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 2.11.58.
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.
\scaleDurations
repeatCommands
\scaleDurations
\tweak
command to tweak individual grobs
These snippets illustrate the Notation Reference, section Pitches.
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 } >>
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 } >>
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 } \relative c' { \set shapeNoteStyles = #'#(cross triangle fa #f mensural xcircle diamond) \fragment } } }
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)) )))) \score { \new Staff { \time 5/4 \rhythm c' \rhythm c'' \rhythm g } }
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.
webernAccidentals = { % the 5s are just "a value different from any accidental" \set Staff.keySignature = #'((0 . 5) (1 . 5) (2 . 5) (3 . 5) (4 . 5) (5 . 5) (6 . 5)) \set Staff.extraNatural = ##f #(set-accidental-style 'forget) } \score { { \webernAccidentals c'4 dis' cis' cis' c'4 dis' cis' cis' c'4 c' dis' des' } \layout { \context { \Staff \remove "Key_engraver" } } }
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))))) } }
Makam is a type of melody from Turkey using 1/9th-tone
microtonal alterations. Consult the initialization file
makam-init.ly
(see the `Learning Manual 2.11.58,
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-init.ly" \relative c' { \set Staff.keySignature = #`((3 . ,BAKIYE) (6 . ,(- KOMA))) c4 cc db fk gbm4 gfc gfb efk fk4 db cc c }
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.)
Alternatively, for each item in the list, using the more concise format
(step . alter)
specifies that the same alteration should hold in
all octaves.
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 }
Internally, the set-octavation
function sets the properties
ottavation
(for example, to "8va"
or "8vb"
)
and middleCPosition
. To override the text of the bracket, set
ottavation
after invoking set-octavation
.
{ \ottava #1 \set Staff.ottavation = #"8" c''1 \ottava #0 c'1 \ottava #1 \set Staff.ottavation = #"Text" c''1 }
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 }
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 }
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" >> }
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:
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 { } }
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.
{ % 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 % Here we go back to the normal clef: \set Staff.middleCPosition = #0 c'1 }
These snippets illustrate the Notation Reference, section Rhythms.
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\( a b d' e' } a'4.\) }
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) } } }
Beams can be subdivided automatically. By setting the property
subdivideBeams
, beams are subdivided at beat positions (as
specified in beatLength
).
\score { \new Staff \relative c'' { << { \voiceOne \set subdivideBeams = ##t b32[ a g f c' b a g b^"subdivide beams" a g f c' b a g] \oneVoice } \new Voice { \voiceTwo b32_"default"[ a g f c' b a g b a g f c' b a g] } >> \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] } }
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^\markup { 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^\markup { with the macro } g g g g g g g g8 g g g4 g8 g g } >> \layout { \context { \Staff \override TimeSignature #'style = #'() } } }
By default, beams can't be printed across line breaks. This behavior
can be overridden by setting the breakable
property.
\layout { ragged-right = ##t } \relative c'' { \override Score.Beam #'breakable = ##t \time 3/16 c16[ d e \break f16] r r }
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 }
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 }
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 } }
\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 3 5) b8 b b b b b \time 2/4 \set Timing.measureLength = #(ly:make-moment 2 5) b4 b } } \new Staff { \clef bass \time 2/4 c2 d e f } >>
This form of notation is used for the chant of the Psalms, where verses aren't always the same length.
stemOn = { \override Staff.Stem #'transparent = ##f } stemOff = { \override Staff.Stem #'transparent = ##t } \score { \new Staff \with { \remove "Time_signature_engraver" } { \key g \minor \set Score.timing = ##f \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 "||" } }
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) (markup #:override '(baseline-skip . 0) #:number (#:line ((#:column (one num)) #:vcenter "+" (#:column (two num)))) )) \relative { \override Staff.TimeSignature #'stencil = #ly:text-interface::print \override Staff.TimeSignature #'text = #(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 }
The Scheme function set-time-signature
, in combination with the
Measure_grouping_engraver
, creates measure grouping signs. Such
signs ease reading rhythmically complex modern music. In the following
example, the 9/8 measure is subdivided into 2, 2, 2 and 3 beats. 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" } } }
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 TupletBracket
#'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).
mus = \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'{ << \mus s4^"default" >> \override TupletBracket #'bracket-visibility = #'if-no-beam << \mus s4^"'if-no-beam" >> \override TupletBracket #'bracket-visibility = ##t << \mus s4^"#t" >> \override TupletBracket #'bracket-visibility = ##f << \mus s4^"#f" >> }
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> }
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 } }
This snippet demonstrates how to obtain automatic ordered rehearsal marks, but from the letter or number you want.
\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 }
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 (set-time-signature one two three four five six seven eight nine ten eleven num) (markup #:override '(baseline-skip . 0) #:number (#:line ((#:column (one num)) #:vcenter "+" (#:column (two num)) #:vcenter "+" (#:column (three num)) #:vcenter "+" (#:column (four num)) #:vcenter "+" (#:column (five num)) #:vcenter "+" (#:column (six num)) #:vcenter "+" (#:column (seven num)) #:vcenter "+" (#:column (eight num)) #:vcenter "+" (#:column (nine num)) #:vcenter "+" (#:column (ten num)) #:vcenter "+" (#:column (eleven num)))) )) melody = \relative c'' { \set Staff.instrumentName = #"Bb Sop." \key g \major \time 25/8 \override Staff.TimeSignature #'stencil = #ly:text-interface::print \override Staff.TimeSignature #'text = #(set-time-signature "3" "2" "2" "3" "2" "2" "2" "2" "3" "2" "2" "8" ) \set Staff.beatGrouping = #'(3 2 2 3 2 2 2 2 3 2 2) #(override-auto-beam-setting '(end * * 25 8) 3 8) #(override-auto-beam-setting '(end * * 25 8) 5 8) #(override-auto-beam-setting '(end * * 25 8) 7 8) #(override-auto-beam-setting '(end * * 25 8) 10 8) #(override-auto-beam-setting '(end * * 25 8) 12 8) #(override-auto-beam-setting '(end * * 25 8) 14 8) #(override-auto-beam-setting '(end * * 25 8) 16 8) #(override-auto-beam-setting '(end * * 25 8) 18 8) #(override-auto-beam-setting '(end * * 25 8) 21 8) #(override-auto-beam-setting '(end * * 25 8) 23 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 }
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 } >> }
Beam positions may be controlled manually, by overriding the
positions
setting of the Beam
grob.
\relative c' { \time 2/4 % from upper staffline (position 4) to center (position 0) \override Beam #'positions = #'(2 . 0) c8 c % from center to one above center (position 2) \override Beam #'positions = #'(0 . 1) c8 c }
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 } >> }
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. }
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 8 { \times 2/3 { c[ b a] } } % Insert a manual line break within a tuplet \times 2/3 { c[ b \bar "" \break a] } \repeat unfold 2 { \times 2/3 { c[ b a] } } c8 }
Unlike ordinary rests, there is no predefined command to change the vertical position on the staff 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 } >> }
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 }
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 Barline_engraver
is 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 >> }
Rests may be used in various styles.
\layout { indent = 0.0 \context { \Staff \remove "Time_signature_engraver" } } \relative c { \set Score.timing = ##f \override Staff.Rest #'style = #'mensural r\maxima^\markup \typewriter { mensural } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 \bar "" \override Staff.Rest #'style = #'neomensural r\maxima^\markup \typewriter { neomensural } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 \bar "" \override Staff.Rest #'style = #'classical r\maxima^\markup \typewriter { classical } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 \bar "" \override Staff.Rest #'style = #'default r\maxima^\markup \typewriter { default } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 }
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' { c d e f | \rs \rs \rs \rs | \comp #4 | } }
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 } >>
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 } >>
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 you use ";" 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 } c^\markup { \NWS-box \note #"4" #1.0 } }
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 "true". 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, as demonstrated in
this example.
\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 g~ c g2 }
These snippets illustrate the Notation Reference, section Expressive marks.
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\( a b d' e' } a'4.\) }
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 fis a>2 }
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 }
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 } >> }
A caesura is sometimes denoted with a double "railtracks" breath mark with a fermata sign positioned above. This snippet should present an optically pleasing combination of railtracks and a fermata.
{ c''2. % construct the symbol \override BreathingSign #'text = \markup { \line { \musicglyph #"scripts.caesura.curved" \translate #'(-1.75 . 1.6) \musicglyph #"scripts.ufermata" } } \breathe c''4 % set the breathe mark back to normal \revert BreathingSign #'text c''2. \breathe c''4 \bar "|." }
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 (ly:text-interface::print grob) X CENTER)) X LEFT)) \override Voice.Hairpin #'text = $text #}) hairpinMolto = \hairpinWithCenteredText \markup { \italic molto } hairpinMore = \hairpinWithCenteredText \markup { \bigger moltissimo } \layout { ragged-right = ##f } { \hairpinMolto c'2\< c'\f \hairpinMore c'2\< c'\f }
To make the \flageolet
circle smaller use the following Scheme
function.
smallFlageolet = #(let ((m (make-music 'ArticulationEvent 'articulation-type "flageolet"))) (set! (ly:music-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 }
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 }
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) }
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 }
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 }
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 "|" }
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 } }
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 } >> }
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 } } >>
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" } } }
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 }
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 }
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) } >> }
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.
\relative c'' { \override TextSpanner #'edge-text = #'("bla" . "blu") a \startTextSpan b c a \stopTextSpan \override TextSpanner #'dash-period = #2 \override TextSpanner #'dash-fraction = #0.0 a \startTextSpan b c a \stopTextSpan \revert TextSpanner #'style \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) } a \startTextSpan b c a \stopTextSpan \set Staff.middleCPosition = #-13 \override TextSpanner #'dash-period = #10 \override TextSpanner #'dash-fraction = #0.5 \override TextSpanner #'thickness = #10 a \startTextSpan b c a \stopTextSpan \set Staff.middleCPosition = #-6 }
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\! }
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 } >> >>
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 = #(make-musicglyph-markup "scripts.caesura.straight") c8 e4. \breathe g8. e16 c4 \override BreathingSign #'text = #(make-musicglyph-markup "scripts.caesura.curved") g8 e'4. \breathe g8. e16 c4 }
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 }
Arrows can be applied to text-spanners and line-spanners (such as the Glissando).
\relative c'' { \override TextSpanner #'bound-padding = #1.0 \override TextSpanner #'dash-fraction = #'() \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 }
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-+ }
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.
