localpoet" copyright = "localcopyright" } }
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Embedding native PostScript in a \markup block
PostScript code can be directly inserted inside a \markup
block.
% PostScript is a registered trademark of Adobe Systems Inc. \relative c'' { a4-\markup { \postscript #"3 4 moveto 5 3 rlineto stroke" } -\markup { \postscript #"[ 0 1 ] 0 setdash 3 5 moveto 5 -3 rlineto stroke " } b4-\markup { \postscript #"3 4 moveto 0 0 1 2 8 4 20 3.5 rcurveto stroke" } s2 a'1 }
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Formatting lyrics syllables
To format individual syllables in lyrics, use \markup { ....
}
on these lyrics.
% Tip taken from http://lists.gnu.org/archive/html/lilypond-user/2007-12/msg00215.html \header { title = "Markup can be used inside lyrics!" } mel = \relative c'' { c4 c c c } lyr = \lyricmode { Lyrics \markup { \italic "can" } \markup {\with-color #red "contain" } \markup {\fontsize #8 \bold "Markup!" } } << \context Voice = melody \mel \context Lyrics \lyricsto melody \lyr >>
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How to put ties between syllables in lyrics
This can be achieved by separating those syllables by tildes.
\lyrics { wa~o~a }
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Lyrics alignment
Horizontal alignment for lyrics cam be set by overriding the
self-alignment-X
property of the LyricText
object.
#-1
is left, #0
is center and #1
is right;
however, you can use #LEFT
, #CENTER
and #RIGHT
as
well.
\layout { ragged-right = ##f } \relative c'' { c1 c1 c1 } \addlyrics { \once \override LyricText #'self-alignment-X = #LEFT "This is left-aligned" \once \override LyricText #'self-alignment-X = #CENTER "This is centered" \once \override LyricText #'self-alignment-X = #1 "This is right-aligned" }
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Markup lines
Text that can spread over pages is entered with the
\markuplines
command.
#(set-default-paper-size "a6") #(define-markup-list-command (paragraph layout props args) (markup-list?) (interpret-markup-list layout props (make-justified-lines-markup-list (cons (make-hspace-markup 2) args)))) % Candide, Voltaire \markuplines { \override-lines #'(baseline-skip . 2.5) { \paragraph { Il y avait en Westphalie, dans le château de M. le baron de Thunder-ten-tronckh, un jeune garçon à qui la nature avait donné les mœurs les plus douces. Sa physionomie annonçait son âme. Il avait le jugement assez droit, avec l'esprit le plus simple ; c'est, je crois, pour cette raison qu'on le nommait Candide. Les anciens domestiques de la maison soupçonnaient qu'il était fils de la sœur de monsieur le baron et d'un bon et honnête gentilhomme du voisinage, que cette demoiselle ne voulut jamais épouser parce qu'il n'avait pu prouver que soixante et onze quartiers, et que le reste de son arbre généalogique avait été perdu par l'injure du temps. } \paragraph { Monsieur le baron était un des plus puissants seigneurs de la Westphalie, car son château avait une porte et des fenêtres. Sa grande salle même était ornée d'une tapisserie. Tous les chiens de ses basses-cours composaient une meute dans le besoin ; ses palefreniers étaient ses piqueurs; le vicaire du village était son grand-aumônier. Ils l'appelaient tous monseigneur, et ils riaient quand il faisait des contes. } } }
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Multi-measure rest markup
Markups attached to a multi-measure rest will be centered above or below it. Long markups attached to multi-measure rests do not cause the measure to expand. To expand a multi-measure rest to fit the markup, use a spacer rest with an attached markup before the multi-measure rest.
Note that the spacer rest causes a bar line to be inserted. Text attached to a spacer rest in this way is left-aligned to the position where the note would be placed in the measure, but if the measure length is determined by the length of the text, the text will appear to be centered.
\relative c' { \compressFullBarRests \textLengthOn s1*0^\markup { [MAJOR GENERAL] } R1*19 s1*0_\markup { \italic { Cue: ... it is yours } } s1*0^\markup { A } R1*30^\markup { [MABEL] } \textLengthOff c4^\markup { CHORUS } d f c }
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Ottava text
Internally, \ottava
sets the properties ottavation
(for example, to "8va"
or "8vb"
) and
middleCPosition
. To override the text of the bracket, set
ottavation
after invoking \ottava
.
{ \ottava #1 \set Staff.ottavation = #"8" c''1 \ottava #0 c'1 \ottava #1 \set Staff.ottavation = #"Text" c''1 }
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Outputting the version number
By putting the output of lilypond-version
into lyrics or a
text markup, it is possible to print the version number of LilyPond in
a score, or in a document generated with lilypond-book
.
\score { \new Lyrics { \override Score.RehearsalMark #'self-alignment-X = #LEFT \mark #(ly:export (string-append "Processed with LilyPond version " (lilypond-version))) s2 } }
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Piano template with centered lyrics
Instead of having a full staff for the melody and lyrics, lyrics can be centered between the staves of a piano staff.
upper = \relative c'' { \clef treble \key c \major \time 4/4 a4 b c d } lower = \relative c { \clef bass \key c \major \time 4/4 a2 c } text = \lyricmode { Aaa Bee Cee Dee } \score { \new GrandStaff << \new Staff = upper { \new Voice = "singer" \upper } \new Lyrics \lyricsto "singer" \text \new Staff = lower { \lower } >> \layout { \context { \GrandStaff \accepts "Lyrics" } \context { \Lyrics \consists "Bar_engraver" } } \midi { } }
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Printing marks at the end of a line or a score
Marks can be printed at the end of the current line, instead of the beginning of the following line. This is particularly useful when a mark has to be added at the end of a score – when there is no next line.
In such cases, the right end of the mark has to be aligned with the final bar line, as demonstrated on the second line of this example.
\relative c'' { \override Score.RehearsalMark #'break-visibility = #begin-of-line-invisible g2 c d,2 a' \mark \default \break g2 b, c1 \bar "||" \override Score.RehearsalMark #'self-alignment-X = #RIGHT \mark "D.C. al Fine" }
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Printing marks on every staff
Although text marks are normally only printed above the topmost staff, they may also be printed on every staff.
\score { << \new Staff { c''1 \mark "molto" c'' } \new Staff { c'1 \mark "molto" c' } >> \layout { \context { \Score \remove "Mark_engraver" \remove "Staff_collecting_engraver" } \context { \Staff \consists "Mark_engraver" \consists "Staff_collecting_engraver" } } }
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Stand-alone two-column markup
Stand-alone text may be arranged in several columns using
\markup
commands:
\markup { \fill-line { \hspace #1.0 \column { \line {"O sacrum convivium" } \line {"in quo Christus sumitur," } \line {"recolitur memoria passionis ejus," } \line {"mens impletur gratia," } \line {"futurae gloriae nobis pignus datur." } \line {"Amen."} } \hspace #2 \column { \line { \italic {"O sacred feast"} } \line { \italic {"in which Christ is received,"} } \line { \italic {"the memory of His Passion is renewed,"} } \line { \italic {"the mind is filled with grace," } } \line { \italic {"and a pledge of future glory is given to us." }} \line { \italic {"Amen."}} } \hspace #1.0 } }
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Three-sided box
This example shows how to add a markup command to get a three sided box around some text (or other markup).
% New command to add a three sided box, with sides north, west and south % Based on the box-stencil command defined in scm/stencil.scm % Note that ";" is used to comment a line in Scheme #(define-public (NWS-box-stencil stencil thickness padding) "Add a box around STENCIL, producing a new stencil." (let* ((x-ext (interval-widen (ly:stencil-extent stencil 0) padding)) (y-ext (interval-widen (ly:stencil-extent stencil 1) padding)) (y-rule (make-filled-box-stencil (cons 0 thickness) y-ext)) (x-rule (make-filled-box-stencil (interval-widen x-ext thickness) (cons 0 thickness)))) ; (set! stencil (ly:stencil-combine-at-edge stencil X 1 y-rule padding)) (set! stencil (ly:stencil-combine-at-edge stencil X -1 y-rule padding)) (set! stencil (ly:stencil-combine-at-edge stencil Y 1 x-rule 0.0)) (set! stencil (ly:stencil-combine-at-edge stencil Y -1 x-rule 0.0)) stencil)) % The corresponding markup command, based on the \box command defined % in scm/define-markup-commands.scm #(define-markup-command (NWS-box layout props arg) (markup?) "Draw a box round @var{arg}. Looks at @code{thickness}, @code{box-padding} and @code{font-size} properties to determine line thickness and padding around the markup." (let* ((th (chain-assoc-get 'thickness props 0.1)) (size (chain-assoc-get 'font-size props 0)) (pad (* (magstep size) (chain-assoc-get 'box-padding props 0.2))) (m (interpret-markup layout props arg))) (NWS-box-stencil m th pad))) % Test it: \layout { ragged-right = ##f } \relative c' { c2^\markup { \NWS-box ABCD } c2^\markup { \NWS-box \note #"4" #1.0 } }
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UTF-8
Various scripts may be used for texts (like titles and lyrics) by entering them in UTF-8 encoding, and using a Pango based backend. Depending on the fonts installed, this fragment will render Bulgarian (Cyrillic), Hebrew, Japanese and Portuguese.
% end verbatim - this comment is a hack to prevent texinfo.tex % from choking on non-European UTF-8 subsets % Cyrillic font bulgarian = \lyricmode { Жълтата дюля беше щастлива, че пухът, който цъфна, замръзна като гьон. } hebrew = \lyricmode { זה כיף סתם לשמוע איך תנצח קרפד עץ טוב בגן. } japanese = \lyricmode { いろはにほへど ちりぬるを わがよたれぞ つねならむ うゐのおくや まけふこえて あさきゆめみじ ゑひもせず } % "a legal song to you" portuguese = \lyricmode { à vo -- cê uma can -- ção legal } \relative c' { c2 d e2 f g2 f e1 } \addlyrics { \bulgarian } \addlyrics { \hebrew } \addlyrics { \japanese } \addlyrics { \portuguese }
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Vocal ensemble template with lyrics aligned below and above the staves
This template is basically the same as the simple "Vocal ensemble"
template, with the exception that here all the lyrics lines are placed
using alignAboveContext
and alignBelowContext
.
global = { \key c \major \time 4/4 } sopMusic = \relative c'' { c4 c c8[( b)] c4 } sopWords = \lyricmode { hi hi hi hi } altoMusic = \relative c' { e4 f d e } altoWords = \lyricmode { ha ha ha ha } tenorMusic = \relative c' { g4 a f g } tenorWords = \lyricmode { hu hu hu hu } bassMusic = \relative c { c4 c g c } bassWords = \lyricmode { ho ho ho ho } \score { \new ChoirStaff << \new Staff = women << \new Voice = "sopranos" { \voiceOne << \global \sopMusic >> } \new Voice = "altos" { \voiceTwo << \global \altoMusic >> } >> \new Lyrics \with { alignAboveContext = women } \lyricsto sopranos \sopWords \new Lyrics \with { alignBelowContext = women } \lyricsto altos \altoWords % we could remove the line about this with the line below, since we want % the alto lyrics to be below the alto Voice anyway. % \new Lyrics \lyricsto altos \altoWords \new Staff = men << \clef bass \new Voice = "tenors" { \voiceOne << \global \tenorMusic >> } \new Voice = "basses" { \voiceTwo << \global \bassMusic >> } >> \new Lyrics \with { alignAboveContext = men } \lyricsto tenors \tenorWords \new Lyrics \with { alignBelowContext = men } \lyricsto basses \bassWords % again, we could replace the line above this with the line below. % \new Lyrics \lyricsto basses \bassWords >> \layout { \context { % a little smaller so lyrics % can be closer to the staff \Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) } } }
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Vocal music
These snippets illustrate the Notation Reference, section Vocal music.
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Adding ambitus per voice
Ambitus can be added per voice. In this case, the ambitus must be moved manually to prevent collisions.
\new Staff << \new Voice \with { \consists "Ambitus_engraver" } \relative c'' { \override Ambitus #'X-offset = #2.0 \voiceOne c4 a d e f1 } \new Voice \with { \consists "Ambitus_engraver" } \relative c' { \voiceTwo es4 f g as b1 } >>
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Adjusting lyrics vertical spacing
This snippet shows how to bring the lyrics line closer to the staff.
% Default layout: << \new Staff \new Voice = melody \relative c' { c4 d e f g4 f e d c1 } \new Lyrics \lyricsto melody { aa aa aa aa aa aa aa aa aa } % Reducing the minimum space below the staff and above the lyrics: \new Staff \with { \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 4) } \new Voice = melody \relative c' { c4 d e f g4 f e d c1 } \new Lyrics \with { \override VerticalAxisGroup #'minimum-Y-extent = #'(-1.2 . 1) } \lyricsto melody { aa aa aa aa aa aa aa aa aa } >>
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Ambitus with multiple voices
Adding the Ambitus_engraver
to the Staff
context creates
a single ambitus per staff, even in the case of staves with multiple
voices.
\new Staff \with { \consists "Ambitus_engraver" } << \new Voice \relative c'' { \voiceOne c4 a d e f1 } \new Voice \relative c' { \voiceTwo es4 f g as b1 } >>
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Ambitus
Ambitus indicate pitch ranges for voices.
Accidentals only show up if they are not part of the key signature.
AmbitusNoteHead
grobs also have ledger lines.
\layout { \context { \Voice \consists "Ambitus_engraver" } } << \new Staff { \relative c' { \time 2/4 c4 f' } } \new Staff { \relative c' { \time 2/4 \key d \major cis4 as' } } >>
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Changing stanza fonts
Fonts can be changed independently for each stanza, including the font used for printing the stanza number.
\new Voice { \time 3/4 g2 e4 a2 f4 g2. } \addlyrics { \set stanza = #"1. " Hi, my name is Bert. } \addlyrics { \override StanzaNumber #'font-name = #"DejaVu" \set stanza = #"2. " \override LyricText #'font-family = #'typewriter Oh, ché -- ri, je t'aime }
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Chant or psalms notation
This form of notation is used for the chant of the Psalms, where verses aren’t always the same length.
stemOn = { \revert Staff.Stem #'transparent } stemOff = { \override Staff.Stem #'transparent = ##t } \score { \new Staff \with { \remove "Time_signature_engraver" } { \key g \minor \cadenzaOn \stemOff a'\breve bes'4 g'4 \stemOn a'2 \bar "||" \stemOff a'\breve g'4 a'4 \stemOn f'2 \bar "||" \stemOff a'\breve^\markup { \italic flexe } \stemOn g'2 \bar "||" } }
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Formatting lyrics syllables
To format individual syllables in lyrics, use \markup { ....
}
on these lyrics.
% Tip taken from http://lists.gnu.org/archive/html/lilypond-user/2007-12/msg00215.html \header { title = "Markup can be used inside lyrics!" } mel = \relative c'' { c4 c c c } lyr = \lyricmode { Lyrics \markup { \italic "can" } \markup {\with-color #red "contain" } \markup {\fontsize #8 \bold "Markup!" } } << \context Voice = melody \mel \context Lyrics \lyricsto melody \lyr >>
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How to put ties between syllables in lyrics
This can be achieved by separating those syllables by tildes.
\lyrics { wa~o~a }
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Lyrics alignment
Horizontal alignment for lyrics cam be set by overriding the
self-alignment-X
property of the LyricText
object.
#-1
is left, #0
is center and #1
is right;
however, you can use #LEFT
, #CENTER
and #RIGHT
as
well.
\layout { ragged-right = ##f } \relative c'' { c1 c1 c1 } \addlyrics { \once \override LyricText #'self-alignment-X = #LEFT "This is left-aligned" \once \override LyricText #'self-alignment-X = #CENTER "This is centered" \once \override LyricText #'self-alignment-X = #1 "This is right-aligned" }
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Marking notes of spoken parts with a cross on the stem
This example shows how to put crosses on stems. Mark the beginning
of a spoken section with the \speakOn
keyword, and end it
with the \speakOff
keyword.
speakOn = { \override Stem #'stencil = #(lambda (grob) (let* ((x-parent (ly:grob-parent grob X)) (is-rest? (ly:grob? (ly:grob-object x-parent 'rest)))) (if is-rest? empty-stencil (ly:stencil-combine-at-edge (ly:stem::print grob) Y (- (ly:grob-property grob 'direction)) (grob-interpret-markup grob (markup #:hspace -1.025 #:fontsize -4 #:musicglyph "noteheads.s2cross")) -2.3 0)))) } speakOff = { \revert Stem #'stencil } \score { \new Staff { \relative c'' { a4 b a c \speakOn g4 f r g b4 r d e \speakOff c4 a g f } } }
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Piano template with melody and lyrics
Here is a typical song format: one staff with the melody and lyrics, with piano accompaniment underneath.
melody = \relative c'' { \clef treble \key c \major \time 4/4 a b c d } text = \lyricmode { Aaa Bee Cee Dee } upper = \relative c'' { \clef treble \key c \major \time 4/4 a4 b c d } lower = \relative c { \clef bass \key c \major \time 4/4 a2 c } \score { << \new Voice = "mel" { \autoBeamOff \melody } \new Lyrics \lyricsto mel \text \new PianoStaff << \new Staff = "upper" \upper \new Staff = "lower" \lower >> >> \layout { \context { \RemoveEmptyStaffContext } } \midi { } }
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Single staff template with notes, lyrics, and chords
This template allows the preparation of a song with melody, words, and chords.
melody = \relative c' { \clef treble \key c \major \time 4/4 a4 b c d } text = \lyricmode { Aaa Bee Cee Dee } harmonies = \chordmode { a2 c } \score { << \new ChordNames { \set chordChanges = ##t \harmonies } \new Voice = "one" { \autoBeamOff \melody } \new Lyrics \lyricsto "one" \text >> \layout { } \midi { } }
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Single staff template with notes, lyrics, chords and frets
Here is a simple lead sheet template with melody, lyrics, chords and fret diagrams.
% Define the fret diagrams to be used cFretDiagram = \markup { \fret-diagram #"6-x;5-3-3;4-2-2;3-o;2-1-1;1-o;" } gFretDiagram = \markup { \fret-diagram #"6-3-2;5-2-1;4-o;3-o;2-o;1-3-3;" } verseI = \lyricmode { \set stanza = #"1." This is the first verse } verseII = \lyricmode { \set stanza = #"2." This is the second verse. } theChords = \new ChordNames { \chordmode { % insert the chords for chordnames here c2 g4 c } } staffMelody = \new Staff { \context Voice = "voiceMelody" { \key c \major \clef treble \relative c' { % Type notes and fret diagram markups here c4^\cFretDiagram d8 e f4^\gFretDiagram g^\cFretDiagram \bar "|." } } } \score { << \theChords \staffMelody \new Lyrics = "lyricsI" \lyricmode { \lyricsto "voiceMelody" \verseI } \new Lyrics = "lyricsII" \lyricmode { \lyricsto "voiceMelody" \verseII } >> \layout { } \midi { } }
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Single staff template with notes and lyrics
This small template demonstrates a simple melody with lyrics. Cut and paste, add notes, then words for the lyrics. This example turns off automatic beaming, which is common for vocal parts. To use automatic beaming, change or comment out the relevant line.
melody = \relative c' { \clef treble \key c \major \time 4/4 a4 b c d } text = \lyricmode { Aaa Bee Cee Dee } \score{ << \new Voice = "one" { \autoBeamOff \melody } \new Lyrics \lyricsto "one" \text >> \layout { } \midi { } }
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Skips in lyric mode (2)
Although s
skips cannot be used in \lyricmode
(it is
taken to be a literal "s", not a space), double quotes (""
)
or underscores (_
) are available.So for example:
<< \relative c'' { a4 b c d } \new Lyrics \lyricmode { a4 "" _ gap } >>
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Skips in lyric mode
The s
syntax for skips is only available in note mode and chord
mode. In other situations, for example, when entering lyrics, using the
\skip
command is recommended.
<< \relative { a'1 a } \new Lyrics \lyricmode { \skip 1 bla1 } >>
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Vertically aligning ossias and lyrics
This snippet demonstrates the use of the context properties
alignBelowContext
and alignAboveContext
to control the
positioning of lyrics and ossias.
\paper { ragged-right = ##t } \relative c' << \new Staff = "1" { c4 c s2 } \new Staff = "2" { c4 c s2 } \new Staff = "3" { c4 c s2 } { \skip 2 << \lyrics { \set alignBelowContext = #"1" lyrics4 below } \new Staff \with { alignAboveContext = #"3" fontSize = #-2 \override StaffSymbol #'staff-space = #(magstep -2) \remove "Time_signature_engraver" } { \times 4/6 { \override TextScript #'padding = #3 c8[^"ossia above" d e d e f] } } >> } >>
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Vertically centered common lyrics
In a vocal piece where there are several (two,four or more) lines of lyrics, and common lyrics for all voices at some point, these common lyrics may be vertically centered regardingly, as shown in the following example:
\include "english.ly" leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup #"brace240" } rightbrace = \markup { \rotate #180 \leftbrace } dropLyrics = { \override LyricText #'extra-offset = #'(0 . -5) \override LyricHyphen #'extra-offset = #'(0 . -5) \override LyricExtender #'extra-offset = #'(0 . -5) } raiseLyrics = { \revert LyricText #'extra-offset \revert LyricHyphen #'extra-offset \revert LyricExtender #'extra-offset } skipFour = \repeat unfold 4 { \skip 8 } lyricsA = \lyricmode { The first verse has \dropLyrics the com -- mon __ words \raiseLyrics used in all four. } lyricsB = \lyricmode { In stan -- za two, \skipFour al -- so ap -- pear. } lyricsC = \lyricmode { By the third verse, \skipFour are get -- ting dull. } lyricsD = \lyricmode { Last stan -- za, and \skipFour get used once more. } melody = \relative c' { c4 d e f g f e8( e f) d4 c e d c } \score { << \new Voice = m \melody \new Lyrics \lyricsto m \lyricsA \new Lyrics \lyricsto m \lyricsB \new Lyrics \lyricsto m \lyricsC \new Lyrics \lyricsto m \lyricsD >> }
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Vocal ensemble template with automatic piano reduction
This template adds an automatic piano reduction to the standard SATB
vocal score demonstrated in "Vocal ensemble template". This
demonstrates one of the strengths of LilyPond – you can use a music
definition more than once. If any changes are made to the vocal notes
(say, tenorMusic
), then the changes will also apply to the piano
reduction.
global = { \key c \major \time 4/4 } sopMusic = \relative c'' { c4 c c8[( b)] c4 } sopWords = \lyricmode { hi hi hi hi } altoMusic = \relative c' { e4 f d e } altoWords =\lyricmode { ha ha ha ha } tenorMusic = \relative c' { g4 a f g } tenorWords = \lyricmode { hu hu hu hu } bassMusic = \relative c { c4 c g c } bassWords = \lyricmode { ho ho ho ho } \score { << \new ChoirStaff << \new Lyrics = sopranos { s1 } \new Staff = women << \new Voice = sopranos { \voiceOne << \global \sopMusic >> } \new Voice = altos { \voiceTwo << \global \altoMusic >> } >> \new Lyrics = altos { s1 } \new Lyrics = tenors { s1 } \new Staff = men << \clef bass \new Voice = tenors { \voiceOne <<\global \tenorMusic >> } \new Voice = basses { \voiceTwo <<\global \bassMusic >> } >> \new Lyrics = basses { s1 } \context Lyrics = sopranos \lyricsto sopranos \sopWords \context Lyrics = altos \lyricsto altos \altoWords \context Lyrics = tenors \lyricsto tenors \tenorWords \context Lyrics = basses \lyricsto basses \bassWords >> \new PianoStaff << \new Staff << \set Staff.printPartCombineTexts = ##f \partcombine << \global \sopMusic >> << \global \altoMusic >> >> \new Staff << \clef bass \set Staff.printPartCombineTexts = ##f \partcombine << \global \tenorMusic >> << \global \bassMusic >> >> >> >> \layout { \context { % a little smaller so lyrics % can be closer to the staff \Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) } } }
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Vocal ensemble template with lyrics aligned below and above the staves
This template is basically the same as the simple "Vocal ensemble"
template, with the exception that here all the lyrics lines are placed
using alignAboveContext
and alignBelowContext
.
global = { \key c \major \time 4/4 } sopMusic = \relative c'' { c4 c c8[( b)] c4 } sopWords = \lyricmode { hi hi hi hi } altoMusic = \relative c' { e4 f d e } altoWords = \lyricmode { ha ha ha ha } tenorMusic = \relative c' { g4 a f g } tenorWords = \lyricmode { hu hu hu hu } bassMusic = \relative c { c4 c g c } bassWords = \lyricmode { ho ho ho ho } \score { \new ChoirStaff << \new Staff = women << \new Voice = "sopranos" { \voiceOne << \global \sopMusic >> } \new Voice = "altos" { \voiceTwo << \global \altoMusic >> } >> \new Lyrics \with { alignAboveContext = women } \lyricsto sopranos \sopWords \new Lyrics \with { alignBelowContext = women } \lyricsto altos \altoWords % we could remove the line about this with the line below, since we want % the alto lyrics to be below the alto Voice anyway. % \new Lyrics \lyricsto altos \altoWords \new Staff = men << \clef bass \new Voice = "tenors" { \voiceOne << \global \tenorMusic >> } \new Voice = "basses" { \voiceTwo << \global \bassMusic >> } >> \new Lyrics \with { alignAboveContext = men } \lyricsto tenors \tenorWords \new Lyrics \with { alignBelowContext = men } \lyricsto basses \bassWords % again, we could replace the line above this with the line below. % \new Lyrics \lyricsto basses \bassWords >> \layout { \context { % a little smaller so lyrics % can be closer to the staff \Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) } } }
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Vocal ensemble template
Here is a standard four-part SATB vocal score. With larger ensembles, it is often useful to include a section which is included in all parts. For example, the time signature and key signature are almost always the same for all parts. Like in the "Hymn" template, the four voices are regrouped on only two staves.
global = { \key c \major \time 4/4 } sopMusic = \relative c'' { c4 c c8[( b)] c4 } sopWords = \lyricmode { hi hi hi hi } altoMusic = \relative c' { e4 f d e } altoWords = \lyricmode { ha ha ha ha } tenorMusic = \relative c' { g4 a f g } tenorWords = \lyricmode { hu hu hu hu } bassMusic = \relative c { c4 c g c } bassWords = \lyricmode { ho ho ho ho } \score { \new ChoirStaff << \new Lyrics = sopranos { s1 } \new Staff = women << \new Voice = "sopranos" { \voiceOne << \global \sopMusic >> } \new Voice = "altos" { \voiceTwo << \global \altoMusic >> } >> \new Lyrics = "altos" { s1 } \new Lyrics = "tenors" { s1 } \new Staff = men << \clef bass \new Voice = "tenors" { \voiceOne << \global \tenorMusic >> } \new Voice = "basses" { \voiceTwo << \global \bassMusic >> } >> \new Lyrics = basses { s1 } \context Lyrics = sopranos \lyricsto sopranos \sopWords \context Lyrics = altos \lyricsto altos \altoWords \context Lyrics = tenors \lyricsto tenors \tenorWords \context Lyrics = basses \lyricsto basses \bassWords >> \layout { \context { % a little smaller so lyrics % can be closer to the staff \Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) } } }
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Chords
These snippets illustrate the Notation Reference, section Chord notation.
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Adding a figured bass above or below the notes
When writing a figured bass, here’s a way to specify if you want your
figures to be placed above or below the bass notes, by defining the
BassFigureAlignmentPositioning #'direction
property (exclusively
in a Staff
context). Choices are #UP
(or #1
),
#CENTER
(or #0
) and #DOWN
(or #-1
).
As you can see here, this property can be changed as many times as you
wish. Use \once \override
if you don’t want the tweak to apply
to the whole score.
bass = { \clef bass g4 b, c d e d8 c d2} continuo = \figuremode { < _ >4 < 6 >8 \once \override Staff.BassFigureAlignmentPositioning #'direction = #CENTER <5/> < _ >4 \override Staff.BassFigureAlignmentPositioning #'direction = #UP < _+ > < 6 > \set Staff.useBassFigureExtenders = ##t \override Staff.BassFigureAlignmentPositioning #'direction = #DOWN < 4 >4. < 4 >8 < _+ >4 } \score { << \new Staff = bassStaff \bass \context Staff = bassStaff \continuo >> }
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Adding bar lines to ChordNames context
To add bar line indications in the ChordNames
context, add the
Bar_engraver
.
\new ChordNames \with { \override BarLine #'bar-size = #4 \consists "Bar_engraver" } \chordmode { f1:maj7 f:7 bes:7 }
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Avoiding collisions with chord fingerings
Fingerings and string numbers applied to individual notes will automatically avoid beams and stems, but this is not true by default for fingerings and string numbers applied to the individual notes of chords. The following example shows how this default behavior can be overridden.
\relative c' { \set fingeringOrientations = #'(up) \set stringNumberOrientations = #'(up) \set strokeFingerOrientations = #'(up) % Default behavior r8 <f c'-5>8 <f c'\5>8 <f c'-\rightHandFinger #2 >8 % Corrected to avoid collisions r8 \override Fingering #'add-stem-support = ##t <f c'-5>8 \override StringNumber #'add-stem-support = ##t <f c'\5>8 \override StrokeFinger #'add-stem-support = ##t <f c'-\rightHandFinger #2 >8 }
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Changing chord separator
The separator between different parts of a chord name can be set to any markup.
\chords { c:7sus4 \set chordNameSeparator = \markup { \typewriter | } c:7sus4 }
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Changing the chord names to German or semi-German notation
The english naming of chords (default) can be changed to german
(\germanChords
replaces B and Bes to H and B) or semi-german
(\semiGermanChords
replaces B and Bes to H and Bb).
music = \chordmode { c1/c cis/cis b/b bis/bis bes/bes } %% The following is only here to print the names of the %% chords styles; it can be removed if you do not need to %% print them. \layout { \context {\ChordNames \consists Instrument_name_engraver } } << \new ChordNames { \set ChordNames.instrumentName = #"default" \music } \new ChordNames { \set ChordNames.instrumentName = #"german" \germanChords \music } \new ChordNames { \set ChordNames.instrumentName = #"semi-german" \semiGermanChords \music } \context Voice { \music } >>
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Changing the positions of figured bass alterations
Accidentals and plus signs can appear before or after the numbers,
depending on the figuredBassAlterationDirection
and
figuredBassPlusDirection
properties.
\figures { <6\+> <5+> <6 4-> r \set figuredBassAlterationDirection = #RIGHT <6\+> <5+> <6 4-> r \set figuredBassPlusDirection = #RIGHT <6\+> <5+> <6 4-> r \set figuredBassAlterationDirection = #LEFT <6\+> <5+> <6 4-> r }
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Chord name exceptions
The property chordNameExceptions
can be used to store a list of
special notations for specific chords.
% modify maj9 and 6(add9) % Exception music is chords with markups chExceptionMusic = { <c e g b d'>1-\markup { \super "maj9" } <c e g a d'>1-\markup { \super "6(add9)" } } % Convert music to list and prepend to existing exceptions. chExceptions = #( append ( sequential-music-to-chord-exceptions chExceptionMusic #t) ignatzekExceptions) theMusic = \chordmode { g1:maj9 g1:6.9 \set chordNameExceptions = #chExceptions g1:maj9 g1:6.9 } \layout { ragged-right = ##t } << \context ChordNames \theMusic \context Voice \theMusic >>
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chord name major7
The layout of the major 7 can be tuned with majorSevenSymbol
.
\chords { c:7+ \set majorSevenSymbol = \markup { j7 } c:7+ }
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Clusters
Clusters are a device to denote that a complete range of notes is to be played.