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 } dynamics = { s2\fff\> s4 s\!\pp } pedal = { s2\sustainOn s\sustainOff } \score { \new PianoStaff << \new Staff = "upper" \upper \new Dynamics = "dynamics" \dynamics \new Staff = "lower" << \clef bass \lower >> \new Dynamics = "pedal" \pedal >> \layout { \context { \type "Engraver_group" \name Dynamics % So that \cresc works, for example. \alias Voice \consists "Output_property_engraver" \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1) \override DynamicLineSpanner #'Y-offset = #0 pedalSustainStrings = #'("Ped." "*Ped." "*") pedalUnaCordaStrings = #'("una corda" "" "tre corde") \consists "Piano_pedal_engraver" \consists "Script_engraver" \consists "Dynamic_engraver" \consists "Text_engraver" \override TextScript #'font-size = #2 \override TextScript #'font-shape = #'italic \consists "Skip_event_swallow_translator" \consists "Axis_group_engraver" } \context { \PianoStaff \accepts Dynamics } } } \score { \new PianoStaff << \new Staff = "upper" << \upper \dynamics \pedal >> \new Staff = "lower" << \lower \dynamics \pedal >> >> \midi { } }
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\! }
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 }
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\! }
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\! } >> }
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>) }
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\! }
These snippets illustrate the Notation Reference, section Repeats.
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' } } >>
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 R1 }
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 } } >>
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 } }
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"|." } }
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 }
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 } } }
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" } } }
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 << \context Staff \voltaMusic \new Staff \voltaMusic >> \new StaffGroup << \new Staff \with { \consists "Volta_engraver" } \voltaMusic \new Staff \voltaMusic >> >>
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)) }
These snippets illustrate the Notation Reference, section Simultaneous notes.
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 } >> }
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 } }
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 } >>
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 >>
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 } } }
When the typesetting engine cannot cope, the force-hshift
property of the NoteColumn
object can be used to override
typesetting decisions. The measure units 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 } >>
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, } >>
These snippets illustrate the Notation Reference, section Staff notation.
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 } >>
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 } >> } }
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 } } >> }
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 } >> }
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 } >>
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 }
If there is only one staff in one of the staff types
ChoirStaff
, InnerChoirStaff
, InnerStaffGroup
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, as demonstrated in this example.
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 \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 { } } }
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) (set! (ly:grob-property grob 'long-text) (markup #:score score)) (ly:system-start-text::print grob))) #}) %%%%%%%%%%%%%%%%%%%%%%%%% global = { \set Score.skipBars = ##t \key g \major \time 4/4 %make the staff lines invisible on staves \override Staff.BarLine #'transparent = ##t % 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" << \set Staff.instrumentName = "Bassus" \incipit \bassusIncipit \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 bar lines in staves \override BarLine #'transparent = ##t } %% the next three instructions keep the lyrics between the bar lines \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 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 } }
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 }
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 } >>
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' }
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 } } >>
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 } >> } >> }
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 }
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 } >>
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.)
Alternatively, for each item in the list, using the more concise format
(step . alter)
specifies that the same alteration should hold in
all octaves.
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 }
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 }
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" >> }
With \quote
, fragments of previously entered
music may be quoted. quotedEventTypes
will determines which
items are quoted. In this 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. } } >> >>
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 } >>
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 }
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.
{ % 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 % Here we go back to the normal clef: \set Staff.middleCPosition = #0 c'1 }
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' } >> } }
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" } } }
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 << \context Staff \voltaMusic \new Staff \voltaMusic >> \new StaffGroup << \new Staff \with { \consists "Volta_engraver" } \voltaMusic \new Staff \voltaMusic >> >>
These snippets illustrate the Notation Reference, section Editorial annotations.
Fingering instructions can be entered using a simple syntax.
\relative c'' { c4-1 d-2 f-4 e-3 }
By default, fingering numbers will be printed 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 }
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 d\stopGroup }
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 } \relative c' { \set shapeNoteStyles = #'#(cross triangle fa #f mensural xcircle diamond) \fragment } } }
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 }
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 } }
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) }
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 = #'(right) <c-1 e-3 a-5>4 \set fingeringOrientations = #'(up) <c-1 e-3 a-5>4 \set fingeringOrientations = #'(left down) <c-1 e-3 a-5>2 \set fingeringOrientations = #'(up right down) <c-1 e-3 a-5>2 }
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 }
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 }
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 }
The appearance of grid lines can be changed by overriding some of their properties.
\layout { \context { \Staff % set up grids \consists "Grid_point_engraver" % set the grid interval to one quarter note gridInterval = #(ly:make-moment 1 4) } } \new Score \with { \consists "Grid_line_span_engraver" % this moves them to the right half a staff space \override NoteColumn #'X-offset = #-0.5 } \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' \once \override Score.GridLine #'thickness = #3.0 f \once \override Score.GridLine #'thickness = #5.0 e } } >>
Regular vertical lines can be drawn between staves to show notes 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.
%% sets of grid \layout { \context { \Staff \consists "Grid_point_engraver" gridInterval = #(ly:make-moment 1 8) %% lines length \override GridPoint #'Y-extent = #'(6 . 0) } \context { \StaffGroup \remove "System_start_delimiter_engraver" } } \layout { ragged-right = ##t } \new Score \with { \consists "Grid_line_span_engraver" %% centers grid lines horizontally below noteheads \override NoteColumn #'X-offset = #-0.5 } \new ChoirStaff << \new Staff { \time 12/8 \stemUp \relative { c'4. d8 e8 f g4 f8 e8.[ d16 c8] } } \new Staff { %% making sure the lines will be placed outside the Staff \override Score.GridLine #'extra-offset = #'( 0.0 . -4.0 ) %% hides staff and notes so that only the grid lines are visible \override NoteHead #'transparent = ##t \override NoteHead #'no-ledgers = ##t \override Stem #'transparent = ##t \override Beam #'transparent = ##t \override Staff.BarLine #'transparent = ##t \override Staff.StaffSymbol #'line-count = #0 \override Staff.TimeSignature #'transparent = ##t \override Staff.Clef #'transparent = ##t % you have to put 'dummy' notes here to force regular grid spacing... \once \override Score.GridLine #'thickness = #4.0 c8 c8 c8 \once \override Score.GridLine #'thickness = #3.0 c8 c8 c8 \once \override Score.GridLine #'thickness = #4.0 c8 c8 c8 \once \override Score.GridLine #'thickness = #3.0 c8 c8 c8 } >>
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' }
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 } } >>
These snippets illustrate the Notation Reference, section Text.
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 } >>
Instrument names are generally printed to the left of the staves. To
align the names of several different intruments, put them in a
\markup
block and use one of the following possibilites:
* Right-aligned instrument names: this is the default behavior
*
Center-aligned instrument names: using the \hcenter-in #n
command
places the instrument names inside a padded box, with n
being
the width
of the box
*
Left-aligned instrument names: the names are printed on top of an
empty box, using the \combine
command
with an \hspace #n
object.
\paper { indent = #0 left-margin = #30 line-width = #160 } \new StaffGroup \relative c' << \new Staff { \set Staff.instrumentName = #"Piccolo" c1^"default" | c \break \set Staff.instrumentName = \markup { \hcenter-in #10 Piccolo } c1^"centered" | c \break \set Staff.instrumentName = \markup { \combine \hspace #8 Piccolo } c1^"left-aligned" | c } \new Staff { \set Staff.instrumentName = #"Flute" c1 | c \break \set Staff.instrumentName = \markup { \hcenter-in #10 Flute } c1 | c \break \set Staff.instrumentName = \markup { \combine \hspace #8 Flute } c1 | c } >>
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" }
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 "↓" e % 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 e % 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 e % 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 "↓" e % the RehearsalMark will be aligned with the left edge of the KeySignature % and then shifted right by 1 unit. \once \override Score.KeySignature #'break-align-anchor = #1 \key a \major \mark "↓" e1 }
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 }
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 (ly:text-interface::print grob) X CENTER)) X LEFT)) \override Voice.Hairpin #'text = $text #}) hairpinMolto = \hairpinWithCenteredText \markup { \italic molto } hairpinMore = \hairpinWithCenteredText \markup { \bigger moltissimo } \layout { ragged-right = ##f } { \hairpinMolto c'2\< c'\f \hairpinMore c'2\< c'\f }
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'^\markup { roman: foo \bold bla \italic bar \italic \bold baz } c'_\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 } } }
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 }
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 } } }
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 }
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 }
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.
\relative c'' { \override TextSpanner #'edge-text = #'("bla" . "blu") a \startTextSpan b c a \stopTextSpan \override TextSpanner #'dash-period = #2 \override TextSpanner #'dash-fraction = #0.0 a \startTextSpan b c a \stopTextSpan \revert TextSpanner #'style \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) } a \startTextSpan b c a \stopTextSpan \set Staff.middleCPosition = #-13 \override TextSpanner #'dash-period = #10 \override TextSpanner #'dash-fraction = #0.5 \override TextSpanner #'thickness = #10 a \startTextSpan b c a \stopTextSpan \set Staff.middleCPosition = #-6 }
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" } }
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 }
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 >>
This can be achieved by separating those syllables by tildes.
\lyrics { wa~o~a }
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. } }
Internally, the set-octavation
function sets the properties
ottavation
(for example, to "8va"
or "8vb"
)
and middleCPosition
. To override the text of the bracket, set
ottavation
after invoking set-octavation
.
{ \ottava #1 \set Staff.ottavation = #"8" c''1 \ottava #0 c'1 \ottava #1 \set Staff.ottavation = #"Text" c''1 }
By putting the output of lilypond-version
into a lyric 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 } }
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 { } }
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 \override Score.RehearsalMark #'self-alignment-X = #RIGHT g2 b, c1 \bar "||" \mark "D.C. al Fine" }
Although text marks are normally only printed above the topmost staff, they may also be printed on every staff.
{ \new Score \with { \remove "Mark_engraver" } << \new Staff \with { \consists "Mark_engraver" } { c''1 \mark "molto" c'' } \new Staff \with { \consists "Mark_engraver" } { c'1 \mark "molto" c' } >> }
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 you use ";" 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 } c^\markup { \NWS-box \note #"4" #1.0 } }
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 { c2 d e2 f g2 f e1 } \addlyrics { \bulgarian } \addlyrics { \hebrew } \addlyrics { \japanese } \addlyrics { \portuguese }
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) } } }
These snippets illustrate the Notation Reference, section Vocal music.
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 } >>
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 } >>
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" }
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 } >>
This form of notation is used for the chant of the Psalms, where verses aren't always the same length.
stemOn = { \override Staff.Stem #'transparent = ##f } stemOff = { \override Staff.Stem #'transparent = ##t } \score { \new Staff \with { \remove "Time_signature_engraver" } { \key g \minor \set Score.timing = ##f \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 "||" } }
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 " } basemelodie = \relative c' { c4. \mf g c16 b' c d e16 d e f g4 g'4 r R1 } melodie = { \tempo 4 = 150 \basemelodie } \score { \new Staff << \new Voice { \melodie } >> \layout { } } \score { \new Staff << %\set Staff.instrumentName= #"S/A" %\set Staff.midiMinimumVolume = #0.2 %\set Staff.midiMaximumVolume = #0.4 %\set Voice.dynamicAbsoluteVolumeFunction = #0.6 \new Voice { r \mf \set Staff.midiInstrument = #"acoustic grand" \melodie \set Staff.midiInstrument = #"bright acoustic" \melodie \set Staff.midiInstrument = #"electric grand" \melodie \set Staff.midiInstrument = #"honky-tonk" \melodie \set Staff.midiInstrument = #"electric piano 1" \melodie \set Staff.midiInstrument = #"electric piano 2" \melodie \set Staff.midiInstrument = #"harpsichord" \melodie \set Staff.midiInstrument = #"clav" \melodie \set Staff.midiInstrument = #"celesta" \melodie \set Staff.midiInstrument = #"glockenspiel" \melodie \set Staff.midiInstrument = #"music box" \melodie \set Staff.midiInstrument = #"vibraphone" \melodie \set Staff.midiInstrument = #"marimba" \melodie \set Staff.midiInstrument = #"xylophone" \melodie \set Staff.midiInstrument = #"tubular bells" \melodie \set Staff.midiInstrument = #"dulcimer" \melodie \set Staff.midiInstrument = #"drawbar organ" \melodie \set Staff.midiInstrument = #"percussive organ" \melodie \set Staff.midiInstrument = #"rock organ" \melodie \set Staff.midiInstrument = #"church organ" \melodie \set Staff.midiInstrument = #"reed organ" \melodie \set Staff.midiInstrument = #"accordion" \melodie \set Staff.midiInstrument = #"harmonica" \melodie \set Staff.midiInstrument = #"concertina" \melodie \set Staff.midiInstrument = #"acoustic guitar (nylon)" \melodie \set Staff.midiInstrument = #"acoustic guitar (steel)" \melodie \set Staff.midiInstrument = #"electric guitar (jazz)" \melodie \set Staff.midiInstrument = #"electric guitar (clean)" \melodie \set Staff.midiInstrument = #"electric guitar (muted)" \melodie \set Staff.midiInstrument = #"overdriven guitar" \melodie \set Staff.midiInstrument = #"distorted guitar" \melodie \set Staff.midiInstrument = #"acoustic bass" \melodie \set Staff.midiInstrument = #"electric bass (finger)" \melodie \set Staff.midiInstrument = #"electric bass (pick)" \melodie \set Staff.midiInstrument = #"fretless bass" \melodie \set Staff.midiInstrument = #"slap bass 1" \melodie \set Staff.midiInstrument = #"slap bass 2" \melodie \set Staff.midiInstrument = #"synth bass 1" \melodie \set Staff.midiInstrument = #"synth bass 2" \melodie \set Staff.midiInstrument = #"violin" \melodie \set Staff.midiInstrument = #"viola" \melodie \set Staff.midiInstrument = #"cello" \melodie \set Staff.midiInstrument = #"contrabass" \melodie \set Staff.midiInstrument = #"tremolo strings" \melodie \set Staff.midiInstrument = #"pizzicato strings" \melodie \set Staff.midiInstrument = #"orchestral strings" \melodie \set Staff.midiInstrument = #"timpani" \melodie \set Staff.midiInstrument = #"string ensemble 1" \melodie \set Staff.midiInstrument = #"string ensemble 2" \melodie \set Staff.midiInstrument = #"synthstrings 1" \melodie \set Staff.midiInstrument = #"synthstrings 2" \melodie \set Staff.midiInstrument = #"choir aahs" \melodie \set Staff.midiInstrument = #"voice oohs" \melodie \set Staff.midiInstrument = #"synth voice" \melodie \set Staff.midiInstrument = #"orchestra hit" \melodie \set Staff.midiInstrument = #"trumpet" \melodie \set Staff.midiInstrument = #"trombone" \melodie \set Staff.midiInstrument = #"tuba" \melodie \set Staff.midiInstrument = #"muted trumpet" \melodie \set Staff.midiInstrument = #"french horn" \melodie \set Staff.midiInstrument = #"brass section" \melodie \set Staff.midiInstrument = #"synthbrass 1" \melodie \set Staff.midiInstrument = #"synthbrass 2" \melodie \set Staff.midiInstrument = #"soprano sax" \melodie \set Staff.midiInstrument = #"alto sax" \melodie \set Staff.midiInstrument = #"tenor sax" \melodie \set Staff.midiInstrument = #"baritone sax" \melodie \set Staff.midiInstrument = #"oboe" \melodie \set Staff.midiInstrument = #"english horn" \melodie \set Staff.midiInstrument = #"bassoon" \melodie \set Staff.midiInstrument = #"clarinet" \melodie \set Staff.midiInstrument = #"piccolo" \melodie \set Staff.midiInstrument = #"flute" \melodie \set Staff.midiInstrument = #"recorder" \melodie \set Staff.midiInstrument = #"pan flute" \melodie \set Staff.midiInstrument = #"blown bottle" \melodie \set Staff.midiInstrument = #"shakuhachi" \melodie \set Staff.midiInstrument = #"whistle" \melodie \set Staff.midiInstrument = #"ocarina" \melodie \set Staff.midiInstrument = #"lead 1 (square)" \melodie \set Staff.midiInstrument = #"lead 2 (sawtooth)" \melodie \set Staff.midiInstrument = #"lead 3 (calliope)" \melodie \set Staff.midiInstrument = #"lead 4 (chiff)" \melodie \set Staff.midiInstrument = #"lead 5 (charang)" \melodie \set Staff.midiInstrument = #"lead 6 (voice)" \melodie \set Staff.midiInstrument = #"lead 7 (fifths)" \melodie \set Staff.midiInstrument = #"lead 8 (bass+lead)" \melodie \set Staff.midiInstrument = #"pad 1 (new age)" \melodie \set Staff.midiInstrument = #"pad 2 (warm)" \melodie \set Staff.midiInstrument = #"pad 3 (polysynth)" \melodie \set Staff.midiInstrument = #"pad 4 (choir)" \melodie \set Staff.midiInstrument = #"pad 5 (bowed)" \melodie \set Staff.midiInstrument = #"pad 6 (metallic)" \melodie \set Staff.midiInstrument = #"pad 7 (halo)" \melodie \set Staff.midiInstrument = #"pad 8 (sweep)" \melodie \set Staff.midiInstrument = #"fx 1 (rain)" \melodie \set Staff.midiInstrument = #"fx 2 (soundtrack)" \melodie \set Staff.midiInstrument = #"fx 3 (crystal)" \melodie \set Staff.midiInstrument = #"fx 4 (atmosphere)" \melodie \set Staff.midiInstrument = #"fx 5 (brightness)" \melodie \set Staff.midiInstrument = #"fx 6 (goblins)" \melodie \set Staff.midiInstrument = #"fx 7 (echoes)" \melodie \set Staff.midiInstrument = #"fx 8 (sci-fi)" \melodie \set Staff.midiInstrument = #"sitar" \melodie \set Staff.midiInstrument = #"banjo" \melodie \set Staff.midiInstrument = #"shamisen" \melodie \set Staff.midiInstrument = #"koto" \melodie \set Staff.midiInstrument = #"kalimba" \melodie \set Staff.midiInstrument = #"bagpipe" \melodie \set Staff.midiInstrument = #"fiddle" \melodie \set Staff.midiInstrument = #"shanai" \melodie \set Staff.midiInstrument = #"tinkle bell" \melodie \set Staff.midiInstrument = #"agogo" \melodie \set Staff.midiInstrument = #"steel drums" \melodie \set Staff.midiInstrument = #"woodblock" \melodie \set Staff.midiInstrument = #"taiko drum" \melodie \set Staff.midiInstrument = #"melodic tom" \melodie \set Staff.midiInstrument = #"synth drum" \melodie \set Staff.midiInstrument = #"reverse cymbal" \melodie \set Staff.midiInstrument = #"guitar fret noise" \melodie \set Staff.midiInstrument = #"breath noise" \melodie \set Staff.midiInstrument = #"seashore" \melodie \set Staff.midiInstrument = #"bird tweet" \melodie \set Staff.midiInstrument = #"telephone ring" \melodie \set Staff.midiInstrument = #"helicopter" \melodie \set Staff.midiInstrument = #"applause" \melodie \set Staff.midiInstrument = #"gunshot" \melodie } >> \midi { } }
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 >>
This can be achieved by separating those syllables by tildes.
\lyrics { wa~o~a }
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 { } }
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 { } }
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 { } }
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 { } }
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 } >>
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 } >>
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 } } >> } >>
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 >> }
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) } } }
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) } } }
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) } } }
These snippets illustrate the Notation Reference, section Chord notation.
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 >> }
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 }
The separator between different parts of a chord name can be set to any markup.
\chords { c:7sus4 \set chordNameSeparator = \markup { \typewriter | } c:7sus4 }
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 } >>
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 }
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 >>
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 >>
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 = #'(right) <c-1 e-3 a-5>4 \set fingeringOrientations = #'(up) <c-1 e-3 a-5>4 \set fingeringOrientations = #'(left down) <c-1 e-3 a-5>2 \set fingeringOrientations = #'(up right down) <c-1 e-3 a-5>2 }
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 >>
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 } } >>
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 __ } >>
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 { } }
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 { } }
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 { } }
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" } } }
These snippets illustrate the Notation Reference, section Keyboard instruments.