\layout { ragged-right = ##t } fragment = \relative c' { c4 f <e d'>4 <g a>8 <e a> a4 c2 <d b>4 e2 c } << \new Staff \fragment \new Staff \makeClusters \fragment >>
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Controlling the placement of chord fingerings
The placement of fingering numbers can be controlled precisely.
\relative c' { \set fingeringOrientations = #'(left) <c-1 e-3 a-5>4 \set fingeringOrientations = #'(down) <c-1 e-3 a-5>4 \set fingeringOrientations = #'(down right up) <c-1 e-3 a-5>4 \set fingeringOrientations = #'(up) <c-1 e-3 a-5>4 \set fingeringOrientations = #'(left) <c-1>2 \set fingeringOrientations = #'(down) <e-3>2 }
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Displaying complex chords
Here is a way to display a chord where the same note is played twice with different accidentals.
fixA = { \once \override Stem #'length = #9 \once \override Accidental #'extra-offset = #'(0.3 . 0) } fixB = { \once \override NoteHead #'extra-offset = #'(1.7 . 0) \once \override Stem #'rotation = #'(45 0 0) \once \override Stem #'extra-offset = #'(-0.2 . -0.2) \once \override Stem #'flag-style = #'no-flag \once \override Accidental #'extra-offset = #'(3.1 . 0) } \relative c' { << { \fixA <b d!>8 } \\ { \voiceThree \fixB dis } >> s }
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Manually break figured bass extenders for only some numbers
Figured bass often uses extenders to indicate continuation of the corresponding step. However, in this case lilypond is in greedy-mode and uses extenders whenever possible. To break individual extenders, one can simply use a modifier \! to a number, which breaks any extender attributed to that number right before the number.
bassfigures = \figuremode { \set useBassFigureExtenders = ##t <6 4>4 <6 4\!> <6 4\!> <6 4\!> | <6\! 4\!> <6 4> <6 4\!> <6 4> } << \new Staff \relative c'' { c1 c1 } \new FiguredBass \bassfigures >>
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Showing chords at changes
Chord names can be displayed only at the start of lines and when the chord changes.
harmonies = \chordmode { c1:m c:m \break c:m c:m d } << \new ChordNames { \set chordChanges = ##t \harmonies } \new Staff { \relative c' { \harmonies } } >>
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Simple lead sheet
When put together, chord names, a melody, and lyrics form a lead sheet:
<< \chords { c2 g:sus4 f e } \relative c'' { a4 e c8 e r4 b2 c4( d) } \addlyrics { One day this shall be free __ } >>
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Single staff template with notes, lyrics, and chords
This template allows the preparation of a song with melody, words, and chords.
melody = \relative c' { \clef treble \key c \major \time 4/4 a4 b c d } text = \lyricmode { Aaa Bee Cee Dee } harmonies = \chordmode { a2 c } \score { << \new ChordNames { \set chordChanges = ##t \harmonies } \new Voice = "one" { \autoBeamOff \melody } \new Lyrics \lyricsto "one" \text >> \layout { } \midi { } }
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Single staff template with notes, lyrics, chords and frets
Here is a simple lead sheet template with melody, lyrics, chords and fret diagrams.
% Define the fret diagrams to be used cFretDiagram = \markup { \fret-diagram #"6-x;5-3-3;4-2-2;3-o;2-1-1;1-o;" } gFretDiagram = \markup { \fret-diagram #"6-3-2;5-2-1;4-o;3-o;2-o;1-3-3;" } verseI = \lyricmode { \set stanza = #"1." This is the first verse } verseII = \lyricmode { \set stanza = #"2." This is the second verse. } theChords = \new ChordNames { \chordmode { % insert the chords for chordnames here c2 g4 c } } staffMelody = \new Staff { \context Voice = "voiceMelody" { \key c \major \clef treble \relative c' { % Type notes and fret diagram markups here c4^\cFretDiagram d8 e f4^\gFretDiagram g^\cFretDiagram \bar "|." } } } \score { << \theChords \staffMelody \new Lyrics = "lyricsI" \lyricmode { \lyricsto "voiceMelody" \verseI } \new Lyrics = "lyricsII" \lyricmode { \lyricsto "voiceMelody" \verseII } >> \layout { } \midi { } }
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Single staff template with notes and chords
Want to prepare a lead sheet with a melody and chords? Look no further!
melody = \relative c' { \clef treble \key c \major \time 4/4 f4 e8[ c] d4 g a2 ~ a } harmonies = \chordmode { c4:m f:min7 g:maj c:aug d2:dim b:sus } \score { << \new ChordNames { \set chordChanges = ##t \harmonies } \new Staff \melody >> \layout{ } \midi { } }
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Volta under chords
By adding the Volta_engraver
to the relevant
staff, volte can be put under chords.
\score { << \chords { c1 c1 } \new Staff \with { \consists "Volta_engraver" } { \repeat volta 2 { c'1 } \alternative { c' } } >> \layout { \context { \Score \remove "Volta_engraver" } } }
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Keyboards
These snippets illustrate the Notation Reference, section Keyboard and other multi-staff instruments.
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Accordion-discant symbols
Accordion discant-specific symbols are added using \markup
. The
vertical placement of the symbols can be tweaked by changing the
\raise
arguments.
discant = \markup { \musicglyph #"accordion.accDiscant" } dot = \markup { \musicglyph #"accordion.accDot" } \layout { ragged-right = ##t } % 16 voets register accBasson = ^\markup { \combine \discant \raise #0.5 \dot } % een korig 8 en 16 voets register accBandon = ^\markup { \combine \discant \combine \raise #0.5 \dot \raise #1.5 \dot } accVCello = ^\markup { \combine \discant \combine \raise #0.5 \dot \combine \raise #1.5 \dot \translate #'(1 . 0) \raise #1.5 \dot } % 4-8-16 voets register accHarmon = ^\markup { \combine \discant \combine \raise #0.5 \dot \combine \raise #1.5 \dot \raise #2.5 \dot } accTrombon = ^\markup { \combine \discant \combine \raise #0.5 \dot \combine \raise #1.5 \dot \combine \translate #'(1 . 0) \raise #1.5 \dot \translate #'(-1 . 0) \raise #1.5 \dot } % eenkorig 4 en 16 voets register accOrgan = ^\markup { \combine \discant \combine \raise #0.5 \dot \raise #2.5 \dot } accMaster = ^\markup { \combine \discant \combine \raise #0.5 \dot \combine \raise #1.5 \dot \combine \translate #'(1 . 0) \raise #1.5 \dot \combine \translate #'(-1 . 0) \raise #1.5 \dot \raise #2.5 \dot } accAccord = ^\markup { \combine \discant \combine \raise #1.5 \dot \combine \translate #'(1 . 0) \raise #1.5 \dot \combine \translate #'(-1 . 0) \raise #1.5 \dot \raise #2.5 \dot } accMusette = ^\markup { \combine \discant \combine \raise #1.5 \dot \combine \translate #'(1 . 0) \raise #1.5 \dot \translate #'(-1 . 0) \raise #1.5 \dot } accCeleste = ^\markup { \combine \discant \combine \raise #1.5 \dot \translate #'(-1 . 0) \raise #1.5 \dot } accOboe = ^\markup { \combine \discant \combine \raise #1.5 \dot \raise #2.5 \dot } accClarin = ^\markup { \combine \discant \raise #1.5 \dot } accPiccolo = ^\markup { \combine \discant \raise #2.5 \dot } accViolin = ^\markup { \combine \discant \combine \raise #1.5 \dot \combine \translate #'(1 . 0) \raise #1.5 \dot \raise #2.5 \dot } \relative c'' { c4 d\accBasson e f c4 d\accBandon e f c4 d\accVCello e f c4 d\accHarmon e f c4 d\accTrombon e f \break c4 d\accOrgan e f c4 d\accMaster e f c4 d\accAccord e f c4 d\accMusette e f c4 d\accCeleste e f \break c4 d\accOboe e f c4 d\accClarin e f c4 d\accPiccolo e f c4 d\accViolin e f }
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Clusters
Clusters are a device to denote that a complete range of notes is to be played.
\layout { ragged-right = ##t } fragment = \relative c' { c4 f <e d'>4 <g a>8 <e a> a4 c2 <d b>4 e2 c } << \new Staff \fragment \new Staff \makeClusters \fragment >>
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Controlling the placement of chord fingerings
The placement of fingering numbers can be controlled precisely.
\relative c' { \set fingeringOrientations = #'(left) <c-1 e-3 a-5>4 \set fingeringOrientations = #'(down) <c-1 e-3 a-5>4 \set fingeringOrientations = #'(down right up) <c-1 e-3 a-5>4 \set fingeringOrientations = #'(up) <c-1 e-3 a-5>4 \set fingeringOrientations = #'(left) <c-1>2 \set fingeringOrientations = #'(down) <e-3>2 }
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Creating slurs across voices
In some situations, it may be necessary to create slurs between notes from different voices.
The solution is to add invisible notes to one of the voices, using
\hideNotes
.
This example is measure 235 of the Ciaconna from Bach’s 2nd Partita for solo violin, BWV 1004.
\relative c' { << { d16( a') s a s a[ s a] s a[ s a] } \\ { \slurUp bes,16[ s e]( \hideNotes a) \unHideNotes f[( \hideNotes a) \unHideNotes fis]( \hideNotes a) \unHideNotes g[( \hideNotes a) \unHideNotes gis]( \hideNotes a) } >> }
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Fine-tuning pedal brackets
The appearance of pedal brackets may be altered in different ways.
\paper { ragged-right = ##f } \relative c'' { c2\sostenutoOn c c2\sostenutoOff c \once \override Staff.PianoPedalBracket #'shorten-pair = #'(-7 . -2) c2\sostenutoOn c c2\sostenutoOff c \once \override Staff.PianoPedalBracket #'edge-height = #'(0 . 3) c2\sostenutoOn c c2\sostenutoOff c }
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Indicating cross-staff chords with arpeggio bracket
An arpeggio bracket can indicate that notes on two different staves are
to be played with the same hand. In order to do this, the
PianoStaff
must be set to accept cross-staff arpeggios and the
arpeggios must be set to the bracket shape in the PianoStaff
context.
(Debussy, Les collines d’Anacapri, m. 65)
\paper { ragged-right = ##t } \new PianoStaff << \set PianoStaff.connectArpeggios = ##t \override PianoStaff.Arpeggio #'stencil = #ly:arpeggio::brew-chord-bracket \new Staff { \relative c' { \key b \major \time 6/8 b8-.(\arpeggio fis'-.\> cis-. e-. gis-. b-.)\!\fermata^\laissezVibrer \bar "||" } } \new Staff { \relative c' { \clef bass \key b \major << { <a e cis>2.\arpeggio } \\ { <a, e a,>2. } >> } } >>
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Jazz combo template
This is quite an advanced template, for a jazz ensemble. Note that all
instruments are notated in \key c \major
. This refers to the
key in concert pitch; the key will be automatically transposed if the
music is within a \transpose
section.
\header { title = "Song" subtitle = "(tune)" composer = "Me" meter = "moderato" piece = "Swing" tagline = \markup { \column { "LilyPond example file by Amelie Zapf," "Berlin 07/07/2003" } } } %#(set-global-staff-size 16) \include "english.ly" %%%%%%%%%%%% Some macros %%%%%%%%%%%%%%%%%%% sl = { \override NoteHead #'style = #'slash \override Stem #'transparent = ##t } nsl = { \revert NoteHead #'style \revert Stem #'transparent } crOn = \override NoteHead #'style = #'cross crOff = \revert NoteHead #'style %% insert chord name style stuff here. jazzChords = { } %%%%%%%%%%%% Keys'n'thangs %%%%%%%%%%%%%%%%% global = { \time 4/4 } Key = { \key c \major } % ############ Horns ############ % ------ Trumpet ------ trpt = \transpose c d \relative c'' { \Key c1 | c | c | } trpHarmony = \transpose c' d { \jazzChords } trumpet = { \global \set Staff.instrumentName = #"Trumpet" \clef treble << \trpt >> } % ------ Alto Saxophone ------ alto = \transpose c a \relative c' { \Key c1 | c | c | } altoHarmony = \transpose c' a { \jazzChords } altoSax = { \global \set Staff.instrumentName = #"Alto Sax" \clef treble << \alto >> } % ------ Baritone Saxophone ------ bari = \transpose c a' \relative c { \Key c1 c1 \sl d4^"Solo" d d d \nsl } bariHarmony = \transpose c' a \chordmode { \jazzChords s1 s d2:maj e:m7 } bariSax = { \global \set Staff.instrumentName = #"Bari Sax" \clef treble << \bari >> } % ------ Trombone ------ tbone = \relative c { \Key c1 | c | c } tboneHarmony = \chordmode { \jazzChords } trombone = { \global \set Staff.instrumentName = #"Trombone" \clef bass << \tbone >> } % ############ Rhythm Section ############# % ------ Guitar ------ gtr = \relative c'' { \Key c1 \sl b4 b b b \nsl c1 } gtrHarmony = \chordmode { \jazzChords s1 c2:min7+ d2:maj9 } guitar = { \global \set Staff.instrumentName = #"Guitar" \clef treble << \gtr >> } %% ------ Piano ------ rhUpper = \relative c'' { \voiceOne \Key c1 | c | c } rhLower = \relative c' { \voiceTwo \Key e1 | e | e } lhUpper = \relative c' { \voiceOne \Key g1 | g | g } lhLower = \relative c { \voiceTwo \Key c1 | c | c } PianoRH = { \clef treble \global \set Staff.midiInstrument = #"acoustic grand" << \new Voice = "one" \rhUpper \new Voice = "two" \rhLower >> } PianoLH = { \clef bass \global \set Staff.midiInstrument = "acoustic grand" << \new Voice = "one" \lhUpper \new Voice = "two" \lhLower >> } piano = { << \set PianoStaff.instrumentName = #"Piano" \new Staff = "upper" \PianoRH \new Staff = "lower" \PianoLH >> } % ------ Bass Guitar ------ Bass = \relative c { \Key c1 | c | c } bass = { \global \set Staff.instrumentName = #"Bass" \clef bass << \Bass >> } % ------ Drums ------ up = \drummode { \voiceOne hh4 <hh sn> hh <hh sn> hh4 <hh sn> hh <hh sn> hh4 <hh sn> hh <hh sn> } down = \drummode { \voiceTwo bd4 s bd s bd4 s bd s bd4 s bd s } drumContents = { \global << \set DrumStaff.instrumentName = #"Drums" \new DrumVoice \up \new DrumVoice \down >> } %%%%%%%%% It All Goes Together Here %%%%%%%%%%%%%%%%%%%%%% \score { << \new StaffGroup = "horns" << \new Staff = "trumpet" \trumpet \new Staff = "altosax" \altoSax \new ChordNames = "barichords" \bariHarmony \new Staff = "barisax" \bariSax \new Staff = "trombone" \trombone >> \new StaffGroup = "rhythm" << \new ChordNames = "chords" \gtrHarmony \new Staff = "guitar" \guitar \new PianoStaff = "piano" \piano \new Staff = "bass" \bass \new DrumStaff \drumContents >> >> \layout { \context { \RemoveEmptyStaffContext } \context { \Score \override BarNumber #'padding = #3 \override RehearsalMark #'padding = #2 skipBars = ##t } } \midi { } }
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Laissez vibrer ties
Laissez vibrer ties have a fixed size. Their formatting can be tuned
using 'tie-configuration
.
\relative c' { <c e g>4\laissezVibrer r <c f g>\laissezVibrer r <c d f g>4\laissezVibrer r <c d f g>4.\laissezVibrer r8 <c d e f>4\laissezVibrer r \override LaissezVibrerTieColumn #'tie-configuration = #`((-7 . ,DOWN) (-5 . ,DOWN) (-3 . ,UP) (-1 . ,UP)) <c d e f>4\laissezVibrer r }
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Piano template (simple)
Here is a simple piano staff with some notes.
upper = \relative c'' { \clef treble \key c \major \time 4/4 a4 b c d } lower = \relative c { \clef bass \key c \major \time 4/4 a2 c } \score { \new PianoStaff << \set PianoStaff.instrumentName = #"Piano " \new Staff = "upper" \upper \new Staff = "lower" \lower >> \layout { } \midi { } }
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Piano template with centered dynamics
Many piano scores have the dynamics centered between the two staves. This requires a bit of tweaking to implement, but since the template is right here, you don’t have to do the tweaking yourself.
global = { \key c \major \time 4/4 } upper = \relative c'' { \clef treble a4 b c d } lower = \relative c { \clef bass a2 c } dynamics = { s2\fff\> s4 s\!\pp } pedal = { s2\sustainOn s\sustainOff } \score { \new PianoStaff = "PianoStaff_pf" << \new Staff = "Staff_pfUpper" \upper \new Dynamics = "Dynamics_pf" \dynamics \new Staff = "Staff_pfLower" << \lower >> \new Dynamics = "pedal" \pedal >> \layout { % define Dynamics context \context { \type "Engraver_group" \name Dynamics \alias Voice \consists "Output_property_engraver" \consists "Piano_pedal_engraver" \consists "Script_engraver" \consists "New_dynamic_engraver" \consists "Dynamic_align_engraver" \consists "Text_engraver" \consists "Skip_event_swallow_translator" \consists "Axis_group_engraver" pedalSustainStrings = #'("Ped." "*Ped." "*") pedalUnaCordaStrings = #'("una corda" "" "tre corde") \override DynamicLineSpanner #'Y-offset = #0 \override TextScript #'font-size = #2 \override TextScript #'font-shape = #'italic \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1) } % modify PianoStaff context to accept Dynamics context \context { \PianoStaff \accepts Dynamics } } } \score { \new PianoStaff = "PianoStaff_pf" << \new Staff = "Staff_pfUpper" << \global \upper \dynamics \pedal >> \new Staff = "Staff_pfLower" << \global \lower \dynamics \pedal >> >> \midi { } }
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Piano template with centered lyrics
Instead of having a full staff for the melody and lyrics, lyrics can be centered between the staves of a piano staff.
upper = \relative c'' { \clef treble \key c \major \time 4/4 a4 b c d } lower = \relative c { \clef bass \key c \major \time 4/4 a2 c } text = \lyricmode { Aaa Bee Cee Dee } \score { \new GrandStaff << \new Staff = upper { \new Voice = "singer" \upper } \new Lyrics \lyricsto "singer" \text \new Staff = lower { \lower } >> \layout { \context { \GrandStaff \accepts "Lyrics" } \context { \Lyrics \consists "Bar_engraver" } } \midi { } }
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Piano template with melody and lyrics
Here is a typical song format: one staff with the melody and lyrics, with piano accompaniment underneath.
melody = \relative c'' { \clef treble \key c \major \time 4/4 a b c d } text = \lyricmode { Aaa Bee Cee Dee } upper = \relative c'' { \clef treble \key c \major \time 4/4 a4 b c d } lower = \relative c { \clef bass \key c \major \time 4/4 a2 c } \score { << \new Voice = "mel" { \autoBeamOff \melody } \new Lyrics \lyricsto mel \text \new PianoStaff << \new Staff = "upper" \upper \new Staff = "lower" \lower >> >> \layout { \context { \RemoveEmptyStaffContext } } \midi { } }
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Vocal ensemble template with automatic piano reduction
This template adds an automatic piano reduction to the standard SATB
vocal score demonstrated in "Vocal ensemble template". This
demonstrates one of the strengths of LilyPond – you can use a music
definition more than once. If any changes are made to the vocal notes
(say, tenorMusic
), then the changes will also apply to the piano
reduction.
global = { \key c \major \time 4/4 } sopMusic = \relative c'' { c4 c c8[( b)] c4 } sopWords = \lyricmode { hi hi hi hi } altoMusic = \relative c' { e4 f d e } altoWords =\lyricmode { ha ha ha ha } tenorMusic = \relative c' { g4 a f g } tenorWords = \lyricmode { hu hu hu hu } bassMusic = \relative c { c4 c g c } bassWords = \lyricmode { ho ho ho ho } \score { << \new ChoirStaff << \new Lyrics = sopranos { s1 } \new Staff = women << \new Voice = sopranos { \voiceOne << \global \sopMusic >> } \new Voice = altos { \voiceTwo << \global \altoMusic >> } >> \new Lyrics = altos { s1 } \new Lyrics = tenors { s1 } \new Staff = men << \clef bass \new Voice = tenors { \voiceOne <<\global \tenorMusic >> } \new Voice = basses { \voiceTwo <<\global \bassMusic >> } >> \new Lyrics = basses { s1 } \context Lyrics = sopranos \lyricsto sopranos \sopWords \context Lyrics = altos \lyricsto altos \altoWords \context Lyrics = tenors \lyricsto tenors \tenorWords \context Lyrics = basses \lyricsto basses \bassWords >> \new PianoStaff << \new Staff << \set Staff.printPartCombineTexts = ##f \partcombine << \global \sopMusic >> << \global \altoMusic >> >> \new Staff << \clef bass \set Staff.printPartCombineTexts = ##f \partcombine << \global \tenorMusic >> << \global \bassMusic >> >> >> >> \layout { \context { % a little smaller so lyrics % can be closer to the staff \Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) } } }
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Percussion
These snippets illustrate the Notation Reference, section Percussion.
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Adding drum parts
Using the powerful pre-configured tools such as the \drummode
function and the DrumStaff
context, inputting drum parts is
quite easy: drums are placed at their own staff positions (with a
special clef symbol) and have note heads according to the drum.
Attaching an extra symbol to the drum or restricting the number of
lines is possible.
drh = \drummode { cymc4.^"crash" hhc16^"h.h." hh hhc8 hho hhc8 hh16 hh hhc4 r4 r2 } drl = \drummode { bd4 sn8 bd bd4 << bd ss >> bd8 tommh tommh bd toml toml bd tomfh16 tomfh } timb = \drummode { timh4 ssh timl8 ssh r timh r4 ssh8 timl r4 cb8 cb } \score { << \new DrumStaff \with { drumStyleTable = #timbales-style \override StaffSymbol #'line-count = #2 \override BarLine #'bar-size = #2 } << \set Staff.instrumentName = #"timbales" \timb >> \new DrumStaff << \set Staff.instrumentName = #"drums" \new DrumVoice { \stemUp \drh } \new DrumVoice { \stemDown \drl } >> >> \layout { } \midi { \context { \Score tempoWholesPerMinute = #(ly:make-moment 120 4) } } }
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Heavily customized polymetric time signatures
Though the polymetric time signature shown was not the most essential item here, it has been included to show the beat of this piece (which is the template of a real Balkan song!).
#(define plus (markup #:vcenter "+")) #(define ((custom-time-signature one two three four five six seven eight nine ten eleven num) grob) (grob-interpret-markup grob (markup #:override '(baseline-skip . 0) #:number (#:line ( (#:column (one num)) plus (#:column (two num)) plus (#:column (three num)) plus (#:column (four num)) plus (#:column (five num)) plus (#:column (six num)) plus (#:column (seven num)) plus (#:column (eight num)) plus (#:column (nine num)) plus (#:column (ten num)) plus (#:column (eleven num)))) ))) melody = \relative c'' { \set Staff.instrumentName = #"Bb Sop." \key g \major #(set-time-signature 25 8 '(3 2 2 3 2 2 2 2 3 2 2)) \override Staff.TimeSignature #'stencil = #(custom-time-signature "3" "2" "2" "3" "2" "2" "2" "2" "3" "2" "2" "8") c8 c c d4 c8 c b c b a4 g fis8 e d c b' c d e4-^ fis8 g \break c,4. d4 c4 d4. c4 d c2 d4. e4-^ d4 c4. d4 c4 d4. c4 d c2 d4. e4-^ d4 \break c4. d4 c4 d4. c4 d c2 d4. e4-^ d4 c4. d4 c4 d4. c4 d c2 d4. e4-^ d4 \break } drum = \new DrumStaff \drummode { \bar "|:" bd4.^\markup { "Drums" } sn4 bd \bar ":" sn4. bd4 sn \bar ":" bd sn bd4. sn4 bd \bar ":|" } { \melody \drum }
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Jazz combo template
This is quite an advanced template, for a jazz ensemble. Note that all
instruments are notated in \key c \major
. This refers to the
key in concert pitch; the key will be automatically transposed if the
music is within a \transpose
section.
\header { title = "Song" subtitle = "(tune)" composer = "Me" meter = "moderato" piece = "Swing" tagline = \markup { \column { "LilyPond example file by Amelie Zapf," "Berlin 07/07/2003" } } } %#(set-global-staff-size 16) \include "english.ly" %%%%%%%%%%%% Some macros %%%%%%%%%%%%%%%%%%% sl = { \override NoteHead #'style = #'slash \override Stem #'transparent = ##t } nsl = { \revert NoteHead #'style \revert Stem #'transparent } crOn = \override NoteHead #'style = #'cross crOff = \revert NoteHead #'style %% insert chord name style stuff here. jazzChords = { } %%%%%%%%%%%% Keys'n'thangs %%%%%%%%%%%%%%%%% global = { \time 4/4 } Key = { \key c \major } % ############ Horns ############ % ------ Trumpet ------ trpt = \transpose c d \relative c'' { \Key c1 | c | c | } trpHarmony = \transpose c' d { \jazzChords } trumpet = { \global \set Staff.instrumentName = #"Trumpet" \clef treble << \trpt >> } % ------ Alto Saxophone ------ alto = \transpose c a \relative c' { \Key c1 | c | c | } altoHarmony = \transpose c' a { \jazzChords } altoSax = { \global \set Staff.instrumentName = #"Alto Sax" \clef treble << \alto >> } % ------ Baritone Saxophone ------ bari = \transpose c a' \relative c { \Key c1 c1 \sl d4^"Solo" d d d \nsl } bariHarmony = \transpose c' a \chordmode { \jazzChords s1 s d2:maj e:m7 } bariSax = { \global \set Staff.instrumentName = #"Bari Sax" \clef treble << \bari >> } % ------ Trombone ------ tbone = \relative c { \Key c1 | c | c } tboneHarmony = \chordmode { \jazzChords } trombone = { \global \set Staff.instrumentName = #"Trombone" \clef bass << \tbone >> } % ############ Rhythm Section ############# % ------ Guitar ------ gtr = \relative c'' { \Key c1 \sl b4 b b b \nsl c1 } gtrHarmony = \chordmode { \jazzChords s1 c2:min7+ d2:maj9 } guitar = { \global \set Staff.instrumentName = #"Guitar" \clef treble << \gtr >> } %% ------ Piano ------ rhUpper = \relative c'' { \voiceOne \Key c1 | c | c } rhLower = \relative c' { \voiceTwo \Key e1 | e | e } lhUpper = \relative c' { \voiceOne \Key g1 | g | g } lhLower = \relative c { \voiceTwo \Key c1 | c | c } PianoRH = { \clef treble \global \set Staff.midiInstrument = #"acoustic grand" << \new Voice = "one" \rhUpper \new Voice = "two" \rhLower >> } PianoLH = { \clef bass \global \set Staff.midiInstrument = "acoustic grand" << \new Voice = "one" \lhUpper \new Voice = "two" \lhLower >> } piano = { << \set PianoStaff.instrumentName = #"Piano" \new Staff = "upper" \PianoRH \new Staff = "lower" \PianoLH >> } % ------ Bass Guitar ------ Bass = \relative c { \Key c1 | c | c } bass = { \global \set Staff.instrumentName = #"Bass" \clef bass << \Bass >> } % ------ Drums ------ up = \drummode { \voiceOne hh4 <hh sn> hh <hh sn> hh4 <hh sn> hh <hh sn> hh4 <hh sn> hh <hh sn> } down = \drummode { \voiceTwo bd4 s bd s bd4 s bd s bd4 s bd s } drumContents = { \global << \set DrumStaff.instrumentName = #"Drums" \new DrumVoice \up \new DrumVoice \down >> } %%%%%%%%% It All Goes Together Here %%%%%%%%%%%%%%%%%%%%%% \score { << \new StaffGroup = "horns" << \new Staff = "trumpet" \trumpet \new Staff = "altosax" \altoSax \new ChordNames = "barichords" \bariHarmony \new Staff = "barisax" \bariSax \new Staff = "trombone" \trombone >> \new StaffGroup = "rhythm" << \new ChordNames = "chords" \gtrHarmony \new Staff = "guitar" \guitar \new PianoStaff = "piano" \piano \new Staff = "bass" \bass \new DrumStaff \drumContents >> >> \layout { \context { \RemoveEmptyStaffContext } \context { \Score \override BarNumber #'padding = #3 \override RehearsalMark #'padding = #2 skipBars = ##t } } \midi { } }
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Percussion beaters
Graphic symbols for percussion instruments are not natively supported; however it is possible to include such symbols, either as an external EPS file or as embedded PostScript code inside a markup, as demonstrated in this example.
stick = \markup { \with-dimensions #'(0 . 5) #'(0 . 5) \postscript #" 0 6 translate 0.8 -0.8 scale 0 0 0 setrgbcolor [] 0 setdash 1 setlinewidth 0 setlinejoin 0 setlinecap gsave [1 0 0 1 0 0] concat gsave [1 0 0 1 -3.5406095 -199.29342] concat gsave 0 0 0 setrgbcolor newpath 7.1434065 200.94354 moveto 7.2109628 200.90454 7.2785188 200.86554 7.3460747 200.82654 curveto 8.2056347 202.31535 9.0651946 203.80414 9.9247546 205.29295 curveto 9.8571989 205.33195 9.7896429 205.37095 9.7220864 205.40996 curveto 8.8625264 203.92115 8.0029664 202.43233 7.1434065 200.94354 curveto closepath eofill grestore gsave 0 0 0 setrgbcolor newpath 4.9646672 203.10444 moveto 5.0036707 203.03688 5.0426744 202.96933 5.0816777 202.90176 curveto 6.5704792 203.76133 8.0592809 204.6209 9.5480824 205.48045 curveto 9.5090791 205.54801 9.4700754 205.61556 9.4310717 205.68311 curveto 7.94227 204.82356 6.4534687 203.96399 4.9646672 203.10444 curveto closepath eofill grestore gsave << /ShadingType 3 /ColorSpace /DeviceRGB /Coords [113.13708 207.87465 0 113.13708 207.87465 16.162441] /Extend [true true] /Domain [0 1] /Function << /FunctionType 3 /Functions [ << /FunctionType 2 /Domain [0 1] /C0 [1 1 1] /C1 [0.72941178 0.72941178 0.72941178] /N 1 >> ] /Domain [0 1] /Bounds [ ] /Encode [ 0 1 ] >> >> newpath 7.6422017 200.76488 moveto 7.6505696 201.02554 7.3905363 201.24867 7.1341335 201.20075 curveto 6.8759501 201.16916 6.6949602 200.87978 6.7801462 200.63381 curveto 6.8480773 200.39155 7.1438307 200.25377 7.3728389 200.35861 curveto 7.5332399 200.42458 7.6444521 200.59122 7.6422017 200.76488 curveto closepath clip gsave [0.052859054 0.063089841 -0.020912282 0.017521108 5.7334261 189.76443] concat shfill grestore grestore 0 0 0 setrgbcolor [] 0 setdash 0.027282091 setlinewidth 0 setlinejoin 0 setlinecap newpath 7.6422017 200.76488 moveto 7.6505696 201.02554 7.3905363 201.24867 7.1341335 201.20075 curveto 6.8759501 201.16916 6.6949602 200.87978 6.7801462 200.63381 curveto 6.8480773 200.39155 7.1438307 200.25377 7.3728389 200.35861 curveto 7.5332399 200.42458 7.6444521 200.59122 7.6422017 200.76488 curveto closepath stroke gsave << /ShadingType 3 /ColorSpace /DeviceRGB /Coords [113.13708 207.87465 0 113.13708 207.87465 16.162441] /Extend [true true] /Domain [0 1] /Function << /FunctionType 3 /Functions [ << /FunctionType 2 /Domain [0 1] /C0 [1 1 1] /C1 [0.72941178 0.72941178 0.72941178] /N 1 >> ] /Domain [0 1] /Bounds [ ] /Encode [ 0 1 ] >> >> newpath 5.2721217 202.83181 moveto 5.2804896 203.09247 5.0204563 203.3156 4.7640539 203.26768 curveto 4.5058701 203.23609 4.3248803 202.94671 4.4100662 202.70074 curveto 4.4779975 202.45848 4.7737511 202.3207 5.0027593 202.42554 curveto 5.1631598 202.49149 5.2743721 202.65813 5.2721217 202.83181 curveto closepath clip gsave [0.052859054 0.063089841 -0.020912282 0.017521108 3.363346 191.83136] concat shfill grestore grestore 0 0 0 setrgbcolor [] 0 setdash 0.027282091 setlinewidth 0 setlinejoin 0 setlinecap newpath 5.2721217 202.83181 moveto 5.2804896 203.09247 5.0204563 203.3156 4.7640539 203.26768 curveto 4.5058701 203.23609 4.3248803 202.94671 4.4100662 202.70074 curveto 4.4779975 202.45848 4.7737511 202.3207 5.0027593 202.42554 curveto 5.1631598 202.49149 5.2743721 202.65813 5.2721217 202.83181 curveto closepath stroke grestore grestore " } \score { b1^\stick }
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Printing music with different time signatures
In the following snippet, two parts have a completely different time
signature, yet remain synchronized. The bar lines can no longer be
printed at the Score
level; to allow independent bar lines in
each part, the Default_barline_engraver
and
Timing_translator
are moved from the Score
context to the
Staff
context.