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" } % 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 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 c4 d\accOboe e f c4 d\accClarin e f c4 d\accPiccolo e f c4 d\accViolin e f }
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 >>
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 = #'(right) <c-1 e-3 a-5>4 \set fingeringOrientations = #'(up) <c-1 e-3 a-5>4 \set fingeringOrientations = #'(left down) <c-1 e-3 a-5>2 \set fingeringOrientations = #'(up right down) <c-1 e-3 a-5>2 }
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) } >> }
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 " } basemelodie = \relative c' { c4. \mf g c16 b' c d e16 d e f g4 g'4 r R1 } melodie = { \tempo 4 = 150 \basemelodie } \score { \new Staff << \new Voice { \melodie } >> \layout { } } \score { \new Staff << %\set Staff.instrumentName= #"S/A" %\set Staff.midiMinimumVolume = #0.2 %\set Staff.midiMaximumVolume = #0.4 %\set Voice.dynamicAbsoluteVolumeFunction = #0.6 \new Voice { r \mf \set Staff.midiInstrument = #"acoustic grand" \melodie \set Staff.midiInstrument = #"bright acoustic" \melodie \set Staff.midiInstrument = #"electric grand" \melodie \set Staff.midiInstrument = #"honky-tonk" \melodie \set Staff.midiInstrument = #"electric piano 1" \melodie \set Staff.midiInstrument = #"electric piano 2" \melodie \set Staff.midiInstrument = #"harpsichord" \melodie \set Staff.midiInstrument = #"clav" \melodie \set Staff.midiInstrument = #"celesta" \melodie \set Staff.midiInstrument = #"glockenspiel" \melodie \set Staff.midiInstrument = #"music box" \melodie \set Staff.midiInstrument = #"vibraphone" \melodie \set Staff.midiInstrument = #"marimba" \melodie \set Staff.midiInstrument = #"xylophone" \melodie \set Staff.midiInstrument = #"tubular bells" \melodie \set Staff.midiInstrument = #"dulcimer" \melodie \set Staff.midiInstrument = #"drawbar organ" \melodie \set Staff.midiInstrument = #"percussive organ" \melodie \set Staff.midiInstrument = #"rock organ" \melodie \set Staff.midiInstrument = #"church organ" \melodie \set Staff.midiInstrument = #"reed organ" \melodie \set Staff.midiInstrument = #"accordion" \melodie \set Staff.midiInstrument = #"harmonica" \melodie \set Staff.midiInstrument = #"concertina" \melodie \set Staff.midiInstrument = #"acoustic guitar (nylon)" \melodie \set Staff.midiInstrument = #"acoustic guitar (steel)" \melodie \set Staff.midiInstrument = #"electric guitar (jazz)" \melodie \set Staff.midiInstrument = #"electric guitar (clean)" \melodie \set Staff.midiInstrument = #"electric guitar (muted)" \melodie \set Staff.midiInstrument = #"overdriven guitar" \melodie \set Staff.midiInstrument = #"distorted guitar" \melodie \set Staff.midiInstrument = #"acoustic bass" \melodie \set Staff.midiInstrument = #"electric bass (finger)" \melodie \set Staff.midiInstrument = #"electric bass (pick)" \melodie \set Staff.midiInstrument = #"fretless bass" \melodie \set Staff.midiInstrument = #"slap bass 1" \melodie \set Staff.midiInstrument = #"slap bass 2" \melodie \set Staff.midiInstrument = #"synth bass 1" \melodie \set Staff.midiInstrument = #"synth bass 2" \melodie \set Staff.midiInstrument = #"violin" \melodie \set Staff.midiInstrument = #"viola" \melodie \set Staff.midiInstrument = #"cello" \melodie \set Staff.midiInstrument = #"contrabass" \melodie \set Staff.midiInstrument = #"tremolo strings" \melodie \set Staff.midiInstrument = #"pizzicato strings" \melodie \set Staff.midiInstrument = #"orchestral strings" \melodie \set Staff.midiInstrument = #"timpani" \melodie \set Staff.midiInstrument = #"string ensemble 1" \melodie \set Staff.midiInstrument = #"string ensemble 2" \melodie \set Staff.midiInstrument = #"synthstrings 1" \melodie \set Staff.midiInstrument = #"synthstrings 2" \melodie \set Staff.midiInstrument = #"choir aahs" \melodie \set Staff.midiInstrument = #"voice oohs" \melodie \set Staff.midiInstrument = #"synth voice" \melodie \set Staff.midiInstrument = #"orchestra hit" \melodie \set Staff.midiInstrument = #"trumpet" \melodie \set Staff.midiInstrument = #"trombone" \melodie \set Staff.midiInstrument = #"tuba" \melodie \set Staff.midiInstrument = #"muted trumpet" \melodie \set Staff.midiInstrument = #"french horn" \melodie \set Staff.midiInstrument = #"brass section" \melodie \set Staff.midiInstrument = #"synthbrass 1" \melodie \set Staff.midiInstrument = #"synthbrass 2" \melodie \set Staff.midiInstrument = #"soprano sax" \melodie \set Staff.midiInstrument = #"alto sax" \melodie \set Staff.midiInstrument = #"tenor sax" \melodie \set Staff.midiInstrument = #"baritone sax" \melodie \set Staff.midiInstrument = #"oboe" \melodie \set Staff.midiInstrument = #"english horn" \melodie \set Staff.midiInstrument = #"bassoon" \melodie \set Staff.midiInstrument = #"clarinet" \melodie \set Staff.midiInstrument = #"piccolo" \melodie \set Staff.midiInstrument = #"flute" \melodie \set Staff.midiInstrument = #"recorder" \melodie \set Staff.midiInstrument = #"pan flute" \melodie \set Staff.midiInstrument = #"blown bottle" \melodie \set Staff.midiInstrument = #"shakuhachi" \melodie \set Staff.midiInstrument = #"whistle" \melodie \set Staff.midiInstrument = #"ocarina" \melodie \set Staff.midiInstrument = #"lead 1 (square)" \melodie \set Staff.midiInstrument = #"lead 2 (sawtooth)" \melodie \set Staff.midiInstrument = #"lead 3 (calliope)" \melodie \set Staff.midiInstrument = #"lead 4 (chiff)" \melodie \set Staff.midiInstrument = #"lead 5 (charang)" \melodie \set Staff.midiInstrument = #"lead 6 (voice)" \melodie \set Staff.midiInstrument = #"lead 7 (fifths)" \melodie \set Staff.midiInstrument = #"lead 8 (bass+lead)" \melodie \set Staff.midiInstrument = #"pad 1 (new age)" \melodie \set Staff.midiInstrument = #"pad 2 (warm)" \melodie \set Staff.midiInstrument = #"pad 3 (polysynth)" \melodie \set Staff.midiInstrument = #"pad 4 (choir)" \melodie \set Staff.midiInstrument = #"pad 5 (bowed)" \melodie \set Staff.midiInstrument = #"pad 6 (metallic)" \melodie \set Staff.midiInstrument = #"pad 7 (halo)" \melodie \set Staff.midiInstrument = #"pad 8 (sweep)" \melodie \set Staff.midiInstrument = #"fx 1 (rain)" \melodie \set Staff.midiInstrument = #"fx 2 (soundtrack)" \melodie \set Staff.midiInstrument = #"fx 3 (crystal)" \melodie \set Staff.midiInstrument = #"fx 4 (atmosphere)" \melodie \set Staff.midiInstrument = #"fx 5 (brightness)" \melodie \set Staff.midiInstrument = #"fx 6 (goblins)" \melodie \set Staff.midiInstrument = #"fx 7 (echoes)" \melodie \set Staff.midiInstrument = #"fx 8 (sci-fi)" \melodie \set Staff.midiInstrument = #"sitar" \melodie \set Staff.midiInstrument = #"banjo" \melodie \set Staff.midiInstrument = #"shamisen" \melodie \set Staff.midiInstrument = #"koto" \melodie \set Staff.midiInstrument = #"kalimba" \melodie \set Staff.midiInstrument = #"bagpipe" \melodie \set Staff.midiInstrument = #"fiddle" \melodie \set Staff.midiInstrument = #"shanai" \melodie \set Staff.midiInstrument = #"tinkle bell" \melodie \set Staff.midiInstrument = #"agogo" \melodie \set Staff.midiInstrument = #"steel drums" \melodie \set Staff.midiInstrument = #"woodblock" \melodie \set Staff.midiInstrument = #"taiko drum" \melodie \set Staff.midiInstrument = #"melodic tom" \melodie \set Staff.midiInstrument = #"synth drum" \melodie \set Staff.midiInstrument = #"reverse cymbal" \melodie \set Staff.midiInstrument = #"guitar fret noise" \melodie \set Staff.midiInstrument = #"breath noise" \melodie \set Staff.midiInstrument = #"seashore" \melodie \set Staff.midiInstrument = #"bird tweet" \melodie \set Staff.midiInstrument = #"telephone ring" \melodie \set Staff.midiInstrument = #"helicopter" \melodie \set Staff.midiInstrument = #"applause" \melodie \set Staff.midiInstrument = #"gunshot" \melodie } >> \midi { } }
For fine-tuning the appearance of a pedal bracket, the properties
edge-width
, edge-height
, and shorten-pair
of
PianoPedalBracket
objects can be modified. For example, the
bracket may be extended to the right edge of the note head:
\relative c'' { \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0) c4\sostenutoOn d e c, f4 g a2\sostenutoOff }
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. } >> } } >>
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 { } }
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 }
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 { } }
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.
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 } dynamics = { s2\fff\> s4 s\!\pp } pedal = { s2\sustainOn s\sustainOff } \score { \new PianoStaff << \new Staff = "upper" \upper \new Dynamics = "dynamics" \dynamics \new Staff = "lower" << \clef bass \lower >> \new Dynamics = "pedal" \pedal >> \layout { \context { \type "Engraver_group" \name Dynamics % So that \cresc works, for example. \alias Voice \consists "Output_property_engraver" \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1) \override DynamicLineSpanner #'Y-offset = #0 pedalSustainStrings = #'("Ped." "*Ped." "*") pedalUnaCordaStrings = #'("una corda" "" "tre corde") \consists "Piano_pedal_engraver" \consists "Script_engraver" \consists "Dynamic_engraver" \consists "Text_engraver" \override TextScript #'font-size = #2 \override TextScript #'font-shape = #'italic \consists "Skip_event_swallow_translator" \consists "Axis_group_engraver" } \context { \PianoStaff \accepts Dynamics } } } \score { \new PianoStaff << \new Staff = "upper" << \upper \dynamics \pedal >> \new Staff = "lower" << \lower \dynamics \pedal >> >> \midi { } }
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 { } }
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 { } }
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) } } }
These snippets illustrate the Notation Reference, section Percussion.
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) } } }
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 (set-time-signature one two three four five six seven eight nine ten eleven num) (markup #:override '(baseline-skip . 0) #:number (#:line ((#:column (one num)) #:vcenter "+" (#:column (two num)) #:vcenter "+" (#:column (three num)) #:vcenter "+" (#:column (four num)) #:vcenter "+" (#:column (five num)) #:vcenter "+" (#:column (six num)) #:vcenter "+" (#:column (seven num)) #:vcenter "+" (#:column (eight num)) #:vcenter "+" (#:column (nine num)) #:vcenter "+" (#:column (ten num)) #:vcenter "+" (#:column (eleven num)))) )) melody = \relative c'' { \set Staff.instrumentName = #"Bb Sop." \key g \major \time 25/8 \override Staff.TimeSignature #'stencil = #ly:text-interface::print \override Staff.TimeSignature #'text = #(set-time-signature "3" "2" "2" "3" "2" "2" "2" "2" "3" "2" "2" "8" ) \set Staff.beatGrouping = #'(3 2 2 3 2 2 2 2 3 2 2) #(override-auto-beam-setting '(end * * 25 8) 3 8) #(override-auto-beam-setting '(end * * 25 8) 5 8) #(override-auto-beam-setting '(end * * 25 8) 7 8) #(override-auto-beam-setting '(end * * 25 8) 10 8) #(override-auto-beam-setting '(end * * 25 8) 12 8) #(override-auto-beam-setting '(end * * 25 8) 14 8) #(override-auto-beam-setting '(end * * 25 8) 16 8) #(override-auto-beam-setting '(end * * 25 8) 18 8) #(override-auto-beam-setting '(end * * 25 8) 21 8) #(override-auto-beam-setting '(end * * 25 8) 23 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 }
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 { } }
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 }
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 Barline_engraver
is 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 >> }
These snippets illustrate the Notation Reference, section Fretted string instruments.
Fingering instructions can be entered using a simple syntax.
\relative c'' { c4-1 d-2 f-4 e-3 }
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] } }
By default, fingering numbers will be printed 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 }
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 = #'(right) <c-1 e-3 a-5>4 \set fingeringOrientations = #'(up) <c-1 e-3 a-5>4 \set fingeringOrientations = #'(left down) <c-1 e-3 a-5>2 \set fingeringOrientations = #'(up right down) <c-1 e-3 a-5>2 }
Fret diagram properties can be set through
fret-diagram-details
. For FretBoard fret diagrams,
overrides are applied to the FretBoards.FretBoard
object.
\include "predefined-guitar-fretboards.ly" \storePredefinedDiagram \chordmode { c' } #guitar-tuning #"x;1-1-(;3-2;3-3;3-4;1-1-);" << \context ChordNames { \chordmode { c1 c c d } } \context FretBoards { % Set global properties of fret diagram \override FretBoards.FretBoard #'size = #'1.2 \override FretBoards.FretBoard #'fret-diagram-details #'finger-code = #'in-dot \override FretBoards.FretBoard #'fret-diagram-details #'dot-color = #'white \chordmode { c \once \override FretBoards.FretBoard #'size = #'1.0 \once \override FretBoards.FretBoard #'fret-diagram-details #'barre-type = #'straight \once \override FretBoards.FretBoard #'fret-diagram-details #'dot-color = #'black \once \override FretBoards.FretBoard #'fret-diagram-details #'finger-code = #'below-string c' \once \override FretBoards.FretBoard #'fret-diagram-details #'barre-type = #'none \once \override FretBoards.FretBoard #'fret-diagram-details #'number-type = #'arabic \once \override FretBoards.FretBoard #'fret-diagram-details #'orientation = #'landscape \once \override FretBoards.FretBoard #'fret-diagram-details #'mute-string = #"M" \once \override FretBoards.FretBoard #'fret-diagram-details #'label-dir = #-1 \once \override FretBoards.FretBoard #'fret-diagram-details #'dot-color = #'black c' \once \override FretBoards.FretBoard #'fret-diagram-details #'finger-code = #'below-string \once \override FretBoards.FretBoard #'fret-diagram-details #'dot-radius = #0.35 \once \override FretBoards.FretBoard #'fret-diagram-details #'dot-position = #0.5 \once \override FretBoards.FretBoard #'fret-diagram-details #'fret-count = #3 d } } \context Voice { c'1 c' c' d' } >>
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 Voice.TextScript #'size = #'1.2 \override Voice.TextScript #'fret-diagram-details #'finger-code = #'in-dot \override Voice.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;" } } } >>
A hammer in tablature can be faked with slurs.
\score { \new TabStaff { \relative c'' { c4( d) d( d) d2( c) } } }
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 }
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 } }
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 Voice.TextScript #'size = #1.2 \override Voice.TextScript #'fret-diagram-details #'finger-code = #'below-string \override Voice.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;" } } } >>
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;" } } >> } >> }
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 { } }
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 }
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 } >>
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 }
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 }
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 >> >> >> }
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 } }
These snippets illustrate the Notation Reference, section Unfretted string instruments.
To make the \flageolet
circle smaller use the following Scheme
function.
smallFlageolet = #(let ((m (make-music 'ArticulationEvent 'articulation-type "flageolet"))) (set! (ly:music-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 }
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) } >> }
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 " } basemelodie = \relative c' { c4. \mf g c16 b' c d e16 d e f g4 g'4 r R1 } melodie = { \tempo 4 = 150 \basemelodie } \score { \new Staff << \new Voice { \melodie } >> \layout { } } \score { \new Staff << %\set Staff.instrumentName= #"S/A" %\set Staff.midiMinimumVolume = #0.2 %\set Staff.midiMaximumVolume = #0.4 %\set Voice.dynamicAbsoluteVolumeFunction = #0.6 \new Voice { r \mf \set Staff.midiInstrument = #"acoustic grand" \melodie \set Staff.midiInstrument = #"bright acoustic" \melodie \set Staff.midiInstrument = #"electric grand" \melodie \set Staff.midiInstrument = #"honky-tonk" \melodie \set Staff.midiInstrument = #"electric piano 1" \melodie \set Staff.midiInstrument = #"electric piano 2" \melodie \set Staff.midiInstrument = #"harpsichord" \melodie \set Staff.midiInstrument = #"clav" \melodie \set Staff.midiInstrument = #"celesta" \melodie \set Staff.midiInstrument = #"glockenspiel" \melodie \set Staff.midiInstrument = #"music box" \melodie \set Staff.midiInstrument = #"vibraphone" \melodie \set Staff.midiInstrument = #"marimba" \melodie \set Staff.midiInstrument = #"xylophone" \melodie \set Staff.midiInstrument = #"tubular bells" \melodie \set Staff.midiInstrument = #"dulcimer" \melodie \set Staff.midiInstrument = #"drawbar organ" \melodie \set Staff.midiInstrument = #"percussive organ" \melodie \set Staff.midiInstrument = #"rock organ" \melodie \set Staff.midiInstrument = #"church organ" \melodie \set Staff.midiInstrument = #"reed organ" \melodie \set Staff.midiInstrument = #"accordion" \melodie \set Staff.midiInstrument = #"harmonica" \melodie \set Staff.midiInstrument = #"concertina" \melodie \set Staff.midiInstrument = #"acoustic guitar (nylon)" \melodie \set Staff.midiInstrument = #"acoustic guitar (steel)" \melodie \set Staff.midiInstrument = #"electric guitar (jazz)" \melodie \set Staff.midiInstrument = #"electric guitar (clean)" \melodie \set Staff.midiInstrument = #"electric guitar (muted)" \melodie \set Staff.midiInstrument = #"overdriven guitar" \melodie \set Staff.midiInstrument = #"distorted guitar" \melodie \set Staff.midiInstrument = #"acoustic bass" \melodie \set Staff.midiInstrument = #"electric bass (finger)" \melodie \set Staff.midiInstrument = #"electric bass (pick)" \melodie \set Staff.midiInstrument = #"fretless bass" \melodie \set Staff.midiInstrument = #"slap bass 1" \melodie \set Staff.midiInstrument = #"slap bass 2" \melodie \set Staff.midiInstrument = #"synth bass 1" \melodie \set Staff.midiInstrument = #"synth bass 2" \melodie \set Staff.midiInstrument = #"violin" \melodie \set Staff.midiInstrument = #"viola" \melodie \set Staff.midiInstrument = #"cello" \melodie \set Staff.midiInstrument = #"contrabass" \melodie \set Staff.midiInstrument = #"tremolo strings" \melodie \set Staff.midiInstrument = #"pizzicato strings" \melodie \set Staff.midiInstrument = #"orchestral strings" \melodie \set Staff.midiInstrument = #"timpani" \melodie \set Staff.midiInstrument = #"string ensemble 1" \melodie \set Staff.midiInstrument = #"string ensemble 2" \melodie \set Staff.midiInstrument = #"synthstrings 1" \melodie \set Staff.midiInstrument = #"synthstrings 2" \melodie \set Staff.midiInstrument = #"choir aahs" \melodie \set Staff.midiInstrument = #"voice oohs" \melodie \set Staff.midiInstrument = #"synth voice" \melodie \set Staff.midiInstrument = #"orchestra hit" \melodie \set Staff.midiInstrument = #"trumpet" \melodie \set Staff.midiInstrument = #"trombone" \melodie \set Staff.midiInstrument = #"tuba" \melodie \set Staff.midiInstrument = #"muted trumpet" \melodie \set Staff.midiInstrument = #"french horn" \melodie \set Staff.midiInstrument = #"brass section" \melodie \set Staff.midiInstrument = #"synthbrass 1" \melodie \set Staff.midiInstrument = #"synthbrass 2" \melodie \set Staff.midiInstrument = #"soprano sax" \melodie \set Staff.midiInstrument = #"alto sax" \melodie \set Staff.midiInstrument = #"tenor sax" \melodie \set Staff.midiInstrument = #"baritone sax" \melodie \set Staff.midiInstrument = #"oboe" \melodie \set Staff.midiInstrument = #"english horn" \melodie \set Staff.midiInstrument = #"bassoon" \melodie \set Staff.midiInstrument = #"clarinet" \melodie \set Staff.midiInstrument = #"piccolo" \melodie \set Staff.midiInstrument = #"flute" \melodie \set Staff.midiInstrument = #"recorder" \melodie \set Staff.midiInstrument = #"pan flute" \melodie \set Staff.midiInstrument = #"blown bottle" \melodie \set Staff.midiInstrument = #"shakuhachi" \melodie \set Staff.midiInstrument = #"whistle" \melodie \set Staff.midiInstrument = #"ocarina" \melodie \set Staff.midiInstrument = #"lead 1 (square)" \melodie \set Staff.midiInstrument = #"lead 2 (sawtooth)" \melodie \set Staff.midiInstrument = #"lead 3 (calliope)" \melodie \set Staff.midiInstrument = #"lead 4 (chiff)" \melodie \set Staff.midiInstrument = #"lead 5 (charang)" \melodie \set Staff.midiInstrument = #"lead 6 (voice)" \melodie \set Staff.midiInstrument = #"lead 7 (fifths)" \melodie \set Staff.midiInstrument = #"lead 8 (bass+lead)" \melodie \set Staff.midiInstrument = #"pad 1 (new age)" \melodie \set Staff.midiInstrument = #"pad 2 (warm)" \melodie \set Staff.midiInstrument = #"pad 3 (polysynth)" \melodie \set Staff.midiInstrument = #"pad 4 (choir)" \melodie \set Staff.midiInstrument = #"pad 5 (bowed)" \melodie \set Staff.midiInstrument = #"pad 6 (metallic)" \melodie \set Staff.midiInstrument = #"pad 7 (halo)" \melodie \set Staff.midiInstrument = #"pad 8 (sweep)" \melodie \set Staff.midiInstrument = #"fx 1 (rain)" \melodie \set Staff.midiInstrument = #"fx 2 (soundtrack)" \melodie \set Staff.midiInstrument = #"fx 3 (crystal)" \melodie \set Staff.midiInstrument = #"fx 4 (atmosphere)" \melodie \set Staff.midiInstrument = #"fx 5 (brightness)" \melodie \set Staff.midiInstrument = #"fx 6 (goblins)" \melodie \set Staff.midiInstrument = #"fx 7 (echoes)" \melodie \set Staff.midiInstrument = #"fx 8 (sci-fi)" \melodie \set Staff.midiInstrument = #"sitar" \melodie \set Staff.midiInstrument = #"banjo" \melodie \set Staff.midiInstrument = #"shamisen" \melodie \set Staff.midiInstrument = #"koto" \melodie \set Staff.midiInstrument = #"kalimba" \melodie \set Staff.midiInstrument = #"bagpipe" \melodie \set Staff.midiInstrument = #"fiddle" \melodie \set Staff.midiInstrument = #"shanai" \melodie \set Staff.midiInstrument = #"tinkle bell" \melodie \set Staff.midiInstrument = #"agogo" \melodie \set Staff.midiInstrument = #"steel drums" \melodie \set Staff.midiInstrument = #"woodblock" \melodie \set Staff.midiInstrument = #"taiko drum" \melodie \set Staff.midiInstrument = #"melodic tom" \melodie \set Staff.midiInstrument = #"synth drum" \melodie \set Staff.midiInstrument = #"reverse cymbal" \melodie \set Staff.midiInstrument = #"guitar fret noise" \melodie \set Staff.midiInstrument = #"breath noise" \melodie \set Staff.midiInstrument = #"seashore" \melodie \set Staff.midiInstrument = #"bird tweet" \melodie \set Staff.midiInstrument = #"telephone ring" \melodie \set Staff.midiInstrument = #"helicopter" \melodie \set Staff.midiInstrument = #"applause" \melodie \set Staff.midiInstrument = #"gunshot" \melodie } >> \midi { } }
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 { } }
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 { } } %}
These snippets illustrate the Notation Reference, section Wind instruments.