\paper { indent = #0 ragged-right = ##t } global = { \time 3/4 { s2.*3 } \bar "" \break { s2.*3 } } \layout { \context { \Score \remove "Timing_translator" \remove "Time_signature_engraver" \remove "Default_bar_line_engraver" \override SpacingSpanner #'uniform-stretching = ##t \override SpacingSpanner #'strict-note-spacing = ##t proportionalNotationDuration = #(ly:make-moment 1 64) } \context { \Staff \consists "Timing_translator" \consists "Default_bar_line_engraver" \consists "Time_signature_engraver" } \context { \Voice \remove "Forbid_line_break_engraver" tupletFullLength = ##t } } Bassklarinette = \new Staff << \global { \bar "|" \clef treble \time 3/8 d''4. \bar "|" \time 3/4 r8 des''2( c''8) \bar "|" \time 7/8 r4. ees''2 ~ \bar "|" \time 2/4 \tupletUp \times 2/3 { ees''4 r4 d''4 ~ } \bar "|" \time 3/8 \tupletUp \times 3/4 { d''4 r4 } \bar "|" \time 2/4 e''2 \bar "|" \time 3/8 es''4. \bar "|" \time 3/4 r8 d''2 r8 \bar "|" } >> Perkussion = \new StaffGroup << \new Staff << \global { \bar "|" \clef percussion \time 3/4 r4 c'2 ~ \bar "|" c'2. \bar "|" R2. \bar "|" r2 g'4 ~ \bar "|" g'2. ~ \bar "|" g'2. } >> \new Staff << \global { \bar "|" \clef percussion \time 3/4 R2. \bar "|" g'2. ~ \bar "|" g'2. \bar "|" r4 g'2 ~ \bar "|" g'2 r4 \bar "|" g'2. } >> >> \score { << \Bassklarinette \Perkussion >> }
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Fretted strings
These snippets illustrate the Notation Reference, section Fretted string instruments.
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Adding fingerings to a score
Fingering instructions can be entered using a simple syntax.
\relative c'' { c4-1 d-2 f-4 e-3 }
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Adding fingerings to tablatures
To add fingerings to tablatures, use a combination of \markup
and \finger
.
one = \markup { \finger 1 } two = \markup { \finger 2 } threeTwo = \markup { \override #'(baseline-skip . 2) \column { \finger 3 \finger 2 } } threeFour = \markup { \override #'(baseline-skip . 2) \column { \finger 3 \finger 4 } } \score { \new TabStaff { \stemUp e8\4^\one b\2 <e, g\3 e'\1>^>[ b\2 e\4] <a\3 fis'\1>^>^\threeTwo[ b\2 e\4] } }
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Allowing fingerings to be printed inside the staff
By default, vertically oriented fingerings are positioned outside the staff. However, this behavior can be canceled.
\relative c' { <c-1 e-2 g-3 b-5>2 \once \override Fingering #'staff-padding = #'() <c-1 e-2 g-3 b-5>2 }
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Controlling the placement of chord fingerings
The placement of fingering numbers can be controlled precisely.
\relative c' { \set fingeringOrientations = #'(left) <c-1 e-3 a-5>4 \set fingeringOrientations = #'(down) <c-1 e-3 a-5>4 \set fingeringOrientations = #'(down right up) <c-1 e-3 a-5>4 \set fingeringOrientations = #'(up) <c-1 e-3 a-5>4 \set fingeringOrientations = #'(left) <c-1>2 \set fingeringOrientations = #'(down) <e-3>2 }
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Customizing fretboard fret diagrams
Fret diagram properties can be set through
'fret-diagram-details
. For FretBoard fret diagrams,
overrides are applied to the FretBoards.FretBoard
object.
Like Voice
, FretBoards
is a bottom level context,
therefore can be omitted in property overrides.
\include "predefined-guitar-fretboards.ly" \storePredefinedDiagram \chordmode { c' } #guitar-tuning #"x;1-1-(;3-2;3-3;3-4;1-1-);" << \new ChordNames { \chordmode { c1 c c d } } \new FretBoards { % Set global properties of fret diagram \override FretBoards.FretBoard #'size = #'1.2 \override FretBoard #'(fret-diagram-details finger-code) = #'in-dot \override FretBoard #'(fret-diagram-details dot-color) = #'white \chordmode { c \once \override FretBoard #'size = #'1.0 \once \override FretBoard #'(fret-diagram-details barre-type) = #'straight \once \override FretBoard #'(fret-diagram-details dot-color) = #'black \once \override FretBoard #'(fret-diagram-details finger-code) = #'below-string c' \once \override FretBoard #'(fret-diagram-details barre-type) = #'none \once \override FretBoard #'(fret-diagram-details number-type) = #'arabic \once \override FretBoard #'(fret-diagram-details orientation) = #'landscape \once \override FretBoard #'(fret-diagram-details mute-string) = #"M" \once \override FretBoard #'(fret-diagram-details label-dir) = #LEFT \once \override FretBoard #'(fret-diagram-details dot-color) = #'black c' \once \override FretBoard #'(fret-diagram-details finger-code) = #'below-string \once \override FretBoard #'(fret-diagram-details dot-radius) = #0.35 \once \override FretBoard #'(fret-diagram-details dot-position) = #0.5 \once \override FretBoard #'(fret-diagram-details fret-count) = #3 d } } \new Voice { c'1 c' c' d' } >>
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Customizing markup fret diagrams
Fret diagram properties can be set through
'fret-diagram-details
. For markup fret diagrams, overrides
can be applied to the Voice.TextScript
object or directly
to the markup.
<< \chords { c1 c c d } \new Voice = "mel" { \textLengthOn % Set global properties of fret diagram \override TextScript #'size = #'1.2 \override TextScript #'(fret-diagram-details finger-code) = #'in-dot \override TextScript #'(fret-diagram-details dot-color) = #'white %% C major for guitar, no barre, using defaults % terse style c'1^\markup { \fret-diagram-terse #"x;3-3;2-2;o;1-1;o;" } %% C major for guitar, barred on third fret % verbose style % size 1.0 % roman fret label, finger labels below string, straight barre c'1^\markup { % standard size \override #'(size . 1.0) { \override #'(fret-diagram-details . ( (number-type . roman-lower) (finger-code . in-dot) (barre-type . straight))) { \fret-diagram-verbose #'((mute 6) (place-fret 5 3 1) (place-fret 4 5 2) (place-fret 3 5 3) (place-fret 2 5 4) (place-fret 1 3 1) (barre 5 1 3)) } } } %% C major for guitar, barred on third fret % verbose style % landscape orientation, arabic numbers, M for mute string % no barre, fret label down or left, small mute label font c'1^\markup { \override #'(fret-diagram-details . ( (finger-code . below-string) (number-type . arabic) (label-dir . -1) (mute-string . "M") (orientation . landscape) (barre-type . none) (xo-font-magnification . 0.4) (xo-padding . 0.3))) { \fret-diagram-verbose #'((mute 6) (place-fret 5 3 1) (place-fret 4 5 2) (place-fret 3 5 3) (place-fret 2 5 4) (place-fret 1 3 1) (barre 5 1 3)) } } %% simple D chord % terse style % larger dots, centered dots, fewer frets % label below string d'1^\markup { \override #'(fret-diagram-details . ( (finger-code . below-string) (dot-radius . 0.35) (dot-position . 0.5) (fret-count . 3))) { \fret-diagram-terse #"x;x;o;2-1;3-2;2-3;" } } } >>
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Defining predefined fretboards for other instruments
Predefined fret diagrams can be added for new instruments in addition to the standards used for guitar. This file shows how this is done by defining a new string-tuning and a few predefined fretboards for the Venezuelan cuatro.
This file also shows how fingerings can be included in the chords
used as reference points for the chord lookup, and displayed in
the fret diagram and the TabStaff
, but not the music.
These fretboards are not transposable because they contain string information. This is planned to be corrected in the future.
% add FretBoards for the Cuatro % Note: This section could be put into a separate file % predefined-cuatro-fretboards.ly % and \included into each of your compositions cuatroTuning = #'(11 18 14 9) dSix = { <a\4 b\1 d\3 fis\2> } dMajor = { <a\4 d\1 d\3 fis \2> } aMajSeven = { <a\4 cis\1 e\3 g\2> } dMajSeven = { <a\4 c\1 d\3 fis\2> } gMajor = { <b\4 b\1 d\3 g\2> } \storePredefinedDiagram \dSix #cuatroTuning #"o;o;o;o;" \storePredefinedDiagram \dMajor #cuatroTuning #"o;o;o;3-3;" \storePredefinedDiagram \aMajSeven #cuatroTuning #"o;2-2;1-1;2-3;" \storePredefinedDiagram \dMajSeven #cuatroTuning #"o;o;o;1-1;" \storePredefinedDiagram \gMajor #cuatroTuning #"2-2;o;1-1;o;" % end of potential include file /predefined-cuatro-fretboards.ly #(set-global-staff-size 16) primerosNames = \chordmode { d:6 d a:maj7 d:maj7 g } primeros = { \dSix \dMajor \aMajSeven \dMajSeven \gMajor } \score { << \new ChordNames { \set chordChanges = ##t \primerosNames } \new Staff { \new Voice \with { \remove "New_fingering_engraver" } \relative c'' { \primeros } } \new FretBoards { \set stringTunings = #cuatroTuning \override FretBoard #'(fret-diagram-details string-count) = #'4 \override FretBoard #'(fret-diagram-details finger-code) = #'in-dot \primeros } \new TabStaff \relative c'' { \set TabStaff.stringTunings = #cuatroTuning \primeros } >> \layout { \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 16) } } \midi { } }
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Faking a hammer in tablatures
A hammer in tablature can be faked with slurs.
\score { \new TabStaff { \relative c'' { c4( d) d( d) d2( c) } } }
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Fingerings, string indications, and right-hand fingerings
This example combines left-hand fingering, string indications, and right-hand fingering.
#(define RH rightHandFinger) \relative c { \clef "treble_8" <c-3\5-\RH #1 >4 <e-2\4-\RH #2 >4 <g-0\3-\RH #3 >4 <c-1\2-\RH #4 >4 }
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Flamenco notation
For flamenco guitar, special notation is used:
* a golpe symbol to indicate a slap on the guitar body with the nail of the ring finger
* an arrow to indicate (the direction of) strokes
* different letters for fingering ("p": thumb, "i": index finger, "m": middle finger, "a": ring finger and "x": little finger)
* 3- and 4-finger rasgueados; stroke upwards with all fingers, ending with an up- and down using the index finger
* abanicos: strokes (in tuples) with thumb (down), little and index finger (both up). There’s also an abanico 2 where middle and ring finger are used instead of the little finger.
* alza pua: fast playing with the thumb
Most figures use arrows in combination with fingering; with abanicos and rasgueados, noteheads are printed only for the first chord.
This snippet contains some header-like code that can be copied as ‘flamenco.ly’ and included in source files.
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% %%%%%%% Cut here ----- Start 'flamenco.ly' % Text indicators abanico = \markup { \italic Abanico } rasgueaso = \markup { \italic Ras. } alzapua = \markup { \italic Alzapua } % Finger stroke symbols strokeUp = \markup { \postscript #" 0.1 setlinewidth 0.5 0 moveto 0.5 2 lineto 0.2 1.4 lineto 0.5 2 moveto 0.8 1.4 lineto stroke "} strokeDown = \markup { \postscript #" 0.1 setlinewidth 0.5 2 moveto 0.5 0 lineto 0.2 0.6 lineto 0.5 0 moveto 0.8 0.6 lineto stroke "} % Golpe symbol golpe = \markup { \postscript #" 0.2 setlinewidth 0 0 moveto 1 0 lineto 1 1 lineto stroke "\postscript #" 0.1 setlinewidth -0.6 -0.1 moveto -0.6 1.0 lineto 0.5 1.0 lineto stroke "} strokeUpGolpe = \markup { \column { \golpe \line { \strokeUp }}} iUpGolpe = \markup { \column { \golpe \line { \small i } \line { \strokeUp }}} % Strokes for all fingers pUp = \markup { \column { \small p \line { \strokeUp }}} pDown = \markup { \column { \small p \line { \strokeDown }}} iUp = \markup { \column { \small i \line { \strokeUp }}} iDown = \markup { \column { \small i \line { \strokeDown }}} mUp = \markup { \column { \small m \line { \strokeUp }}} mDown = \markup { \column { \small m \line { \strokeDown }}} aUp = \markup { \column { \small a \line { \strokeUp }}} aDown = \markup { \column { \small a \line { \strokeDown }}} xUp = \markup { \column { \small x \line { \strokeUp }}} xDown = \markup { \column { \small x \line { \strokeDown }}} % Just handy :) tupletOff = { \once \override TupletNumber #'stencil = ##f \once \override TupletBracket #'stencil = ##f } tupletsOff = { \override TupletNumber #'stencil = ##f \override TupletBracket #'bracket-visibility = #'if-no-beam } tupletsOn = { \override TupletBracket #'bracket-visibility = #'default \revert TupletNumber #'stencil } headsOff = { \override TabNoteHead #'transparent = ##t \override NoteHead #'transparent = ##t \override NoteHead #'no-ledgers = ##t } headsOn = { \override TabNoteHead #'transparent = ##f \override NoteHead #'transparent = ##f \override NoteHead #'no-ledgers = ##f } %%%%%%% Cut here ----- End 'flamenco.ly' %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% part = \relative c' { <a, e' a cis e>8^\iUp <a e' a cis e>8^\iDown r4 r2^\golpe <a e' a cis e>8^\iUp <a e' a cis e>8^\iDown <a e' a cis e>8^\iUpGolpe <a e' a cis e>8^\iDown r2 <a e' a cis e>16^\aUp \headsOff <a e' a cis e>^\mUp <a e' a cis e>^\iUp <a e' a cis e>^\iDown~ \headsOn <a e' a cis e>2 r4 \tupletOff \times 4/5 { <a e' a cis e>16^\xUp \headsOff <a e' a cis e>^\aUp <a e' a cis e>^\mUp <a e' a cis e>^\iUp <a e' a cis e>^\iDown~ \headsOn } <a e' a cis e>2 r4 \tupletsOff \times 2/3 { <a e' a cis e>8^\pDown \headsOff <a e' a cis e>^\xUp <a e' a cis e>^\iUp \headsOn } \times 2/3 { <a e' a cis e>8^\pDown \headsOff <a e' a cis e>^\xUp <a e' a cis e>^\iUp \headsOn } \times 2/3 { <a e' a cis e>8^\pDown \headsOff <a e' a cis e>^\xUp <a e' a cis e>^\iUp \headsOn } \times 2/3 { <a e' a cis e>8^\pDown \headsOff <a e' a cis e>^\xUp <a e' a cis e>^\iUp \headsOn } \tupletsOff \override Beam #'positions = #'(2 . 2) \times 2/3 { a8^\markup{ \small p } <e' a>^\strokeUpGolpe <e a>^\strokeDown } \times 2/3 { a,8^\markup{ \small p } <e' a>^\strokeUpGolpe <e a>^\strokeDown } \times 2/3 { a,8^\markup{ \small p } <e' a>^\strokeUpGolpe <e a>^\strokeDown } \times 2/3 { a,8^\markup{ \small p } <e' a>^\strokeUpGolpe <e a>^\strokeDown } \tupletsOn \once \override TextScript #'extra-offset = #'(0 . -1) <g, b f'>1_\golpe^\mUp \bar "|." } \score { \new StaffGroup << \context Staff = "part" << \clef G \transpose c c' { \part } >> \context TabStaff { \part } >> \layout { ragged-right = ##t } }
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Fret diagrams explained and developed
This snippet shows many possibilities for obtaining and tweaking fret diagrams.
<< \chords { a2 a c2 c d1 } \new Voice = "mel" { \textLengthOn % Set global properties of fret diagram \override TextScript #'size = #1.2 \override TextScript #'fret-diagram-details #'finger-code = #'below-string \override TextScript #'fret-diagram-details #'dot-color = #'black %% A chord for ukelele a'2^\markup { \override #'(fret-diagram-details . ( (string-count . 4) (dot-color . white) (finger-code . in-dot))) { \fret-diagram #"4-2-2;3-1-1;2-o;1-o;" } } %% A chord for ukelele, with formatting defined in definition string % 1.2 * size, 4 strings, 4 frets, fingerings below string % dot radius .35 of fret spacing, dot position 0.55 of fret spacing a'2^\markup { \override #'(fret-diagram-details . ( (dot-color . white) (open-string . "o"))) { \fret-diagram #"s:1.2;w:4;h:3;f:2;d:0.35;p:0.55;4-2-2;3-1-1;2-o;1-o;" } } %% C major for guitar, barred on third fret % verbose style % roman fret label, finger labels below string, straight barre c'2^\markup { % 110% of default size \override #'(size . 1.1) { \override #'(fret-diagram-details . ( (number-type . roman-lower) (finger-code . below-string) (barre-type . straight))) { \fret-diagram-verbose #'((mute 6) (place-fret 5 3 1) (place-fret 4 5 2) (place-fret 3 5 3) (place-fret 2 5 4) (place-fret 1 3 1) (barre 5 1 3)) } } } %% C major for guitar, barred on third fret % verbose style c'2^\markup { % 110% of default size \override #'(size . 1.1) { \override #'(fret-diagram-details . ( (number-type . arabic) (dot-label-font-mag . 0.9) (finger-code . in-dot) (fret-label-font-mag . 0.6) (fret-label-vertical-offset . 0) (label-dir . -1) (mute-string . "M") (orientation . landscape) (xo-font-magnification . 0.4) (xo-padding . 0.3))) { \fret-diagram-verbose #'((mute 6) (place-fret 5 3 1) (place-fret 4 5 2) (place-fret 3 5 3) (place-fret 2 5 4) (place-fret 1 3 1) (barre 5 1 3)) } } } %% simple D chord d'1^\markup { \override #'(fret-diagram-details . ( (finger-code . below-string) (dot-radius . 0.35) (dot-position . 0.5) (fret-count . 3))) { \fret-diagram-terse #"x;x;o;2-1;3-2;2-3;" } } } >>
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Guitar strum rhythms
For guitar music, it is possible to show strum rhythms, along with melody notes, chord names, and fret diagrams.
\include "predefined-guitar-fretboards.ly" << \new ChordNames { \chordmode { c1 f g c } } \new FretBoards { \chordmode { c1 f g c } } \new Voice \with { \consists "Pitch_squash_engraver" } { \relative c'' { \improvisationOn c4 c8 c c4 c8 c f4 f8 f f4 f8 f g4 g8 g g4 g8 g c4 c8 c c4 c8 c } } \new Voice = "melody" { \relative c'' { c2 e4 e4 f2. r4 g2. a4 e4 c2. } } \new Lyrics { \lyricsto "melody" { This is my song. I like to sing. } } >>
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How to change fret diagram position
If you want to move the position of a fret diagram, for example, to avoid collision, or to place it between two notes, you have various possibilities:
1) modify #’padding or #’extra-offset values (as shown in the first snippet)
2) you can add an invisible voice and attach the fret diagrams to the invisible notes in that voice (as shown in the second example).
If you need to move the fret according with a rythmic position inside the bar (in the example, the third beat of the measure) the second example is better, because the fret is aligned with the third beat itself.
harmonies = \chordmode { a8:13 % THE FOLLOWING IS THE COMMAND TO MOVE THE CHORD NAME \once \override ChordNames.ChordName #'extra-offset = #'(10 . 0) b8:13 s2. % THIS LINE IS THE SECOND METHOD s4 s4 b4:13 } \score { << \context ChordNames \harmonies \context Staff {a8^\markup { \fret-diagram #"6-x;5-0;4-2;3-0;2-0;1-2;" } % THE FOLLOWING IS THE COMMAND TO MOVE THE FRET DIAGRAM \once \override TextScript #'extra-offset = #'(10 . 0) b4.~^\markup { \fret-diagram #"6-x;5-2;4-4;3-2;2-2;1-4;" } b4. a8\break % HERE IS THE SECOND METHOD << { a8 b4.~ b4. a8} { s4 s4 s4^\markup { \fret-diagram #"6-x;5-2;4-4;3-2;2-2;1-4;" } } >> } >> }
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Jazz combo template
This is quite an advanced template, for a jazz ensemble. Note that all
instruments are notated in \key c \major
. This refers to the
key in concert pitch; the key will be automatically transposed if the
music is within a \transpose
section.
\header { title = "Song" subtitle = "(tune)" composer = "Me" meter = "moderato" piece = "Swing" tagline = \markup { \column { "LilyPond example file by Amelie Zapf," "Berlin 07/07/2003" } } } %#(set-global-staff-size 16) \include "english.ly" %%%%%%%%%%%% Some macros %%%%%%%%%%%%%%%%%%% sl = { \override NoteHead #'style = #'slash \override Stem #'transparent = ##t } nsl = { \revert NoteHead #'style \revert Stem #'transparent } crOn = \override NoteHead #'style = #'cross crOff = \revert NoteHead #'style %% insert chord name style stuff here. jazzChords = { } %%%%%%%%%%%% Keys'n'thangs %%%%%%%%%%%%%%%%% global = { \time 4/4 } Key = { \key c \major } % ############ Horns ############ % ------ Trumpet ------ trpt = \transpose c d \relative c'' { \Key c1 | c | c | } trpHarmony = \transpose c' d { \jazzChords } trumpet = { \global \set Staff.instrumentName = #"Trumpet" \clef treble << \trpt >> } % ------ Alto Saxophone ------ alto = \transpose c a \relative c' { \Key c1 | c | c | } altoHarmony = \transpose c' a { \jazzChords } altoSax = { \global \set Staff.instrumentName = #"Alto Sax" \clef treble << \alto >> } % ------ Baritone Saxophone ------ bari = \transpose c a' \relative c { \Key c1 c1 \sl d4^"Solo" d d d \nsl } bariHarmony = \transpose c' a \chordmode { \jazzChords s1 s d2:maj e:m7 } bariSax = { \global \set Staff.instrumentName = #"Bari Sax" \clef treble << \bari >> } % ------ Trombone ------ tbone = \relative c { \Key c1 | c | c } tboneHarmony = \chordmode { \jazzChords } trombone = { \global \set Staff.instrumentName = #"Trombone" \clef bass << \tbone >> } % ############ Rhythm Section ############# % ------ Guitar ------ gtr = \relative c'' { \Key c1 \sl b4 b b b \nsl c1 } gtrHarmony = \chordmode { \jazzChords s1 c2:min7+ d2:maj9 } guitar = { \global \set Staff.instrumentName = #"Guitar" \clef treble << \gtr >> } %% ------ Piano ------ rhUpper = \relative c'' { \voiceOne \Key c1 | c | c } rhLower = \relative c' { \voiceTwo \Key e1 | e | e } lhUpper = \relative c' { \voiceOne \Key g1 | g | g } lhLower = \relative c { \voiceTwo \Key c1 | c | c } PianoRH = { \clef treble \global \set Staff.midiInstrument = #"acoustic grand" << \new Voice = "one" \rhUpper \new Voice = "two" \rhLower >> } PianoLH = { \clef bass \global \set Staff.midiInstrument = "acoustic grand" << \new Voice = "one" \lhUpper \new Voice = "two" \lhLower >> } piano = { << \set PianoStaff.instrumentName = #"Piano" \new Staff = "upper" \PianoRH \new Staff = "lower" \PianoLH >> } % ------ Bass Guitar ------ Bass = \relative c { \Key c1 | c | c } bass = { \global \set Staff.instrumentName = #"Bass" \clef bass << \Bass >> } % ------ Drums ------ up = \drummode { \voiceOne hh4 <hh sn> hh <hh sn> hh4 <hh sn> hh <hh sn> hh4 <hh sn> hh <hh sn> } down = \drummode { \voiceTwo bd4 s bd s bd4 s bd s bd4 s bd s } drumContents = { \global << \set DrumStaff.instrumentName = #"Drums" \new DrumVoice \up \new DrumVoice \down >> } %%%%%%%%% It All Goes Together Here %%%%%%%%%%%%%%%%%%%%%% \score { << \new StaffGroup = "horns" << \new Staff = "trumpet" \trumpet \new Staff = "altosax" \altoSax \new ChordNames = "barichords" \bariHarmony \new Staff = "barisax" \bariSax \new Staff = "trombone" \trombone >> \new StaffGroup = "rhythm" << \new ChordNames = "chords" \gtrHarmony \new Staff = "guitar" \guitar \new PianoStaff = "piano" \piano \new Staff = "bass" \bass \new DrumStaff \drumContents >> >> \layout { \context { \RemoveEmptyStaffContext } \context { \Score \override BarNumber #'padding = #3 \override RehearsalMark #'padding = #2 skipBars = ##t } } \midi { } }
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Laissez vibrer ties
Laissez vibrer ties have a fixed size. Their formatting can be tuned
using 'tie-configuration
.
\relative c' { <c e g>4\laissezVibrer r <c f g>\laissezVibrer r <c d f g>4\laissezVibrer r <c d f g>4.\laissezVibrer r8 <c d e f>4\laissezVibrer r \override LaissezVibrerTieColumn #'tie-configuration = #`((-7 . ,DOWN) (-5 . ,DOWN) (-3 . ,UP) (-1 . ,UP)) <c d e f>4\laissezVibrer r }
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Letter tablature formatting
Tablature can be formatted using letters instead of numbers.
#(define (letter-tablature-format str context event) (let* ((tuning (ly:context-property context 'stringTunings)) (pitch (ly:event-property event 'pitch))) (make-whiteout-markup (make-vcenter-markup (string (integer->char (+ (char->integer #\a) (- (ly:pitch-semitones pitch) (list-ref tuning (- str 1)))))))))) music = \relative c { c4 d e f g4 a b c d4 e f g } << \new Staff { \clef "G_8" \music } \new TabStaff \with { tablatureFormat = #letter-tablature-format } { \music } >>
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Modern TAB text clef
Use a markup text to replace the (TAB) clef glyph with a modern font.
TAB = \markup { \raise #1.5 \sans \bold \huge \override #'(baseline-skip . 2.5) \center-column { T A B } } \new TabStaff { \override Staff.Clef #'stencil = #(lambda (grob) ly:clef::print (grob-interpret-markup grob TAB)) a }
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Placement of right-hand fingerings
It is possible to exercise greater control over the placement of right-hand fingerings by setting a specific property, as demonstrated in the following example.
#(define RH rightHandFinger) \relative c { \clef "treble_8" \set strokeFingerOrientations = #'(up down) <c-\RH #1 e-\RH #2 g-\RH #3 c-\RH #4 >4 \set strokeFingerOrientations = #'(up right down) <c-\RH #1 e-\RH #2 g-\RH #3 c-\RH #4 >4 \set strokeFingerOrientations = #'(left) <c-\RH #1 e-\RH #2 g-\RH #3 c-\RH #4 >2 }
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Polyphony in tablature
Polyphony is created the same way in a TabStaff
as in a regular
staff.
upper = \relative c' { \time 12/8 \key e \minor \voiceOne r4. r8 e, fis g16 b g e e' b c b a g fis e } lower = \relative c { \key e \minor \voiceTwo r16 e d c b a g4 fis8 e fis g a b c } \score { << \new StaffGroup = "tab with traditional" << \new Staff = "guitar traditional" << \clef "treble_8" \context Voice = "upper" \upper \context Voice = "lower" \lower >> \new TabStaff = "guitar tab" << \context TabVoice = "upper" \upper \context TabVoice = "lower" \lower >> >> >> }
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Stem and beam behavior in tablature
The direction of stems is controlled the same way in tablature as in traditional notation. Beams can be made horizontal, as shown in this example.
\new TabStaff { \relative c { g16 b d g b d g b \stemDown \override Beam #'damping = #+inf.0 g,,16 b d g b d g b } }
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Unfretted strings
These snippets illustrate the Notation Reference, section Unfretted string instruments.
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Changing \flageolet mark size
To make the \flageolet
circle smaller use the following Scheme
function.
smallFlageolet = #(let ((m (make-music 'ArticulationEvent 'articulation-type "flageolet"))) (ly:music-set-property! m 'tweaks (acons 'font-size -3 (ly:music-property m 'tweaks))) m) \layout { ragged-right = ##f } \relative c'' { d4^\flageolet_\markup { default size } d_\flageolet c4^\smallFlageolet_\markup { smaller } c_\smallFlageolet }
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Creating slurs across voices
In some situations, it may be necessary to create slurs between notes from different voices.
The solution is to add invisible notes to one of the voices, using
\hideNotes
.
This example is measure 235 of the Ciaconna from Bach’s 2nd Partita for solo violin, BWV 1004.
\relative c' { << { d16( a') s a s a[ s a] s a[ s a] } \\ { \slurUp bes,16[ s e]( \hideNotes a) \unHideNotes f[( \hideNotes a) \unHideNotes fis]( \hideNotes a) \unHideNotes g[( \hideNotes a) \unHideNotes gis]( \hideNotes a) } >> }
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Dotted harmonics
Artificial harmonics using \harmonic
do not show
dots. To override this behavior, set the context property
harmonicDots
.
\relative c''' { \time 3/4 \key f \major \set harmonicDots = ##t <bes f'\harmonic>2. ~ <bes f'\harmonic>4. <a e'\harmonic>8( <gis dis'\harmonic> <g d'\harmonic>) <fis cis'\harmonic>2. <bes f'\harmonic>2. }
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Snap-pizzicato markup ("Bartok pizzicato")
A snap-pizzicato (also known as "Bartok pizzicato") is a "strong pizzicato where the string is plucked vertically by snapping and rebounds off the fingerboard of the instrument" (Wikipedia). It is denoted by a cicle with a vertical line going from the center upwards outside the circle. While Lilypond does not have a pre-defined command to created this markup, it is easy to create a definition and place it directly into the lilypond file.
#(define-markup-command (snappizz layout props) () (interpret-markup layout props (markup #:stencil (ly:stencil-translate-axis (ly:stencil-add (make-circle-stencil 0.7 0.1 #f) (ly:make-stencil (list 'draw-line 0.1 0 0.1 0 1) '(-0.1 . 0.1) '(0.1 . 1))) 0.7 X)))) snapPizzicato = \markup \snappizz % now it can be used as \snappizzicato after the note/chord % Note that a direction (-, ^ or _) is required. \relative c' { c4^\snapPizzicato % This does NOT work: %<c e g>\snapPizzicato <c' e g>-\snapPizzicato <c' e g>^\snapPizzicato <c, e g>_\snapPizzicato }
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String quartet template (simple)
This template demonstrates a simple string quartet. It also uses a
\global
section for time and key signatures
global= { \time 4/4 \key c \major } violinOne = \new Voice \relative c'' { \set Staff.instrumentName = #"Violin 1 " c2 d e1 \bar "|." } violinTwo = \new Voice \relative c'' { \set Staff.instrumentName = #"Violin 2 " g2 f e1 \bar "|." } viola = \new Voice \relative c' { \set Staff.instrumentName = #"Viola " \clef alto e2 d c1 \bar "|." } cello = \new Voice \relative c' { \set Staff.instrumentName = #"Cello " \clef bass c2 b a1 \bar "|." } \score { \new StaffGroup << \new Staff << \global \violinOne >> \new Staff << \global \violinTwo >> \new Staff << \global \viola >> \new Staff << \global \cello >> >> \layout { } \midi { } }
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String quartet template with separate parts
The "String quartet template" snippet produces a nice string quartet,
but what if you needed to print parts? This new template demonstrates
how to use the \tag
feature to easily split a piece into
individual parts.
You need to split this template into separate files; the filenames are
contained in comments at the beginning of each file. piece.ly
contains all the music definitions. The other files – score.ly
,
vn1.ly
, vn2.ly
, vla.ly
, and vlc.ly
–
produce the appropriate part.
Do not forget to remove specified comments when using separate files!
%%%%% piece.ly %%%%% (This is the global definitions file) global= { \time 4/4 \key c \major } Violinone = \new Voice { \relative c''{ \set Staff.instrumentName = #"Violin 1 " c2 d e1 \bar "|." }} %********************************* Violintwo = \new Voice { \relative c''{ \set Staff.instrumentName = #"Violin 2 " g2 f e1 \bar "|." }} %********************************* Viola = \new Voice { \relative c' { \set Staff.instrumentName = #"Viola " \clef alto e2 d c1 \bar "|." }} %********************************* Cello = \new Voice { \relative c' { \set Staff.instrumentName = #"Cello " \clef bass c2 b a1 \bar "|."}} %********************************** music = { << \tag #'score \tag #'vn1 \new Staff { << \global \Violinone >> } \tag #'score \tag #'vn2 \new Staff { << \global \Violintwo>> } \tag #'score \tag #'vla \new Staff { << \global \Viola>> } \tag #'score \tag #'vlc \new Staff { << \global \Cello>> } >> } %%% These are the other files you need to save on your computer %%%%% score.ly %%%%% (This is the main file) %\include "piece.ly" %%% uncomment this line when using a separate file #(set-global-staff-size 14) \score { \new StaffGroup \keepWithTag #'score \music \layout { } \midi { } } %{ Uncomment this block when using separate files %%%%% vn1.ly %%%%% (This is the Violin 1 part file) \include "piece.ly" \score { \keepWithTag #'vn1 \music \layout { } } %%%%% vn2.ly %%%%% (This is the Violin 2 part file) \include "piece.ly" \score { \keepWithTag #'vn2 \music \layout { } } %%%%% vla.ly %%%%% (This is the Viola part file) \include "piece.ly" \score { \keepWithTag #'vla \music \layout { } } %%%%% vlc.ly %%%%% (This is the Cello part file) \include "piece.ly" \score { \keepWithTag #'vlc \music \layout { } } %}
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Winds
These snippets illustrate the Notation Reference, section Wind instruments.
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Flute slap notation
It is possible to indicate special articulation techniques such as flute’s "tongue slap", by replacing the note head with the appropriate glyph.
slap = #(define-music-function (parser location music) (ly:music?) #{ \override NoteHead #'stencil = #(lambda (grob) (grob-interpret-markup grob (markup #:musicglyph "scripts.sforzato"))) \override NoteHead #'extra-offset = #'(0.1 . 0.0) $music \revert NoteHead #'stencil \revert NoteHead #'extra-offset #}) \relative c' { c4 \slap c d r \slap { g a } b r }
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Ancient notation
These snippets illustrate the Notation Reference, section Ancient notation.
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Adding a figured bass above or below the notes
When writing a figured bass, here’s a way to specify if you want your
figures to be placed above or below the bass notes, by defining the
BassFigureAlignmentPositioning #'direction
property (exclusively
in a Staff
context). Choices are #UP
(or #1
),
#CENTER
(or #0
) and #DOWN
(or #-1
).
As you can see here, this property can be changed as many times as you
wish. Use \once \override
if you don’t want the tweak to apply
to the whole score.
bass = { \clef bass g4 b, c d e d8 c d2} continuo = \figuremode { < _ >4 < 6 >8 \once \override Staff.BassFigureAlignmentPositioning #'direction = #CENTER <5/> < _ >4 \override Staff.BassFigureAlignmentPositioning #'direction = #UP < _+ > < 6 > \set Staff.useBassFigureExtenders = ##t \override Staff.BassFigureAlignmentPositioning #'direction = #DOWN < 4 >4. < 4 >8 < _+ >4 } \score { << \new Staff = bassStaff \bass \context Staff = bassStaff \continuo >> }
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Ancient fonts
Shown here are many (all?) of the symbols that are included in LilyPond’s support for ancient notation.
upperStaff = \new VaticanaStaff = "upperStaff" << \context VaticanaVoice << \transpose c c { \override NoteHead #'style = #'vaticana.punctum \key es \major \clef "vaticana-fa2" c1 des e f ges \override NoteHead #'style = #'vaticana.inclinatum a! b ces' \bar "|" % \break % 1 (8*1) \override NoteHead #'style = #'vaticana.quilisma b! des'! ges! fes! \breathe \clef "vaticana-fa1" \override NoteHead #'style = #'vaticana.plica es d \override NoteHead #'style = #'vaticana.reverse.plica c d \bar "|" % \break %2 (8*1) \override NoteHead #'style = #'vaticana.punctum.cavum es f \override NoteHead #'style = #'vaticana.lpes g as \override NoteHead #'style = #'vaticana.upes bes as \override NoteHead #'style = #'vaticana.vupes g f \override NoteHead #'style = #'vaticana.linea.punctum \once \override Staff.BarLine #'bar-size = #2.0 \bar "|" % \break % 3 (8*1) es d \override NoteHead #'style = #'vaticana.epiphonus c d \override NoteHead #'style = #'vaticana.cephalicus es f \override Staff.KeySignature #'glyph-name-alist = #alteration-medicaea-glyph-name-alist \override Staff.Accidental #'glyph-name-alist = #alteration-medicaea-glyph-name-alist \override Staff.Custos #'style = #'medicaea \override NoteHead #'style = #'medicaea.punctum \clef "medicaea-fa2" ces des \bar "|" % \break % 4 (8*1) e! f! ges \clef "medicaea-do2" \override NoteHead #'style = #'medicaea.inclinatum a! b! ces' \override NoteHead #'style = #'medicaea.virga b! a! \bar "|" % \break % 5 (8*1) ges fes \clef "medicaea-fa1" \override NoteHead #'style = #'medicaea.rvirga e des ces \override Staff.KeySignature #'glyph-name-alist = #alteration-hufnagel-glyph-name-alist \override Staff.Accidental #'glyph-name-alist = #alteration-hufnagel-glyph-name-alist \override Staff.Custos #'style = #'hufnagel \override NoteHead #'style = #'hufnagel.punctum \clef "hufnagel-fa2" ces des es \bar "|" % \break % 6 (8*1) fes ges \clef "hufnagel-do2" \override NoteHead #'style = #'hufnagel.lpes as! bes! ces' \override NoteHead #'style = #'hufnagel.virga bes! as! \bar "|" % \break % 7 (8*1) ges! fes! \clef "hufnagel-do-fa" \override NoteHead #'style = #'hufnagel.punctum es! des ces des! es! fes! \bar "||" % \break % 8 (8*1) s32*1 % \break % 12 (32*1) } >> >> lowerStaff = \new MensuralStaff = "lowerStaff" << \context MensuralVoice << \transpose c c { \key a \major cis'1 d'\breve gis'\breve e'\breve \[ e'\longa fis'\longa \] \set Staff.forceClef = ##t \clef "neomensural-c2" cis1 \bar "|" % \break % 2 (16*1) \[ g\breve dis''\longa \] b\breve \[ a\longa d\longa \] \clef "petrucci-c2" % \break % 4 (16*1) fis1 ces1 \clef "petrucci-c2" r\longa \set Staff.forceClef = ##t \clef "mensural-c2" r\breve \bar "|" % \break % 5 (8*1) r2 \clef "mensural-g" r4 r8 r16 r16 \override NoteHead #'style = #'mensural \override Rest #'style = #'mensural \clef "petrucci-f" c8 b, c16 b, c32 b, c64 b, c64 b, d8 e d16 e d32 e d64 e d64 e r\longa \set Staff.forceClef = ##t \clef "petrucci-f" r\breve \bar "|" % \break % 6 (8*1) r\breve \clef "mensural-f" r2 r4 r8 r16 r16 \set Staff.forceClef = ##t \clef "mensural-f" e\breve f g a1 \clef "mensural-g" % \break % 7 (8*1) \[ bes'!\longa a'!\longa c''!\longa \] e'1 d' c' d' \bar "|" \bar "|" % \break % 9 (16*1) bes'!\longa fis'!1 as'!1 ges'!\longa % lig \set Staff.forceClef = ##t \clef "mensural-g" e'2 d' c' \bar "|" % \break % 11 (16*1) \set Staff.forceClef = ##t \clef "petrucci-g" c'2 d' e' f' \clef "petrucci-g" g' as'! bes'! cis''! bes'! as'! gis'! fis'! \set Staff.forceClef = ##t \clef "mensural-g" es'! des'! cis'!1 \bar "||" % \break % 12 (8*1) } >> >> \paper { line-thickness = #(/ staff-space 5.0) } \score { << \upperStaff \lowerStaff >> \layout { indent = 0.0 line-width = 17.25\cm \context { \Score timing = ##f } \context { \MensuralVoice \override NoteHead #'style = #'neomensural \override Rest #'style = #'neomensural \override Stem #'flag-style = #'mensural \override Stem #'thickness = #1.0 } \context { \MensuralStaff \revert BarLine #'transparent \override KeySignature #'glyph-name-alist = #alteration-mensural-glyph-name-alist clefGlyph = #"clefs.petrucci.c2" } \context { \VaticanaStaff \revert BarLine #'transparent \override StaffSymbol #'thickness = #2.0 \override KeySignature #'glyph-name-alist = #alteration-vaticana-glyph-name-alist \override Custos #'neutral-position = #4 } } }
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Ancient notation template – modern transcription of gregorian music
This example demonstrates how to do modern transcription of Gregorian music. Gregorian music has no measure, no stems; it uses only half and quarter note heads, and special marks, indicating rests of different length.
\include "gregorian.ly" chant = \relative c' { \set Score.timing = ##f f4 a2 \divisioMinima g4 b a2 f2 \divisioMaior g4( f) f( g) a2 \finalis } verba = \lyricmode { Lo -- rem ip -- sum do -- lor sit a -- met } \score { \new Staff << \new Voice = "melody" \chant \new Lyrics = "one" \lyricsto melody \verba >> \layout { \context { \Staff \remove "Time_signature_engraver" \remove "Bar_engraver" \override Stem #'transparent = ##t } \context { \Voice \override Stem #'length = #0 } \context { \Score barAlways = ##t } } }
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Ancient notation template – modern transcription of mensural music
When transcribing mensural music, an incipit at the beginning of the piece is useful to indicate the original key and tempo. While today musicians are used to bar lines in order to faster recognize rhythmic patterns, bar lines were not yet invented during the period of mensural music; in fact, the meter often changed after every few notes. As a compromise, bar lines are often printed between the staves rather than on the staves.
global = { \set Score.skipBars = ##t % incipit \once \override Score.SystemStartBracket #'transparent = ##t \override Score.SpacingSpanner #'spacing-increment = #1.0 % tight spacing \key f \major \time 2/2 \once \override Staff.TimeSignature #'style = #'neomensural \override Voice.NoteHead #'style = #'neomensural \override Voice.Rest #'style = #'neomensural \set Staff.printKeyCancellation = ##f \cadenzaOn % turn off bar lines \skip 1*10 \once \override Staff.BarLine #'transparent = ##f \bar "||" \skip 1*1 % need this extra \skip such that clef change comes % after bar line \bar "" % main \revert Score.SpacingSpanner #'spacing-increment % CHECK: no effect? \cadenzaOff % turn bar lines on again \once \override Staff.Clef #'full-size-change = ##t \set Staff.forceClef = ##t \key g \major \time 4/4 \override Voice.NoteHead #'style = #'default \override Voice.Rest #'style = #'default % FIXME: setting printKeyCancellation back to #t must not % occur in the first bar after the incipit. Dto. for forceClef. % Therefore, we need an extra \skip. \skip 1*1 \set Staff.printKeyCancellation = ##t \set Staff.forceClef = ##f \skip 1*7 % the actual music % let finis bar go through all staves \override Staff.BarLine #'transparent = ##f % finis bar \bar "|." } discantusNotes = { \transpose c' c'' { \set Staff.instrumentName = #"Discantus " % incipit \clef "neomensural-c1" c'1. s2 % two bars \skip 1*8 % eight bars \skip 1*1 % one bar % main \clef "treble" d'2. d'4 | b e' d'2 | c'4 e'4.( d'8 c' b | a4) b a2 | b4.( c'8 d'4) c'4 | \once \override NoteHead #'transparent = ##t c'1 | b\breve | } } discantusLyrics = \lyricmode { % incipit IV- % main Ju -- bi -- | la -- te De -- | o, om -- nis ter -- | ra, __ om- | "..." | -us. | } altusNotes = { \transpose c' c'' { \set Staff.instrumentName = #"Altus " % incipit \clef "neomensural-c3" r1 % one bar f1. s2 % two bars \skip 1*7 % seven bars \skip 1*1 % one bar % main \clef "treble" r2 g2. e4 fis g | % two bars a2 g4 e | fis g4.( fis16 e fis4) | g1 | \once \override NoteHead #'transparent = ##t g1 | g\breve | } } altusLyrics = \lyricmode { % incipit IV- % main Ju -- bi -- la -- te | % two bars De -- o, om -- | nis ter -- ra, | "..." | -us. | } tenorNotes = { \transpose c' c' { \set Staff.instrumentName = #"Tenor " % incipit \clef "neomensural-c4" r\longa % four bars r\breve % two bars r1 % one bar c'1. s2 % two bars \skip 1*1 % one bar \skip 1*1 % one bar % main \clef "treble_8" R1 | R1 | R1 | r2 d'2. d'4 b e' | % two bars \once \override NoteHead #'transparent = ##t e'1 | d'\breve | } } tenorLyrics = \lyricmode { % incipit IV- % main Ju -- bi -- la -- te | % two bars "..." | -us. | } bassusNotes = { \transpose c' c' { \set Staff.instrumentName = #"Bassus " % incipit \clef "bass" r\maxima % eight bars f1. s2 % two bars \skip 1*1 % one bar % main \clef "bass" R1 | R1 | R1 | R1 | g2. e4 | \once \override NoteHead #'transparent = ##t e1 | g\breve | } } bassusLyrics = \lyricmode { % incipit IV- % main Ju -- bi- | "..." | -us. | } \score { \new StaffGroup = choirStaff << \new Voice = "discantusNotes" << \global \discantusNotes >> \new Lyrics = "discantusLyrics" \lyricsto discantusNotes { \discantusLyrics } \new Voice = "altusNotes" << \global \altusNotes >> \new Lyrics = "altusLyrics" \lyricsto altusNotes { \altusLyrics } \new Voice = "tenorNotes" << \global \tenorNotes >> \new Lyrics = "tenorLyrics" \lyricsto tenorNotes { \tenorLyrics } \new Voice = "bassusNotes" << \global \bassusNotes >> \new Lyrics = "bassusLyrics" \lyricsto bassusNotes { \bassusLyrics } >> \layout { \context { \Score % no bars in staves \override BarLine #'transparent = ##t % incipit should not start with a start delimiter \remove "System_start_delimiter_engraver" } \context { \Voice % no slurs \override Slur #'transparent = ##t % Comment in the below "\remove" command to allow line % breaking also at those barlines where a note overlaps % into the next bar. The command is commented out in this % short example score, but especially for large scores, you % will typically yield better line breaking and thus improve % overall spacing if you comment in the following command. %\remove "Forbid_line_break_engraver" } } }
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Ancient time signatures
Time signatures may also be engraved in an old style.
{ \override Staff.TimeSignature #'style = #'neomensural s1 }
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Chant or psalms notation
This form of notation is used for the chant of the Psalms, where verses aren’t always the same length.
stemOn = { \revert Staff.Stem #'transparent } stemOff = { \override Staff.Stem #'transparent = ##t } \score { \new Staff \with { \remove "Time_signature_engraver" } { \key g \minor \cadenzaOn \stemOff a'\breve bes'4 g'4 \stemOn a'2 \bar "||" \stemOff a'\breve g'4 a'4 \stemOn f'2 \bar "||" \stemOff a'\breve^\markup { \italic flexe } \stemOn g'2 \bar "||" } }
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Custodes
Custodes may be engraved in various styles.
\layout { ragged-right = ##t } \new Staff \with { \consists "Custos_engraver" } \relative c' { \override Staff.Custos #'neutral-position = #4 \override Staff.Custos #'style = #'hufnagel c1^"hufnagel" \break <d a' f'>1 \override Staff.Custos #'style = #'medicaea c1^"medicaea" \break <d a' f'>1 \override Staff.Custos #'style = #'vaticana c1^"vaticana" \break <d a' f'>1 \override Staff.Custos #'style = #'mensural c1^"mensural" \break <d a' f'>1 }
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Incipit
Incipits can be added using the instrument name grob, but keeping separate the instrument name definition and the incipit definition.
incipit = #(define-music-function (parser location incipit-music) (ly:music?) #{ \once \override Staff.InstrumentName #'self-alignment-X = #RIGHT \once \override Staff.InstrumentName #'self-alignment-Y = #UP \once \override Staff.InstrumentName #'Y-offset = #4 \once \override Staff.InstrumentName #'padding = #0.3 \once \override Staff.InstrumentName #'stencil = #(lambda (grob) (let* ((instrument-name (ly:grob-property grob 'long-text)) (layout (ly:output-def-clone (ly:grob-layout grob))) (music (make-music 'SequentialMusic 'elements (list (make-music 'ContextSpeccedMusic 'context-type 'MensuralStaff 'element (make-music 'PropertySet 'symbol 'instrumentName 'value instrument-name)) $incipit-music))) (score (ly:make-score music)) (mm (ly:output-def-lookup layout 'mm)) (indent (ly:output-def-lookup layout 'indent)) (width (ly:output-def-lookup layout 'incipit-width)) (incipit-width (if (number? width) (* width mm) (* indent 0.5)))) (ly:output-def-set-variable! layout 'indent (- indent incipit-width)) (ly:output-def-set-variable! layout 'line-width indent) (ly:output-def-set-variable! layout 'ragged-right #f) (ly:output-def-set-variable! layout 'ragged-last #f) (ly:output-def-set-variable! layout 'system-count 1) (ly:score-add-output-def! score layout) (ly:grob-set-property! grob 'long-text (markup #:score score)) (ly:system-start-text::print grob))) #}) %%%%%%%%%%%%%%%%%%%%%%%%% global = { \set Score.skipBars = ##t \key g \major \time 4/4 % the actual music \skip 1*8 % let finis bar go through all staves \override Staff.BarLine #'transparent = ##f % finis bar \bar "|." } discantusIncipit = << \new MensuralVoice = "discantusIncipit" << \repeat unfold 9 { s1 \noBreak } { \clef "neomensural-c1" \key f \major \time 2/2 c''1. } >> \new Lyrics \lyricsto discantusIncipit { IV- } >> discantusNotes = { \transpose c' c'' { \clef "treble" d'2. d'4 | b e' d'2 | c'4 e'4.( d'8 c' b | a4) b a2 | b4.( c'8 d'4) c'4 | \once \override NoteHead #'transparent = ##t c'1 | b\breve | } } discantusLyrics = \lyricmode { Ju -- bi -- | la -- te De -- | o, om -- nis ter -- | ra, __ om- | "..." | -us. | } altusIncipit = << \new MensuralVoice = "altusIncipit" << \repeat unfold 9 { s1 \noBreak } { \clef "neomensural-c3" \key f \major \time 2/2 r1 f'1. } >> \new Lyrics \lyricsto altusIncipit { IV- } >> altusNotes = { \transpose c' c'' { \clef "treble" % two measures r2 g2. e4 fis g | a2 g4 e | fis g4.( fis16 e fis4) | g1 | \once \override NoteHead #'transparent = ##t g1 | g\breve | } } altusLyrics = \lyricmode { % two measures Ju -- bi -- la -- te | De -- o, om -- | nis ter -- ra, | "..." | -us. | } tenorIncipit = << \new MensuralVoice = "tenorIncipit" << \repeat unfold 9 { s1 \noBreak } { \clef "neomensural-c4" \key f \major \time 2/2 r\longa r\breve r1 c'1. } >> \new Lyrics \lyricsto tenorIncipit { IV- } >> tenorNotes = { \transpose c' c' { \once \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-6 . 3) \clef "treble_8" R1 | R1 | R1 | % two measures r2 d'2. d'4 b e' | \once \override NoteHead #'transparent = ##t e'1 | d'\breve | } } tenorLyrics = \lyricmode { % two measures Ju -- bi -- la -- te | "..." | -us. } bassusIncipit = << \new MensuralVoice = "bassusIncipit" << \repeat unfold 9 { s1 \noBreak } { \clef "bass" \key f \major \time 2/2 %% incipit r\maxima f1. } >> \new Lyrics \lyricsto bassusIncipit { IV- } >> bassusNotes = { \transpose c' c' { \clef "bass" R1 | R1 | R1 | R1 | g2. e4 | \once \override NoteHead #'transparent = ##t e1 | g\breve | } } bassusLyrics = \lyricmode { Ju -- bi- | "..." | -us. } \score { << \new StaffGroup = choirStaff << \new Voice = "discantusNotes" << \global \set Staff.instrumentName = #"Discantus" \incipit \discantusIncipit \discantusNotes >> \new Lyrics = "discantusLyrics" \lyricsto discantusNotes { \discantusLyrics } \new Voice = "altusNotes" << \global \set Staff.instrumentName = #"Altus" \incipit \altusIncipit \altusNotes >> \new Lyrics = "altusLyrics" \lyricsto altusNotes { \altusLyrics } \new Voice = "tenorNotes" << \global \set Staff.instrumentName = #"Tenor" \incipit \tenorIncipit \tenorNotes >> \new Lyrics = "tenorLyrics" \lyricsto tenorNotes { \tenorLyrics } \new Voice = "bassusNotes" << \global \set Staff.instrumentName = #"Bassus" \incipit \bassusIncipit \bassusNotes >> \new Lyrics = "bassusLyrics" \lyricsto bassusNotes { \bassusLyrics } >> >> \layout { \context { \Score %% no bar lines in staves or lyrics \override BarLine #'transparent = ##t } %% the next two instructions keep the lyrics between the bar lines \context { \Lyrics \consists "Bar_engraver" \consists "Separating_line_group_engraver" } \context { \Voice %% no slurs \override Slur #'transparent = ##t %% Comment in the below "\remove" command to allow line %% breaking also at those bar lines where a note overlaps %% into the next measure. The command is commented out in this %% short example score, but especially for large scores, you %% will typically yield better line breaking and thus improve %% overall spacing if you comment in the following command. %%\remove "Forbid_line_break_engraver" } indent = 6\cm incipit-width = 4\cm } }
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Mensurstriche layout (bar lines between the staves)
The mensurstriche-layout where the bar lines do not show on the staves
but between staves can be achieved with a StaffGroup
instead of
a ChoirStaff
. The bar line on staves is blanked out by setting
the transparent
property.
global = { \override Staff.BarLine #'transparent = ##t s1 s % the final bar line is not interrupted \revert Staff.BarLine #'transparent \bar "|." } \new StaffGroup \relative c'' { << \new Staff { << \global { c1 c } >> } \new Staff { << \global { c c } >> } >> }
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Rest styles
Rests may be used in various styles.
\layout { indent = 0.0 \context { \Staff \remove "Time_signature_engraver" } } \new Staff \relative c { \cadenzaOn \override Staff.Rest #'style = #'mensural r\maxima^\markup \typewriter { mensural } r\longa r\breve r1 r2 r4 r8 r16 s32 s64 s128 s128 \bar "" \override Staff.Rest #'style = #'neomensural r\maxima^\markup \typewriter { neomensural } r\longa r\breve r1 r2 r4 r8 r16 s32 s64 s128 s128 \bar "" \override Staff.Rest #'style = #'classical r\maxima^\markup \typewriter { classical } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 s128 \bar "" \override Staff.Rest #'style = #'default r\maxima^\markup \typewriter { default } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 s128 }
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Transcription of Ancient music with incipit
As a workaround to get real incipits which are independent from the main score these are included as a markup into the field normally used for the instrument name. As for now lyrics can only be added as a direct markup. It doesn’t unfortunately conform with the spacing of the main lyrics.
global = { \set Score.skipBars = ##t \key g \major \time 4/4 %make the staff lines invisible on staves \override Staff.BarLine #'transparent = ##t \skip 1*8 % the actual music % let finis bar go through all staves \override Staff.BarLine #'transparent = ##f % finis bar \bar "|." } discantusNotes = { \transpose c' c'' { \clef "treble" d'2. d'4 | b e' d'2 | c'4 e'4.( d'8 c' b | a4) b a2 | b4.( c'8 d'4) c'4 | \once \override NoteHead #'transparent = ##t c'1 | b\breve | } } discantusLyrics = \lyricmode { Ju -- bi -- | la -- te De -- | o, om -- nis ter -- | ra, __ om- | "..." | -us. | } altusNotes = { \transpose c' c'' { \clef "treble" r2 g2. e4 fis g | % two bars a2 g4 e | fis g4.( fis16 e fis4) | g1 | \once \override NoteHead #'transparent = ##t g1 | g\breve | } } altusLyrics = \lyricmode { Ju -- bi -- la -- te | % two bars De -- o, om -- | nis ter -- ra, | "..." | -us. | } tenorNotes = { \transpose c' c' { \clef "treble_8" R1 | R1 | R1 | r2 d'2. d'4 b e' | % two bars \once \override NoteHead #'transparent = ##t e'1 | d'\breve | } } tenorLyrics = \lyricmode { Ju -- bi -- la -- te | % two bars "..." | -us. } bassusNotes = { \transpose c' c' { \clef "bass" R1 | R1 | R1 | R1 | g2. e4 | \once \override NoteHead #'transparent = ##t e1 | g\breve | } } bassusLyrics = \lyricmode { Ju -- bi- | "..." | -us. } incipitDiscantus = \markup{ \score{ { \set Staff.instrumentName="Discantus " \override NoteHead #'style = #'neomensural \override Rest #'style = #'neomensural \override Staff.TimeSignature #'style = #'neomensural \cadenzaOn \clef "neomensural-c1" \key f \major \time 2/2 c''1._"IV-" s2 %two bars \skip 1*8 % eight bars } \layout { \context {\Voice \remove Ligature_bracket_engraver \consists Mensural_ligature_engraver } line-width=4.5\cm } } } incipitAltus = \markup{ \score{ { \set Staff.instrumentName="Altus " \override NoteHead #'style = #'neomensural \override Rest #'style = #'neomensural \override Staff.TimeSignature #'style = #'neomensural \cadenzaOn \clef "neomensural-c3" \key f \major \time 2/2 r1 % one bar f'1._"IV-" s2 % two bars \skip 1*7 % seven bars } \layout { \context {\Voice \remove Ligature_bracket_engraver \consists Mensural_ligature_engraver } line-width=4.5\cm } } } incipitTenor = \markup{ \score{ { \set Staff.instrumentName = "Tenor " \override NoteHead #'style = #'neomensural \override Rest #'style = #'neomensural \override Staff.TimeSignature #'style = #'neomensural \cadenzaOn \clef "neomensural-c4" \key f \major \time 2/2 r\longa % four bars r\breve % two bars r1 % one bar c'1._"IV-" s2 % two bars \skip 1 % one bar } \layout { \context {\Voice \remove Ligature_bracket_engraver \consists Mensural_ligature_engraver } line-width=4.5\cm } } } incipitBassus = \markup{ \score{ { \set Staff.instrumentName = "Bassus " \override NoteHead #'style = #'neomensural \override Rest #'style = #'neomensural \override Staff.TimeSignature #'style = #'neomensural \cadenzaOn \clef "bass" \key f \major \time 2/2 % incipit r\maxima % eight bars f1._"IV-" s2 % two bars } \layout { \context {\Voice \remove Ligature_bracket_engraver \consists Mensural_ligature_engraver } line-width=4.5\cm } } } %StaffGroup is used instead of ChoirStaff to get bar lines between systems \score { << \new StaffGroup = choirStaff << \new Voice = "discantusNotes" << \global \set Staff.instrumentName=\incipitDiscantus \discantusNotes >> \new Lyrics = "discantusLyrics" \lyricsto discantusNotes { \discantusLyrics } \new Voice = "altusNotes" << \global \set Staff.instrumentName=\incipitAltus \altusNotes >> \new Lyrics = "altusLyrics" \lyricsto altusNotes { \altusLyrics } \new Voice = "tenorNotes" << \global \set Staff.instrumentName=\incipitTenor \tenorNotes >> \new Lyrics = "tenorLyrics" \lyricsto tenorNotes { \tenorLyrics } \new Voice = "bassusNotes" << \global \set Staff.instrumentName=\incipitBassus \bassusNotes >> >> \new Lyrics = "bassusLyrics" \lyricsto bassusNotes { \bassusLyrics } %Keep the bass lyrics outside of the staff group to avoid bar lines %between the lyrics. >> \layout { \context { \Score % no bars in staves \override BarLine #'transparent = ##t } % the next three instructions keep the lyrics between the barlines \context { \Lyrics \consists "Bar_engraver" \override BarLine #'transparent = ##t } \context { \StaffGroup \consists "Separating_line_group_engraver" } \context { \Voice % no slurs \override Slur #'transparent = ##t % Comment in the below "\remove" command to allow line % breaking also at those barlines where a note overlaps % into the next bar. The command is commented out in this % short example score, but especially for large scores, you % will typically yield better line breaking and thus improve % overall spacing if you comment in the following command. %\remove "Forbid_line_break_engraver" } indent=5\cm } }
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World music
These snippets illustrate the Notation Reference, section World music.
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Arabic improvisation
For improvisations or taqasim which are
temporarily free, the time signature can be omitted and
\cadenzaOn
can be used. Adjusting the accidental style
might be required, since the absence of bar lines will cause the
accidental to be marked only once. Here is an example of what
could be the start of a hijaz improvisation:
\include "arabic.ly" \relative sol' { \key re \kurd #(set-accidental-style 'forget) \cadenzaOn sol4 sol sol sol fad mib sol1 fad8 mib re4. r8 mib1 fad sol }
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Makam example
Makam is a type of melody from Turkey using 1/9th-tone
microtonal alterations. Consult the initialization file
makam.ly
(see the ‘Learning Manual 2.12.2,
4.6.3 Other sources of information’ for the location of this file)
for details of pitch names and alterations.