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 = #(make-musicglyph-markup "scripts.rvarcomma") << { g4 as g } \\ { es4 \breathe bes es } >> | % vee \override BreathingSign #'text = #(make-musicglyph-markup "scripts.upbow") es8[ d es f g] \breathe f | % caesura \override BreathingSign #'text = #(make-musicglyph-markup "scripts.caesura.curved") es8[ d] \breathe es[ f g f] | es2 r4 \bar "||" }
These snippets illustrate the Notation Reference, section Ancient notation.
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 >> }
Here are shown many (all?) of the symbols that are included in LilyPond's support of ancient notation.
upperStaff = \context GregorianStaff = "upperStaff" << \context GregorianVoice << \set Score.timing = ##f % \set Score.forceAccidental = ##t %%%%%%%% FIXME: what happened to this property? \override Staff.StaffSymbol #'line-count = #4 \transpose c c { \override Staff.KeySignature #'glyph-name-alist = #alteration-vaticana-glyph-name-alist \override Staff.Accidental #'glyph-name-alist = #alteration-vaticana-glyph-name-alist \override NoteHead #'style = #'vaticana.punctum \key es \major \clef "vaticana-fa2" c!1 des! e! f! ges! \override NoteHead #'style = #'vaticana.inclinatum a! b! ces' \override Staff.BarLine #'bar-size = #3.0 \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 \override Staff.BarLine #'bar-size = #3.0 \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 \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! \override Staff.BarLine #'bar-size = #3.0 \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! \override Staff.BarLine #'bar-size = #3.0 \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! \override Staff.BarLine #'bar-size = #3.0 \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! \override Staff.BarLine #'bar-size = #3.0 \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 = \context MensuralStaff = "lowerStaff" << \context MensuralVoice << % this is broken until further notice -- see refman % \override Staff.StaffSymbol #'line-count = #5 \applyOutput #'Staff #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 5) \transpose c c { \set autoBeaming = ##f \override NoteHead #'style = #'neomensural \override Rest #'style = #'neomensural \key a \major % FIXME: lily crashes on some (invalid?) ligatures with: % ERROR: In procedure gh_scm2int: % ERROR: Wrong type argument in position 1: () % FIXME: lily emits "Programming error: Infinity or NaN encountered" % on many ligatures such as BB. 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 Stem #'flag-style = #'mensural \override Stem #'thickness = #1.0 \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" % FIXME: must set Stem flag-style to #'neomensural to avoid % segmentation fault on r8/r16/r32. (Strange: what has % Stem flag-style to do with mensural rests?) \override Stem #'flag-style = #'neomensural % FIXME: produces warnings about "flag `neomensurald4' (or 3) not found". r2 r4 r8 r16 r16 \override Stem #'flag-style = #'mensural \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 { \context Score << \upperStaff \lowerStaff >> \layout { % do we want to keep these settings? -gp line-width = 17.25\cm textheight = 26.0\cm indent = 0.0 \context { \Score \accepts MensuralStaff \accepts GregorianStaff % timing = ##f %%%%%%%% FIXME: this has no effect } \context { \Voice \name MensuralVoice \alias Voice \remove Ligature_bracket_engraver \consists Mensural_ligature_engraver \override NoteHead #'style = #'mensural % \override Stem #'flag-style = #'mensural %%%%%%%% FIXME: this core dumps \override Stem #'thickness = #1.0 \override Rest #'style = #'mensural autoBeaming = ##f } \context { \Voice \name GregorianVoice \alias Voice \remove Ligature_bracket_engraver % \consists Gregorian_ligature_engraver %%%%%%%% TODO: not yet implemented \override NoteHead #'style = #'vaticana.punctum autoBeaming = ##f } \context { \Staff \name MensuralStaff \alias Staff \accepts MensuralVoice \consists Custos_engraver \override TimeSignature #'style = #'mensural \override KeySignature #'glyph-name-alist = #alteration-mensural-glyph-name-alist \override Accidental #'glyph-name-alist = #alteration-mensural-glyph-name-alist \override Custos #'style = #'mensural \override Custos #'neutral-position = #3 \override Custos #'neutral-direction = #-1 clefGlyph = #"clefs.petrucci-c2" clefPosition = #-2 clefOctavation = #0 } \context { \Staff \name GregorianStaff \alias Staff \accepts GregorianVoice \consists Custos_engraver \remove Time_signature_engraver \override StaffSymbol #'thickness = #2.0 \override StaffSymbol #'line-count = #4 \override KeySignature #'glyph-name-alist = #alteration-vaticana-glyph-name-alist \override Accidental #'glyph-name-alist = #alteration-vaticana-glyph-name-alist \override Custos #'style = #'vaticana \override Custos #'neutral-position = #4 \override Custos #'neutral-direction = #-1 clefGlyph = #"clefs.vaticana-do" clefPosition = #1 clefOctavation = #0 } \context { \RemoveEmptyStaffContext \accepts MensuralVoice \accepts GregorianVoice } } }
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-init.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 } } }
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" } } }
Time signatures may also be engraved in an old style.
{ \override Staff.TimeSignature #'style = #'neomensural s1 }
This form of notation is used for the chant of the Psalms, where verses aren't always the same length.
stemOn = { \override Staff.Stem #'transparent = ##f } stemOff = { \override Staff.Stem #'transparent = ##t } \score { \new Staff \with { \remove "Time_signature_engraver" } { \key g \minor \set Score.timing = ##f \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 "||" } }
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 }
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) (set! (ly:grob-property grob 'long-text) (markup #:score score)) (ly:system-start-text::print grob))) #}) %%%%%%%%%%%%%%%%%%%%%%%%% global = { \set Score.skipBars = ##t \key g \major \time 4/4 %make the staff lines invisible on staves \override Staff.BarLine #'transparent = ##t % 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" << \set Staff.instrumentName = "Bassus" \incipit \bassusIncipit \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 bar lines in staves \override BarLine #'transparent = ##t } %% the next three instructions keep the lyrics between the bar lines \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 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 } }
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 } >> } >> }
Rests may be used in various styles.
\layout { indent = 0.0 \context { \Staff \remove "Time_signature_engraver" } } \relative c { \set Score.timing = ##f \override Staff.Rest #'style = #'mensural r\maxima^\markup \typewriter { mensural } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 \bar "" \override Staff.Rest #'style = #'neomensural r\maxima^\markup \typewriter { neomensural } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 \bar "" \override Staff.Rest #'style = #'classical r\maxima^\markup \typewriter { classical } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 \bar "" \override Staff.Rest #'style = #'default r\maxima^\markup \typewriter { default } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 }
These snippets illustrate the Notation Reference, section World music.
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 }
Makam is a type of melody from Turkey using 1/9th-tone
microtonal alterations. Consult the initialization file
makam-init.ly
(see the `Learning Manual 2.11.58,
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-init.ly" \relative c' { \set Staff.keySignature = #`((3 . ,BAKIYE) (6 . ,(- KOMA))) c4 cc db fk gbm4 gfc gfb efk fk4 db cc c }
These snippets illustrate the Notation Reference, section Changing defaults.
See also Learning Manual, section Contexts and engravers.
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 >> }
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 } >> } }
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 } } >> }
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) } } }
\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 3 5) b8 b b b b b \time 2/4 \set Timing.measureLength = #(ly:make-moment 2 5) b4 b } } \new Staff { \clef bass \time 2/4 c2 d e f } >>
This form of notation is used for the chant of the Psalms, where verses aren't always the same length.
stemOn = { \override Staff.Stem #'transparent = ##f } stemOff = { \override Staff.Stem #'transparent = ##t } \score { \new Staff \with { \remove "Time_signature_engraver" } { \key g \minor \set Score.timing = ##f \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 "||" } }
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 }
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 } } }
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 } >> } >> }
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 } >>
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' } >> } }
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) } } }
These snippets illustrate the Notation Reference, section Changing defaults.
See also Learning Manual, section Tweaking output.
By setting properties in NonMusicalPaperColumn
, vertical spacing
can be adjusted per system.
By setting alignment-extra-space
or
fixed-alignment-extra-space
an individual system may be
stretched vertically.
For technical reasons, \overrideProperty
must be used for
changing these properties within a staff; \override
in a
\context
block may still be used for global overrides.
#(set-global-staff-size 13) \relative c'' \new StaffGroup << \new Staff { c1 \break c1 \break c1 \break } \new Staff { c1 | c | c } \new PianoStaff << \new Voice { \set PianoStaff.instrumentName = #"piano" \set PianoStaff.shortInstrumentName = #"pn" c1_"normal" \overrideProperty #"Score.NonMusicalPaperColumn" #'line-break-system-details #'((fixed-alignment-extra-space . 15)) c_"fixed-aligment-extra-space" \overrideProperty #"Score.NonMusicalPaperColumn" #'line-break-system-details #'((alignment-extra-space . 15)) c_"aligment-extra-space" } { c1 | c | c } >> >>
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 d\stopGroup }
A caesura is sometimes denoted with a double "railtracks" breath mark with a fermata sign positioned above. This snippet should present an optically pleasing combination of railtracks and a fermata.
{ c''2. % construct the symbol \override BreathingSign #'text = \markup { \line { \musicglyph #"scripts.caesura.curved" \translate #'(-1.75 . 1.6) \musicglyph #"scripts.ufermata" } } \breathe c''4 % set the breathe mark back to normal \revert BreathingSign #'text c''2. \breathe c''4 \bar "|." }
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 } }
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 }
The \applyOutput
command allows the tuning of any layout
object, in any context. It requires a Scheme function with three
arguments.
\layout { ragged-right = ##t } #(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 ly:text-interface::print) (ly:grob-set-property! grob 'font-family 'roman) (ly:grob-set-property! grob 'text (make-raise-markup -0.5 (case sp ((-5) (make-simple-markup "m")) ((-3) (make-simple-markup "c ")) ((-2) (make-smaller-markup (make-bold-markup "2"))) (else (make-simple-markup "bla")) )))) ))) \relative c' { <d f g b>2 \applyOutput #'Voice #mc-squared <d f g b> }
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 }
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'^\markup { roman: foo \bold bla \italic bar \italic \bold baz } c'_\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 } } }
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 } >>
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 } }
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 TupletBracket
#'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).
mus = \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'{ << \mus s4^"default" >> \override TupletBracket #'bracket-visibility = #'if-no-beam << \mus s4^"'if-no-beam" >> \override TupletBracket #'bracket-visibility = ##t << \mus s4^"#t" >> \override TupletBracket #'bracket-visibility = ##f << \mus s4^"#f" >> }
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 }
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.
\relative c'' { \override TextSpanner #'edge-text = #'("bla" . "blu") a \startTextSpan b c a \stopTextSpan \override TextSpanner #'dash-period = #2 \override TextSpanner #'dash-fraction = #0.0 a \startTextSpan b c a \stopTextSpan \revert TextSpanner #'style \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) } a \startTextSpan b c a \stopTextSpan \set Staff.middleCPosition = #-13 \override TextSpanner #'dash-period = #10 \override TextSpanner #'dash-fraction = #0.5 \override TextSpanner #'thickness = #10 a \startTextSpan b c a \stopTextSpan \set Staff.middleCPosition = #-6 }
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 }
Fret diagram properties can be set through
fret-diagram-details
. For FretBoard fret diagrams,
overrides are applied to the FretBoards.FretBoard
object.
\include "predefined-guitar-fretboards.ly" \storePredefinedDiagram \chordmode { c' } #guitar-tuning #"x;1-1-(;3-2;3-3;3-4;1-1-);" << \context ChordNames { \chordmode { c1 c c d } } \context FretBoards { % Set global properties of fret diagram \override FretBoards.FretBoard #'size = #'1.2 \override FretBoards.FretBoard #'fret-diagram-details #'finger-code = #'in-dot \override FretBoards.FretBoard #'fret-diagram-details #'dot-color = #'white \chordmode { c \once \override FretBoards.FretBoard #'size = #'1.0 \once \override FretBoards.FretBoard #'fret-diagram-details #'barre-type = #'straight \once \override FretBoards.FretBoard #'fret-diagram-details #'dot-color = #'black \once \override FretBoards.FretBoard #'fret-diagram-details #'finger-code = #'below-string c' \once \override FretBoards.FretBoard #'fret-diagram-details #'barre-type = #'none \once \override FretBoards.FretBoard #'fret-diagram-details #'number-type = #'arabic \once \override FretBoards.FretBoard #'fret-diagram-details #'orientation = #'landscape \once \override FretBoards.FretBoard #'fret-diagram-details #'mute-string = #"M" \once \override FretBoards.FretBoard #'fret-diagram-details #'label-dir = #-1 \once \override FretBoards.FretBoard #'fret-diagram-details #'dot-color = #'black c' \once \override FretBoards.FretBoard #'fret-diagram-details #'finger-code = #'below-string \once \override FretBoards.FretBoard #'fret-diagram-details #'dot-radius = #0.35 \once \override FretBoards.FretBoard #'fret-diagram-details #'dot-position = #0.5 \once \override FretBoards.FretBoard #'fret-diagram-details #'fret-count = #3 d } } \context Voice { c'1 c' c' d' } >>
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 Voice.TextScript #'size = #'1.2 \override Voice.TextScript #'fret-diagram-details #'finger-code = #'in-dot \override Voice.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;" } } } >>
If there is only one staff in one of the staff types
ChoirStaff
, InnerChoirStaff
, InnerStaffGroup
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, as demonstrated in this example.
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 \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 { } } }
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 }
The \circle
command allows you to draw circles around various objects,
for example fingering indications. However, some objects require
specific tweaks: rehearsal marks depend on the Score.markFormatter
context, bar numbers on the Score.BarNumber
context, and so on.
You can tweak the printing of your circles by setting some properties
such as #'thickness
, #'circle-padding
or #'font-size
.
\relative c' { c1 \set Score.markFormatter = #(lambda (mark context) (make-circle-markup (format-mark-numbers mark context))) \mark \default c2 d^\markup { \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) }
For fine-tuning the appearance of a pedal bracket, the properties
edge-width
, edge-height
, and shorten-pair
of
PianoPedalBracket
objects can be modified. For example, the
bracket may be extended to the right edge of the note head:
\relative c'' { \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0) c4\sostenutoOn d e c, f4 g a2\sostenutoOff }
When the typesetting engine cannot cope, the force-hshift
property of the NoteColumn
object can be used to override
typesetting decisions. The measure units 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 } >>
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 Voice.TextScript #'size = #1.2 \override Voice.TextScript #'fret-diagram-details #'finger-code = #'below-string \override Voice.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;" } } } >>
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 } >> >>
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;" } } >> } >> }
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 = #(make-musicglyph-markup "scripts.caesura.straight") c8 e4. \breathe g8. e16 c4 \override BreathingSign #'text = #(make-musicglyph-markup "scripts.caesura.curved") g8 e'4. \breathe g8. e16 c4 }
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 } >> }
Beam positions may be controlled manually, by overriding the
positions
setting of the Beam
grob.
\relative c' { \time 2/4 % from upper staffline (position 4) to center (position 0) \override Beam #'positions = #'(2 . 0) c8 c % from center to one above center (position 2) \override Beam #'positions = #'(0 . 1) c8 c }
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 } >> } >> }
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 } >>
Unlike ordinary rests, there is no predefined command to change the vertical position on the staff 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 } >> }
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 }
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 }
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 } >>
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 } >>
Rests may be used in various styles.
\layout { indent = 0.0 \context { \Staff \remove "Time_signature_engraver" } } \relative c { \set Score.timing = ##f \override Staff.Rest #'style = #'mensural r\maxima^\markup \typewriter { mensural } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 \bar "" \override Staff.Rest #'style = #'neomensural r\maxima^\markup \typewriter { neomensural } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 \bar "" \override Staff.Rest #'style = #'classical r\maxima^\markup \typewriter { classical } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 \bar "" \override Staff.Rest #'style = #'default r\maxima^\markup \typewriter { default } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 }
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' { c d e f | \rs \rs \rs \rs | \comp #4 | } }
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, } >>
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 }
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.
{ % 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 % Here we go back to the normal clef: \set Staff.middleCPosition = #0 c'1 }
\tweak
command to tweak individual grobsWith 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 }
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 }
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 } } >> } >>
These snippets illustrate the Notation Reference, section Spacing issues.
Instrument names are generally printed to the left of the staves. To
align the names of several different intruments, put them in a
\markup
block and use one of the following possibilites:
* Right-aligned instrument names: this is the default behavior
*
Center-aligned instrument names: using the \hcenter-in #n
command
places the instrument names inside a padded box, with n
being
the width
of the box
*
Left-aligned instrument names: the names are printed on top of an
empty box, using the \combine
command
with an \hspace #n
object.
\paper { indent = #0 left-margin = #30 line-width = #160 } \new StaffGroup \relative c' << \new Staff { \set Staff.instrumentName = #"Piccolo" c1^"default" | c \break \set Staff.instrumentName = \markup { \hcenter-in #10 Piccolo } c1^"centered" | c \break \set Staff.instrumentName = \markup { \combine \hspace #8 Piccolo } c1^"left-aligned" | c } \new Staff { \set Staff.instrumentName = #"Flute" c1 | c \break \set Staff.instrumentName = \markup { \hcenter-in #10 Flute } c1 | c \break \set Staff.instrumentName = \markup { \combine \hspace #8 Flute } c1 | c } >>
By setting properties in NonMusicalPaperColumn
, vertical spacing
can be adjusted per system.
By setting alignment-extra-space
or
fixed-alignment-extra-space
an individual system may be
stretched vertically.
For technical reasons, \overrideProperty
must be used for
changing these properties within a staff; \override
in a
\context
block may still be used for global overrides.
#(set-global-staff-size 13) \relative c'' \new StaffGroup << \new Staff { c1 \break c1 \break c1 \break } \new Staff { c1 | c | c } \new PianoStaff << \new Voice { \set PianoStaff.instrumentName = #"piano" \set PianoStaff.shortInstrumentName = #"pn" c1_"normal" \overrideProperty #"Score.NonMusicalPaperColumn" #'line-break-system-details #'((fixed-alignment-extra-space . 15)) c_"fixed-aligment-extra-space" \overrideProperty #"Score.NonMusicalPaperColumn" #'line-break-system-details #'((alignment-extra-space . 15)) c_"aligment-extra-space" } { c1 | c | c } >> >>
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 } >>
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.
#(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)) } } } }
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 }
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" } }
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" } } }
These snippets illustrate the Notation Reference, section Titles and headers.
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 }
Instrument names are generally printed to the left of the staves. To
align the names of several different intruments, put them in a
\markup
block and use one of the following possibilites:
* Right-aligned instrument names: this is the default behavior
*
Center-aligned instrument names: using the \hcenter-in #n
command
places the instrument names inside a padded box, with n
being
the width
of the box
*
Left-aligned instrument names: the names are printed on top of an
empty box, using the \combine
command
with an \hspace #n
object.
\paper { indent = #0 left-margin = #30 line-width = #160 } \new StaffGroup \relative c' << \new Staff { \set Staff.instrumentName = #"Piccolo" c1^"default" | c \break \set Staff.instrumentName = \markup { \hcenter-in #10 Piccolo } c1^"centered" | c \break \set Staff.instrumentName = \markup { \combine \hspace #8 Piccolo } c1^"left-aligned" | c } \new Staff { \set Staff.instrumentName = #"Flute" c1 | c \break \set Staff.instrumentName = \markup { \hcenter-in #10 Flute } c1 | c \break \set Staff.instrumentName = \markup { \combine \hspace #8 Flute } c1 | c } >>
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" } }
These snippets illustrate the Notation Reference, section Spacing issues.
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 } >>
By setting properties in NonMusicalPaperColumn
, vertical spacing
can be adjusted per system.
By setting alignment-extra-space
or
fixed-alignment-extra-space
an individual system may be
stretched vertically.
For technical reasons, \overrideProperty
must be used for
changing these properties within a staff; \override
in a
\context
block may still be used for global overrides.