% Initialize makam settings \include "makam.ly" \relative c' { \set Staff.keySignature = #`((3 . ,BAKIYE) (6 . ,(- KOMA))) c4 cc db fk gbm4 gfc gfb efk fk4 db cc c }
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Contexts and engravers
These snippets illustrate the Notation Reference, section Changing defaults.
See also Learning Manual, section Contexts and engravers.
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Adding a figured bass above or below the notes
When writing a figured bass, here’s a way to specify if you want your
figures to be placed above or below the bass notes, by defining the
BassFigureAlignmentPositioning #'direction
property (exclusively
in a Staff
context). Choices are #UP
(or #1
),
#CENTER
(or #0
) and #DOWN
(or #-1
).
As you can see here, this property can be changed as many times as you
wish. Use \once \override
if you don’t want the tweak to apply
to the whole score.
bass = { \clef bass g4 b, c d e d8 c d2} continuo = \figuremode { < _ >4 < 6 >8 \once \override Staff.BassFigureAlignmentPositioning #'direction = #CENTER <5/> < _ >4 \override Staff.BassFigureAlignmentPositioning #'direction = #UP < _+ > < 6 > \set Staff.useBassFigureExtenders = ##t \override Staff.BassFigureAlignmentPositioning #'direction = #DOWN < 4 >4. < 4 >8 < _+ >4 } \score { << \new Staff = bassStaff \bass \context Staff = bassStaff \continuo >> }
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Adding an extra staff at a line break
When adding a new staff at a line break, some extra space is
unfortunately added at the end of the line before the break (to fit in
a key signature change, which will never be printed anyway). The
workaround is to add a setting of
Staff.explicitKeySignatureVisibility
as is shown in the example.
In versions 2.10 and earlier, a similar setting for the time signatures
is also required (see the example).
\score { \new StaffGroup \relative c'' { \new Staff \key f \major c1 c^"Unwanted extra space" \break << { c1 c } \new Staff { \key f \major \once \override Staff.TimeSignature #'stencil = ##f c1 c } >> c1 c^"Fixed here" \break << { c1 c } \new Staff { \once \set Staff.explicitKeySignatureVisibility = #end-of-line-invisible % The next line is not needed in 2.11.x or later: \once \override Staff.TimeSignature #'break-visibility = #end-of-line-invisible \key f \major \once \override Staff.TimeSignature #'stencil = ##f c1 c } >> } }
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Adding an extra staff
An extra staff can be added (possibly temporarily) after the start of a piece.
\score { << \new Staff \relative c'' { c1 c c c c } \new StaffGroup \relative c'' { \new Staff { c1 c << c1 \new Staff { \once \override Staff.TimeSignature #'stencil = ##f c1 } >> c } } >> }
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Changing MIDI output to one channel per voice
When outputting MIDI, the default behavior is for each staff to represent one MIDI channel, with all the voices on a staff amalgamated. This minimizes the risk of running out of MIDI channels, since there are only 16 available per track.
However, by moving the Staff_performer
to the Voice
context, each voice on a staff can have its own MIDI channel, as is
demonstrated by the following example: despite being on the same staff,
two MIDI channels are created, each with a different
midiInstrument
.
\score { \new Staff << \new Voice \relative c''' { \set midiInstrument = #"flute" \voiceOne \key g \major \time 2/2 r2 g-"Flute" ~ g fis ~ fis4 g8 fis e2 ~ e4 d8 cis d2 } \new Voice \relative c'' { \set midiInstrument = #"clarinet" \voiceTwo b1-"Clarinet" a2. b8 a g2. fis8 e fis2 r } >> \layout { } \midi { \context { \Staff \remove "Staff_performer" } \context { \Voice \consists "Staff_performer" } \context { \Score tempoWholesPerMinute = #(ly:make-moment 72 2) } } }
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Changing time signatures inside a polymetric section using \scaleDurations
The measureLength
property, together with
measurePosition
, determines when a bar line is needed. However,
when using \scaleDurations
, the scaling of durations makes it
difficult to change time signatures. In this case, measureLength
should be set manually, using the ly:make-moment
callback. The
second argument must be the same as the second argument of
\scaleDurations
.
\layout { \context { \Score \remove "Timing_translator" \remove "Default_bar_line_engraver" } \context { \Staff \consists "Timing_translator" \consists "Default_bar_line_engraver" } } << \new Staff { \scaleDurations #'(8 . 5) { \time 6/8 \set Timing.measureLength = #(ly:make-moment 6 5) b8 b b b b b \time 2/4 \set Timing.measureLength = #(ly:make-moment 4 5) b4 b } } \new Staff { \clef bass \time 2/4 c2 d e f } >>
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Chant or psalms notation
This form of notation is used for the chant of the Psalms, where verses aren’t always the same length.
stemOn = { \revert Staff.Stem #'transparent } stemOff = { \override Staff.Stem #'transparent = ##t } \score { \new Staff \with { \remove "Time_signature_engraver" } { \key g \minor \cadenzaOn \stemOff a'\breve bes'4 g'4 \stemOn a'2 \bar "||" \stemOff a'\breve g'4 a'4 \stemOn f'2 \bar "||" \stemOff a'\breve^\markup { \italic flexe } \stemOn g'2 \bar "||" } }
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Creating blank staves
To create blank staves, generate empty measures then remove the
Bar_number_engraver
from the Score
context, and the
Time_signature_engraver
, Clef_engraver
and
Bar_engraver
from the Staff
context.
#(set-global-staff-size 20) \score { { \repeat unfold 12 { s1 \break } } \layout { indent = 0\in \context { \Staff \remove "Time_signature_engraver" \remove "Clef_engraver" \remove "Bar_engraver" } \context { \Score \remove "Bar_number_engraver" } } } \paper { #(set-paper-size "letter") ragged-last-bottom = ##f line-width = 7.5\in left-margin = 0.5\in bottom-margin = 0.25\in top-margin = 0.25\in }
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Engravers one-by-one
The notation problem, creating a certain symbol, is handled by plugins. Each plugin is called an Engraver. In this example, engravers are switched on one by one, in the following order:
- note heads
- staff symbol,
- clef,
- stem,
- beams, slurs, accents,
- accidentals, bar lines, time signature, and key signature.
Engravers are grouped. For example, note heads, slurs, beams etc. form a Voice context. Engravers for key, accidental, bar, etc. form a Staff context.
You may only see the first example in this document; please download this snippet and run it from your own computer.
%% sample music topVoice = \relative c' { \key d\major es8([ g] a[ fis]) b4 b16[-. b-. b-. cis-.] d4-> } botVoice = \relative c' { \key d\major c8[( f] b[ a)] es4 es16[-. es-. es-. fis-.] b4-> } hoom = \relative c { \key d \major \clef bass g8-. r r4 fis8-. r8 r4 b'4-> } pah = \relative c' { r8 b-. r4 r8 g8-. r16 g-. r8 \clef treble fis'4-> } % % setup for Request->Element conversion. Guru-only % MyStaff =\context { \type "Engraver_group" \name Staff \description "Handles clefs, bar lines, keys, accidentals. It can contain @code{Voice} contexts." \consists "Output_property_engraver" \consists "Font_size_engraver" \consists "Volta_engraver" \consists "Separating_line_group_engraver" \consists "Dot_column_engraver" \consists "Ottava_spanner_engraver" \consists "Rest_collision_engraver" \consists "Piano_pedal_engraver" \consists "Piano_pedal_align_engraver" \consists "Instrument_name_engraver" \consists "Grob_pq_engraver" \consists "Forbid_line_break_engraver" \consists "Axis_group_engraver" \consists "Pitch_squash_engraver" \override VerticalAxisGroup #'minimum-Y-extent = #'(-6 . 6) extraVerticalExtent = ##f verticalExtent = ##f localKeySignature = #'() % explicitly set instrument, so we don't get % weird effects when doing instrument names for % piano staves instrumentName = #'() shortInstrumentName = #'() \accepts "Voice" } MyVoice = \context { \type "Engraver_group" \name Voice \description " Corresponds to a voice on a staff. This context handles the conversion of dynamic signs, stems, beams, super- and subscripts, slurs, ties, and rests. You have to instantiate this explicitly if you want to have multiple voices on the same staff." localKeySignature = #'() \consists "Font_size_engraver" % must come before all \consists "Output_property_engraver" \consists "Arpeggio_engraver" \consists "Multi_measure_rest_engraver" \consists "Text_spanner_engraver" \consists "Grob_pq_engraver" \consists "Note_head_line_engraver" \consists "Glissando_engraver" \consists "Ligature_bracket_engraver" \consists "Breathing_sign_engraver" % \consists "Rest_engraver" \consists "Grace_beam_engraver" \consists "New_fingering_engraver" \consists "Chord_tremolo_engraver" \consists "Percent_repeat_engraver" \consists "Slash_repeat_engraver" %{ Must come before text_engraver, but after note_column engraver. %} \consists "Text_engraver" \consists "Dynamic_engraver" \consists "Fingering_engraver" \consists "Script_column_engraver" \consists "Rhythmic_column_engraver" \consists "Cluster_spanner_engraver" \consists "Tie_engraver" \consists "Tie_engraver" \consists "Tuplet_engraver" \consists "Note_heads_engraver" \consists "Rest_engraver" \consists "Skip_event_swallow_translator" } \score { \topVoice \layout { \context { \MyStaff } \context { \MyVoice } } } MyStaff = \context { \MyStaff \consists "Staff_symbol_engraver" } \score { \topVoice \layout { \context { \MyStaff } \context { \MyVoice } } } MyStaff = \context { \MyStaff \consists "Clef_engraver" \remove "Pitch_squash_engraver" } \score { \topVoice \layout { \context { \MyStaff } \context { \MyVoice } } } MyVoice = \context { \MyVoice \consists "Stem_engraver" } \score { \topVoice \layout { \context { \MyStaff } \context { \MyVoice } } } MyVoice = \context { \MyVoice \consists "Beam_engraver" } \score { \topVoice \layout { \context { \MyStaff } \context { \MyVoice } } } MyVoice= \context { \MyVoice \consists "Phrasing_slur_engraver" \consists "Slur_engraver" \consists "Script_engraver" } \score { \topVoice \layout { \context { \MyStaff } \context { \MyVoice } } } MyStaff = \context { \MyStaff \consists "Bar_engraver" \consists "Time_signature_engraver" } \score { \topVoice \layout { \context { \MyStaff } \context { \MyVoice } } } MyStaff = \context { \MyStaff \consists "Accidental_engraver" \consists "Key_engraver" } \score { \topVoice \layout { \context { \MyStaff } \context { \MyVoice } } }
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Mensurstriche layout (bar lines between the staves)
The mensurstriche-layout where the bar lines do not show on the staves
but between staves can be achieved with a StaffGroup
instead of
a ChoirStaff
. The bar line on staves is blanked out by setting
the transparent
property.
global = { \override Staff.BarLine #'transparent = ##t s1 s % the final bar line is not interrupted \revert Staff.BarLine #'transparent \bar "|." } \new StaffGroup \relative c'' { << \new Staff { << \global { c1 c } >> } \new Staff { << \global { c c } >> } >> }
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Nesting staves
The property systemStartDelimiterHierarchy
can be used to make
more complex nested staff groups. The command \set
StaffGroup.systemStartDelimiterHierarchy
takes an alphabetical list of
the number of staves produced. Before each staff a system start
delimiter can be given. It has to be enclosed in brackets and takes as
much staves as the brackets enclose. Elements in the list can be
omitted, but the first bracket takes always the complete number of
staves. The possibilities are SystemStartBar
,
SystemStartBracket
, SystemStartBrace
, and
SystemStartSquare
.
\new StaffGroup \relative c'' << \set StaffGroup.systemStartDelimiterHierarchy = #'(SystemStartSquare (SystemStartBrace (SystemStartBracket a (SystemStartSquare b) ) c ) d) \new Staff { c1 } \new Staff { c1 } \new Staff { c1 } \new Staff { c1 } \new Staff { c1 } >>
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Use square bracket at the start of a staff group
The system start delimiter SystemStartSquare
can be used by
setting it explicitly in a StaffGroup
or ChoirStaffGroup
context.
\score { \new StaffGroup { << \set StaffGroup.systemStartDelimiter = #'SystemStartSquare \new Staff { c'4 d' e' f' } \new Staff { c'4 d' e' f' } >> } }
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Vocal ensemble template with lyrics aligned below and above the staves
This template is basically the same as the simple "Vocal ensemble"
template, with the exception that here all the lyrics lines are placed
using alignAboveContext
and alignBelowContext
.
global = { \key c \major \time 4/4 } sopMusic = \relative c'' { c4 c c8[( b)] c4 } sopWords = \lyricmode { hi hi hi hi } altoMusic = \relative c' { e4 f d e } altoWords = \lyricmode { ha ha ha ha } tenorMusic = \relative c' { g4 a f g } tenorWords = \lyricmode { hu hu hu hu } bassMusic = \relative c { c4 c g c } bassWords = \lyricmode { ho ho ho ho } \score { \new ChoirStaff << \new Staff = women << \new Voice = "sopranos" { \voiceOne << \global \sopMusic >> } \new Voice = "altos" { \voiceTwo << \global \altoMusic >> } >> \new Lyrics \with { alignAboveContext = women } \lyricsto sopranos \sopWords \new Lyrics \with { alignBelowContext = women } \lyricsto altos \altoWords % we could remove the line about this with the line below, since we want % the alto lyrics to be below the alto Voice anyway. % \new Lyrics \lyricsto altos \altoWords \new Staff = men << \clef bass \new Voice = "tenors" { \voiceOne << \global \tenorMusic >> } \new Voice = "basses" { \voiceTwo << \global \bassMusic >> } >> \new Lyrics \with { alignAboveContext = men } \lyricsto tenors \tenorWords \new Lyrics \with { alignBelowContext = men } \lyricsto basses \bassWords % again, we could replace the line above this with the line below. % \new Lyrics \lyricsto basses \bassWords >> \layout { \context { % a little smaller so lyrics % can be closer to the staff \Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) } } }
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Tweaks and overrides
These snippets illustrate the Notation Reference, section Changing defaults.
See also Learning Manual, section Tweaking output.
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Analysis brackets above the staff
Simple horizontal analysis brackets are added below the staff by default. The following example shows a way to place them above the staff instead.
\layout { \context { \Voice \consists "Horizontal_bracket_engraver" } } \relative c'' { \once \override HorizontalBracket #'direction = #UP c2\startGroup d2\stopGroup }
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Avoiding collisions with chord fingerings
Fingerings and string numbers applied to individual notes will automatically avoid beams and stems, but this is not true by default for fingerings and string numbers applied to the individual notes of chords. The following example shows how this default behavior can be overridden.
\relative c' { \set fingeringOrientations = #'(up) \set stringNumberOrientations = #'(up) \set strokeFingerOrientations = #'(up) % Default behavior r8 <f c'-5>8 <f c'\5>8 <f c'-\rightHandFinger #2 >8 % Corrected to avoid collisions r8 \override Fingering #'add-stem-support = ##t <f c'-5>8 \override StringNumber #'add-stem-support = ##t <f c'\5>8 \override StrokeFinger #'add-stem-support = ##t <f c'-\rightHandFinger #2 >8 }
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Caesura ("railtracks") with fermata
A caesura is sometimes denoted by a double "railtracks" breath mark with a fermata sign positioned above. This snippet should present an optically pleasing combination of railtracks and fermata.
\relative c'' { c2. % construct the symbol \override BreathingSign #'text = \markup { \line { \musicglyph #"scripts.caesura.curved" \translate #'(-1.75 . 1.6) \musicglyph #"scripts.ufermata" } } \breathe c4 % set the breathe mark back to normal \revert BreathingSign #'text c2. \breathe c4 \bar "|." }
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Changing a single note’s size in a chord
Individual note heads in a chord can be modified with the
\tweak
command inside a chord, by altering the font-size
property.
Inside the chord (within the brackets < >
), before the note to
be altered, place the \tweak
command, followed by
#'font-size
and define the proper size like #-2
(a tiny
notehead).
\layout { ragged-right = ##t } \relative { <\tweak #'font-size #+2 c e g c \tweak #'font-size #-2 e>1^\markup { A tiny e }_\markup { A big c } }
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Changing form of multi-measure rests
If there are ten or fewer measures of rests, a series of longa
and breve rests (called in German "Kirchenpausen" - church rests)
is printed within the staff; otherwise a simple line is shown.
This default number of ten may be changed by overriding the
expand-limit
property:
\relative c'' { \compressFullBarRests R1*2 | R1*5 | R1*9 \override MultiMeasureRest #'expand-limit = #3 R1*2 | R1*5 | R1*9 }
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Changing properties for individual grobs
The \applyOutput
command allows the tuning of any layout
object, in any context. It requires a Scheme function with three
arguments.
#(define (mc-squared grob grob-origin context) (let* ( (ifs (ly:grob-interfaces grob)) (sp (ly:grob-property grob 'staff-position)) ) (if (memq 'note-head-interface ifs) (begin (ly:grob-set-property! grob 'stencil (grob-interpret-markup grob (make-lower-markup 0.5 (case sp ((-5) "m") ((-3) "c ") ((-2) (make-smaller-markup (make-bold-markup "2"))) (else "bla") )))) )))) \relative c' { <d f g b>2 \applyOutput #'Voice #mc-squared <d f g b>2 }
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Changing text and spanner styles for text dynamics
The text used for crescendos and decrescendos can be changed by
modifying the context properties crescendoText
and
decrescendoText
. The style of the spanner line can be
changed by modifying the 'style
property of
DynamicTextSpanner
. The default value is 'hairpin
,
and other possible values include 'line
, 'dashed-line
and 'dotted-line
:
\relative c'' { \set crescendoText = \markup { \italic { cresc. poco } } \set crescendoSpanner = #'text \override DynamicTextSpanner #'style = #'dotted-line a2\< a a2 a a2 a a2 a\mf }
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Changing the default text font family
The default font families for text can be overridden with
make-pango-font-tree
.
\paper { % change for other default global staff size. myStaffSize = #20 %{ run lilypond -dshow-available-fonts blabla to show all fonts available in the process log. %} #(define fonts (make-pango-font-tree "Times New Roman" "Nimbus Sans" "Luxi Mono" ;; "Helvetica" ;; "Courier" (/ myStaffSize 20))) } \relative c'' { c4^\markup { roman: foo \bold bla \italic bar \italic \bold baz } c'4_\markup { \override #'(font-family . sans) { sans: foo \bold bla \italic bar \italic \bold baz } } c'2^\markup { \override #'(font-family . typewriter) { mono: foo \bold bla \italic bar \italic \bold baz } } }
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Changing the staff size
Though the simplest way to resize staves is to use
#(set-global-staff-size xx)
, an individual staff’s size can be
changed by scaling the properties 'staff-space
and
fontSize
.
<< \new Staff { \relative c'' { \dynamicDown c8\ff c c c c c c c } } \new Staff \with { fontSize = #-3 \override StaffSymbol #'staff-space = #(magstep -3) } { \clef bass c8 c c c c\f c c c } >>
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Controlling the vertical ordering of scripts
The vertical ordering of scripts is controlled with the
'script-priority
property. The lower this number, the closer it
will be put to the note. In this example, the TextScript
(the
sharp symbol) first has the lowest priority, so it is put lowest in the
first example. In the second, the prall trill (the Script
) has
the lowest, so it is on the inside. When two objects have the same
priority, the order in which they are entered determines which one
comes first.
\relative c''' { \once \override TextScript #'script-priority = #-100 a2^\prall^\markup { \sharp } \once \override Script #'script-priority = #-100 a2^\prall^\markup { \sharp } }
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Controlling tuplet bracket visibility
The default behavior of tuplet-bracket visibility is to print a bracket
unless there is a beam of the same length as the tuplet. To control the
visibility of tuplet brackets, set the property
'bracket-visibility
to either #t
(always print a
bracket), #f
(never print a bracket) or #'if-no-beam
(only print a bracket if there is no beam).
music = \relative c'' { \times 2/3 { c16[ d e } f8] \times 2/3 { c8 d e } \times 2/3 { c4 d e } } \new Voice { \relative c' { << \music s4^"default" >> \override TupletBracket #'bracket-visibility = #'if-no-beam << \music s4^"'if-no-beam" >> \override TupletBracket #'bracket-visibility = ##t << \music s4^"#t" >> \override TupletBracket #'bracket-visibility = ##f << \music s4^"#f" >> } }
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Creating a delayed turn
Creating a delayed turn, where the lower note of the
turn uses the accidental, requires several overrides. The
outside-staff-priority
property must be set to #f
,
as otherwise this would take precedence over the
avoid-slur property
. The value of halign
is used
to position the turn horizontally.
\relative c'' { \once \override TextScript #'avoid-slur = #'inside \once \override TextScript #'outside-staff-priority = ##f c2(^\markup \tiny \override #'(baseline-skip . 1) { \halign #-4 \center-column { \sharp \musicglyph #"scripts.turn" } } d4.) c8 }
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Creating simultaneous rehearsal marks
Unlike text scripts, rehearsal marks cannot be stacked at a particular point
in a score: only one RehearsalMark
object is created. Using an
invisible measure and bar line, an extra rehearsal mark can be added, giving
the appearance of two marks in the same column.
This method may also prove useful for placing rehearsal marks at both the end of one system and the start of the following system.
{ \key a \major \set Score.markFormatter = #format-mark-box-letters \once \override Score.RehearsalMark #'outside-staff-priority = #5000 \once \override Score.RehearsalMark #'self-alignment-X = #LEFT \once \override Score.RehearsalMark #'break-align-symbols = #'(key-signature) \mark \markup { \bold { Senza denti } } % the hidden measure and bar line \once \override Score.TimeSignature #'stencil = ##f \time 1/16 s16 \bar "" \time 4/4 \once \override Score.RehearsalMark #'self-alignment-X = #LEFT \once \override Score.RehearsalMark #'break-align-symbols = #'(bar-line) \mark \markup { \box \bold Intro } d'1 \mark \default d'1 }
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Creating text spanners
The \startTextSpan
and \stopTextSpan
commands allow the creation of text spanners as easily as pedal
indications or octavations. Override some properties of the
TextSpanner
object to modify its output.
\paper { ragged-right = ##f } \relative c'' { \override TextSpanner #'(bound-details left text) = #"bla" \override TextSpanner #'(bound-details right text) = #"blu" a4 \startTextSpan b4 c a4 \stopTextSpan \override TextSpanner #'style = #'line \once \override TextSpanner #'(bound-details left stencil-align-dir-y) = #CENTER a4 \startTextSpan b4 c a4 \stopTextSpan \override TextSpanner #'style = #'dashed-line \override TextSpanner #'(bound-details left text) = \markup { \draw-line #'(0 . 1) } \override TextSpanner #'(bound-details right text) = \markup { \draw-line #'(0 . -2) } \once \override TextSpanner #'(bound-details right padding) = #-2 a4 \startTextSpan b4 c a4 \stopTextSpan \set Staff.middleCPosition = #-13 \override TextSpanner #'dash-period = #10 \override TextSpanner #'dash-fraction = #0.5 \override TextSpanner #'thickness = #10 a4 \startTextSpan b4 c a4 \stopTextSpan }
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Custodes
Custodes may be engraved in various styles.
\layout { ragged-right = ##t } \new Staff \with { \consists "Custos_engraver" } \relative c' { \override Staff.Custos #'neutral-position = #4 \override Staff.Custos #'style = #'hufnagel c1^"hufnagel" \break <d a' f'>1 \override Staff.Custos #'style = #'medicaea c1^"medicaea" \break <d a' f'>1 \override Staff.Custos #'style = #'vaticana c1^"vaticana" \break <d a' f'>1 \override Staff.Custos #'style = #'mensural c1^"mensural" \break <d a' f'>1 }
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Customizing fretboard fret diagrams
Fret diagram properties can be set through
'fret-diagram-details
. For FretBoard fret diagrams,
overrides are applied to the FretBoards.FretBoard
object.
Like Voice
, FretBoards
is a bottom level context,
therefore can be omitted in property overrides.
\include "predefined-guitar-fretboards.ly" \storePredefinedDiagram \chordmode { c' } #guitar-tuning #"x;1-1-(;3-2;3-3;3-4;1-1-);" << \new ChordNames { \chordmode { c1 c c d } } \new FretBoards { % Set global properties of fret diagram \override FretBoards.FretBoard #'size = #'1.2 \override FretBoard #'(fret-diagram-details finger-code) = #'in-dot \override FretBoard #'(fret-diagram-details dot-color) = #'white \chordmode { c \once \override FretBoard #'size = #'1.0 \once \override FretBoard #'(fret-diagram-details barre-type) = #'straight \once \override FretBoard #'(fret-diagram-details dot-color) = #'black \once \override FretBoard #'(fret-diagram-details finger-code) = #'below-string c' \once \override FretBoard #'(fret-diagram-details barre-type) = #'none \once \override FretBoard #'(fret-diagram-details number-type) = #'arabic \once \override FretBoard #'(fret-diagram-details orientation) = #'landscape \once \override FretBoard #'(fret-diagram-details mute-string) = #"M" \once \override FretBoard #'(fret-diagram-details label-dir) = #LEFT \once \override FretBoard #'(fret-diagram-details dot-color) = #'black c' \once \override FretBoard #'(fret-diagram-details finger-code) = #'below-string \once \override FretBoard #'(fret-diagram-details dot-radius) = #0.35 \once \override FretBoard #'(fret-diagram-details dot-position) = #0.5 \once \override FretBoard #'(fret-diagram-details fret-count) = #3 d } } \new Voice { c'1 c' c' d' } >>
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Customizing markup fret diagrams
Fret diagram properties can be set through
'fret-diagram-details
. For markup fret diagrams, overrides
can be applied to the Voice.TextScript
object or directly
to the markup.
<< \chords { c1 c c d } \new Voice = "mel" { \textLengthOn % Set global properties of fret diagram \override TextScript #'size = #'1.2 \override TextScript #'(fret-diagram-details finger-code) = #'in-dot \override TextScript #'(fret-diagram-details dot-color) = #'white %% C major for guitar, no barre, using defaults % terse style c'1^\markup { \fret-diagram-terse #"x;3-3;2-2;o;1-1;o;" } %% C major for guitar, barred on third fret % verbose style % size 1.0 % roman fret label, finger labels below string, straight barre c'1^\markup { % standard size \override #'(size . 1.0) { \override #'(fret-diagram-details . ( (number-type . roman-lower) (finger-code . in-dot) (barre-type . straight))) { \fret-diagram-verbose #'((mute 6) (place-fret 5 3 1) (place-fret 4 5 2) (place-fret 3 5 3) (place-fret 2 5 4) (place-fret 1 3 1) (barre 5 1 3)) } } } %% C major for guitar, barred on third fret % verbose style % landscape orientation, arabic numbers, M for mute string % no barre, fret label down or left, small mute label font c'1^\markup { \override #'(fret-diagram-details . ( (finger-code . below-string) (number-type . arabic) (label-dir . -1) (mute-string . "M") (orientation . landscape) (barre-type . none) (xo-font-magnification . 0.4) (xo-padding . 0.3))) { \fret-diagram-verbose #'((mute 6) (place-fret 5 3 1) (place-fret 4 5 2) (place-fret 3 5 3) (place-fret 2 5 4) (place-fret 1 3 1) (barre 5 1 3)) } } %% simple D chord % terse style % larger dots, centered dots, fewer frets % label below string d'1^\markup { \override #'(fret-diagram-details . ( (finger-code . below-string) (dot-radius . 0.35) (dot-position . 0.5) (fret-count . 3))) { \fret-diagram-terse #"x;x;o;2-1;3-2;2-3;" } } } >>
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Display bracket with only one staff in a system
If there is only one staff in one of the staff types
ChoirStaff
or StaffGroup
, the bracket and the starting
bar line will not be displayed as standard behavior. This can be changed
by overriding the relevant properties.
Note that in contexts such as PianoStaff
and GrandStaff
where the systems begin with a brace instead of a bracket, another
property has to be set, as shown on the second system in the example.
\markup \left-column { \score { \new StaffGroup << % Must be lower than the actual number of staff lines \override StaffGroup.SystemStartBracket #'collapse-height = #1 \override Score.SystemStartBar #'collapse-height = #1 \new Staff { c'1 } >> \layout { } } \score { \new PianoStaff << \override PianoStaff.SystemStartBrace #'collapse-height = #1 \override Score.SystemStartBar #'collapse-height = #1 \new Staff { c'1 } >> \layout { } } }
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Dotted harmonics
Artificial harmonics using \harmonic
do not show
dots. To override this behavior, set the context property
harmonicDots
.
\relative c''' { \time 3/4 \key f \major \set harmonicDots = ##t <bes f'\harmonic>2. ~ <bes f'\harmonic>4. <a e'\harmonic>8( <gis dis'\harmonic> <g d'\harmonic>) <fis cis'\harmonic>2. <bes f'\harmonic>2. }
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Drawing boxes around grobs
The print-function
can be overridden to draw a box around an
arbitrary grob.
\relative c'' { \override TextScript #'stencil = #(make-stencil-boxer 0.1 0.3 ly:text-interface::print) c'4^"foo" \override Stem #'stencil = #(make-stencil-boxer 0.05 0.25 ly:stem::print) \override Score.RehearsalMark #'stencil = #(make-stencil-boxer 0.15 0.3 ly:text-interface::print) b8 \revert Stem #'stencil c4. c4 \mark "F" c1 }
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Drawing circles around various objects
The \circle
markup command draws circles around various objects,
for example fingering indications. For other objects, specific tweaks
may be required: this example demonstrates two strategies for rehearsal
marks and measure numbers.
\relative c' { c1 \set Score.markFormatter = #(lambda (mark context) (make-circle-markup (format-mark-numbers mark context))) \mark \default c2 d^\markup { \override #'(thickness . 3) { \circle \finger 2 } } \override Score.BarNumber #'break-visibility = #all-visible \override Score.BarNumber #'stencil = #(make-stencil-circler 0.1 0.25 ly:text-interface::print) }
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Fine-tuning pedal brackets
The appearance of pedal brackets may be altered in different ways.
\paper { ragged-right = ##f } \relative c'' { c2\sostenutoOn c c2\sostenutoOff c \once \override Staff.PianoPedalBracket #'shorten-pair = #'(-7 . -2) c2\sostenutoOn c c2\sostenutoOff c \once \override Staff.PianoPedalBracket #'edge-height = #'(0 . 3) c2\sostenutoOn c c2\sostenutoOff c }
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Forcing horizontal shift of notes
When the typesetting engine cannot cope, the following syntax can be used to override typesetting decisions. The units of measure used here are staff spaces.
\relative c' << { <d g>2 <d g> } \\ { <b f'>2 \once \override NoteColumn #'force-hshift = #1.7 <b f'>2 } >>
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Fret diagrams explained and developed
This snippet shows many possibilities for obtaining and tweaking fret diagrams.
<< \chords { a2 a c2 c d1 } \new Voice = "mel" { \textLengthOn % Set global properties of fret diagram \override TextScript #'size = #1.2 \override TextScript #'fret-diagram-details #'finger-code = #'below-string \override TextScript #'fret-diagram-details #'dot-color = #'black %% A chord for ukelele a'2^\markup { \override #'(fret-diagram-details . ( (string-count . 4) (dot-color . white) (finger-code . in-dot))) { \fret-diagram #"4-2-2;3-1-1;2-o;1-o;" } } %% A chord for ukelele, with formatting defined in definition string % 1.2 * size, 4 strings, 4 frets, fingerings below string % dot radius .35 of fret spacing, dot position 0.55 of fret spacing a'2^\markup { \override #'(fret-diagram-details . ( (dot-color . white) (open-string . "o"))) { \fret-diagram #"s:1.2;w:4;h:3;f:2;d:0.35;p:0.55;4-2-2;3-1-1;2-o;1-o;" } } %% C major for guitar, barred on third fret % verbose style % roman fret label, finger labels below string, straight barre c'2^\markup { % 110% of default size \override #'(size . 1.1) { \override #'(fret-diagram-details . ( (number-type . roman-lower) (finger-code . below-string) (barre-type . straight))) { \fret-diagram-verbose #'((mute 6) (place-fret 5 3 1) (place-fret 4 5 2) (place-fret 3 5 3) (place-fret 2 5 4) (place-fret 1 3 1) (barre 5 1 3)) } } } %% C major for guitar, barred on third fret % verbose style c'2^\markup { % 110% of default size \override #'(size . 1.1) { \override #'(fret-diagram-details . ( (number-type . arabic) (dot-label-font-mag . 0.9) (finger-code . in-dot) (fret-label-font-mag . 0.6) (fret-label-vertical-offset . 0) (label-dir . -1) (mute-string . "M") (orientation . landscape) (xo-font-magnification . 0.4) (xo-padding . 0.3))) { \fret-diagram-verbose #'((mute 6) (place-fret 5 3 1) (place-fret 4 5 2) (place-fret 3 5 3) (place-fret 2 5 4) (place-fret 1 3 1) (barre 5 1 3)) } } } %% simple D chord d'1^\markup { \override #'(fret-diagram-details . ( (finger-code . below-string) (dot-radius . 0.35) (dot-position . 0.5) (fret-count . 3))) { \fret-diagram-terse #"x;x;o;2-1;3-2;2-3;" } } } >>
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Horizontally aligning custom dynamics (e.g. "sempre pp", "piu f", "subito p")
Some dynamic expressions involve additional text, like "sempre pp". Since lilypond aligns all dynamics centered on the note, the \pp would be displayed way after the note it applies to.
To correctly align the "sempre \pp" horizontally, so that it is aligned as if it were only the \pp, there are several approaches:
* Simply use \once\override DynamicText #'X-offset = #-9.2
before the note with the dynamics to manually shift it to the correct
position. Drawback: This has to be done manually each time you use that
dynamic markup... * Add some padding (#:hspace 7.1
) into the
definition of your custom dynamic mark, so that after lilypond
center-aligns it, it is already correctly aligned. Drawback: The
padding really takes up that space and does not allow any other markup
or dynamics to be shown in that position.
* Shift the dynamic script \once\override ... #'X-offset = ..
.
Drawback: \once\override
is needed for every invocation!
* Set the dimensions of the additional text to 0 (using
#:with-dimensions '(0 . 0) '(0 . 0)
). Drawback: To lilypond
"sempre" has no extent, so it might put other stuff there and create
collisions (which are not detected by the collision dection!). Also,
there seems to be some spacing, so it’s not exactly the same alignment
as without the additional text
* Add an explicit shifting directly inside the scheme function for the dynamic-script.
* Set an explicit alignment inside the dynamic-script. By default, this
won’t have any effect, only if one sets X-offset! Drawback: One needs
to set DynamicText #'X-offset
, which will apply to all dynamic
texts! Also, it is aligned at the right edge of the additional text,
not at the center of pp.
\header { title = "Horizontally aligning custom dynamics" } \layout { ragged-right = ##t } % Solution 1: Using a simple markup with a particular halign value % Drawback: It's a markup, not a dynamic command, so \dynamicDown etc. will have no effect semppMarkup = \markup { \halign #1.4 \italic "sempre" \dynamic "pp" } % Solution 2: Using a dynamic script and shifting with \once\override ... #'X-offset = .. % Drawback: \once\override needed for every invocation semppK = #(make-dynamic-script (markup #:line( #:normal-text #:italic "sempre" #:dynamic "pp"))) % Solution 3: Padding the dynamic script so the center-alignment puts it to the correct position % Drawback: the padding really reserves the space, nothing else can be there semppT = #( make-dynamic-script ( markup #:line ( #:normal-text #:italic "sempre" #:dynamic "pp" #:hspace 7.1 ) ) ) % Solution 4: Dynamic, setting the dimensions of the additional text to 0 % Drawback: To lilypond "sempre" has no extent, so it might put other stuff there => collisions % Drawback: Also, there seems to be some spacing, so it's not exactly the % same alignment as without the additional text semppM = #(make-dynamic-script (markup #:line( #:with-dimensions '(0 . 0) '(0 . 0) #:right-align #:normal-text #:italic "sempre" #:dynamic "pp"))) % Solution 5: Dynamic with explicit shifting inside the scheme function semppG = #(make-dynamic-script (markup #:hspace 0 #:translate (cons -18.85 0 ) #:line( #:normal-text #:italic "sempre" #:dynamic "pp")) ) % Solution 6: Dynamic with explicit alignment. This has only effect, if one sets X-offset! % Drawback: One needs to set DynamicText #'X-offset! % Drawback: Aligned at the right edge of the additional text, not at the center of pp semppMII = #(make-dynamic-script (markup #:line(#:right-align #:normal-text #:italic "sempre" #:dynamic "pp"))) \context StaffGroup << \context Staff="s" << \set Staff.instrumentName = "Normal" \relative c'' { \key es \major c4\pp c\p c c | c\ff c c\pp c } >> \context Staff="sMarkup" << \set Staff.instrumentName = \markup\column{"Normal" "Markup"} \relative c'' { \key es \major c4-\semppMarkup c\p c c | c\ff c c-\semppMarkup c} >> \context Staff="sK" << \set Staff.instrumentName = \markup\column{"Explicit" "shifting"} \relative c'' { \key es \major \once \override DynamicText #'X-offset = #-9.2 c4\semppK c\p c c | c\ff c \once \override DynamicText #'X-offset = #-9.2 c\semppK c } >> \context Staff="sT" << \set Staff.instrumentName = \markup\column{"Right" "padding"} \relative c'' { \key es \major c4\semppT c\p c c | c\ff c c\semppT c } >> \context Staff="sM" << \set Staff.instrumentName = \markup\column{"Setting" "dimension" "to zero"} \relative c'' { \key es \major c4\semppM c\p c c | c\ff c c\semppM c } >> \context Staff="sG" << \set Staff.instrumentName = \markup\column{"Shifting" "inside" "dynamics"} \relative c'' { \key es \major c4\semppG c\p c c | c\ff c c\semppG c} >> \context Staff="sMII" << \set Staff.instrumentName = \markup\column{"Alignment" "inside" "dynamics"} \relative c'' { \key es \major \override DynamicText #'X-offset = #0 % Setting to ##f (false) gives the same resul c4\semppMII c\p c c | c\ff c c\semppMII c } >> >>
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How to change fret diagram position
If you want to move the position of a fret diagram, for example, to avoid collision, or to place it between two notes, you have various possibilities:
1) modify #’padding or #’extra-offset values (as shown in the first snippet)
2) you can add an invisible voice and attach the fret diagrams to the invisible notes in that voice (as shown in the second example).
If you need to move the fret according with a rythmic position inside the bar (in the example, the third beat of the measure) the second example is better, because the fret is aligned with the third beat itself.
harmonies = \chordmode { a8:13 % THE FOLLOWING IS THE COMMAND TO MOVE THE CHORD NAME \once \override ChordNames.ChordName #'extra-offset = #'(10 . 0) b8:13 s2. % THIS LINE IS THE SECOND METHOD s4 s4 b4:13 } \score { << \context ChordNames \harmonies \context Staff {a8^\markup { \fret-diagram #"6-x;5-0;4-2;3-0;2-0;1-2;" } % THE FOLLOWING IS THE COMMAND TO MOVE THE FRET DIAGRAM \once \override TextScript #'extra-offset = #'(10 . 0) b4.~^\markup { \fret-diagram #"6-x;5-2;4-4;3-2;2-2;1-4;" } b4. a8\break % HERE IS THE SECOND METHOD << { a8 b4.~ b4. a8} { s4 s4 s4^\markup { \fret-diagram #"6-x;5-2;4-4;3-2;2-2;1-4;" } } >> } >> }
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Inserting a caesura
Caesura marks can be created by overriding the 'text
property of the BreathingSign
object. A curved caesura
mark is also available.
\relative c'' { \override BreathingSign #'text = \markup { \musicglyph #"scripts.caesura.straight" } c8 e4. \breathe g8. e16 c4 \override BreathingSign #'text = \markup { \musicglyph #"scripts.caesura.curved" } g8 e'4. \breathe g8. e16 c4 }
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Making an object invisible with the transparent property
Setting the 'transparent
property will cause an object to be
printed in "invisible ink": the object is not printed, but all its
other behavior is retained. The object still takes up space, it takes
part in collisions, and slurs, ties and beams can be attached to it.
This snippet demonstrates how to connect different voices using ties. Normally, ties only connect two notes in the same voice. By introducing a tie in a different voice, and blanking the first up-stem in that voice, the tie appears to cross voices. To prevent the blanked stem’s flag from interfering with tie positioning, the stem is extended.
\relative c'' { \time 2/4 << { \once \override Stem #'transparent = ##t \once \override Stem #'length = #8 b8 ~ b\noBeam \once \override Stem #'transparent = ##t \once \override Stem #'length = #8 g8 ~ g\noBeam } \\ { b8 g g e } >> }
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Manually controlling beam positions
Beam positions may be controlled manually, by overriding the
positions
setting of the Beam
grob.
\relative c' { \time 2/4 % from upper staff-line (position 2) to center (position 0) \override Beam #'positions = #'(2 . 0) c8 c % from center to one above center (position 1) \override Beam #'positions = #'(0 . 1) c8 c }
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Mensurstriche layout (bar lines between the staves)
The mensurstriche-layout where the bar lines do not show on the staves
but between staves can be achieved with a StaffGroup
instead of
a ChoirStaff
. The bar line on staves is blanked out by setting
the transparent
property.
global = { \override Staff.BarLine #'transparent = ##t s1 s % the final bar line is not interrupted \revert Staff.BarLine #'transparent \bar "|." } \new StaffGroup \relative c'' { << \new Staff { << \global { c1 c } >> } \new Staff { << \global { c c } >> } >> }
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Nesting staves
The property systemStartDelimiterHierarchy
can be used to make
more complex nested staff groups. The command \set
StaffGroup.systemStartDelimiterHierarchy
takes an alphabetical list of
the number of staves produced. Before each staff a system start
delimiter can be given. It has to be enclosed in brackets and takes as
much staves as the brackets enclose. Elements in the list can be
omitted, but the first bracket takes always the complete number of
staves. The possibilities are SystemStartBar
,
SystemStartBracket
, SystemStartBrace
, and
SystemStartSquare
.
\new StaffGroup \relative c'' << \set StaffGroup.systemStartDelimiterHierarchy = #'(SystemStartSquare (SystemStartBrace (SystemStartBracket a (SystemStartSquare b) ) c ) d) \new Staff { c1 } \new Staff { c1 } \new Staff { c1 } \new Staff { c1 } \new Staff { c1 } >>
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Percent repeat count visibility
Percent repeat counters can be shown at regular intervals by setting
the context property repeatCountVisibility
.
\relative c'' { \set countPercentRepeats = ##t \set repeatCountVisibility = #(every-nth-repeat-count-visible 5) \repeat percent 10 { c1 } \break \set repeatCountVisibility = #(every-nth-repeat-count-visible 2) \repeat percent 6 { c1 d1 } }
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Positioning multi-measure rests
Unlike ordinary rests, there is no predefined command to change the staff position of a multi-measure rest symbol of either form by attaching it to a note. However, in polyphonic music multi-measure rests in odd-numbered and even-numbered voices are vertically separated. The positioning of multi-measure rests can be controlled as follows:
\relative c'' { % Multi-measure rests by default are set under the second line R1 % They can be moved with an override \override MultiMeasureRest #'staff-position = #-2 R1 % A value of 0 is the default position; % the following trick moves the rest to the center line \override MultiMeasureRest #'staff-position = #-0.01 R1 % Multi-measure rests in odd-numbered voices are under the top line << { R1 } \\ { a1 } >> % Multi-measure rests in even-numbered voices are under the bottom line << { c1 } \\ { R1 } >> % They remain separated even in empty measures << { R1 } \\ { R1 } >> % This brings them together even though there are two voices \compressFullBarRests << \revert MultiMeasureRest #'staff-position { R1*3 } \\ \revert MultiMeasureRest #'staff-position { R1*3 } >> }
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Positioning text markups inside slurs
Text markups need to have the outside-staff-priority
property
set to false in order to be printed inside slurs.
\relative c'' { \override TextScript #'avoid-slur = #'inside \override TextScript #'outside-staff-priority = ##f c2(^\markup { \halign #-10 \natural } d4.) c8 }
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Printing a repeat sign at the beginning of a piece
A |:
bar line can be printed at the beginning of a piece, by
overriding the relevant property:
\relative c'' { \once \override Score.BreakAlignment #'break-align-orders = #(make-vector 3 '(instrument-name left-edge ambitus span-bar breathing-sign clef key-signature time-signature staff-bar custos span-bar)) \bar "|:" c1 d1 d4 e f g }
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Printing metronome and rehearsal marks below the staff
By default, metronome and rehearsal marks are printed above the staff.
To place them below the staff simply set the direction
property
of MetronomeMark
or RehearsalMark
appropriately.
\layout { ragged-right = ##f } { % Metronome marks below the staff \override Score.MetronomeMark #'direction = #DOWN \tempo 8. = 120 c''1 % Rehearsal marks below the staff \override Score.RehearsalMark #'direction = #DOWN \mark \default c''1 }
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Proportional strict notespacing
If strict-note-spacing
is set spacing of notes is not influenced
by bars or clefs within a system. Rather, they are placed just before
the note that occurs at the same time. This may cause collisions.
\paper { ragged-right = ##t } \relative c'' << \override Score.SpacingSpanner #'strict-note-spacing = ##t \set Score.proportionalNotationDuration = #(ly:make-moment 1 16) \new Staff { c8[ c \clef alto c c \grace { d16 } c8 c] c4 c2 \grace { c16[ c16] } c2 } \new Staff { c2 \times 2/3 { c8 \clef bass cis,, c } c4 c1 } >>
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Removing the first empty line
The first empty staff can also be removed from the score by setting the
VerticalAxisGroup
property remove-first
. This can be done
globally inside the \layout
block, or locally inside the
specific staff that should be removed. In the latter case, you have to
specify the context (Staff
applies only to the current staff) in
front of the property.
The lower staff of the second staff group is not removed, because the setting applies only to the specific staff inside of which it is written.
\layout { \context { \RemoveEmptyStaffContext % To use the setting globally, uncomment the following line: % \override VerticalAxisGroup #'remove-first = ##t } } \new StaffGroup << \new Staff \relative c' { e4 f g a \break c1 } \new Staff { % To use the setting globally, comment this line, % uncomment the line in the \layout block above \override Staff.VerticalAxisGroup #'remove-first = ##t R1 \break R } >> \new StaffGroup << \new Staff \relative c' { e4 f g a \break c1 } \new Staff { R1 \break R } >>
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Rest styles
Rests may be used in various styles.
\layout { indent = 0.0 \context { \Staff \remove "Time_signature_engraver" } } \new Staff \relative c { \cadenzaOn \override Staff.Rest #'style = #'mensural r\maxima^\markup \typewriter { mensural } r\longa r\breve r1 r2 r4 r8 r16 s32 s64 s128 s128 \bar "" \override Staff.Rest #'style = #'neomensural r\maxima^\markup \typewriter { neomensural } r\longa r\breve r1 r2 r4 r8 r16 s32 s64 s128 s128 \bar "" \override Staff.Rest #'style = #'classical r\maxima^\markup \typewriter { classical } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 s128 \bar "" \override Staff.Rest #'style = #'default r\maxima^\markup \typewriter { default } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 s128 }
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Rhythmic slashes
In "simple" lead-sheets, sometimes no actual notes are written,
instead only "rhythmic patterns" and chords above the measures are
notated giving the structure of a song. Such a feature is for example
useful while creating/transcribing the structure of a song and also
when sharing lead sheets with guitarists or jazz musicians. The
standard support for this using \repeat percent
is unsuitable
here since the first beat has to be an ordinary note or rest. This
example shows two solutions to this problem, by redefining ordinary
rests to be printed as slashes. (If the duration of each beat is not a
quarter note, replace the r4
in the definitions with a rest of
the appropriate duration).
% Macro to print single slash rs = { \once \override Rest #'stencil = #ly:percent-repeat-item-interface::beat-slash \once \override Rest #'thickness = #0.48 \once \override Rest #'slope = #1.7 r4 } % Function to print a specified number of slashes comp = #(define-music-function (parser location count) ( integer?) #{ \override Rest #'stencil = #ly:percent-repeat-item-interface::beat-slash \override Rest #'thickness = #0.48 \override Rest #'slope = #1.7 \repeat unfold $count { r4 } \revert Rest #'stencil #} ) \score { \relative c' { c4 d e f | \rs \rs \rs \rs | \comp #4 | } }
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Suppressing warnings for clashing note columns
If notes from two voices with stems in the same direction are
placed at the same position, and both voices have no shift or the
same shift specified, the error message "warning: ignoring too
many clashing note columns" will appear when compiling the
LilyPond file. This message can be suppressed by setting the
'ignore-collision
property of the NoteColumn
object
to #t
.
ignore = \override NoteColumn #'ignore-collision = ##t \relative c' { << \ignore { \stemDown f2 g } \\ { c2 c, } >> }
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Time signature in parentheses
The time signature can be enclosed within parentheses.
\relative c'' { \override Staff.TimeSignature #'stencil = #(lambda (grob) (bracketify-stencil (ly:time-signature::print grob) Y 0.1 0.2 0.1)) \time 2/4 a4 b8 c }
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Transcription of Ancient music with incipit
As a workaround to get real incipits which are independent from the main score these are included as a markup into the field normally used for the instrument name. As for now lyrics can only be added as a direct markup. It doesn’t unfortunately conform with the spacing of the main lyrics.
global = { \set Score.skipBars = ##t \key g \major \time 4/4 %make the staff lines invisible on staves \override Staff.BarLine #'transparent = ##t \skip 1*8 % the actual music % let finis bar go through all staves \override Staff.BarLine #'transparent = ##f % finis bar \bar "|." } discantusNotes = { \transpose c' c'' { \clef "treble" d'2. d'4 | b e' d'2 | c'4 e'4.( d'8 c' b | a4) b a2 | b4.( c'8 d'4) c'4 | \once \override NoteHead #'transparent = ##t c'1 | b\breve | } } discantusLyrics = \lyricmode { Ju -- bi -- | la -- te De -- | o, om -- nis ter -- | ra, __ om- | "..." | -us. | } altusNotes = { \transpose c' c'' { \clef "treble" r2 g2. e4 fis g | % two bars a2 g4 e | fis g4.( fis16 e fis4) | g1 | \once \override NoteHead #'transparent = ##t g1 | g\breve | } } altusLyrics = \lyricmode { Ju -- bi -- la -- te | % two bars De -- o, om -- | nis ter -- ra, | "..." | -us. | } tenorNotes = { \transpose c' c' { \clef "treble_8" R1 | R1 | R1 | r2 d'2. d'4 b e' | % two bars \once \override NoteHead #'transparent = ##t e'1 | d'\breve | } } tenorLyrics = \lyricmode { Ju -- bi -- la -- te | % two bars "..." | -us. } bassusNotes = { \transpose c' c' { \clef "bass" R1 | R1 | R1 | R1 | g2. e4 | \once \override NoteHead #'transparent = ##t e1 | g\breve | } } bassusLyrics = \lyricmode { Ju -- bi- | "..." | -us. } incipitDiscantus = \markup{ \score{ { \set Staff.instrumentName="Discantus " \override NoteHead #'style = #'neomensural \override Rest #'style = #'neomensural \override Staff.TimeSignature #'style = #'neomensural \cadenzaOn \clef "neomensural-c1" \key f \major \time 2/2 c''1._"IV-" s2 %two bars \skip 1*8 % eight bars } \layout { \context {\Voice \remove Ligature_bracket_engraver \consists Mensural_ligature_engraver } line-width=4.5\cm } } } incipitAltus = \markup{ \score{ { \set Staff.instrumentName="Altus " \override NoteHead #'style = #'neomensural \override Rest #'style = #'neomensural \override Staff.TimeSignature #'style = #'neomensural \cadenzaOn \clef "neomensural-c3" \key f \major \time 2/2 r1 % one bar f'1._"IV-" s2 % two bars \skip 1*7 % seven bars } \layout { \context {\Voice \remove Ligature_bracket_engraver \consists Mensural_ligature_engraver } line-width=4.5\cm } } } incipitTenor = \markup{ \score{ { \set Staff.instrumentName = "Tenor " \override NoteHead #'style = #'neomensural \override Rest #'style = #'neomensural \override Staff.TimeSignature #'style = #'neomensural \cadenzaOn \clef "neomensural-c4" \key f \major \time 2/2 r\longa % four bars r\breve % two bars r1 % one bar c'1._"IV-" s2 % two bars \skip 1 % one bar } \layout { \context {\Voice \remove Ligature_bracket_engraver \consists Mensural_ligature_engraver } line-width=4.5\cm } } } incipitBassus = \markup{ \score{ { \set Staff.instrumentName = "Bassus " \override NoteHead #'style = #'neomensural \override Rest #'style = #'neomensural \override Staff.TimeSignature #'style = #'neomensural \cadenzaOn \clef "bass" \key f \major \time 2/2 % incipit r\maxima % eight bars f1._"IV-" s2 % two bars } \layout { \context {\Voice \remove Ligature_bracket_engraver \consists Mensural_ligature_engraver } line-width=4.5\cm } } } %StaffGroup is used instead of ChoirStaff to get bar lines between systems \score { << \new StaffGroup = choirStaff << \new Voice = "discantusNotes" << \global \set Staff.instrumentName=\incipitDiscantus \discantusNotes >> \new Lyrics = "discantusLyrics" \lyricsto discantusNotes { \discantusLyrics } \new Voice = "altusNotes" << \global \set Staff.instrumentName=\incipitAltus \altusNotes >> \new Lyrics = "altusLyrics" \lyricsto altusNotes { \altusLyrics } \new Voice = "tenorNotes" << \global \set Staff.instrumentName=\incipitTenor \tenorNotes >> \new Lyrics = "tenorLyrics" \lyricsto tenorNotes { \tenorLyrics } \new Voice = "bassusNotes" << \global \set Staff.instrumentName=\incipitBassus \bassusNotes >> >> \new Lyrics = "bassusLyrics" \lyricsto bassusNotes { \bassusLyrics } %Keep the bass lyrics outside of the staff group to avoid bar lines %between the lyrics. >> \layout { \context { \Score % no bars in staves \override BarLine #'transparent = ##t } % the next three instructions keep the lyrics between the barlines \context { \Lyrics \consists "Bar_engraver" \override BarLine #'transparent = ##t } \context { \StaffGroup \consists "Separating_line_group_engraver" } \context { \Voice % no slurs \override Slur #'transparent = ##t % Comment in the below "\remove" command to allow line % breaking also at those barlines where a note overlaps % into the next bar. The command is commented out in this % short example score, but especially for large scores, you % will typically yield better line breaking and thus improve % overall spacing if you comment in the following command. %\remove "Forbid_line_break_engraver" } indent=5\cm } }
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Tweaking clef properties
The command \clef "treble_8"
is equivalent to setting
clefGlyph
, clefPosition
(which controls the vertical
position of the clef), middleCPosition
and
clefOctavation
. A clef is printed when any of the properties
except middleCPosition
are changed.
Note that changing the glyph, the position of the clef, or the
octavation does not in itself change the position of subsequent notes
on the staff: the position of middle C must also be specified to do
this. The positional parameters are relative to the staff center line,
positive numbers displacing upwards, counting one for each line and
space. The clefOctavation
value would normally be set to 7, -7,
15 or -15, but other values are valid.
When a clef change takes place at a line break the new clef symbol is
printed at both the end of the previous line and the beginning of the
new line by default. If the warning clef at the end of the previous
line is not required it can be suppressed by setting the Staff
property explicitClefVisibility
to the value
end-of-line-invisible
. The default behavior can be recovered
with \unset Staff.explicitClefVisibility
.
The following examples show the possibilities when setting these properties manually. On the first line, the manual changes preserve the standard relative positioning of clefs and notes, whereas on the second line, they do not.
\layout { ragged-right = ##t } { % The default treble clef c'1 % The standard bass clef \set Staff.clefGlyph = #"clefs.F" \set Staff.clefPosition = #2 \set Staff.middleCPosition = #6 c'1 % The baritone clef \set Staff.clefGlyph = #"clefs.C" \set Staff.clefPosition = #4 \set Staff.middleCPosition = #4 c'1 % The standard choral tenor clef \set Staff.clefGlyph = #"clefs.G" \set Staff.clefPosition = #-2 \set Staff.clefOctavation = #-7 \set Staff.middleCPosition = #1 c'1 % A non-standard clef \set Staff.clefPosition = #0 \set Staff.clefOctavation = #0 \set Staff.middleCPosition = #-4 c'1 \break % The following clef changes do not preserve % the normal relationship between notes and clefs: \set Staff.clefGlyph = #"clefs.F" \set Staff.clefPosition = #2 c'1 \set Staff.clefGlyph = #"clefs.G" c'1 \set Staff.clefGlyph = #"clefs.C" c'1 \set Staff.clefOctavation = #7 c'1 \set Staff.clefOctavation = #0 \set Staff.clefPosition = #0 c'1 % Return to the normal clef: \set Staff.middleCPosition = #0 c'1 }
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Using PostScript to generate special note head shapes
When a note head with a special shape cannot easily be generated with graphic markup, PostScript code can be used to generate the shape. This example shows how a parallelogram-shaped note head is generated.
parallelogram = #(ly:make-stencil (list 'embedded-ps "gsave currentpoint translate newpath 0 0.25 moveto 1.3125 0.75 lineto 1.3125 -0.25 lineto 0 -0.75 lineto closepath fill grestore" ) (cons 0 1.3125) (cons 0 0)) myNoteHeads = \override NoteHead #'stencil = \parallelogram normalNoteHeads = \revert NoteHead #'stencil \relative c'' { \myNoteHeads g4 d' \normalNoteHeads <f, \tweak #'stencil \parallelogram b e>4 d }
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Using the \tweak
command to tweak individual grobs
With the \tweak
command, every grob can be tuned directly. Here
are some examples of available tweaks.
\relative c' { \time 2/4 \set fingeringOrientations = #'(right) < \tweak #'font-size #3 c \tweak #'color #red d-\tweak #'font-size #8 -4 \tweak #'style #'cross g \tweak #'duration-log #2 a >2 }
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Vertically aligned dynamics and textscripts
By setting the 'Y-extent
property to a suitable value, all
DynamicLineSpanner
objects (hairpins and dynamic texts) can be
aligned to a common reference point, regardless of their actual extent.
This way, every element will be vertically aligned, thus producing a
more pleasing output.
The same idea is used to align the text scripts along their baseline.
music = \relative c'' { c2\p^\markup { gorgeous } c\f^\markup { fantastic } c4\p c\f\> c c\!\p } { \music \break \override DynamicLineSpanner #'staff-padding = #2.0 \override DynamicLineSpanner #'Y-extent = #'(-1.5 . 1.5) \override TextScript #'Y-extent = #'(-1.5 . 1.5) \music }
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Vertically aligning ossias and lyrics
This snippet demonstrates the use of the context properties
alignBelowContext
and alignAboveContext
to control the
positioning of lyrics and ossias.
\paper { ragged-right = ##t } \relative c' << \new Staff = "1" { c4 c s2 } \new Staff = "2" { c4 c s2 } \new Staff = "3" { c4 c s2 } { \skip 2 << \lyrics { \set alignBelowContext = #"1" lyrics4 below } \new Staff \with { alignAboveContext = #"3" fontSize = #-2 \override StaffSymbol #'staff-space = #(magstep -2) \remove "Time_signature_engraver" } { \times 4/6 { \override TextScript #'padding = #3 c8[^"ossia above" d e d e f] } } >> } >>
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Paper and layout
These snippets illustrate the Notation Reference, section Spacing issues.
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Aligning and centering instrument names
The horizontal alignment of instrument names is tweaked
by changing the Staff.InstrumentName #'self-alignment-X
property.
The \layout
variables indent
and short-indent
define the space in which the instrument names are aligned before the
first and the following systems, respectively.
\paper { left-margin = 3\cm } \score { \new StaffGroup << \new Staff { \override Staff.InstrumentName #'self-alignment-X = #LEFT \set Staff.instrumentName = \markup \left-column { "Left aligned" "instrument name" } \set Staff.shortInstrumentName = #"Left" c''1 \break c''1 } \new Staff { \override Staff.InstrumentName #'self-alignment-X = #CENTER \set Staff.instrumentName = \markup \center-column { Centered "instrument name" } \set Staff.shortInstrumentName = #"Centered" g'1 g'1 } \new Staff { \override Staff.InstrumentName #'self-alignment-X = #RIGHT \set Staff.instrumentName = \markup \right-column { "Right aligned" "instrument name" } \set Staff.shortInstrumentName = #"Right" e'1 e'1 } >> \layout { ragged-right = ##t indent = 4\cm short-indent = 2\cm } }
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Book parts
\bookpart
can be used to split a book into
several parts.
Each part last page can be affected by ragged-bottom-last
.
Header and footer markups can detect a part last page, and make the
difference with the book last page.
#(set-default-paper-size "a6") \book { %% book paper, which is inherited by all children bookparts \paper { ragged-last-bottom = ##t %% Page footer: add a different part-tagline at part last page oddFooterMarkup = \markup { \column { \fill-line { %% Copyright header field only on book first page. \on-the-fly #first-page \fromproperty #'header:copyright } \fill-line { %% Part tagline header field only on each part last page. \on-the-fly #part-last-page \fromproperty #'header:parttagline } \fill-line { %% Tagline header field only on book last page. \on-the-fly #last-page \fromproperty #'header:tagline } } } } %% book header, which is inherited by the first bookpart \header { title = "Book title" copyright = "Copyright line on book first page" parttagline = "Part tagline" tagline = "Book tagline" } \bookpart { %% a different page breaking function may be used on each part \paper { #(define page-breaking optimal-page-breaks) } \header { subtitle = "First part" } \markup { The first book part } \markup { a page break } \pageBreak \markup { first part last page } \markup \wordwrap { with ragged-last-bottom (see the space below this text) } } \bookpart { \header { subtitle = "Second part" } { c' } } }
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Changing the staff size
Though the simplest way to resize staves is to use
#(set-global-staff-size xx)
, an individual staff’s size can be
changed by scaling the properties 'staff-space
and
fontSize
.
<< \new Staff { \relative c'' { \dynamicDown c8\ff c c c c c c c } } \new Staff \with { fontSize = #-3 \override StaffSymbol #'staff-space = #(magstep -3) } { \clef bass c8 c c c c\f c c c } >>
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Clip systems
This code shows how to clip (extract) snippets from a full score.
This file needs to be run separately with -dclip-systems
; the
snippets page may not adequately show the results.
The result will be files named ‘base-from-start-to-end[-count].eps’.
- If system starts and ends are included, they include extents of the System grob, e.g., instrument names.
- Grace notes at the end point of the region are not included.
- Regions can span multiple systems. In this case, multiple EPS files are generated.