#(set-global-staff-size 13) \relative c'' \new StaffGroup << \new Staff { c1 \break c1 \break c1 \break } \new Staff { c1 | c | c } \new PianoStaff << \new Voice { \set PianoStaff.instrumentName = #"piano" \set PianoStaff.shortInstrumentName = #"pn" c1_"normal" \overrideProperty #"Score.NonMusicalPaperColumn" #'line-break-system-details #'((fixed-alignment-extra-space . 15)) c_"fixed-aligment-extra-space" \overrideProperty #"Score.NonMusicalPaperColumn" #'line-break-system-details #'((alignment-extra-space . 15)) c_"aligment-extra-space" } { c1 | c | c } >> >>
By default, fingering numbers will be printed 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 }
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 { { c'2 c' \mark \markup { A (page \concat { \page-ref #'markA "0" "?" ) } } \label #'markA c'2 c' \pageBreak \mark "B" \label #'markB d'2 d' d'2 d' \once \override Score.RehearsalMark #'break-visibility = #begin-of-line-invisible \mark "C" \label #'markC } \header { piece = "First score" } } }
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 } >>
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 }
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 } } >> } >>
These snippets illustrate the Notation Reference, section MIDI output.
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) } } }
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 " } basemelodie = \relative c' { c4. \mf g c16 b' c d e16 d e f g4 g'4 r R1 } melodie = { \tempo 4 = 150 \basemelodie } \score { \new Staff << \new Voice { \melodie } >> \layout { } } \score { \new Staff << %\set Staff.instrumentName= #"S/A" %\set Staff.midiMinimumVolume = #0.2 %\set Staff.midiMaximumVolume = #0.4 %\set Voice.dynamicAbsoluteVolumeFunction = #0.6 \new Voice { r \mf \set Staff.midiInstrument = #"acoustic grand" \melodie \set Staff.midiInstrument = #"bright acoustic" \melodie \set Staff.midiInstrument = #"electric grand" \melodie \set Staff.midiInstrument = #"honky-tonk" \melodie \set Staff.midiInstrument = #"electric piano 1" \melodie \set Staff.midiInstrument = #"electric piano 2" \melodie \set Staff.midiInstrument = #"harpsichord" \melodie \set Staff.midiInstrument = #"clav" \melodie \set Staff.midiInstrument = #"celesta" \melodie \set Staff.midiInstrument = #"glockenspiel" \melodie \set Staff.midiInstrument = #"music box" \melodie \set Staff.midiInstrument = #"vibraphone" \melodie \set Staff.midiInstrument = #"marimba" \melodie \set Staff.midiInstrument = #"xylophone" \melodie \set Staff.midiInstrument = #"tubular bells" \melodie \set Staff.midiInstrument = #"dulcimer" \melodie \set Staff.midiInstrument = #"drawbar organ" \melodie \set Staff.midiInstrument = #"percussive organ" \melodie \set Staff.midiInstrument = #"rock organ" \melodie \set Staff.midiInstrument = #"church organ" \melodie \set Staff.midiInstrument = #"reed organ" \melodie \set Staff.midiInstrument = #"accordion" \melodie \set Staff.midiInstrument = #"harmonica" \melodie \set Staff.midiInstrument = #"concertina" \melodie \set Staff.midiInstrument = #"acoustic guitar (nylon)" \melodie \set Staff.midiInstrument = #"acoustic guitar (steel)" \melodie \set Staff.midiInstrument = #"electric guitar (jazz)" \melodie \set Staff.midiInstrument = #"electric guitar (clean)" \melodie \set Staff.midiInstrument = #"electric guitar (muted)" \melodie \set Staff.midiInstrument = #"overdriven guitar" \melodie \set Staff.midiInstrument = #"distorted guitar" \melodie \set Staff.midiInstrument = #"acoustic bass" \melodie \set Staff.midiInstrument = #"electric bass (finger)" \melodie \set Staff.midiInstrument = #"electric bass (pick)" \melodie \set Staff.midiInstrument = #"fretless bass" \melodie \set Staff.midiInstrument = #"slap bass 1" \melodie \set Staff.midiInstrument = #"slap bass 2" \melodie \set Staff.midiInstrument = #"synth bass 1" \melodie \set Staff.midiInstrument = #"synth bass 2" \melodie \set Staff.midiInstrument = #"violin" \melodie \set Staff.midiInstrument = #"viola" \melodie \set Staff.midiInstrument = #"cello" \melodie \set Staff.midiInstrument = #"contrabass" \melodie \set Staff.midiInstrument = #"tremolo strings" \melodie \set Staff.midiInstrument = #"pizzicato strings" \melodie \set Staff.midiInstrument = #"orchestral strings" \melodie \set Staff.midiInstrument = #"timpani" \melodie \set Staff.midiInstrument = #"string ensemble 1" \melodie \set Staff.midiInstrument = #"string ensemble 2" \melodie \set Staff.midiInstrument = #"synthstrings 1" \melodie \set Staff.midiInstrument = #"synthstrings 2" \melodie \set Staff.midiInstrument = #"choir aahs" \melodie \set Staff.midiInstrument = #"voice oohs" \melodie \set Staff.midiInstrument = #"synth voice" \melodie \set Staff.midiInstrument = #"orchestra hit" \melodie \set Staff.midiInstrument = #"trumpet" \melodie \set Staff.midiInstrument = #"trombone" \melodie \set Staff.midiInstrument = #"tuba" \melodie \set Staff.midiInstrument = #"muted trumpet" \melodie \set Staff.midiInstrument = #"french horn" \melodie \set Staff.midiInstrument = #"brass section" \melodie \set Staff.midiInstrument = #"synthbrass 1" \melodie \set Staff.midiInstrument = #"synthbrass 2" \melodie \set Staff.midiInstrument = #"soprano sax" \melodie \set Staff.midiInstrument = #"alto sax" \melodie \set Staff.midiInstrument = #"tenor sax" \melodie \set Staff.midiInstrument = #"baritone sax" \melodie \set Staff.midiInstrument = #"oboe" \melodie \set Staff.midiInstrument = #"english horn" \melodie \set Staff.midiInstrument = #"bassoon" \melodie \set Staff.midiInstrument = #"clarinet" \melodie \set Staff.midiInstrument = #"piccolo" \melodie \set Staff.midiInstrument = #"flute" \melodie \set Staff.midiInstrument = #"recorder" \melodie \set Staff.midiInstrument = #"pan flute" \melodie \set Staff.midiInstrument = #"blown bottle" \melodie \set Staff.midiInstrument = #"shakuhachi" \melodie \set Staff.midiInstrument = #"whistle" \melodie \set Staff.midiInstrument = #"ocarina" \melodie \set Staff.midiInstrument = #"lead 1 (square)" \melodie \set Staff.midiInstrument = #"lead 2 (sawtooth)" \melodie \set Staff.midiInstrument = #"lead 3 (calliope)" \melodie \set Staff.midiInstrument = #"lead 4 (chiff)" \melodie \set Staff.midiInstrument = #"lead 5 (charang)" \melodie \set Staff.midiInstrument = #"lead 6 (voice)" \melodie \set Staff.midiInstrument = #"lead 7 (fifths)" \melodie \set Staff.midiInstrument = #"lead 8 (bass+lead)" \melodie \set Staff.midiInstrument = #"pad 1 (new age)" \melodie \set Staff.midiInstrument = #"pad 2 (warm)" \melodie \set Staff.midiInstrument = #"pad 3 (polysynth)" \melodie \set Staff.midiInstrument = #"pad 4 (choir)" \melodie \set Staff.midiInstrument = #"pad 5 (bowed)" \melodie \set Staff.midiInstrument = #"pad 6 (metallic)" \melodie \set Staff.midiInstrument = #"pad 7 (halo)" \melodie \set Staff.midiInstrument = #"pad 8 (sweep)" \melodie \set Staff.midiInstrument = #"fx 1 (rain)" \melodie \set Staff.midiInstrument = #"fx 2 (soundtrack)" \melodie \set Staff.midiInstrument = #"fx 3 (crystal)" \melodie \set Staff.midiInstrument = #"fx 4 (atmosphere)" \melodie \set Staff.midiInstrument = #"fx 5 (brightness)" \melodie \set Staff.midiInstrument = #"fx 6 (goblins)" \melodie \set Staff.midiInstrument = #"fx 7 (echoes)" \melodie \set Staff.midiInstrument = #"fx 8 (sci-fi)" \melodie \set Staff.midiInstrument = #"sitar" \melodie \set Staff.midiInstrument = #"banjo" \melodie \set Staff.midiInstrument = #"shamisen" \melodie \set Staff.midiInstrument = #"koto" \melodie \set Staff.midiInstrument = #"kalimba" \melodie \set Staff.midiInstrument = #"bagpipe" \melodie \set Staff.midiInstrument = #"fiddle" \melodie \set Staff.midiInstrument = #"shanai" \melodie \set Staff.midiInstrument = #"tinkle bell" \melodie \set Staff.midiInstrument = #"agogo" \melodie \set Staff.midiInstrument = #"steel drums" \melodie \set Staff.midiInstrument = #"woodblock" \melodie \set Staff.midiInstrument = #"taiko drum" \melodie \set Staff.midiInstrument = #"melodic tom" \melodie \set Staff.midiInstrument = #"synth drum" \melodie \set Staff.midiInstrument = #"reverse cymbal" \melodie \set Staff.midiInstrument = #"guitar fret noise" \melodie \set Staff.midiInstrument = #"breath noise" \melodie \set Staff.midiInstrument = #"seashore" \melodie \set Staff.midiInstrument = #"bird tweet" \melodie \set Staff.midiInstrument = #"telephone ring" \melodie \set Staff.midiInstrument = #"helicopter" \melodie \set Staff.midiInstrument = #"applause" \melodie \set Staff.midiInstrument = #"gunshot" \melodie } >> \midi { } }
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-init.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 } } }
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" } } }
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 { } }
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 { } }
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.
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 } dynamics = { s2\fff\> s4 s\!\pp } pedal = { s2\sustainOn s\sustainOff } \score { \new PianoStaff << \new Staff = "upper" \upper \new Dynamics = "dynamics" \dynamics \new Staff = "lower" << \clef bass \lower >> \new Dynamics = "pedal" \pedal >> \layout { \context { \type "Engraver_group" \name Dynamics % So that \cresc works, for example. \alias Voice \consists "Output_property_engraver" \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1) \override DynamicLineSpanner #'Y-offset = #0 pedalSustainStrings = #'("Ped." "*Ped." "*") pedalUnaCordaStrings = #'("una corda" "" "tre corde") \consists "Piano_pedal_engraver" \consists "Script_engraver" \consists "Dynamic_engraver" \consists "Text_engraver" \override TextScript #'font-size = #2 \override TextScript #'font-shape = #'italic \consists "Skip_event_swallow_translator" \consists "Axis_group_engraver" } \context { \PianoStaff \accepts Dynamics } } } \score { \new PianoStaff << \new Staff = "upper" << \upper \dynamics \pedal >> \new Staff = "lower" << \lower \dynamics \pedal >> >> \midi { } }
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 { } }
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 { } }
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 >> %}
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 { } }
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 { } }
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 { } }
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 { } }
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 { } }
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 { } }
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 { } } %}
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) } } }
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) } } }
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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