#(ly:set-option 'clip-systems) #(set! output-count 1) origScore = \score { \relative c' { \set Staff.instrumentName = #"bla" c1 d1 \grace c16 e1 \key d \major f1 \break \clef bass g,1 fis1 } } \book { \score { \origScore \layout { % Each clip-region is a (START . END) pair % where both are rhythmic-locations. % (make-rhythmic-locations BAR-NUMBER NUM DEN) % means NUM/DEN whole-notes into bar numbered BAR-NUMBER clip-regions = #(list (cons (make-rhythmic-location 2 0 1) (make-rhythmic-location 4 0 1)) (cons (make-rhythmic-location 0 0 1) (make-rhythmic-location 4 0 1)) (cons (make-rhythmic-location 0 0 1) (make-rhythmic-location 6 0 1)) ) } } } #(set! output-count 0) #(ly:set-option 'clip-systems #f) \book { \score { \origScore } \markup { \bold \fontsize #6 clips } \score { \lyrics { \markup { from-2.0.1-to-4.0.1-clip.eps } \markup { \epsfile #X #30.0 #(format #f "~a-1-from-2.0.1-to-4.0.1-clip.eps" (ly:parser-output-name parser)) } } } }
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Creating blank staves
To create blank staves, generate empty measures then remove the
Bar_number_engraver
from the Score
context, and the
Time_signature_engraver
, Clef_engraver
and
Bar_engraver
from the Staff
context.
#(set-global-staff-size 20) \score { { \repeat unfold 12 { s1 \break } } \layout { indent = 0\in \context { \Staff \remove "Time_signature_engraver" \remove "Clef_engraver" \remove "Bar_engraver" } \context { \Score \remove "Bar_number_engraver" } } } \paper { #(set-paper-size "letter") ragged-last-bottom = ##f line-width = 7.5\in left-margin = 0.5\in bottom-margin = 0.25\in top-margin = 0.25\in }
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Demonstrating all headers
All header fields with special meanings.
\header { copyright = "copyright" title = "title" subtitle = "subtitle" composer = "composer" arranger = "arranger" instrument = "instrument" metre = "metre" opus = "opus" piece = "piece" poet = "poet" texidoc = "All header fields with special meanings." copyright = "public domain" enteredby = "jcn" source = "urtext" } \layout { ragged-right = ##f } \score { \relative c'' { c1 | c | c | c } } \score { \relative c'' { c1 | c | c | c } \header { title = "localtitle" subtitle = "localsubtitle" composer = "localcomposer" arranger = "localarranger" instrument = "localinstrument" metre = "localmetre" opus = "localopus" piece = "localpiece" poet = "localpoet" copyright = "localcopyright" } }
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Table of contents
A table of contents is included using
\markuplines \table-of-contents
. The TOC items are
added with the \tocItem
command.
#(set-default-paper-size "a6") \book { \markuplines \table-of-contents \pageBreak \tocItem \markup { The first score } \score { { c'1 \pageBreak \mark "A" \tocItem \markup { Mark A } d'1 } } \pageBreak \tocItem \markup { The second score } \score { { e'1 } \header { piece = "Second score" } } }
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Titles
These snippets illustrate the Notation Reference, section Titles and headers.
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Adding the current date to a score
With a little Scheme code, the current date can easily be added to a score.
% first, define a variable to hold the formatted date: date = #(strftime "%d-%m-%Y" (localtime (current-time))) % use it in the title block: \header { title = "Including the date!" subtitle = \date } \score { \relative c'' { c4 c c c } } % and use it in a \markup block: \markup { \date }
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Aligning and centering instrument names
The horizontal alignment of instrument names is tweaked
by changing the Staff.InstrumentName #'self-alignment-X
property.
The \layout
variables indent
and short-indent
define the space in which the instrument names are aligned before the
first and the following systems, respectively.
\paper { left-margin = 3\cm } \score { \new StaffGroup << \new Staff { \override Staff.InstrumentName #'self-alignment-X = #LEFT \set Staff.instrumentName = \markup \left-column { "Left aligned" "instrument name" } \set Staff.shortInstrumentName = #"Left" c''1 \break c''1 } \new Staff { \override Staff.InstrumentName #'self-alignment-X = #CENTER \set Staff.instrumentName = \markup \center-column { Centered "instrument name" } \set Staff.shortInstrumentName = #"Centered" g'1 g'1 } \new Staff { \override Staff.InstrumentName #'self-alignment-X = #RIGHT \set Staff.instrumentName = \markup \right-column { "Right aligned" "instrument name" } \set Staff.shortInstrumentName = #"Right" e'1 e'1 } >> \layout { ragged-right = ##t indent = 4\cm short-indent = 2\cm } }
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Demonstrating all headers
All header fields with special meanings.
\header { copyright = "copyright" title = "title" subtitle = "subtitle" composer = "composer" arranger = "arranger" instrument = "instrument" metre = "metre" opus = "opus" piece = "piece" poet = "poet" texidoc = "All header fields with special meanings." copyright = "public domain" enteredby = "jcn" source = "urtext" } \layout { ragged-right = ##f } \score { \relative c'' { c1 | c | c | c } } \score { \relative c'' { c1 | c | c | c } \header { title = "localtitle" subtitle = "localsubtitle" composer = "localcomposer" arranger = "localarranger" instrument = "localinstrument" metre = "localmetre" opus = "localopus" piece = "localpiece" poet = "localpoet" copyright = "localcopyright" } }
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Spacing
These snippets illustrate the Notation Reference, section Spacing issues.
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Adjusting lyrics vertical spacing
This snippet shows how to bring the lyrics line closer to the staff.
% Default layout: << \new Staff \new Voice = melody \relative c' { c4 d e f g4 f e d c1 } \new Lyrics \lyricsto melody { aa aa aa aa aa aa aa aa aa } % Reducing the minimum space below the staff and above the lyrics: \new Staff \with { \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 4) } \new Voice = melody \relative c' { c4 d e f g4 f e d c1 } \new Lyrics \with { \override VerticalAxisGroup #'minimum-Y-extent = #'(-1.2 . 1) } \lyricsto melody { aa aa aa aa aa aa aa aa aa } >>
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Allowing fingerings to be printed inside the staff
By default, vertically oriented fingerings are positioned outside the staff. However, this behavior can be canceled.
\relative c' { <c-1 e-2 g-3 b-5>2 \once \override Fingering #'staff-padding = #'() <c-1 e-2 g-3 b-5>2 }
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Page label
Page labels may be placed inside music or at top-level, and referred to in markups.
#(set-default-paper-size "a6") #(define-markup-command (toc-line layout props label text) (symbol? markup?) (interpret-markup layout props (markup #:fill-line (text #:page-ref label "8" "?")))) \book { \markup \huge \fill-line { \null Title Page \null } \pageBreak \label #'toc \markup \column { \large \fill-line { \null Table of contents \null } \toc-line #'toc "Table of contents" \toc-line #'firstScore "First Score" \toc-line #'markA "Mark A" \toc-line #'markB "Mark B" \toc-line #'markC "Mark C" \toc-line #'unknown "Unknown label" } \pageBreak \label #'firstScore \score { \new Staff \relative c' { c2 c \mark \markup { A (page \concat { \page-ref #'markA "0" "?" ) } } \label #'markA c2 c \pageBreak \mark "B" \label #'markB d2 d d2 d \once \override Score.RehearsalMark #'break-visibility = #begin-of-line-invisible \mark "C" \label #'markC } \header { piece = "First score" } } }
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Proportional strict notespacing
If strict-note-spacing
is set spacing of notes is not influenced
by bars or clefs within a system. Rather, they are placed just before
the note that occurs at the same time. This may cause collisions.
\paper { ragged-right = ##t } \relative c'' << \override Score.SpacingSpanner #'strict-note-spacing = ##t \set Score.proportionalNotationDuration = #(ly:make-moment 1 16) \new Staff { c8[ c \clef alto c c \grace { d16 } c8 c] c4 c2 \grace { c16[ c16] } c2 } \new Staff { c2 \times 2/3 { c8 \clef bass cis,, c } c4 c1 } >>
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Vertically aligned dynamics and textscripts
By setting the 'Y-extent
property to a suitable value, all
DynamicLineSpanner
objects (hairpins and dynamic texts) can be
aligned to a common reference point, regardless of their actual extent.
This way, every element will be vertically aligned, thus producing a
more pleasing output.
The same idea is used to align the text scripts along their baseline.
music = \relative c'' { c2\p^\markup { gorgeous } c\f^\markup { fantastic } c4\p c\f\> c c\!\p } { \music \break \override DynamicLineSpanner #'staff-padding = #2.0 \override DynamicLineSpanner #'Y-extent = #'(-1.5 . 1.5) \override TextScript #'Y-extent = #'(-1.5 . 1.5) \music }
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Vertically aligning ossias and lyrics
This snippet demonstrates the use of the context properties
alignBelowContext
and alignAboveContext
to control the
positioning of lyrics and ossias.
\paper { ragged-right = ##t } \relative c' << \new Staff = "1" { c4 c s2 } \new Staff = "2" { c4 c s2 } \new Staff = "3" { c4 c s2 } { \skip 2 << \lyrics { \set alignBelowContext = #"1" lyrics4 below } \new Staff \with { alignAboveContext = #"3" fontSize = #-2 \override StaffSymbol #'staff-space = #(magstep -2) \remove "Time_signature_engraver" } { \times 4/6 { \override TextScript #'padding = #3 c8[^"ossia above" d e d e f] } } >> } >>
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MIDI
These snippets illustrate the Notation Reference, section MIDI output.
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Changing MIDI output to one channel per voice
When outputting MIDI, the default behavior is for each staff to represent one MIDI channel, with all the voices on a staff amalgamated. This minimizes the risk of running out of MIDI channels, since there are only 16 available per track.
However, by moving the Staff_performer
to the Voice
context, each voice on a staff can have its own MIDI channel, as is
demonstrated by the following example: despite being on the same staff,
two MIDI channels are created, each with a different
midiInstrument
.
\score { \new Staff << \new Voice \relative c''' { \set midiInstrument = #"flute" \voiceOne \key g \major \time 2/2 r2 g-"Flute" ~ g fis ~ fis4 g8 fis e2 ~ e4 d8 cis d2 } \new Voice \relative c'' { \set midiInstrument = #"clarinet" \voiceTwo b1-"Clarinet" a2. b8 a g2. fis8 e fis2 r } >> \layout { } \midi { \context { \Staff \remove "Staff_performer" } \context { \Voice \consists "Staff_performer" } \context { \Score tempoWholesPerMinute = #(ly:make-moment 72 2) } } }
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Demo MidiInstruments
Problem: How to know which midiInstrument
would be best for your
composition? Solution: A LilyPond demo file.
\header { title = "Demo of all midi sounds" arranger = "Myself " } baseMelody = \relative c' { c4.\mf g c16 b' c d e16 d e f g4 g'4 r R1 } melody = { \tempo 4 = 150 \baseMelody } \score { \new Staff << \new Voice \melody >> \layout { } } \score { \new Staff << \new Voice { r\mf \set Staff.midiInstrument = #"acoustic grand" \melody \set Staff.midiInstrument = #"bright acoustic" \melody \set Staff.midiInstrument = #"electric grand" \melody \set Staff.midiInstrument = #"honky-tonk" \melody \set Staff.midiInstrument = #"electric piano 1" \melody \set Staff.midiInstrument = #"electric piano 2" \melody \set Staff.midiInstrument = #"harpsichord" \melody \set Staff.midiInstrument = #"clav" \melody \set Staff.midiInstrument = #"celesta" \melody \set Staff.midiInstrument = #"glockenspiel" \melody \set Staff.midiInstrument = #"music box" \melody \set Staff.midiInstrument = #"vibraphone" \melody \set Staff.midiInstrument = #"marimba" \melody \set Staff.midiInstrument = #"xylophone" \melody \set Staff.midiInstrument = #"tubular bells" \melody \set Staff.midiInstrument = #"dulcimer" \melody \set Staff.midiInstrument = #"drawbar organ" \melody \set Staff.midiInstrument = #"percussive organ" \melody \set Staff.midiInstrument = #"rock organ" \melody \set Staff.midiInstrument = #"church organ" \melody \set Staff.midiInstrument = #"reed organ" \melody \set Staff.midiInstrument = #"accordion" \melody \set Staff.midiInstrument = #"harmonica" \melody \set Staff.midiInstrument = #"concertina" \melody \set Staff.midiInstrument = #"acoustic guitar (nylon)" \melody \set Staff.midiInstrument = #"acoustic guitar (steel)" \melody \set Staff.midiInstrument = #"electric guitar (jazz)" \melody \set Staff.midiInstrument = #"electric guitar (clean)" \melody \set Staff.midiInstrument = #"electric guitar (muted)" \melody \set Staff.midiInstrument = #"overdriven guitar" \melody \set Staff.midiInstrument = #"distorted guitar" \melody \set Staff.midiInstrument = #"acoustic bass" \melody \set Staff.midiInstrument = #"electric bass (finger)" \melody \set Staff.midiInstrument = #"electric bass (pick)" \melody \set Staff.midiInstrument = #"fretless bass" \melody \set Staff.midiInstrument = #"slap bass 1" \melody \set Staff.midiInstrument = #"slap bass 2" \melody \set Staff.midiInstrument = #"synth bass 1" \melody \set Staff.midiInstrument = #"synth bass 2" \melody \set Staff.midiInstrument = #"violin" \melody \set Staff.midiInstrument = #"viola" \melody \set Staff.midiInstrument = #"cello" \melody \set Staff.midiInstrument = #"contrabass" \melody \set Staff.midiInstrument = #"tremolo strings" \melody \set Staff.midiInstrument = #"pizzicato strings" \melody \set Staff.midiInstrument = #"orchestral strings" \melody \set Staff.midiInstrument = #"timpani" \melody \set Staff.midiInstrument = #"string ensemble 1" \melody \set Staff.midiInstrument = #"string ensemble 2" \melody \set Staff.midiInstrument = #"synthstrings 1" \melody \set Staff.midiInstrument = #"synthstrings 2" \melody \set Staff.midiInstrument = #"choir aahs" \melody \set Staff.midiInstrument = #"voice oohs" \melody \set Staff.midiInstrument = #"synth voice" \melody \set Staff.midiInstrument = #"orchestra hit" \melody \set Staff.midiInstrument = #"trumpet" \melody \set Staff.midiInstrument = #"trombone" \melody \set Staff.midiInstrument = #"tuba" \melody \set Staff.midiInstrument = #"muted trumpet" \melody \set Staff.midiInstrument = #"french horn" \melody \set Staff.midiInstrument = #"brass section" \melody \set Staff.midiInstrument = #"synthbrass 1" \melody \set Staff.midiInstrument = #"synthbrass 2" \melody \set Staff.midiInstrument = #"soprano sax" \melody \set Staff.midiInstrument = #"alto sax" \melody \set Staff.midiInstrument = #"tenor sax" \melody \set Staff.midiInstrument = #"baritone sax" \melody \set Staff.midiInstrument = #"oboe" \melody \set Staff.midiInstrument = #"english horn" \melody \set Staff.midiInstrument = #"bassoon" \melody \set Staff.midiInstrument = #"clarinet" \melody \set Staff.midiInstrument = #"piccolo" \melody \set Staff.midiInstrument = #"flute" \melody \set Staff.midiInstrument = #"recorder" \melody \set Staff.midiInstrument = #"pan flute" \melody \set Staff.midiInstrument = #"blown bottle" \melody \set Staff.midiInstrument = #"shakuhachi" \melody \set Staff.midiInstrument = #"whistle" \melody \set Staff.midiInstrument = #"ocarina" \melody \set Staff.midiInstrument = #"lead 1 (square)" \melody \set Staff.midiInstrument = #"lead 2 (sawtooth)" \melody \set Staff.midiInstrument = #"lead 3 (calliope)" \melody \set Staff.midiInstrument = #"lead 4 (chiff)" \melody \set Staff.midiInstrument = #"lead 5 (charang)" \melody \set Staff.midiInstrument = #"lead 6 (voice)" \melody \set Staff.midiInstrument = #"lead 7 (fifths)" \melody \set Staff.midiInstrument = #"lead 8 (bass+lead)" \melody \set Staff.midiInstrument = #"pad 1 (new age)" \melody \set Staff.midiInstrument = #"pad 2 (warm)" \melody \set Staff.midiInstrument = #"pad 3 (polysynth)" \melody \set Staff.midiInstrument = #"pad 4 (choir)" \melody \set Staff.midiInstrument = #"pad 5 (bowed)" \melody \set Staff.midiInstrument = #"pad 6 (metallic)" \melody \set Staff.midiInstrument = #"pad 7 (halo)" \melody \set Staff.midiInstrument = #"pad 8 (sweep)" \melody \set Staff.midiInstrument = #"fx 1 (rain)" \melody \set Staff.midiInstrument = #"fx 2 (soundtrack)" \melody \set Staff.midiInstrument = #"fx 3 (crystal)" \melody \set Staff.midiInstrument = #"fx 4 (atmosphere)" \melody \set Staff.midiInstrument = #"fx 5 (brightness)" \melody \set Staff.midiInstrument = #"fx 6 (goblins)" \melody \set Staff.midiInstrument = #"fx 7 (echoes)" \melody \set Staff.midiInstrument = #"fx 8 (sci-fi)" \melody \set Staff.midiInstrument = #"sitar" \melody \set Staff.midiInstrument = #"banjo" \melody \set Staff.midiInstrument = #"shamisen" \melody \set Staff.midiInstrument = #"koto" \melody \set Staff.midiInstrument = #"kalimba" \melody \set Staff.midiInstrument = #"bagpipe" \melody \set Staff.midiInstrument = #"fiddle" \melody \set Staff.midiInstrument = #"shanai" \melody \set Staff.midiInstrument = #"tinkle bell" \melody \set Staff.midiInstrument = #"agogo" \melody \set Staff.midiInstrument = #"steel drums" \melody \set Staff.midiInstrument = #"woodblock" \melody \set Staff.midiInstrument = #"taiko drum" \melody \set Staff.midiInstrument = #"melodic tom" \melody \set Staff.midiInstrument = #"synth drum" \melody \set Staff.midiInstrument = #"reverse cymbal" \melody \set Staff.midiInstrument = #"guitar fret noise" \melody \set Staff.midiInstrument = #"breath noise" \melody \set Staff.midiInstrument = #"seashore" \melody \set Staff.midiInstrument = #"bird tweet" \melody \set Staff.midiInstrument = #"telephone ring" \melody \set Staff.midiInstrument = #"helicopter" \melody \set Staff.midiInstrument = #"applause" \melody \set Staff.midiInstrument = #"gunshot" \melody } >> \midi { } }
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Templates
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Ancient notation template – modern transcription of gregorian music
This example demonstrates how to do modern transcription of Gregorian music. Gregorian music has no measure, no stems; it uses only half and quarter note heads, and special marks, indicating rests of different length.
\include "gregorian.ly" chant = \relative c' { \set Score.timing = ##f f4 a2 \divisioMinima g4 b a2 f2 \divisioMaior g4( f) f( g) a2 \finalis } verba = \lyricmode { Lo -- rem ip -- sum do -- lor sit a -- met } \score { \new Staff << \new Voice = "melody" \chant \new Lyrics = "one" \lyricsto melody \verba >> \layout { \context { \Staff \remove "Time_signature_engraver" \remove "Bar_engraver" \override Stem #'transparent = ##t } \context { \Voice \override Stem #'length = #0 } \context { \Score barAlways = ##t } } }
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Ancient notation template – modern transcription of mensural music
When transcribing mensural music, an incipit at the beginning of the piece is useful to indicate the original key and tempo. While today musicians are used to bar lines in order to faster recognize rhythmic patterns, bar lines were not yet invented during the period of mensural music; in fact, the meter often changed after every few notes. As a compromise, bar lines are often printed between the staves rather than on the staves.
global = { \set Score.skipBars = ##t % incipit \once \override Score.SystemStartBracket #'transparent = ##t \override Score.SpacingSpanner #'spacing-increment = #1.0 % tight spacing \key f \major \time 2/2 \once \override Staff.TimeSignature #'style = #'neomensural \override Voice.NoteHead #'style = #'neomensural \override Voice.Rest #'style = #'neomensural \set Staff.printKeyCancellation = ##f \cadenzaOn % turn off bar lines \skip 1*10 \once \override Staff.BarLine #'transparent = ##f \bar "||" \skip 1*1 % need this extra \skip such that clef change comes % after bar line \bar "" % main \revert Score.SpacingSpanner #'spacing-increment % CHECK: no effect? \cadenzaOff % turn bar lines on again \once \override Staff.Clef #'full-size-change = ##t \set Staff.forceClef = ##t \key g \major \time 4/4 \override Voice.NoteHead #'style = #'default \override Voice.Rest #'style = #'default % FIXME: setting printKeyCancellation back to #t must not % occur in the first bar after the incipit. Dto. for forceClef. % Therefore, we need an extra \skip. \skip 1*1 \set Staff.printKeyCancellation = ##t \set Staff.forceClef = ##f \skip 1*7 % the actual music % let finis bar go through all staves \override Staff.BarLine #'transparent = ##f % finis bar \bar "|." } discantusNotes = { \transpose c' c'' { \set Staff.instrumentName = #"Discantus " % incipit \clef "neomensural-c1" c'1. s2 % two bars \skip 1*8 % eight bars \skip 1*1 % one bar % main \clef "treble" d'2. d'4 | b e' d'2 | c'4 e'4.( d'8 c' b | a4) b a2 | b4.( c'8 d'4) c'4 | \once \override NoteHead #'transparent = ##t c'1 | b\breve | } } discantusLyrics = \lyricmode { % incipit IV- % main Ju -- bi -- | la -- te De -- | o, om -- nis ter -- | ra, __ om- | "..." | -us. | } altusNotes = { \transpose c' c'' { \set Staff.instrumentName = #"Altus " % incipit \clef "neomensural-c3" r1 % one bar f1. s2 % two bars \skip 1*7 % seven bars \skip 1*1 % one bar % main \clef "treble" r2 g2. e4 fis g | % two bars a2 g4 e | fis g4.( fis16 e fis4) | g1 | \once \override NoteHead #'transparent = ##t g1 | g\breve | } } altusLyrics = \lyricmode { % incipit IV- % main Ju -- bi -- la -- te | % two bars De -- o, om -- | nis ter -- ra, | "..." | -us. | } tenorNotes = { \transpose c' c' { \set Staff.instrumentName = #"Tenor " % incipit \clef "neomensural-c4" r\longa % four bars r\breve % two bars r1 % one bar c'1. s2 % two bars \skip 1*1 % one bar \skip 1*1 % one bar % main \clef "treble_8" R1 | R1 | R1 | r2 d'2. d'4 b e' | % two bars \once \override NoteHead #'transparent = ##t e'1 | d'\breve | } } tenorLyrics = \lyricmode { % incipit IV- % main Ju -- bi -- la -- te | % two bars "..." | -us. | } bassusNotes = { \transpose c' c' { \set Staff.instrumentName = #"Bassus " % incipit \clef "bass" r\maxima % eight bars f1. s2 % two bars \skip 1*1 % one bar % main \clef "bass" R1 | R1 | R1 | R1 | g2. e4 | \once \override NoteHead #'transparent = ##t e1 | g\breve | } } bassusLyrics = \lyricmode { % incipit IV- % main Ju -- bi- | "..." | -us. | } \score { \new StaffGroup = choirStaff << \new Voice = "discantusNotes" << \global \discantusNotes >> \new Lyrics = "discantusLyrics" \lyricsto discantusNotes { \discantusLyrics } \new Voice = "altusNotes" << \global \altusNotes >> \new Lyrics = "altusLyrics" \lyricsto altusNotes { \altusLyrics } \new Voice = "tenorNotes" << \global \tenorNotes >> \new Lyrics = "tenorLyrics" \lyricsto tenorNotes { \tenorLyrics } \new Voice = "bassusNotes" << \global \bassusNotes >> \new Lyrics = "bassusLyrics" \lyricsto bassusNotes { \bassusLyrics } >> \layout { \context { \Score % no bars in staves \override BarLine #'transparent = ##t % incipit should not start with a start delimiter \remove "System_start_delimiter_engraver" } \context { \Voice % no slurs \override Slur #'transparent = ##t % Comment in the below "\remove" command to allow line % breaking also at those barlines where a note overlaps % into the next bar. The command is commented out in this % short example score, but especially for large scores, you % will typically yield better line breaking and thus improve % overall spacing if you comment in the following command. %\remove "Forbid_line_break_engraver" } } }
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Jazz combo template
This is quite an advanced template, for a jazz ensemble. Note that all
instruments are notated in \key c \major
. This refers to the
key in concert pitch; the key will be automatically transposed if the
music is within a \transpose
section.
\header { title = "Song" subtitle = "(tune)" composer = "Me" meter = "moderato" piece = "Swing" tagline = \markup { \column { "LilyPond example file by Amelie Zapf," "Berlin 07/07/2003" } } } %#(set-global-staff-size 16) \include "english.ly" %%%%%%%%%%%% Some macros %%%%%%%%%%%%%%%%%%% sl = { \override NoteHead #'style = #'slash \override Stem #'transparent = ##t } nsl = { \revert NoteHead #'style \revert Stem #'transparent } crOn = \override NoteHead #'style = #'cross crOff = \revert NoteHead #'style %% insert chord name style stuff here. jazzChords = { } %%%%%%%%%%%% Keys'n'thangs %%%%%%%%%%%%%%%%% global = { \time 4/4 } Key = { \key c \major } % ############ Horns ############ % ------ Trumpet ------ trpt = \transpose c d \relative c'' { \Key c1 | c | c | } trpHarmony = \transpose c' d { \jazzChords } trumpet = { \global \set Staff.instrumentName = #"Trumpet" \clef treble << \trpt >> } % ------ Alto Saxophone ------ alto = \transpose c a \relative c' { \Key c1 | c | c | } altoHarmony = \transpose c' a { \jazzChords } altoSax = { \global \set Staff.instrumentName = #"Alto Sax" \clef treble << \alto >> } % ------ Baritone Saxophone ------ bari = \transpose c a' \relative c { \Key c1 c1 \sl d4^"Solo" d d d \nsl } bariHarmony = \transpose c' a \chordmode { \jazzChords s1 s d2:maj e:m7 } bariSax = { \global \set Staff.instrumentName = #"Bari Sax" \clef treble << \bari >> } % ------ Trombone ------ tbone = \relative c { \Key c1 | c | c } tboneHarmony = \chordmode { \jazzChords } trombone = { \global \set Staff.instrumentName = #"Trombone" \clef bass << \tbone >> } % ############ Rhythm Section ############# % ------ Guitar ------ gtr = \relative c'' { \Key c1 \sl b4 b b b \nsl c1 } gtrHarmony = \chordmode { \jazzChords s1 c2:min7+ d2:maj9 } guitar = { \global \set Staff.instrumentName = #"Guitar" \clef treble << \gtr >> } %% ------ Piano ------ rhUpper = \relative c'' { \voiceOne \Key c1 | c | c } rhLower = \relative c' { \voiceTwo \Key e1 | e | e } lhUpper = \relative c' { \voiceOne \Key g1 | g | g } lhLower = \relative c { \voiceTwo \Key c1 | c | c } PianoRH = { \clef treble \global \set Staff.midiInstrument = #"acoustic grand" << \new Voice = "one" \rhUpper \new Voice = "two" \rhLower >> } PianoLH = { \clef bass \global \set Staff.midiInstrument = "acoustic grand" << \new Voice = "one" \lhUpper \new Voice = "two" \lhLower >> } piano = { << \set PianoStaff.instrumentName = #"Piano" \new Staff = "upper" \PianoRH \new Staff = "lower" \PianoLH >> } % ------ Bass Guitar ------ Bass = \relative c { \Key c1 | c | c } bass = { \global \set Staff.instrumentName = #"Bass" \clef bass << \Bass >> } % ------ Drums ------ up = \drummode { \voiceOne hh4 <hh sn> hh <hh sn> hh4 <hh sn> hh <hh sn> hh4 <hh sn> hh <hh sn> } down = \drummode { \voiceTwo bd4 s bd s bd4 s bd s bd4 s bd s } drumContents = { \global << \set DrumStaff.instrumentName = #"Drums" \new DrumVoice \up \new DrumVoice \down >> } %%%%%%%%% It All Goes Together Here %%%%%%%%%%%%%%%%%%%%%% \score { << \new StaffGroup = "horns" << \new Staff = "trumpet" \trumpet \new Staff = "altosax" \altoSax \new ChordNames = "barichords" \bariHarmony \new Staff = "barisax" \bariSax \new Staff = "trombone" \trombone >> \new StaffGroup = "rhythm" << \new ChordNames = "chords" \gtrHarmony \new Staff = "guitar" \guitar \new PianoStaff = "piano" \piano \new Staff = "bass" \bass \new DrumStaff \drumContents >> >> \layout { \context { \RemoveEmptyStaffContext } \context { \Score \override BarNumber #'padding = #3 \override RehearsalMark #'padding = #2 skipBars = ##t } } \midi { } }
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Piano template (simple)
Here is a simple piano staff with some notes.
upper = \relative c'' { \clef treble \key c \major \time 4/4 a4 b c d } lower = \relative c { \clef bass \key c \major \time 4/4 a2 c } \score { \new PianoStaff << \set PianoStaff.instrumentName = #"Piano " \new Staff = "upper" \upper \new Staff = "lower" \lower >> \layout { } \midi { } }
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Piano template with centered dynamics
Many piano scores have the dynamics centered between the two staves. This requires a bit of tweaking to implement, but since the template is right here, you don’t have to do the tweaking yourself.
global = { \key c \major \time 4/4 } upper = \relative c'' { \clef treble a4 b c d } lower = \relative c { \clef bass a2 c } dynamics = { s2\fff\> s4 s\!\pp } pedal = { s2\sustainOn s\sustainOff } \score { \new PianoStaff = "PianoStaff_pf" << \new Staff = "Staff_pfUpper" \upper \new Dynamics = "Dynamics_pf" \dynamics \new Staff = "Staff_pfLower" << \lower >> \new Dynamics = "pedal" \pedal >> \layout { % define Dynamics context \context { \type "Engraver_group" \name Dynamics \alias Voice \consists "Output_property_engraver" \consists "Piano_pedal_engraver" \consists "Script_engraver" \consists "New_dynamic_engraver" \consists "Dynamic_align_engraver" \consists "Text_engraver" \consists "Skip_event_swallow_translator" \consists "Axis_group_engraver" pedalSustainStrings = #'("Ped." "*Ped." "*") pedalUnaCordaStrings = #'("una corda" "" "tre corde") \override DynamicLineSpanner #'Y-offset = #0 \override TextScript #'font-size = #2 \override TextScript #'font-shape = #'italic \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1) } % modify PianoStaff context to accept Dynamics context \context { \PianoStaff \accepts Dynamics } } } \score { \new PianoStaff = "PianoStaff_pf" << \new Staff = "Staff_pfUpper" << \global \upper \dynamics \pedal >> \new Staff = "Staff_pfLower" << \global \lower \dynamics \pedal >> >> \midi { } }
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Piano template with centered lyrics
Instead of having a full staff for the melody and lyrics, lyrics can be centered between the staves of a piano staff.
upper = \relative c'' { \clef treble \key c \major \time 4/4 a4 b c d } lower = \relative c { \clef bass \key c \major \time 4/4 a2 c } text = \lyricmode { Aaa Bee Cee Dee } \score { \new GrandStaff << \new Staff = upper { \new Voice = "singer" \upper } \new Lyrics \lyricsto "singer" \text \new Staff = lower { \lower } >> \layout { \context { \GrandStaff \accepts "Lyrics" } \context { \Lyrics \consists "Bar_engraver" } } \midi { } }
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Piano template with melody and lyrics
Here is a typical song format: one staff with the melody and lyrics, with piano accompaniment underneath.
melody = \relative c'' { \clef treble \key c \major \time 4/4 a b c d } text = \lyricmode { Aaa Bee Cee Dee } upper = \relative c'' { \clef treble \key c \major \time 4/4 a4 b c d } lower = \relative c { \clef bass \key c \major \time 4/4 a2 c } \score { << \new Voice = "mel" { \autoBeamOff \melody } \new Lyrics \lyricsto mel \text \new PianoStaff << \new Staff = "upper" \upper \new Staff = "lower" \lower >> >> \layout { \context { \RemoveEmptyStaffContext } } \midi { } }
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Score for diatonic accordion
A template to write a score for a diatonic accordion.
- There is a horizontal staff indicating if the accordion must be pushed (thick line) or pulled (thin line)
- There is a small rhythmic staff with lyrics that describes the bass buttons to press. The bar lines are made from gridlines
- The tabulator staff for diatonic accordions shows the geographic position of the buttons and not (as for every other instrument) the pitch of the notes; the keys on the melody-side of the accordion are placed in three columns and about 12 rows
In the tabulator staff notation the outermost column is described with notes between lines, the innermost column is described with notes between lines and a cross as accidental, and the middle column is described with notes on a line, whereby the row in the middle is represented on the middle line in the staff.
Some words to transpose piano notes to the diatonic accordion:
1. Every diatonic accordion is built for some keys only (for example,
for the keys of C major and F major), so it is important to transpose a
piano melody to match one of these keys. Transpose the source code, not
only the output because this code is required later on to translate it
once more to the tabulator staff. This can be done with the command
displayLilyMusic
.
2. You have to alternate the push- and pull-direction of the accordion regularly. If the player has a too long part to pull the accordion gets broken. On the other hand, some harmonies are only available in one direction. Considering this, decide which parts of the melody are the push-parts and which the pull-parts.
3. For each pull- or push-part translate the piano notes to the according tabulature representation.
This snippet comes with a useful optional macro for the jEdit text editor.
verse = \lyricmode { Wie gross bist du! Wie gross bist du! } harmonies = \new ChordNames \chordmode { \germanChords \set chordChanges = ##t bes8 bes8 bes8 es2 f bes1 } NoStem = \override Stem #'transparent = ##t NoNoteHead = \override NoteHead #'transparent = ##t ZeroBeam = \override Beam #'positions = #'(0 . 0) staffTabLine = \new Staff \with { \remove "Time_signature_engraver" \remove "Clef_engraver" } { \override Staff.StaffSymbol #'line-positions = #'(0) % Shows one horizontal line. The vertical line (simulating a bar-line) is simulated with a gridline \set Staff.midiInstrument = #"choir aahs" \key c \major \relative c'' { % disable the following line to see the the noteheads while writing the song \NoNoteHead \override NoteHead #'no-ledgers = ##t % The beam between 8th-notes is used to draw the push-line %How to fast write the push-lines: % 1. write repeatedly 'c c c c c c c c |' for the whole length of the song % 2. uncomment the line \NoNoteHead % 3. compile % 4. Mark the positions on which push/pull changes. % In the score-picture click on the position the push- or pull-part starts % (on the noteHead, the cursor will change to a hand-icon). % The cursor in the source code will jump just at this position. % a) If a push-part starts there, replace the 'c' by an 'e[' % b) If a pull-part starts there, replace the 'c' by an 's' % 5. Switch into 'overwrite-mode' by pressing the 'ins' key. % 6. For the pull-parts overwrite the 'c' with 's' % 7. For every push-part replace the last 'c' with 'e]' % 8. Switch into 'insert-mode' again % 9. At last it should look lik e.g. (s s e[ c | c c c c c c c c | c c c c c c e] s s) % 10. re-enable the line \NoNoteHead \autoBeamOff \ZeroBeam s8 s s e[ c c c c c c e] | s s s s s } } %{ %} % Accordion melody in tabulator score % 1. Place a copy of the piano melody below % 2. Separate piano melody into pull- and push-parts according to the staffTabLine you've already made % 3. For each line: Double the line. Remark the 1st one (Keeps unchanged as reference) and then change the second line using the transformation paper % or the macros 'conv2diaton push.bsh' and 'conv2diaton pull.bsh' % Tips: % - In jEdit Search & Replace mark the Option 'Keep Dialog' AccordionTabTwoCBesDur = { % pull 1 %<f' bes'>8 <f' a'>8 <d' bes'>8 | <g'' a''>8 <g'' b''>8 <e'' a''>8 | % push 2 %<g' c''>4 <f' d''> <g' ees''> <f' a'> | <g'' a''>4 <d'' eisis''> <g'' bisis''> <d'' f''> | % pull 3 % <f' bes'>2 r8 } <g'' a''>2 r8 } AccordionTab= { \dynamicUp % 1. Place a copy of the piano melody above % 2. Separate piano melody into pull- and push-parts according to the staffTabLine you've already made % 3. For each line: Double the line. Remark the 1st one (Keeps unchanged as reference) and then % change the second line using the transformation paper % Tips: % - In jEdit Search & Replace mark the Option 'Keep Dialog' % - \AccordionTabTwoCBesDur } \layout { \context { \Staff \consists "Grid_point_engraver" gridInterval = #(ly:make-moment 4 4) % 4/4 - tact. How many beats per bar % The following line has to be adjusted O-F-T-E-N. \override GridPoint #'Y-extent = #'(-2 . -21) } \context { \ChoirStaff \remove "System_start_delimiter_engraver" } } staffVoice = \new Staff=astaffvoice { \time 4/4 \set Staff.instrumentName="Voice" \set Staff.midiInstrument="voice oohs" \key bes \major \partial 8*3 \clef treble { \context Voice = "melodyVoi" { <f' bes'>8 <f' a'>8 <d' bes'>8 | <g' c''>4 <f' d''> <g' es''> <f' a'> | <f' bes'>2 r8 } \bar "|." } } staffAccordionMel = \new Staff \with { \remove "Clef_engraver" } { #(set-accidental-style 'forget) %Set the accidentals (Vorzeichen) for each note, %do not remember them for the rest of the measure. \time 4/4 \set Staff.instrumentName="Accordion" \set Staff.midiInstrument="voice oohs" \key c \major \clef treble { \AccordionTab \bar "|." } } AltOn = #(define-music-function (parser location mag) (number?) #{ \override Stem #'length = #$(* 7.0 mag) \override NoteHead #'font-size = #$(inexact->exact (* (/ 6.0 (log 2.0)) (log mag))) #}) AltOff = { \revert Stem #'length \revert NoteHead #'font-size } BassRhytm = {s4 s8 | c2 c2 | c2 s8 } LyricBassRhythmI= \lyricmode { c b | c } staffBassRhytm = \new Staff=staffbass \with { \remove "Clef_engraver" } { % This is not a RhythmicStaff because it must be possible to append lyrics. \override Score.GridLine #'extra-offset = #'( 13.0 . 0.0 ) % x.y \override Staff.StaffSymbol #'line-positions = #'( 0 ) % Shows one horizontal line. The vertical line (simulating a bar-line) is simulated by a grid % Search for 'grid' in this page to find all related functions \time 4/4 { \context Voice = "VoiceBassRhytm" \stemDown \AltOn #0.6 \relative c'' { \BassRhytm } \AltOff \bar "|." } } \new Score \with { \consists "Grid_line_span_engraver" %The vertical line (simulating a bar-line) in the staffBassRhytm is a gridline } \new ChoirStaff << \harmonies \staffVoice \context Lyrics = "lmelodyVoi" \with {alignBelowContext=astaffvoice} { \lyricsto "melodyVoi" \verse } \staffAccordionMel \staffTabLine \staffBassRhytm \context Lyrics = "lBassRhytmAboveI" \with {alignAboveContext=staffbass} \lyricsto VoiceBassRhytm \LyricBassRhythmI >> %}
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Single staff template with notes, lyrics, and chords
This template allows the preparation of a song with melody, words, and chords.
melody = \relative c' { \clef treble \key c \major \time 4/4 a4 b c d } text = \lyricmode { Aaa Bee Cee Dee } harmonies = \chordmode { a2 c } \score { << \new ChordNames { \set chordChanges = ##t \harmonies } \new Voice = "one" { \autoBeamOff \melody } \new Lyrics \lyricsto "one" \text >> \layout { } \midi { } }
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Single staff template with notes, lyrics, chords and frets
Here is a simple lead sheet template with melody, lyrics, chords and fret diagrams.
% Define the fret diagrams to be used cFretDiagram = \markup { \fret-diagram #"6-x;5-3-3;4-2-2;3-o;2-1-1;1-o;" } gFretDiagram = \markup { \fret-diagram #"6-3-2;5-2-1;4-o;3-o;2-o;1-3-3;" } verseI = \lyricmode { \set stanza = #"1." This is the first verse } verseII = \lyricmode { \set stanza = #"2." This is the second verse. } theChords = \new ChordNames { \chordmode { % insert the chords for chordnames here c2 g4 c } } staffMelody = \new Staff { \context Voice = "voiceMelody" { \key c \major \clef treble \relative c' { % Type notes and fret diagram markups here c4^\cFretDiagram d8 e f4^\gFretDiagram g^\cFretDiagram \bar "|." } } } \score { << \theChords \staffMelody \new Lyrics = "lyricsI" \lyricmode { \lyricsto "voiceMelody" \verseI } \new Lyrics = "lyricsII" \lyricmode { \lyricsto "voiceMelody" \verseII } >> \layout { } \midi { } }
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Single staff template with notes and chords
Want to prepare a lead sheet with a melody and chords? Look no further!
melody = \relative c' { \clef treble \key c \major \time 4/4 f4 e8[ c] d4 g a2 ~ a } harmonies = \chordmode { c4:m f:min7 g:maj c:aug d2:dim b:sus } \score { << \new ChordNames { \set chordChanges = ##t \harmonies } \new Staff \melody >> \layout{ } \midi { } }
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Single staff template with notes and lyrics
This small template demonstrates a simple melody with lyrics. Cut and paste, add notes, then words for the lyrics. This example turns off automatic beaming, which is common for vocal parts. To use automatic beaming, change or comment out the relevant line.
melody = \relative c' { \clef treble \key c \major \time 4/4 a4 b c d } text = \lyricmode { Aaa Bee Cee Dee } \score{ << \new Voice = "one" { \autoBeamOff \melody } \new Lyrics \lyricsto "one" \text >> \layout { } \midi { } }
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Single staff template with only notes
This very simple template gives you a staff with notes, suitable for a solo instrument or a melodic fragment. Cut and paste this into a file, add notes, and you’re finished!
melody = \relative c' { \clef treble \key c \major \time 4/4 a4 b c d } \score { \new Staff \melody \layout { } \midi { } }
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String quartet template (simple)
This template demonstrates a simple string quartet. It also uses a
\global
section for time and key signatures
global= { \time 4/4 \key c \major } violinOne = \new Voice \relative c'' { \set Staff.instrumentName = #"Violin 1 " c2 d e1 \bar "|." } violinTwo = \new Voice \relative c'' { \set Staff.instrumentName = #"Violin 2 " g2 f e1 \bar "|." } viola = \new Voice \relative c' { \set Staff.instrumentName = #"Viola " \clef alto e2 d c1 \bar "|." } cello = \new Voice \relative c' { \set Staff.instrumentName = #"Cello " \clef bass c2 b a1 \bar "|." } \score { \new StaffGroup << \new Staff << \global \violinOne >> \new Staff << \global \violinTwo >> \new Staff << \global \viola >> \new Staff << \global \cello >> >> \layout { } \midi { } }
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String quartet template with separate parts
The "String quartet template" snippet produces a nice string quartet,
but what if you needed to print parts? This new template demonstrates
how to use the \tag
feature to easily split a piece into
individual parts.
You need to split this template into separate files; the filenames are
contained in comments at the beginning of each file. piece.ly
contains all the music definitions. The other files – score.ly
,
vn1.ly
, vn2.ly
, vla.ly
, and vlc.ly
–
produce the appropriate part.
Do not forget to remove specified comments when using separate files!
%%%%% piece.ly %%%%% (This is the global definitions file) global= { \time 4/4 \key c \major } Violinone = \new Voice { \relative c''{ \set Staff.instrumentName = #"Violin 1 " c2 d e1 \bar "|." }} %********************************* Violintwo = \new Voice { \relative c''{ \set Staff.instrumentName = #"Violin 2 " g2 f e1 \bar "|." }} %********************************* Viola = \new Voice { \relative c' { \set Staff.instrumentName = #"Viola " \clef alto e2 d c1 \bar "|." }} %********************************* Cello = \new Voice { \relative c' { \set Staff.instrumentName = #"Cello " \clef bass c2 b a1 \bar "|."}} %********************************** music = { << \tag #'score \tag #'vn1 \new Staff { << \global \Violinone >> } \tag #'score \tag #'vn2 \new Staff { << \global \Violintwo>> } \tag #'score \tag #'vla \new Staff { << \global \Viola>> } \tag #'score \tag #'vlc \new Staff { << \global \Cello>> } >> } %%% These are the other files you need to save on your computer %%%%% score.ly %%%%% (This is the main file) %\include "piece.ly" %%% uncomment this line when using a separate file #(set-global-staff-size 14) \score { \new StaffGroup \keepWithTag #'score \music \layout { } \midi { } } %{ Uncomment this block when using separate files %%%%% vn1.ly %%%%% (This is the Violin 1 part file) \include "piece.ly" \score { \keepWithTag #'vn1 \music \layout { } } %%%%% vn2.ly %%%%% (This is the Violin 2 part file) \include "piece.ly" \score { \keepWithTag #'vn2 \music \layout { } } %%%%% vla.ly %%%%% (This is the Viola part file) \include "piece.ly" \score { \keepWithTag #'vla \music \layout { } } %%%%% vlc.ly %%%%% (This is the Cello part file) \include "piece.ly" \score { \keepWithTag #'vlc \music \layout { } } %}
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Vocal ensemble template with automatic piano reduction
This template adds an automatic piano reduction to the standard SATB
vocal score demonstrated in "Vocal ensemble template". This
demonstrates one of the strengths of LilyPond – you can use a music
definition more than once. If any changes are made to the vocal notes
(say, tenorMusic
), then the changes will also apply to the piano
reduction.
global = { \key c \major \time 4/4 } sopMusic = \relative c'' { c4 c c8[( b)] c4 } sopWords = \lyricmode { hi hi hi hi } altoMusic = \relative c' { e4 f d e } altoWords =\lyricmode { ha ha ha ha } tenorMusic = \relative c' { g4 a f g } tenorWords = \lyricmode { hu hu hu hu } bassMusic = \relative c { c4 c g c } bassWords = \lyricmode { ho ho ho ho } \score { << \new ChoirStaff << \new Lyrics = sopranos { s1 } \new Staff = women << \new Voice = sopranos { \voiceOne << \global \sopMusic >> } \new Voice = altos { \voiceTwo << \global \altoMusic >> } >> \new Lyrics = altos { s1 } \new Lyrics = tenors { s1 } \new Staff = men << \clef bass \new Voice = tenors { \voiceOne <<\global \tenorMusic >> } \new Voice = basses { \voiceTwo <<\global \bassMusic >> } >> \new Lyrics = basses { s1 } \context Lyrics = sopranos \lyricsto sopranos \sopWords \context Lyrics = altos \lyricsto altos \altoWords \context Lyrics = tenors \lyricsto tenors \tenorWords \context Lyrics = basses \lyricsto basses \bassWords >> \new PianoStaff << \new Staff << \set Staff.printPartCombineTexts = ##f \partcombine << \global \sopMusic >> << \global \altoMusic >> >> \new Staff << \clef bass \set Staff.printPartCombineTexts = ##f \partcombine << \global \tenorMusic >> << \global \bassMusic >> >> >> >> \layout { \context { % a little smaller so lyrics % can be closer to the staff \Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) } } }
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Vocal ensemble template with lyrics aligned below and above the staves
This template is basically the same as the simple "Vocal ensemble"
template, with the exception that here all the lyrics lines are placed
using alignAboveContext
and alignBelowContext
.
global = { \key c \major \time 4/4 } sopMusic = \relative c'' { c4 c c8[( b)] c4 } sopWords = \lyricmode { hi hi hi hi } altoMusic = \relative c' { e4 f d e } altoWords = \lyricmode { ha ha ha ha } tenorMusic = \relative c' { g4 a f g } tenorWords = \lyricmode { hu hu hu hu } bassMusic = \relative c { c4 c g c } bassWords = \lyricmode { ho ho ho ho } \score { \new ChoirStaff << \new Staff = women << \new Voice = "sopranos" { \voiceOne << \global \sopMusic >> } \new Voice = "altos" { \voiceTwo << \global \altoMusic >> } >> \new Lyrics \with { alignAboveContext = women } \lyricsto sopranos \sopWords \new Lyrics \with { alignBelowContext = women } \lyricsto altos \altoWords % we could remove the line about this with the line below, since we want % the alto lyrics to be below the alto Voice anyway. % \new Lyrics \lyricsto altos \altoWords \new Staff = men << \clef bass \new Voice = "tenors" { \voiceOne << \global \tenorMusic >> } \new Voice = "basses" { \voiceTwo << \global \bassMusic >> } >> \new Lyrics \with { alignAboveContext = men } \lyricsto tenors \tenorWords \new Lyrics \with { alignBelowContext = men } \lyricsto basses \bassWords % again, we could replace the line above this with the line below. % \new Lyrics \lyricsto basses \bassWords >> \layout { \context { % a little smaller so lyrics % can be closer to the staff \Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) } } }
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Vocal ensemble template
Here is a standard four-part SATB vocal score. With larger ensembles, it is often useful to include a section which is included in all parts. For example, the time signature and key signature are almost always the same for all parts. Like in the "Hymn" template, the four voices are regrouped on only two staves.
global = { \key c \major \time 4/4 } sopMusic = \relative c'' { c4 c c8[( b)] c4 } sopWords = \lyricmode { hi hi hi hi } altoMusic = \relative c' { e4 f d e } altoWords = \lyricmode { ha ha ha ha } tenorMusic = \relative c' { g4 a f g } tenorWords = \lyricmode { hu hu hu hu } bassMusic = \relative c { c4 c g c } bassWords = \lyricmode { ho ho ho ho } \score { \new ChoirStaff << \new Lyrics = sopranos { s1 } \new Staff = women << \new Voice = "sopranos" { \voiceOne << \global \sopMusic >> } \new Voice = "altos" { \voiceTwo << \global \altoMusic >> } >> \new Lyrics = "altos" { s1 } \new Lyrics = "tenors" { s1 } \new Staff = men << \clef bass \new Voice = "tenors" { \voiceOne << \global \tenorMusic >> } \new Voice = "basses" { \voiceTwo << \global \bassMusic >> } >> \new Lyrics = basses { s1 } \context Lyrics = sopranos \lyricsto sopranos \sopWords \context Lyrics = altos \lyricsto altos \altoWords \context Lyrics = tenors \lyricsto tenors \tenorWords \context Lyrics = basses \lyricsto basses \bassWords >> \layout { \context { % a little smaller so lyrics % can be closer to the staff \Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) } } }
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Table of Contents
- Pitches
- Adding ambitus per voice
- Ambitus with multiple voices
- Ambitus
- Applying note head styles depending on the step of the scale
- Coloring notes depending on their pitch
- Creating a sequence of notes on various pitches
- Dodecaphonic-style accidentals for each note including naturals
- Generating random notes
- Makam example
- Non-traditional key signatures
- Ottava text
- Preventing extra naturals from being automatically added
- Preventing natural signs from being printed when the key signature changes
- Quoting another voice with transposition
- Transposing music with minimum accidentals
- Tweaking clef properties
- Rhythms
- Adding beams, slurs, ties etc. when using tuplet and non-tuplet rythms.
- Adding drum parts
- Automatic beam subdivisions
- Automatic beams two per two in 4/4 or 2/2 time signature
- Avoiding collisions with chord fingerings
- Beam endings in Score context
- Beam grouping in 7/8 time
- Beams across line breaks
- Changing beam knee gap
- Changing form of multi-measure rests
- Changing text and spanner styles for text dynamics
- Changing the time signature without affecting the beaming
- Changing the tuplet number
- Changing time signatures inside a polymetric section using
\scaleDurations
- Chant or psalms notation
- Compound time signatures
- Conducting signs, measure grouping signs
- Controlling tuplet bracket visibility
- Engraving ties manually
- Entering several tuplets using only one \times command
- Flat flags and beam nibs
- Forcing rehearsal marks to start from a given letter or number
- Grouping beats
- Guitar strum rhythms
- Heavily customized polymetric time signatures
- Making an object invisible with the transparent property
- Manually controlling beam positions
- Merging multi-measure rests in a polyphonic part
- Modifying tuplet bracket length
- Multi-measure rest markup
- Permitting line breaks within beamed tuplets
- Positioning multi-measure rests
- Printing metronome and rehearsal marks below the staff
- Printing music with different time signatures
- Rest styles
- Reverting default beam endings
- Rhythmic slashes
- Skips in lyric mode (2)
- Skips in lyric mode
- Specifying context with beatGrouping
- Stemlets
- Sub-dividing beams
- Three-sided box
- Using beatLength and beatGrouping
- Using ties with arpeggios
- Expressive marks
- Adding beams, slurs, ties etc. when using tuplet and non-tuplet rythms.
- Adding parentheses around an expressive mark or chordal note
- Adjusting the shape of falls and doits
- Breathing signs
- Broken crescendo hairpin
- Caesura ("railtracks") with fermata
- Center text below hairpin dynamics
- Changing \flageolet mark size
- Changing text and spanner styles for text dynamics
- Changing the appearance of a slur from solid to dotted or dashed
- Changing the breath mark symbol
- Combining dynamics with markup texts
- Contemporary glissando
- Controlling the vertical ordering of scripts
- Creating a delayed turn
- Creating arpeggios across notes in different voices
- Creating cross-staff arpeggios in a piano staff
- Creating cross-staff arpeggios in other contexts
- Creating "real" parenthesized dynamics
- Creating simultaneous rehearsal marks
- Creating slurs across voices
- Creating text spanners
- Double glissando
- Hiding the extender line for text dynamics
- Horizontally aligning custom dynamics (e.g. "sempre pp", "piu f", "subito p")
- Inserting a caesura
- Laissez vibrer ties
- Line arrows
- Modifying default values for articulation shorthand notation
- Piano template with centered dynamics
- Positioning text markups inside slurs
- Printing hairpins using al niente notation
- Printing metronome and rehearsal marks below the staff
- Setting hairpin behavior at bar lines
- Setting the minimum length of hairpins
- Snap-pizzicato markup ("Bartok pizzicato")
- Using double slurs for legato chords
- Vertically aligning dynamics across multiple notes
- Repeats
- Adding volta brackets to additional staves
- Isolated percent repeats
- Measure counter
- Percent repeat count visibility
- Percent repeat counter
- Positioning segno and coda (with line break)
- Printing a repeat sign at the beginning of a piece
- Shortening volta brackets
- Volta under chords
- Volta multi-staff
- Volta text markup using
repeatCommands
- Simultaneous notes
- Staff notation
- Adding ambitus per voice
- Adding an extra staff at a line break
- Adding an extra staff
- Changing the number of lines in a staff
- Changing the staff size
- Changing the tempo without a metronome mark
- Creating blank staves
- Creating metronome marks in markup mode
- Display bracket with only one staff in a system
- Incipit
- Inserting score fragments above a staff, as markups
- Letter tablature formatting
- Making some staff lines thicker than the others
- Measure counter
- Mensurstriche layout (bar lines between the staves)
- Modern TAB text clef
- Nesting staves
- Non-traditional key signatures
- Printing metronome and rehearsal marks below the staff
- Quoting another voice with transposition
- Quoting another voice
- Removing the first empty line
- Tick bar lines
- Time signature in parentheses
- Tweaking clef properties
- Use square bracket at the start of a staff group
- Volta under chords
- Volta multi-staff
- Editorial annotations
- Adding fingerings to a score
- Allowing fingerings to be printed inside the staff
- Analysis brackets above the staff
- Applying note head styles depending on the step of the scale
- Avoiding collisions with chord fingerings
- Blanking staff lines using the \whiteout command
- Changing a single note’s size in a chord
- Changing the appearance of a slur from solid to dotted or dashed
- Coloring notes depending on their pitch
- Controlling the placement of chord fingerings
- Creating a delayed turn
- Creating blank staves
- Default direction of stems on the center line of the staff
- Embedding native PostScript in a \markup block
- Grid lines: changing their appearance
- Grid lines: emphasizing rhythms and notes synchronization
- Making some staff lines thicker than the others
- Marking notes of spoken parts with a cross on the stem
- Measure counter
- Positioning text markups inside slurs
- Using PostScript to generate special note head shapes
- Text
- Adjusting lyrics vertical spacing
- Aligning and centering instrument names
- Aligning marks with various notation objects
- Blanking staff lines using the \whiteout command
- Center text below hairpin dynamics
- Changing the default text font family
- Combining dynamics with markup texts
- Combining two parts on the same staff
- Creating "real" parenthesized dynamics
- Creating simultaneous rehearsal marks
- Creating text spanners
- Demonstrating all headers
- Embedding native PostScript in a \markup block
- Formatting lyrics syllables
- How to put ties between syllables in lyrics
- Lyrics alignment
- Markup lines
- Multi-measure rest markup
- Ottava text
- Outputting the version number
- Piano template with centered lyrics
- Printing marks at the end of a line or a score
- Printing marks on every staff
- Stand-alone two-column markup
- Three-sided box
- UTF-8
- Vocal ensemble template with lyrics aligned below and above the staves
- Vocal music
- Adding ambitus per voice
- Adjusting lyrics vertical spacing
- Ambitus with multiple voices
- Ambitus
- Changing stanza fonts
- Chant or psalms notation
- Formatting lyrics syllables
- How to put ties between syllables in lyrics
- Lyrics alignment
- Marking notes of spoken parts with a cross on the stem
- Piano template with melody and lyrics
- Single staff template with notes, lyrics, and chords
- Single staff template with notes, lyrics, chords and frets
- Single staff template with notes and lyrics
- Skips in lyric mode (2)
- Skips in lyric mode
- Vertically aligning ossias and lyrics
- Vertically centered common lyrics
- Vocal ensemble template with automatic piano reduction
- Vocal ensemble template with lyrics aligned below and above the staves
- Vocal ensemble template
- Chords
- Adding a figured bass above or below the notes
- Adding bar lines to ChordNames context
- Avoiding collisions with chord fingerings
- Changing chord separator
- Changing the chord names to German or semi-German notation
- Changing the positions of figured bass alterations
- Chord name exceptions
- chord name major7
- Clusters
- Controlling the placement of chord fingerings
- Displaying complex chords
- Manually break figured bass extenders for only some numbers
- Showing chords at changes
- Simple lead sheet
- Single staff template with notes, lyrics, and chords
- Single staff template with notes, lyrics, chords and frets
- Single staff template with notes and chords
- Volta under chords
- Keyboards
- Accordion-discant symbols
- Clusters
- Controlling the placement of chord fingerings
- Creating slurs across voices
- Fine-tuning pedal brackets
- Indicating cross-staff chords with arpeggio bracket
- Jazz combo template
- Laissez vibrer ties
- Piano template (simple)
- Piano template with centered dynamics
- Piano template with centered lyrics
- Piano template with melody and lyrics
- Vocal ensemble template with automatic piano reduction
- Percussion
- Fretted strings
- Adding fingerings to a score
- Adding fingerings to tablatures
- Allowing fingerings to be printed inside the staff
- Controlling the placement of chord fingerings
- Customizing fretboard fret diagrams
- Customizing markup fret diagrams
- Defining predefined fretboards for other instruments
- Faking a hammer in tablatures
- Fingerings, string indications, and right-hand fingerings
- Flamenco notation
- Fret diagrams explained and developed
- Guitar strum rhythms
- How to change fret diagram position
- Jazz combo template
- Laissez vibrer ties
- Letter tablature formatting
- Modern TAB text clef
- Placement of right-hand fingerings
- Polyphony in tablature
- Stem and beam behavior in tablature
- Unfretted strings
- Winds
- Ancient notation
- Adding a figured bass above or below the notes
- Ancient fonts
- Ancient notation template – modern transcription of gregorian music
- Ancient notation template – modern transcription of mensural music
- Ancient time signatures
- Chant or psalms notation
- Custodes
- Incipit
- Mensurstriche layout (bar lines between the staves)
- Rest styles
- Transcription of Ancient music with incipit
- World music
- Contexts and engravers
- Adding a figured bass above or below the notes
- Adding an extra staff at a line break
- Adding an extra staff
- Changing MIDI output to one channel per voice
- Changing time signatures inside a polymetric section using
\scaleDurations
- Chant or psalms notation
- Creating blank staves
- Engravers one-by-one
- Mensurstriche layout (bar lines between the staves)
- Nesting staves
- Use square bracket at the start of a staff group
- Vocal ensemble template with lyrics aligned below and above the staves
- Tweaks and overrides
- Analysis brackets above the staff
- Avoiding collisions with chord fingerings
- Caesura ("railtracks") with fermata
- Changing a single note’s size in a chord
- Changing form of multi-measure rests
- Changing properties for individual grobs
- Changing text and spanner styles for text dynamics
- Changing the default text font family
- Changing the staff size
- Controlling the vertical ordering of scripts
- Controlling tuplet bracket visibility
- Creating a delayed turn
- Creating simultaneous rehearsal marks
- Creating text spanners
- Custodes
- Customizing fretboard fret diagrams
- Customizing markup fret diagrams
- Display bracket with only one staff in a system
- Dotted harmonics
- Drawing boxes around grobs
- Drawing circles around various objects
- Fine-tuning pedal brackets
- Forcing horizontal shift of notes
- Fret diagrams explained and developed
- Horizontally aligning custom dynamics (e.g. "sempre pp", "piu f", "subito p")
- How to change fret diagram position
- Inserting a caesura
- Making an object invisible with the transparent property
- Manually controlling beam positions
- Mensurstriche layout (bar lines between the staves)
- Nesting staves
- Percent repeat count visibility
- Positioning multi-measure rests
- Positioning text markups inside slurs
- Printing a repeat sign at the beginning of a piece
- Printing metronome and rehearsal marks below the staff
- Proportional strict notespacing
- Removing the first empty line
- Rest styles
- Rhythmic slashes
- Suppressing warnings for clashing note columns
- Time signature in parentheses
- Transcription of Ancient music with incipit
- Tweaking clef properties
- Using PostScript to generate special note head shapes
- Using the
\tweak
command to tweak individual grobs - Vertically aligned dynamics and textscripts
- Vertically aligning ossias and lyrics
- Paper and layout
- Titles
- Spacing
- MIDI
- Templates
- Ancient notation template – modern transcription of gregorian music
- Ancient notation template – modern transcription of mensural music
- Jazz combo template
- Piano template (simple)
- Piano template with centered dynamics
- Piano template with centered lyrics
- Piano template with melody and lyrics
- Score for diatonic accordion
- Single staff template with notes, lyrics, and chords
- Single staff template with notes, lyrics, chords and frets
- Single staff template with notes and chords
- Single staff template with notes and lyrics
- Single staff template with only notes
- String quartet template (simple)
- String quartet template with separate parts
- Vocal ensemble template with automatic piano reduction
- Vocal ensemble template with lyrics aligned below and above the staves
- Vocal ensemble template
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About This Document
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